Skip to content

ALSO ST. JOHN, WITH SOME GENTLEMEN OF THE INNS OF COURT. by Percy Bysshe Shelley: Summary, Meaning & Analysis

Percy Bysshe Shelley

This scene from Shelley's unfinished play *Charles the First* unfolds in the court of King Charles I of England, just before the Civil War.

The poem
KING: Thanks, gentlemen. I heartily accept This token of your service: your gay masque Was performed gallantly. And it shows well When subjects twine such flowers of [observance?] With the sharp thorns that deck the English crown. _5 A gentle heart enjoys what it confers, Even as it suffers that which it inflicts, Though Justice guides the stroke. Accept my hearty thanks. NOTE: _3-9 And...thanks 1870; omitted 1824. QUEEN: And gentlemen, Call your poor Queen your debtor. Your quaint pageant _10 Rose on me like the figures of past years, Treading their still path back to infancy, More beautiful and mild as they draw nearer The quiet cradle. I could have almost wept To think I was in Paris, where these shows _15 Are well devised—such as I was ere yet My young heart shared a portion of the burthen, The careful weight, of this great monarchy. There, gentlemen, between the sovereign’s pleasure And that which it regards, no clamour lifts _20 Its proud interposition. In Paris ribald censurers dare not move Their poisonous tongues against these sinless sports; And HIS smile Warms those who bask in it, as ours would do _25 If ... Take my heart’s thanks: add them, gentlemen, To those good words which, were he King of France, My royal lord would turn to golden deeds. ST. JOHN: Madam, the love of Englishmen can make The lightest favour of their lawful king _30 Outweigh a despot’s.—We humbly take our leaves, Enriched by smiles which France can never buy. [EXEUNT ST. JOHN AND THE GENTLEMEN OF THE INNS OF COURT.] KING: My Lord Archbishop, Mark you what spirit sits in St. John’s eyes? Methinks it is too saucy for this presence. _35 ARCHY: Yes, pray your Grace look: for, like an unsophisticated [eye] sees everything upside down, you who are wise will discern the shadow of an idiot in lawn sleeves and a rochet setting springes to catch woodcocks in haymaking time. Poor Archy, whose owl-eyes are tempered to the error of his age, and because he is a fool, and by special ordinance of God forbidden ever to see himself as he is, sees now in that deep eye a blindfold devil sitting on the ball, and weighing words out between king and subjects. One scale is full of promises, and the other full of protestations: and then another devil creeps behind the first out of the dark windings [of a] pregnant lawyer’s brain, and takes the bandage from the other’s eyes, and throws a sword into the left-hand scale, for all the world like my Lord Essex’s there. _48 STRAFFORD: A rod in pickle for the Fool’s back! ARCHY: Ay, and some are now smiling whose tears will make the brine; for the Fool sees— STRAFFORD: Insolent! You shall have your coat turned and be whipped out of the palace for this. _53 ARCHY: When all the fools are whipped, and all the Protestant writers, while the knaves are whipping the fools ever since a thief was set to catch a thief. If all turncoats were whipped out of palaces, poor Archy would be disgraced in good company. Let the knaves whip the fools, and all the fools laugh at it. [Let the] wise and godly slit each other’s noses and ears (having no need of any sense of discernment in their craft); and the knaves, to marshal them, join in a procession to Bedlam, to entreat the madmen to omit their sublime Platonic contemplations, and manage the state of England. Let all the honest men who lie [pinched?] up at the prisons or the pillories, in custody of the pursuivants of the High-Commission Court, marshal them. _65 NOTE: _64 pinched marked as doubtful by Rossetti. 1870; Forman, Dowden; penned Woodberry. [ENTER SECRETARY LYTTELTON, WITH PAPERS.] KING [LOOKING OVER THE PAPERS]: These stiff Scots His Grace of Canterbury must take order To force under the Church’s yoke.—You, Wentworth, Shall be myself in Ireland, and shall add Your wisdom, gentleness, and energy, _70 To what in me were wanting.—My Lord Weston, Look that those merchants draw not without loss Their bullion from the Tower; and, on the payment Of shipmoney, take fullest compensation For violation of our royal forests, _75 Whose limits, from neglect, have been o’ergrown With cottages and cornfields. The uttermost Farthing exact from those who claim exemption From knighthood: that which once was a reward Shall thus be made a punishment, that subjects _80 May know how majesty can wear at will The rugged mood.—My Lord of Coventry, Lay my command upon the Courts below That bail be not accepted for the prisoners Under the warrant of the Star Chamber. _85 The people shall not find the stubbornness Of Parliament a cheap or easy method Of dealing with their rightful sovereign: And doubt not this, my Lord of Coventry, We will find time and place for fit rebuke.— _90 My Lord of Canterbury. NOTE: _22-90 In Paris...rebuke 1870; omitted 1824. ARCHY: The fool is here. LAUD: I crave permission of your Majesty To order that this insolent fellow be Chastised: he mocks the sacred character, Scoffs at the state, and— NOTE: _95 state 1870; stake 1824. KING: What, my Archy? _95 He mocks and mimics all he sees and hears, Yet with a quaint and graceful licence—Prithee For this once do not as Prynne would, were he Primate of England. With your Grace’s leave, He lives in his own world; and, like a parrot _100 Hung in his gilded prison from the window Of a queen’s bower over the public way, Blasphemes with a bird’s mind:—his words, like arrows Which know no aim beyond the archer’s wit, Strike sometimes what eludes philosophy.— _105 [TO ARCHY.] Go, sirrah, and repent of your offence Ten minutes in the rain; be it your penance To bring news how the world goes there. [EXIT ARCHY.] Poor Archy! He weaves about himself a world of mirth Out of the wreck of ours. _110 NOTES: _99 With your Grace’s leave 1870; omitted 1824. _106-_110 Go...ours spoken by THE QUEEN, 1824. LAUD: I take with patience, as my Master did, All scoffs permitted from above. KING: My lord, Pray overlook these papers. Archy’s words Had wings, but these have talons. QUEEN: And the lion That wears them must be tamed. My dearest lord, _115 I see the new-born courage in your eye Armed to strike dead the Spirit of the Time, Which spurs to rage the many-headed beast. Do thou persist: for, faint but in resolve, And it were better thou hadst still remained _120 The slave of thine own slaves, who tear like curs The fugitive, and flee from the pursuer; And Opportunity, that empty wolf, Flies at his throat who falls. Subdue thy actions Even to the disposition of thy purpose, _125 And be that tempered as the Ebro’s steel; And banish weak-eyed Mercy to the weak, Whence she will greet thee with a gift of peace And not betray thee with a traitor’s kiss, As when she keeps the company of rebels, _130 Who think that she is Fear. This do, lest we Should fall as from a glorious pinnacle In a bright dream, and wake as from a dream Out of our worshipped state. NOTES: _116 your 1824; thine 1870. _118 Which...beast 1870; omitted 1824. KING: Beloved friend, God is my witness that this weight of power, _135 Which He sets me my earthly task to wield Under His law, is my delight and pride Only because thou lovest that and me. For a king bears the office of a God To all the under world; and to his God _140 Alone he must deliver up his trust, Unshorn of its permitted attributes. [It seems] now as the baser elements Had mutinied against the golden sun That kindles them to harmony, and quells _145 Their self-destroying rapine. The wild million Strike at the eye that guides them; like as humours Of the distempered body that conspire Against the spirit of life throned in the heart,— And thus become the prey of one another, _150 And last of death— STRAFFORD: That which would be ambition in a subject Is duty in a sovereign; for on him, As on a keystone, hangs the arch of life, Whose safety is its strength. Degree and form, _155 And all that makes the age of reasoning man More memorable than a beast’s, depend on this— That Right should fence itself inviolably With Power; in which respect the state of England From usurpation by the insolent commons _160 Cries for reform. Get treason, and spare treasure. Fee with coin The loudest murmurers; feed with jealousies Opposing factions,—be thyself of none; And borrow gold of many, for those who lend _165 Will serve thee till thou payest them; and thus Keep the fierce spirit of the hour at bay, Till time, and its coming generations Of nights and days unborn, bring some one chance, ... Or war or pestilence or Nature’s self,— _170 By some distemperature or terrible sign, Be as an arbiter betwixt themselves. Nor let your Majesty Doubt here the peril of the unseen event. How did your brother Kings, coheritors _175 In your high interest in the subject earth, Rise past such troubles to that height of power Where now they sit, and awfully serene Smile on the trembling world? Such popular storms Philip the Second of Spain, this Lewis of France, _180 And late the German head of many bodies, And every petty lord of Italy, Quelled or by arts or arms. Is England poorer Or feebler? or art thou who wield’st her power Tamer than they? or shall this island be— _185 [Girdled] by its inviolable waters— To the world present and the world to come Sole pattern of extinguished monarchy? Not if thou dost as I would have thee do. KING: Your words shall be my deeds: _190 You speak the image of my thought. My friend (If Kings can have a friend, I call thee so), Beyond the large commission which [belongs] Under the great seal of the realm, take this: And, for some obvious reasons, let there be _195 No seal on it, except my kingly word And honour as I am a gentleman. Be—as thou art within my heart and mind— Another self, here and in Ireland: Do what thou judgest well, take amplest licence, _200 And stick not even at questionable means. Hear me, Wentworth. My word is as a wall Between thee and this world thine enemy— That hates thee, for thou lovest me. STRAFFORD: I own No friend but thee, no enemies but thine: _205 Thy lightest thought is my eternal law. How weak, how short, is life to pay— KING: Peace, peace. Thou ow’st me nothing yet. [TO LAUD.] My lord, what say Those papers? LAUD: Your Majesty has ever interposed, _210 In lenity towards your native soil, Between the heavy vengeance of the Church And Scotland. Mark the consequence of warming This brood of northern vipers in your bosom. The rabble, instructed no doubt _215 By London, Lindsay, Hume, and false Argyll (For the waves never menace heaven until Scourged by the wind’s invisible tyranny), Have in the very temple of the Lord Done outrage to His chosen ministers. _220 They scorn the liturgy of the Holy Church, Refuse to obey her canons, and deny The apostolic power with which the Spirit Has filled its elect vessels, even from him Who held the keys with power to loose and bind, _225 To him who now pleads in this royal presence.— Let ample powers and new instructions be Sent to the High Commissioners in Scotland. To death, imprisonment, and confiscation, Add torture, add the ruin of the kindred _230 Of the offender, add the brand of infamy, Add mutilation: and if this suffice not, Unleash the sword and fire, that in their thirst They may lick up that scum of schismatics. I laugh at those weak rebels who, desiring _235 What we possess, still prate of Christian peace, As if those dreadful arbitrating messengers Which play the part of God ’twixt right and wrong, Should be let loose against the innocent sleep Of templed cities and the smiling fields, _240 For some poor argument of policy Which touches our own profit or our pride (Where it indeed were Christian charity To turn the cheek even to the smiter’s hand): And, when our great Redeemer, when our God, _245 When He who gave, accepted, and retained Himself in propitiation of our sins, Is scorned in His immediate ministry, With hazard of the inestimable loss Of all the truth and discipline which is _250 Salvation to the extremest generation Of men innumerable, they talk of peace! Such peace as Canaan found, let Scotland now: For, by that Christ who came to bring a sword, Not peace, upon the earth, and gave command _255 To His disciples at the Passover That each should sell his robe and buy a sword,- Once strip that minister of naked wrath, And it shall never sleep in peace again Till Scotland bend or break. NOTES: _134-_232 Beloved...mutilation 1870; omitted 1824. _237 arbitrating messengers 1870; messengers of wrath 1824. _239 the 1870; omitted 1524. _243-_244 Parentheses inserted 1870. _246, _247 When He...sins 1870; omitted 1824. _248 ministry 1870; ministers 1824. _249-52 With...innumerable 1870; omitted 1824. KING: My Lord Archbishop, _260 Do what thou wilt and what thou canst in this. Thy earthly even as thy heavenly King Gives thee large power in his unquiet realm. But we want money, and my mind misgives me That for so great an enterprise, as yet, _265 We are unfurnished. STRAFFORD: Yet it may not long Rest on our wills. COTTINGTON: The expenses Of gathering shipmoney, and of distraining For every petty rate (for we encounter A desperate opposition inch by inch _270 In every warehouse and on every farm), Have swallowed up the gross sum of the imposts; So that, though felt as a most grievous scourge Upon the land, they stand us in small stead As touches the receipt. STRAFFORD: ’Tis a conclusion _275 Most arithmetical: and thence you infer Perhaps the assembling of a parliament. Now, if a man should call his dearest enemies To sit in licensed judgement on his life, His Majesty might wisely take that course. _280 [ASIDE TO COTTINGTON.] It is enough to expect from these lean imposts That they perform the office of a scourge, Without more profit. [ALOUD.] Fines and confiscations, And a forced loan from the refractory city, Will fill our coffers: and the golden love _285 Of loyal gentlemen and noble friends For the worshipped father of our common country, With contributions from the catholics, Will make Rebellion pale in our excess. Be these the expedients until time and wisdom _290 Shall frame a settled state of government. LAUD: And weak expedients they! Have we not drained All, till the ... which seemed A mine exhaustless? STRAFFORD: And the love which IS, If loyal hearts could turn their blood to gold. _295 LAUD: Both now grow barren: and I speak it not As loving parliaments, which, as they have been In the right hand of bold bad mighty kings The scourges of the bleeding Church, I hate. Methinks they scarcely can deserve our fear. _300 STRAFFORD: Oh! my dear liege, take back the wealth thou gavest: With that, take all I held, but as in trust For thee, of mine inheritance: leave me but This unprovided body for thy service, And a mind dedicated to no care _305 Except thy safety:—but assemble not A parliament. Hundreds will bring, like me, Their fortunes, as they would their blood, before— KING: No! thou who judgest them art but one. Alas! We should be too much out of love with Heaven, _310 Did this vile world show many such as thee, Thou perfect, just, and honourable man! Never shall it be said that Charles of England Stripped those he loved for fear of those he scorns; Nor will he so much misbecome his throne _315 As to impoverish those who most adorn And best defend it. That you urge, dear Strafford, Inclines me rather— QUEEN: To a parliament? Is this thy firmness? and thou wilt preside Over a knot of ... censurers, _320 To the unswearing of thy best resolves, And choose the worst, when the worst comes too soon? Plight not the worst before the worst must come. Oh, wilt thou smile whilst our ribald foes, Dressed in their own usurped authority, _325 Sharpen their tongues on Henrietta’s fame? It is enough! Thou lovest me no more! [WEEPS.] KING: Oh, Henrietta! [THEY TALK APART.] COTTINGTON [TO LAUD]: Money we have none: And all the expedients of my Lord of Strafford Will scarcely meet the arrears. LAUD: Without delay _330 An army must be sent into the north; Followed by a Commission of the Church, With amplest power to quench in fire and blood, And tears and terror, and the pity of hell, The intenser wrath of Heresy. God will give _335 Victory; and victory over Scotland give The lion England tamed into our hands. That will lend power, and power bring gold. COTTINGTON: Meanwhile We must begin first where your Grace leaves off. Gold must give power, or— LAUD: I am not averse _340 From the assembling of a parliament. Strong actions and smooth words might teach them soon The lesson to obey. And are they not A bubble fashioned by the monarch’s mouth, The birth of one light breath? If they serve no purpose, _345 A word dissolves them. STRAFFORD: The engine of parliaments Might be deferred until I can bring over The Irish regiments: they will serve to assure The issue of the war against the Scots. And, this game won—which if lost, all is lost— _350 Gather these chosen leaders of the rebels, And call them, if you will, a parliament. KING: Oh, be our feet still tardy to shed blood. Guilty though it may be! I would still spare The stubborn country of my birth, and ward _355 From countenances which I loved in youth The wrathful Church’s lacerating hand. [TO LAUD.] Have you o’erlooked the other articles? [ENTER ARCHY.] LAUD: Hazlerig, Hampden, Pym, young Harry Vane, Cromwell, and other rebels of less note, _360 Intend to sail with the next favouring wind For the Plantations. ARCHY: Where they think to found A commonwealth like Gonzalo’s in the play, Gynaecocoenic and pantisocratic. NOTE: _363 Gonzalo’s 1870; Gonzaga Boscombe manuscript. KING: What’s that, sirrah? ARCHY: New devil’s politics. _365 Hell is the pattern of all commonwealths: Lucifer was the first republican. Will you hear Merlin’s prophecy, how three [posts?] ‘In one brainless skull, when the whitethorn is full, Shall sail round the world, and come back again: _370 Shall sail round the world in a brainless skull, And come back again when the moon is at full:’— When, in spite of the Church, They will hear homilies of whatever length Or form they please. _375 [COTTINGTON?]: So please your Majesty to sign this order For their detention. ARCHY: If your Majesty were tormented night and day by fever, gout, rheumatism, and stone, and asthma, etc., and you found these diseases had secretly entered into a conspiracy to abandon you, should you think it necessary to lay an embargo on the port by which they meant to dispeople your unquiet kingdom of man? _383 KING: If fear were made for kings, the Fool mocks wisely; But in this case—[WRITING]. Here, my lord, take the warrant, And see it duly executed forthwith.— That imp of malice and mockery shall be punished. _387 [EXEUNT ALL BUT KING, QUEEN, AND ARCHY.] ARCHY: Ay, I am the physician of whom Plato prophesied, who was to be accused by the confectioner before a jury of children, who found him guilty without waiting for the summing-up, and hanged him without benefit of clergy. Thus Baby Charles, and the Twelfth-night Queen of Hearts, and the overgrown schoolboy Cottington, and that little urchin Laud—who would reduce a verdict of ‘guilty, death,’ by famine, if it were impregnable by composition—all impannelled against poor Archy for presenting them bitter physic the last day of the holidays. _397 QUEEN: Is the rain over, sirrah? KING: When it rains And the sun shines, ‘twill rain again to-morrow: And therefore never smile till you’ve done crying. _400 ARCHY: But ’tis all over now: like the April anger of woman, the gentle sky has wept itself serene. QUEEN: What news abroad? how looks the world this morning? ARCHY: Gloriously as a grave covered with virgin flowers. There’s a rainbow in the sky. Let your Majesty look at it, for ‘A rainbow in the morning _407 Is the shepherd’s warning;’ and the flocks of which you are the pastor are scattered among the mountain-tops, where every drop of water is a flake of snow, and the breath of May pierces like a January blast. _411 KING: The sheep have mistaken the wolf for their shepherd, my poor boy; and the shepherd, the wolves for their watchdogs. QUEEN: But the rainbow was a good sign, Archy: it says that the waters of the deluge are gone, and can return no more. ARCHY: Ay, the salt-water one: but that of tears and blood must yet come down, and that of fire follow, if there be any truth in lies.—The rainbow hung over the city with all its shops,...and churches, from north to south, like a bridge of congregated lightning pieced by the masonry of heaven—like a balance in which the angel that distributes the coming hour was weighing that heavy one whose poise is now felt in the lightest hearts, before it bows the proudest heads under the meanest feet. _424 QUEEN: Who taught you this trash, sirrah? ARCHY: A torn leaf out of an old book trampled in the dirt.—But for the rainbow. It moved as the sun moved, and...until the top of the Tower...of a cloud through its left-hand tip, and Lambeth Palace look as dark as a rock before the other. Methought I saw a crown figured upon one tip, and a mitre on the other. So, as I had heard treasures were found where the rainbow quenches its points upon the earth, I set off, and at the Tower— But I shall not tell your Majesty what I found close to the closet-window on which the rainbow had glimmered. KING: Speak: I will make my Fool my conscience. _435 ARCHY: Then conscience is a fool.—I saw there a cat caught in a rat-trap. I heard the rats squeak behind the wainscots: it seemed to me that the very mice were consulting on the manner of her death. QUEEN: Archy is shrewd and bitter. ARCHY: Like the season, _440 So blow the winds.—But at the other end of the rainbow, where the gray rain was tempered along the grass and leaves by a tender interfusion of violet and gold in the meadows beyond Lambeth, what think you that I found instead of a mitre? KING: Vane’s wits perhaps. _445 ARCHY: Something as vain. I saw a gross vapour hovering in a stinking ditch over the carcass of a dead ass, some rotten rags, and broken dishes—the wrecks of what once administered to the stuffing-out and the ornament of a worm of worms. His Grace of Canterbury expects to enter the New Jerusalem some Palm Sunday in triumph on the ghost of this ass. _451 QUEEN: Enough, enough! Go desire Lady Jane She place my lute, together with the music Mari received last week from Italy, In my boudoir, and— [EXIT ARCHY.] KING: I’ll go in. NOTE: _254-_455 For by...I’ll go in 1870; omitted 1824. QUEEN: MY beloved lord, _455 Have you not noted that the Fool of late Has lost his careless mirth, and that his words Sound like the echoes of our saddest fears? What can it mean? I should be loth to think Some factious slave had tutored him. KING: Oh, no! _460 He is but Occasion’s pupil. Partly ’tis That our minds piece the vacant intervals Of his wild words with their own fashioning,— As in the imagery of summer clouds, Or coals of the winter fire, idlers find _465 The perfect shadows of their teeming thoughts: And partly, that the terrors of the time Are sown by wandering Rumour in all spirits; And in the lightest and the least, may best Be seen the current of the coming wind. _470 NOTES: _460, _461 Oh...pupil 1870; omitted 1824. _461 Partly ’tis 1870; It partly is 1824. _465 of 1870; in 1824. QUEEN: Your brain is overwrought with these deep thoughts. Come, I will sing to you; let us go try These airs from Italy; and, as we pass The gallery, we’ll decide where that Correggio Shall hang—the Virgin Mother _475 With her child, born the King of heaven and earth, Whose reign is men’s salvation. And you shall see A cradled miniature of yourself asleep, Stamped on the heart by never-erring love; Liker than any Vandyke ever made, _480 A pattern to the unborn age of thee, Over whose sweet beauty I have wept for joy A thousand times, and now should weep for sorrow, Did I not think that after we were dead Our fortunes would spring high in him, and that _485 The cares we waste upon our heavy crown Would make it light and glorious as a wreath Of Heaven’s beams for his dear innocent brow. NOTE: _473-_477 and, as...salvation 1870; omitted 1824. KING: Dear Henrietta! SCENE 3:

Public domain · sourced from Project Gutenberg

Quick summary
This scene from Shelley's unfinished play *Charles the First* unfolds in the court of King Charles I of England, just before the Civil War. The characters — King Charles, Queen Henrietta Maria, the jester Archy, Archbishop Laud, and statesman Strafford — engage in talks, schemes, and arguments about money, power, Scotland, and the looming threat of rebellion. Archy the Fool stands out as the keenest observer; he recognizes the impending disaster while the King and his advisors cling to the belief that they can maintain control.
Themes

Line-by-line

KING: Thanks, gentlemen. I heartily accept / This token of your service: your gay masque
The scene opens after a court entertainment. Charles expresses his gratitude to the lawyers of the Inns of Court for their masque—a grand performance designed to flatter the crown. His mention of 'sharp thorns that deck the English crown' suggests he understands that ruling comes with its difficulties, yet he maintains a gracious and ceremonial tone.
QUEEN: And gentlemen, / Call your poor Queen your debtor.
Henrietta Maria, Charles's French wife, expresses her nostalgia and political views more openly than he does. She speaks fondly of Paris, where the king's enjoyment is free from 'ribald censurers' — a thinly veiled jab at the English critics of the court. Her words show her homesickness and her conviction that royal authority ought to be absolute and unquestioned.
ST. JOHN: Madam, the love of Englishmen can make / The lightest favour of their lawful king
St. John's respectful yet assertive response sets a clear boundary: loyalty to England is something offered willingly, not purchased through tyranny. By using the term 'despot,' he directly counters the Queen's admiration for France. He and the gentlemen leave, embodying a dignified and quiet defiance — a form of constitutional pride that will later ignite the Civil War.
KING: My Lord Archbishop, / Mark you what spirit sits in St. John's eyes?
The moment the lawyers walk out, Charles reveals his true feelings about the situation: he thinks St. John's manner is overly audacious. Archy the Fool then starts a lengthy, cryptic speech about a blindfolded devil balancing promises against protests — a striking representation of the shattered trust between the king and his subjects. When he brings up Lord Essex's sword, it hints at impending armed conflict.
STRAFFORD: A rod in pickle for the Fool's back!
Strafford, the most influential minister under Charles, attempts to silence Archy through intimidation. In response, Archy unleashes a wave of satirical wordplay targeting fools, knaves, and turncoats—essentially arguing that the true fools are those in authority. His remarks regarding the High Commission Court and the individuals punished at the pillory specifically identify real victims of royal overreach.
KING [LOOKING OVER THE PAPERS]: These stiff Scots / His Grace of Canterbury must take order
Charles issues a series of orders: compel the Scots to conform to Anglicanism, extract ship-money from those who resist, penalize anyone dodging knighthood fees, and deny bail to prisoners of the Star Chamber. Each of these commands reflects actual historical policies, collectively illustrating a king who seeks to rule through financial coercion and legal intimidation instead of gaining consent.
LAUD: I crave permission of your Majesty / To order that this insolent fellow be / Chastised
Archbishop Laud wants Archy punished for making fun of the Church. Charles stands up for his jester with a striking speech: Archy lives in his own realm, like a parrot confined in a gilded cage, and his unpredictable jabs sometimes strike at truths that philosophy overlooks. This is one of the most insightful moments in the scene — Charles recognizes the Fool's worth even as he chooses to ignore the cautionary message.
QUEEN: And the lion / That wears them must be tamed.
The Queen encourages Charles to show no mercy. Her speech stands out as the most Machiavellian in the play: eliminate compassion, align your actions with your goals, and be as unyielding as Toledo steel. She portrays weakness as a form of betrayal — to her, to the crown, and to their mutual ambition. Her closing image of tumbling from a 'glorious pinnacle' in a 'bright dream' is striking yet foreboding.
KING: Beloved friend, / God is my witness that this weight of power
Charles addresses the Queen, delivering a speech on divine right: a king is accountable only to God, not to his people. He uses the metaphor of the 'baser elements' rebelling against the 'golden sun' to depict rebellion as a form of cosmic chaos. His sincerity is evident — Charles truly believes this — which adds to the tragedy of the situation.
STRAFFORD: That which would be ambition in a subject / Is duty in a sovereign
Strafford gives the scene's most chillingly practical speech: pay off the loudest critics, stoke jealousy among rival groups, take on debt to create dependents, and bide time until war or plague weakens the opposition. He points to Philip II of Spain and Louis XIII of France as examples. His closing question — will England become the 'sole pattern of extinguished monarchy'? — is intended to strengthen Charles's determination, but it also predicts the very fate that awaits.
KING: Your words shall be my deeds: / You speak the image of my thought.
Charles grants Strafford broad, unofficial authority—his 'kingly word' serves as the sole seal, with no written commission. The closeness they share ('If kings can have a friend, I call thee so') is both heartfelt and politically dangerous. Strafford's response—'I own no friend but thee, no enemies but thine'—cements a bond that ultimately leads to Strafford's execution on the scaffold.
LAUD: Your Majesty has ever interposed, / In lenity towards your native soil
Laud's speech about Scotland stands out as the most brutal in the play. He refers to the Scots as 'northern vipers,' calls for torture, mutilation, and fire, and cloaks it all in scripture — mentioning Christ's sword, the Passover, and the destruction of Canaan. Shelley portrays Laud's chilling rationale: since the cause is deemed holy, no act of cruelty is excessive. This serves as a stark depiction of religious fanaticism wielding power.
KING: My Lord Archbishop, / Do what thou wilt and what thou canst in this.
Charles allows Laud to take action but quickly shifts focus to the pressing issue: money. Cottington points out that collecting ship-money has been more expensive than the amount gathered. Strafford suggests avoiding a Parliament, proposing instead fines, forced loans, and contributions from Catholics. The political humor in the scene takes a darker turn — the regime is running out of options.
STRAFFORD: Oh! my dear liege, take back the wealth thou gavest
Strafford offers his own wealth to the King instead of risking a Parliament. Charles genuinely refuses, calling him 'perfect, just, and honourable.' The Queen then interrupts, crying, to prevent any shift toward Parliament. Her tears have an effect: Charles is influenced by love more than by policy, which is precisely the kind of weakness that Strafford cautioned against in others.
LAUD: And weak expedients they! Have we not drained / All
Laud and Cottington discuss the finances with a cold, clear perspective. Despite his disdain for parliaments, Laud reluctantly concedes that one could be beneficial — as long as the king maintains control. Strafford suggests that they should first bring over Irish troops to ensure victory in the Scottish war, and only then summon a Parliament filled with 'selected leaders of the rebels.' The level of cynicism is palpable.
LAUD: Hazlerig, Hampden, Pym, young Harry Vane, / Cromwell, and other rebels of less note
Laud reads from papers: the future leaders of the Parliamentary cause — Hampden, Pym, Cromwell, Vane — are set to sail to America. Archy quickly mocks the notion of a utopian commonwealth, referencing Gonzalo from *The Tempest*. The King signs a warrant to detain them. The irony of history looms large here: preventing these men from leaving will guarantee the revolution takes place.
ARCHY: Ay, I am the physician of whom Plato prophesied
Archy's last lengthy speech before the King and Queen are left alone likens himself to a doctor who’s been accused by a confectioner in front of a jury of children — an allusion to Plato's *Gorgias*, where Socrates pictures facing condemnation for administering bitter medicine. Archy mentions Charles, Henrietta, Cottington, and Laud as the children. This is the play's most pointed moment of political allegory.
ARCHY: Gloriously as a grave covered with virgin flowers.
Archy's portrayal of the outside world reads like a haunting poem. The rainbow serves as a shepherd's warning rather than a hopeful sign. The sheep are lost in the chill. At the Tower, he discovers a cat caught in a rat-trap, with rats squealing in the walls—a vivid representation of the monarchy ensnared and encircled. At Lambeth, he sees a dead donkey in a ditch, which he claims the Archbishop hopes to ride into the New Jerusalem. The elegance of the language amplifies the impact of the desolation.
QUEEN: Have you not noted that the Fool of late / Has lost his careless mirth
After Archy leaves, the Queen expresses the audience's sentiment: the Fool has lost his humor, and his words now feel like 'echoes of our saddest fears.' Charles's response is the most thought-provoking moment in the scene: we project our own fears onto Archy's chaotic words, much like seeing shapes in clouds or flames. He’s onto something important, but instead of taking the warning seriously, he chooses to brush it off.
QUEEN: Come, I will sing to you; let us go try / These airs from Italy
The scene ends with the Queen guiding Charles away from politics and towards art — specifically, Italian music and a Correggio painting of the Virgin and Child. Her last speech is deeply moving: she perceives in the painting a small version of Charles, envisioning their son inheriting a crown made 'light and glorious' by their sacrifices. Unbeknownst to her — though the audience is aware — their son will endure years of exile before reclaiming a throne stained with his father's blood.

Tone & mood

The tone shifts constantly, which is part of what makes this fragment feel so alive. The court scenes appear formal and ceremonially polite at first glance, but there's a sense of menace lurking beneath the surface. Archy's speeches come off as sardonic and puzzling — he talks like a man who has nothing left to lose. The Queen's speeches fluctuate between nostalgia, manipulation, and genuine tenderness. Charles himself swings between the grandiose (divine right, cosmic metaphor) and the intimate (his love for Henrietta, his affection for Strafford). Shelley maintains an elegiac mood throughout: we see characters who are blind to the catastrophe they're walking into. The beauty in some of the language — especially the Queen's final speech — makes that blindness feel genuinely tragic instead of just ironic.

Symbols & metaphors

  • Archy the FoolArchy serves as the play's truth-teller, reminiscent of the Shakespearean fool. His riddles and jokes convey the sharpest political insights in the scene. He embodies the voice of reality that those in power cannot silence but also cannot comprehend — the King supports him but never truly pays attention to what he says.
  • The rainbowArchy's rainbow offers a misleading sense of security. The Queen interprets it as a divine assurance that the flood will not come again. In contrast, Archy sees it as a shepherd's alert about approaching storms, and then as a scale measuring a looming 'heavy hour' destined for the proud. This single image holds conflicting meanings based on the interpreter — capturing the scene's core political dilemma in a nutshell.
  • The gilded cage / parrotCharles uses this image to characterize Archy: a parrot hanging in a gilded cage above the street, 'blaspheming with a bird's mind.' It's intended to belittle Archy's warnings as nothing more than mimicry. However, this image also reflects the court itself — beautiful, isolated, detached from the world below, echoing phrases it doesn’t truly grasp.
  • The dead ass at LambethArchy's vision of a dead donkey in a ditch near Lambeth Palace — the Archbishop's residence — directly targets Laud. The donkey symbolizes the shattered remains of worldly pride, and Archy suggests that Laud hopes to ride its ghost into the New Jerusalem. This grotesque image depicts religious vanity meeting its demise.
  • The Correggio painting (Virgin and Child)The painting the Queen wants to hang in her boudoir serves as both a devotional piece and a reflection: she sees Charles's face in the Christ child. It concludes the scene with a sense of maternal love and dynastic hope, which the audience understands is ultimately doomed. Here, art becomes a sanctuary from politics — and a way to deceive oneself.
  • The swordThe sword shows up multiple times: in Archy's vision of a devil casting a sword into the scales of justice, in Laud's mention of Christ stating 'not peace but a sword,' and in the overall trend of the scene leaning toward military force as the answer to every issue. It represents the violence that all the lofty words are ultimately heading toward.

Historical context

Shelley started working on *Charles the First* between 1819 and 1822, during the final years of his life, and he left it unfinished when he drowned in 1822. The play explores the reign of King Charles I of England in the lead-up to the English Civil War (1642–1651), which culminated in Charles's execution in 1649. Shelley was attracted to this era because it reflected his own: a repressive government stifling opposition, radical ideas circulating quietly, and a growing clash between royal power and the rights of the people. The historical characters are based on real events—Archbishop Laud was executed in 1645, Strafford in 1641, and Cromwell later led the Parliamentary army. Shelley's sympathies lie with the revolutionaries, but he maintains enough integrity as a dramatist to avoid portraying Charles as just a villain. The play was first published in fragments in 1824, with more complete versions released in 1870 as editors uncovered additional manuscript material.

FAQ

It’s a dramatic fragment—an unfinished verse play. Shelley crafted it in blank verse (unrhymed iambic pentameter), the same style Shakespeare used for his history plays. Certain passages, particularly the Queen's final speech and Archy's rainbow description, shine as pure poetry. Since Shelley never completed it, what we have left is a collection of scenes rather than a full-fledged work.

Similar poems