The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1884-12-27
THOMAS A'BECKET.
A Scene from Tennyson's New Drama-One
of the Best Portions.

A Scene from Tennyson's New Drama-One
of the Best Portions.
London Standard.
Regarding Lord Tennyson's poem from stage
point of view. it has the disadvantage of present
ing two centers of interest, between which there
IS no genuine connection, one being the great
historical or historico- fabulous scene of Rosa
mund visited by Queen Eleanor in the bower,
and called upon to say whether she will die by
the dagger or by the bowl; the other the great
historical scene of Becket's murder in the tran
sept OF Canterbury Cathedral This however,
Is now they are connected-in manner which
we cannot but consider forced and artificial.
summoned to choose between poison and NOR
tai stab, poor Rosamund rejects both alterna-
tves, and prolongs discussion the subject I'M
til suddenly the Queen and Fitzurse her
aceomplice and slave are surprised by Beckett,
who arrests Eleanors hand, and after upbraid-
ing her for the crime she has so nearly commit
ted advises her to retire to a convent Beckett
having saved the life of Rosamund, the latter
seeks In return to rescue him from the men who
have sworn his destruction, and the presence of
Falr hosamund in the cathedral is a fit counter
part to that of Beckett in the maze. 1t is not, of
course, from love of Rosamund, but from devo-
ton to King Henry, that the Archbishop watches
over the Kings mistress-who is represented aS
believing herself to be his lawful wife-and the
monarch's inGratitude to his powerful counselor
is made all the blacker. He prompts the muir
der of the man who has saved the woman he
loves from being murdered. The finest
scene in the play, that between Rosamund and
the Queen, is too long to quote in its entirety.
Here, however, are some portions Of it:
ELEANOR.
pray you then to take my sleeping draught
But if you should not care to take it-see!
CDraws a ddgger.)
What! have scared the red rose from your face
Into your hearth But this will find it there,
And dig it from the root forever.
RosAMUND.
Helm helpl
ELEANOR
They say that walls have ears; but these it seems,
Have none! and have none-to pity thee.
RosANIUND.
do beseech you--1ny child is so young
So backward, too cannot leave him yet.
| am not so happy could not die myself,
But the child is so young. You have children-his;
And mine is the Kings child; so, if you love him
Nay, if you love him there is great wrong done
Somehow but if you do not-there are those
Who say you do not love hm-let me go
With my young boy, and will hide my face,
Blaceen and gypsify il; none shall know mo;
The King shall never hear of me again.
But will beg my bread along the world
With my young boy and God will be our guide
| never meant you harm in any way.
See, can say no more.
ELEANOR.
VIII you not say you not married to hm9
RosAMUND.
Aye, madame, can say it, if YOU will
ELEANOR.
Then is thy pretty boy BASTARD
RosAMUND.
And thou thysef proven wanton?
RoaAMUND.
I anu none such. never loved but one
have heard of such that range from love to love,
Like the wild beast-if you can call it love-
have heard of such-yea even among those
Who sit on thrones-I never saw any such,
Never knew any such, and howsoever
You do tnisnane me- match d with any such
am snow to mud.
ELEANOR.
The more the pity then
That thy true home--the heavens-ery out for thee
Who art too pure for earth.
Fitzurse, "the Judas traitor in our Passion
Play" as the Queen calls him, then comes in
and proposes to elope with Rosamund on which
she exclaims: "Give me the poison; set me
free of him." Eleanor offers the vial but Rosa
mund rejects it. ''Then," said Eleanor, this
other
The wiser choice, because my sleeping draught
May bloat thy beauty out of shape. and make
Thy body loathsome even to thy child;
While this but leaves thee with broken heart
dollface bleachd and bloodless which
pretty Godfrey do not break his own,
1t must be broken for him.
RosAMUND.
o, see now
Your purpose is to fright me-a troubadour.
You play with words, You had never used so many
Not if you meant it, am The child e.
No mercy Mol (Kneels)
ELEANOR.
Play . . that bosom never
Heaved under the Kings hand with such true passion
As at this loveless knife that stirs the riot
Which it will quench in blood Slave if he love thee
Thy life is worth the wrestle for it; arise,
And dash myself against me that may slay theel
The worm! shall let her go? But hal what's herei
By very God the cross gave the Kingl
His village darling in some rude caress
Has WI eedled it off the Kings neck to her own
By thy leave, beauty. Ay, the same l warrant
Thou hast sworn on this my cross hundred times
Never to leave hm-and that merits death
False oath on holy cross-for thou must leave him
To-day but not quite yet. My good Ftzurse,
The running down the chase is kinder sport
Bvn than the death. Who knows but that thy lover
May plead SO pitifully that may spare theel
Come hither, man. stand there ITO Rosamund.)
Take thy chanee
Catch at the last straw Kneel to thy Lord Fitzurse
Crouch even because thou latest him. fawn upon him
For thy life and thy sons.
Rosamund is about to die, but to die with
courage, when suddenly Beckett appears; and
Rosamund having now been saved. the interest
is concentrated in Beckett alone, who in the next
act-that depicting his death-is altogether the
leading figure. This may be said to justify the
name given to the play, which, nevertheless,
deals much more with the fortunes of Fair Rosa
mund than with the fate of the great Arch
bishop.
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