The Annotated Edition
ALSO ST. JOHN, WITH SOME GENTLEMEN OF THE INNS OF COURT. by 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.
- Themes
- freedom, identity, mortality
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
KING: Thanks, gentlemen. I heartily accept / This token of your service: your gay masque
Editor's note
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.
Editor's note
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
Editor's note
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?
Editor's note
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!
Editor's note
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
Editor's note
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
Editor's note
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.
Editor's note
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
Editor's note
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
Editor's note
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.
Editor's note
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
Editor's note
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.
Editor's note
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
Editor's note
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
Editor's note
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
Editor's 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
Editor's note
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.
Editor's note
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
Editor's note
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
Editor's note
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.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- Archy the Fool
- Archy 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 rainbow
- Archy'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 / parrot
- Charles 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 Lambeth
- Archy'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 sword
- The 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.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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