Queen Mary; and, Harold — Reading Companion

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Tennyson, Alfred Tennyson, Baron, 1809-1892 Project Gutenberg 2005 Not confirmed
Drama; Mary I, Queen of England, 1516-1558 -- Drama Readers of public-domain and historical texts
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Words 58,567
Reading time 255 min
Text sections 8

For Queen Mary; and, Harold — Reading Companion, the stored edition analysis reports 58,567 words, 4 hr 15 min estimated reading time, and 8 detected text sections.

The text analysis averages about 13.8 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Drama,” connecting these edition facts with the source record’s subject description.

Two verse dramas by Alfred Lord Tennyson: Queen Mary dramatizes the reign of Mary I, focusing on her marriage to Philip II and religious persecution, while Harold depicts the Norman Conquest from the Saxon king's perspective. The excerpts reveal Tennyson's use of colloquial crowd scenes and political dialogue.
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Read the Text

What was my Lord of Devon telling you?

ELIZABETH. Whether he told me anything or not, I follow your good counsel, gracious uncle. Quiet as a dead body.

HOWARD. You do right well. I do not care to know; but this I charge you, Tell Courtenay nothing. The Lord Chancellor (I count it as a kind of virtue in him, He hath not many), as a mastiff dog May love a puppy cur for no more reason Than that the twain have been tied up together, Thus Gardiner--for the two were fellow-prisoners So many years in yon accursed Tower-- Hath taken to this Courtenay. Look to it, niece, He hath no fence when Gardiner questions him; All oozes out; yet him--because they know him The last White Rose, the last Plantagenet (Nay, there is Cardinal Pole, too), the people Claim as their natural leader--ay, some say, That you shall marry him, make him King belike.

ELIZABETH. Do they say so, good uncle?

HOWARD. Ay, good niece! You should be plain and open with me, niece. You should not play upon me.

ELIZABETH. No, good uncle.

GARDINER. The Queen would see your Grace upon the moment.

ELIZABETH. Why, my lord Bishop?

GARDINER. I think she means to counsel your withdrawing To Ashridge, or some other country house.

ELIZABETH. Why, my lord Bishop?

GARDINER. I do but bring the message, know no more. Your Grace will hear her reasons from herself.

ELIZABETH. 'Tis mine own wish fulfill'd before the word Was spoken, for in truth I had meant to crave Permission of her Highness to retire To Ashridge, and pursue my studies there.

GARDINER. Madam, to have the wish before the word Is man's good Fairy--and the Queen is yours. I left her with rich jewels in her hand, Whereof 'tis like enough she means to make A farewell present to your Grace.

ELIZABETH. My Lord, I have the jewel of a loyal heart.

GARDINER. I doubt it not, Madam, most loyal. [_Bows low and exit_.

HOWARD. See, This comes of parleying with my Lord of Devon. Well, well, you must obey; and I myself Believe it will be better for your welfare. Your time will come.

ELIZABETH. I think my time will come. Uncle, I am of sovereign nature, that I know, Not to be quell'd; and I have felt within me Stirrings of some great doom when God's just hour Peals--but this fierce old Gardiner--his big baldness, That irritable forelock which he rubs, His buzzard beak and deep-incavern'd eyes Half fright me.

HOWARD. You've a bold heart; keep it so. He cannot touch you save that you turn traitor; And so take heed I pray you--you are one Who love that men should smile upon you, niece. They'd smile you into treason--some of them.

ELIZABETH. I spy the rock beneath the smiling sea. But if this Philip, the proud Catholic prince, And this bald priest, and she that hates me, seek In that lone house, to practise on my life, By poison, fire, shot, stab--

HOWARD. They will not, niece. Mine is the fleet and all the power at sea-- Or will be in a moment. If they dared To harm you, I would blow this Philip and all Your trouble to the dogstar and the devil.

ELIZABETH. To the Pleiads, uncle; they have lost a sister.

HOWARD. But why say that? what have you done to lose her? Come, come, I will go with you to the Queen.

SCENE V.--A ROOM IN THE PALACE.

MARY _with_ PHILIP'S _miniature_. ALICE.

MARY (_kissing the miniature_). Most goodly, King-like and an Emperor's son,-- A king to be,--is he not noble, girl?

ALICE. Goodly enough, your Grace, and yet, methinks, I have seen goodlier.

MARY. Ay; some waxen doll Thy baby eyes have rested on, belike; All red and white, the fashion of our land. But my good mother came (God rest her soul) Of Spain, and I am Spanish in myself, And in my likings.

ALICE. By your Grace's leave Your royal mother came of Spain, but took To the English red and white. Your royal father (For so they say) was all pure lily and rose In his youth, and like a lady.

MARY. O, just God! Sweet mother, you had time and cause enough To sicken of his lilies and his roses. Cast off, betray'd, defamed, divorced, forlorn! And then the King--that traitor past forgiveness, The false archbishop fawning on him, married The mother of Elizabeth--a heretic Ev'n as _she_ is; but God hath sent me here To take such order with all heretics That it shall be, before I die, as tho' My father and my brother had not lived. What wast thou saying of this Lady Jane, Now in the Tower?

Tennyson's Queen Mary; and, Harold presents two historical verse dramas that share a preoccupation with royal authority under duress. The opening scene of Queen Mary immediately establishes a street-level view of Tudor politics: marshals shout at a crowd, citizens debate the meaning of 'legitimate,' and old Nokes confuses the queen with the Virgin Mary. This colloquial, sometimes comic exchange contrasts sharply with the formal court scenes that follow, where Mary and Philip negotiate marriage and war in blank verse laden with geopolitical catalogues.

Crowd Voices and Political Confusion

The Aldgate scene in Queen Mary opens with a marshalman demanding that citizens 'make what noise you will with your tongues, so it be not treason.' The citizens immediately test that boundary, debating whether 'legitimate' means 'true-born' or 'bastard.' One citizen asserts that Parliament 'can make every true-born man of us a bastard.' This exchange does more than set a historical scene: it dramatizes how ordinary people grapple with legal and theological categories imposed by the crown. Tennyson gives the crowd a rough, idiomatic energy—old Nokes, dreaming of earlier kings, mistakes Mary for 'the blessed Mary'—that contrasts with the measured verse of the nobility. The effect is a layered portrait of a realm where political legitimacy is both a street-corner riddle and a matter of life and death.

Mary and Philip: Affection Versus Empire

In their private dialogue, Mary and Philip speak a language of unequal devotion. Mary pleads, 'Go? must you go, indeed—again—so soon?' and compares Philip to a swallow that 'might live always in the sun's warm heart.' Philip replies with a litany of his domains—'Castille and Aragon, Granada, Naples, Sicily, and Milan'—and dismisses her as 'a little Queen.' When Mary insists that any king must lower his flag 'to that of England in the seas of England,' Philip mutters aside, 'Unalterably and pesteringly fond!' The scene exposes a marriage where personal longing collides with imperial calculation. Tennyson uses Philip's catalogue of territories not merely as exposition but as a rhetorical weapon, diminishing Mary's emotional claims by sheer geographic weight.

Theology as Political Instrument

Philip advises Mary to 'Burn more!' heretics, calling their deaths 'God's best dew upon the barren field.' Mary, already troubled by 'harvestless autumns, horrible agues, plague,' accepts the logic even as she resists his departure. The exchange links religious persecution to dynastic strategy: Philip frames the burnings as a means to secure divine favor and English compliance. Later, when Mary questions the Pope's alliance with France, Philip dismisses papal authority as horns 'beyond his mitre.' Tennyson does not present these arguments as settled doctrine; rather, they emerge as tactical positions within a marriage negotiation. The excerpts offer no resolution, leaving the reader to weigh how faith, fear, and political need intertwine in Mary's decisions.

Readers approaching these two dramas will find that Tennyson treats historical figures not as static icons but as speakers caught in webs of expectation and rhetoric. The crowd scenes reward attention to who speaks and how—the marshalman's bluster, the citizens' confusion, the queen's shifts between command and plea. Because the excerpts cover only portions of each play, the full arc of Harold's story remains unseen, but the patterns of voice and power visible here offer a reliable entry point into Tennyson's dramatic method.

Reading Tennyson’s Queen Mary, I recalled sitting with my grandmother while she read aloud from a worn schoolbook—the crowd’s murmur felt so near. The way voices overlap in these dramas reminds me of my third-grade classroom, huddled around Children's Classics in Dramatic Form, A Reader for the Fourth Grade — Key Ideas to Explore, where Joan of Arc’s line made me shiver. Sometimes the old words feel like our own.

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