The Noble Spanish Soldier | Page 4

portrayal of the King is drawing on.
The other interesting opposition within the play is between the two claimants to the title of Queen, the current incumbent and Onaelia. There is little doubt that it is Onaelia who is the representative of virtue, her behaviour often rising above that of the 'noble' Balthazar. In Act 1 Scene 2 she makes a fearless statement in defacing the King's portrait, this being an act of treason <6>. Despite her strong feelings however, she does not rise to Balthazar's bait when he introduces the possibility of assassinating the King; the remnants of her love for him and her concern for the stability of the realm rule this possibility out. She is not however prepared to accept her treatment without protest and, in Act 3 Scene 2, engages a poet to propagandise on her behalf. His refusal, on the grounds of self-preservation is denounced in striking terms when she accuses poets generally of being 'apt to lash / Almost to death poor wretches not worth striking / but fawn with slavish flattery on damned vices / so great men act them'. The effective conclusion of her involvement as early as the end of 3.2 impoverishes the rest of the play. The Queen's less admirable character is highlighted by the way she is prepared to condone the taking of life in order to secure her position. Her ruthless outlook is punished when she is deprived of her position and forced to return to Italy.
The final scene of the play utilises a dramatic technique that had played an important part in 'The Shoemakers' Holiday': the banquet scene. Planned by the King in an attempt to achieve reconciliation and remove the threat of Onaelia by marrying her off, it represents a means of bringing almost the entire cast on stage in order to witness the meeting out of justice. It is ironic that the King's scheme is undermined, not by his political rivals but by his allies, The Queen and Malateste, who do not believe that the marriage will provide a stable settlement and instead seek to pursue a deadlier course of action. The banquet provides the context for the unwinding of this plot as vengeance consumes itself, bring about the regime change that justice demands.
EDITORIAL PRACTICE
The text is based on the 1634 Quarto, as reproduced in Tudor Facsimile series in 1913. Spelling has been modernised, except in instances where to do so would change a word's pronunciation. Punctuation has also been modernised and has been used lightly in an attempt to reflect contemporary speech patterns. Contractions to words have been eliminated where this is possible without upsetting the verse rhythm; for example, 'baked' replaces 'bak'd' in 4.2.
Names have been retained as originally set out except that of the central character who name was spelt in the original as 'Baltazar'; Balthazar is the modern Anglicised version of the same name. The cast list has been newly compiled from the text of the play, rather than by reference to the one appearing in the Quarto.
All lines have been left justified, including those cases where characters share a line of verse. The speeches of Balthazar in the early part of 2.1 and again in 4.1 appear as verse in the Quarto but have been rendered as prose in this edition. This appears to makes more sense of the speech patterns and has the additional effect of making Balthazar and Cornego, the two non-aristocratic figures, the consistent prose speakers throughout the play.
Endnotes have been provided only to explicate words or terms of unusual obscurity. Numeric references to such notes are enclosed within angled brackets.
Stage directions may be identified as being a line of text preceded by a blank line, rather than by a character's name. These have been added to occasionally to ensure that all essential movements apparent from the text are set out. Where significant additions have been made, these are enclosed within square brackets. Scene divisions within acts have been deduced from the movements of characters.
BIBLIOGRAPHY
Primary text:
Dekker, T. D 'The Noble Spanish Soldier' - Tudor facsimiles D 1913.
Secondary texts:
Bentley, G.E. D 'The Jacobean and Caroline Stage' D Oxford: Clarendon D 1956.
Bowers, F. D 'The Dramatic Works of Thomas Dekker', Volume IV D Cambridge University Press D 1961.
Bose, T. D 'The Gentle Craft of Revision in Thomas Dekker's last Plays' D Institut f_r Anglistik und Amerikanistik D 1979.
Bose T. D 'The Noble Spanish Soldier' and 'The Spanish Contract' - Notes and Queries volume 40, Number 2 - 1993.
Chapman, L.S. D 'Thomas Dekker and the Traditions of the English Drama' D Lang D 1985.
Fleay, F. G. D 'A Biographical Chronicle of the English Drama' - Reeves and Turner D 1891.
Gasper, J. - 'The Noble Spanish Soldier', 'The Wonder of a Kingdom' and 'The Parliament of Bees': a belated solution to this