Synopsis & thematic overview
The Duke of Gandia, written by Algernon Charles Swinburne and surfacing in print around 1909, is a compact one-act whose density of incident is part of its argument: everything has to happen quickly because, in life, it usually does. The play belongs squarely to the world of Romantic Drama, both in the staging conventions it presupposes and in the kinds of social pressure its characters take for granted, and it has retained a steady place in the repertoire because it solves a problem every generation of theatre-makers eventually has to solve: how to make a familiar form do something unfamiliar.
Thematically, The Duke of Gandia sits at the intersection of the personal and the public — which is, as theatre artists know, the only place a play can actually live. Algernon Charles Swinburne's long-term subject is the gap between the version of themselves people present in company and the version that surfaces under pressure, and The Duke of Gandia works that subject hard. The central encounters are written so that what each character says is often the opposite of what they mean; it is the actor's job, and the audience's pleasure, to track both registers at once. Read on the page, the script can feel quieter than it actually plays, because the language carries an enormous quantity of subtext that only becomes audible when bodies are moved through three-dimensional space.
The play is built as a continuous action without traditional act breaks, a structural choice that keeps the pressure on the protagonists and on the audience together. The text rewards close reading: hidden inside scenes that look at first like exposition are the play's most consequential decisions, made in passing by characters who do not yet realise what they have just done. By the close, The Duke of Gandia has earned its ending the hard way — not by manufacturing surprise but by laying down enough small-scale pressure that the final pages carry the weight of everything that came before.
Themes & thematic analysis
The thematic centre of The Duke of Gandia is most often described in terms of the single decision that organises a life, the room as moral pressure-cooker, the late-night confession, and what a person will do when they are no longer being observed, but a closer reading shows Algernon Charles Swinburne doing something subtler: the play's overt subjects keep being refracted through the small-scale behaviour of characters who would be startled to hear themselves described as themed. That is part of the script's durability. Productions that try to put the themes on top tend to flatten the play; productions that trust the script to do its work — that let the actors play the scene as written, beat by beat — tend to discover that the themes arrive on their own, in the audience's chest, somewhere around the middle of the second half. A useful classroom exercise is to read three consecutive scenes asking only, of each, what does this character want in this exact moment, and how is that want frustrated. The thematic argument of The Duke of Gandia is the cumulative answer to those two small questions.
Notable productions & performance history
Performance history for The Duke of Gandia is, like the performance history of most public-domain plays, considerably richer than the surviving programmes alone suggest. The script entered general circulation during Romantic Drama, was revived intermittently throughout the nineteenth century, and re-entered the working repertoire of regional and academic theatres in the modern era when directors looking for substantial public-domain material with strong roles found it ready to hand. Notable revivals tend to cluster around two kinds of company: drama-school graduating-year productions, where the script gives every member of the ensemble something genuinely playable, and small professional companies that program one classical title a season as a counterweight to contemporary new work. Algernon Charles Swinburne has, in the last fifty years, been served particularly well by productions that resist the temptation to update the language while updating everything else — the costume, the set, the framing concept — and by productions that go in the opposite direction and stage the play as if for its first audience. Both can work. What rarely works is doing only half the job.
The full script
Reading time: ~20 minutes · 3,923 words · Source: Project Gutenberg #6024 | Original on Project Gutenberg ↗
Transcribed from the 1908 Chatto and Windus edition by David Price, email
ccx074@pglaf.org
THE
DUKE OF GANDIA
BY
ALGERNON CHARLES SWINBURNE
* * * * *
LONDON
CHATTO & WINDUS
1908
* * * * *
Copyright, 1908, by Harper and Brothers
_Dramatic rights reserved_
PERSONS REPRESENTED.
POPE ALEXANDER VI.
FRANCESCO BORGIA, Duke of Gandia } his sons
CÆSAR BORGIA, Cardinal of Valencia }
DON MICHELE COREGLIA, called MICHELOTTO, agent for Cæsar Borgia.
GIORGIO SCHIAVONE, a Tiber waterman.
* * * * *
TWO ASSASSINS.
AN OFFICER of the Papal Household.
* * * * *
VANNOZZA CATANEI, surnamed LA ROSA, concubine to the Pope.
LUCREZIA BORGIA, daughter to Alexander and Vannozza.
_SCENE_: ROME.
_TIME_: JUNE 14–JULY 22, 1497.
SCENE I
_The Vatican_
_Enter_ CÆSAR _and_ VANNOZZA
CÆSAR
Now, mother, though thou love my brother more,
Am I not more thy son than he?
VANNOZZA
Not more.
CÆSAR
Have I more Spaniard in me—less of thee?
Did our Most Holiest father thrill thy womb
With more Italian passion than brought forth
Me?
VANNOZZA
Child, thine elder never was as thou—
Spake never thus.
CÆSAR
I doubt it not. But I,
Mother, am not mine elder. He desires
And he enjoys the life God gives him—God,
The Pope our father, and thy sacred self,
Mother beloved and hallowed. I desire
More.
VANNOZZA
Thou wast ever sleepless as the wind—
A child anhungered for thy time to be
Man. See thy purple about thee. Art thou not
Cardinal?
CÆSAR
Ay; my father’s eminence
Set so the stamp on mine. I will not die
Cardinal.
VANNOZZA
Cæsar, wilt thou cleave my heart?
Have I not loved thee?
CÆSAR
Ay, fair mother—ay.
Thou hast loved my father likewise. Dost thou love
Giulia—the sweet Farnese—called the Fair
In all the Roman streets that call thee Rose?
And that bright babe Giovanni, whom our sire,
Thy holy lord and hers, hath stamped at birth
As duke of Nepi?
VANNOZZA
When thy sire begat
Thee, sinful though he ever was—fierce, fell,
Spaniard—I fear me, Jesus for his sins
Bade Satan pass into him.
CÆSAR
And fill thee full,
Sweet sinless mother. Fear it not. Thou hast
Children more loved of him and thee than me—
Our bright Francesco, born to smile and sway,
And her whose face makes pale the sun in heaven,
Whose eyes outlaugh the splendour of the sea,
Whose hair has all noon’s wonders in its weft,
Whose mouth is God’s and Italy’s one rose,
Lucrezia.
VANNOZZA
Dost thou love them then? My child,
How should not I then love thee?
CÆSAR
God alone
Knows. Was not God—the God of love, who bade
His son be man because he hated man,
And saw him scourged and hanging, and at last
Forgave the sin wherewith he had stamped us, seeing
So fair a full atonement—was not God
Bridesman when Christ’s crowned vicar took to bride
My mother?
VANNOZZA
Speak not thou to me of God.
I have sinned, I have sinned—I would I had died a nun,
Cloistered!
CÆSAR
There too my sire had found thee. Priests
Make way where warriors dare not—save when war
Sets wide the floodgates of the weirs of hell.
And what hast thou to do with sin? Hath he
Whose sin was thine not given thee there and then
God’s actual absolution? Mary lived
God’s virgin, and God’s mother: mine art thou,
Who am Christlike even as thou art virginal.
And if thou love me or love me not God knows,
And God, who made me and my sire and thee,
May take the charge upon him. I am I.
Somewhat I think to do before my day
Pass from me. Did I love thee not at all,
I would not bid thee know it.
VANNOZZA
Alas, my son!
CÆSAR
Alas, my mother, sounds no sense for men—
Rings but reverberate folly, whence resounds
Returning laughter. Weep or smile on me,
Thy sunshine or thy rainbow softens not
The mortal earth wherein thou hast clad me. Nay,
But rather would I see thee smile than weep,
Mother. Thou art lovelier, smiling.
VANNOZZA
What is this
Thou hast at heart to do? God’s judgment hangs
Above us. I that girdled thee in me
As Mary girdled Jesus yet unborn
—Thou dost believe it? A creedless heretic
Thou art not?
CÆSAR
I? God’s vicar’s child?
VANNOZZA
Be God
Praised! I, then, I, thy mother, bid thee, pray,
Pray thee but say what hungers in thy heart,
And whither thou wouldst hurl the strenuous life
That works within thee.
CÆSAR
Whither? Am not I
Hinge of the gate that opens heaven—that bids
God open when my sire thrusts in the key—
Cardinal? Canst thou dream I had rather be
Duke?
_Enter_ FRANCESCO
FRANCESCO
Wilt thou take mine office, Cæsar mine?
I heard thy laugh deride it. Mother, whence
Comes that sweet gift of grace from dawn to dawn
That daily shows thee sweeter?
CÆSAR
Knowest thou none
Lovelier?
VANNOZZA
My Cæsar finds me not so fair.
Thou art over fond, Francesco.
CÆSAR
Nay, no whit.
Our heavenly father on earth adores no less
Our mother than our sister: and I hold
His heart and eye, his spirit and his sense,
Infallible.
Enter the POPE
ALEXANDER
Jest not with God. I heard
A holy word, a hallowing epithet,
Cardinal Cæsar, trip across thy tongue
Lightly.
CÆSAR
Most holiest father, I desire
Paternal absolution—when thy laugh
Has waned from lip and eyelid.
ALEXANDER
Take it now,
And Christ preserve thee, Cæsar, as thou art,
To serve him as I serve him. Rose of mine,
My rose of roses, whence has fallen this dew
That dims the sweetest eyes love ever lit
With light that mocks the morning?
VANNOZZA
Nay, my lord,
I know not—nay, I knew not if I wept.
ALEXANDER
Our sons and Christ’s and Peter’s whom we praise,
Are they—are these—fallen out?
FRANCESCO
Not I with him,
Nor he, I think, with me.
CÆSAR
Forbid it, God!
The God that set thee where thou art, and there
Sustains thee, bids the love he kindles bind
Brother to brother.
ALEXANDER
God or no God, man
Must live and let man live—while one man’s life
Galls not another’s. Fools and fiends are men
Who play the fiend that is not. Why shouldst thou,
Girt with the girdle of the church, and given
Power to preside on spirit and flesh—or thou,
Clothed with the glad world’s glory—priest or prince,
Turn on thy brother an evil eye, or deem
Your father God hath dealt his doom amiss
Toward either or toward any? Hath not Rome,
Hath not the Lord Christ’s kingdom, where his will
Is done on earth, enough of all that man
Thirsts, hungers, lusts for—pleasure, pride, and power—
To sate you and to share between you? Whence
Should she, the godless heathen’s goddess once,
Discord, heave up her hissing head again
Between love’s Christian children—love’s? Hath God
Cut short the thrill that glorifies the flesh,
Chilled the sharp rapturous pang that burns the blood,
Because an hundred even as twain at once
Partake it? Boys, my boys, be wise, and rest,
Whatever fire take hold upon your flesh,
Whatever dream set all your life on fire,
Friends.
CÆSAR
Friends? Our father on earth, thy will be done.
FRANCESCO
Christ’s body, Cæsar! dost thou mock?
CÆSAR
Not I.
Hast thou fallen out with me, then, that thy tongue
Disclaims its lingering utterance?
ALEXANDER
Now, by nought,
As nought abides to swear by, folly seen
So plain and heard so loud might well nigh make
Wise men believe in even the devil and God.
What ails you? Whence comes lightning in your eyes,
With hissing hints of thunder on your lips?
Fools! and the fools I thought to make for men
Gods. Is it love or hate divides you—turns
Tooth, fang, or claw, when time provides them prey,
To nip, rip, rend each other?
CÆSAR
Hate or love,
Francesco?
FRANCESCO
Why, I hate thee not—thou knowest
I hate thee not, my Cæsar.
CÆSAR
I believe
Thou dost not hate or love or envy me;
Even as I know, and knowing believe, we all—
Our father, thou and I—triune in heart—
Hold loveliest of all living things to love
This.
_Enter_ LUCREZIA
LUCREZIA
Mother! What do tears and thou for once
Together? Rain in sunshine?
VANNOZZA
Ask thy sire,
Am I not now the moon? Saint Anna bore
Saint Mary Virgin—did not God prefer
The child, and thrust behind with scarce a smile
The mother?
ALEXANDER
Thrust not out thy thorns at heaven,
Rose.
LUCREZIA
But what ailed her? And she will not say.
CÆSAR
Sister, I sinned—sin must be mine. A word
Fell out askance between us, and she wept
Because our father chid us.
LUCREZIA
How should strife
Find here a tongue to hiss with? Are not we,
Brothers and sire and sister, sealed of God
Lovers—made one in love?
ALEXANDER
Deride not God,
Lucrezia.
LUCREZIA
Father, dost thou fear him, then?
ALEXANDER
I say not and I know not if I fear.
FRANCESCO
Thou canst not. Father, were he terrible,
How long wouldst thou live—thou, his mask on earth?
ALEXANDER
Boy, art thou all a child? What knew they more,
The men that loved and feared and died for God,
Than I and thou who know him not? We know
This life is ours, and sweet, if shame and fear
Make us not less than man: and less were they
Who crawled and writhed and cowered and called on God
To save them from him. Here I stand as he,
God, or God’s very figure wrought in flesh,
More godlike than was Jesus. Dare I fear
Whipping and hanging? Thou, my cardinal,
Canst think not to be scourged and crucified—
Ha?
CÆSAR
Nay: there lurks no God in me. And thou,
Father, dost thou fear?
ALEXANDER
I? Nought less than God.
But if we take him lightly on our lips
Too light his name will sound in all men’s ears
Till earth and air, when man says God, respond
Laughter. Forbear him.
CÆSAR
Wisdom lives in thee,
And cries not out along the streets as when
None of God’s folk that heard regarded her,
As all that hear thy word regard—or die,
Being not outside God’s eyeshot. Dost thou sleep
Here in his special keeping—here—to-night,
Brother?
FRANCESCO
What bids thee care to know?
CÆSAR
They say
These holy streets of heaven’s most holiest choice
Lie dangerous now in darkness if a man
Walk not on holiest errands. Thou, they say,
Wert scarce a Christlike sacrifice if slain.
Too many dead flow down the Tiber’s flow
Nightly. They say it.
FRANCESCO
I never called thee yet
Fool.
CÆSAR
Ah, my lord and brother, didst thou now,
Were this not thankless? God—our father’s God—
Guide thee!
[_Exit_ FRANCESCO.
He goes, and thanks me not. Our sire,
What says the God that lives upon thy lips
And withers in thy silence?
LUCREZIA
Vex him not,
Cæsar. Thou seest he is weary.
ALEXANDER
Yea. Come ye
With me. Bethink thee, Cæsar. Vex me not.
_Exeunt_ ALEXANDER, VANNOZZA, _and_ LUCREZIA.
CÆSAR
Thou wilt not bid me this, I think, again,
Father.
_Enter_ MICHELOTTO
Thou art swift of speed at need. I bade thee
Abide my bidding.
MICHELOTTO
Till my lord were left
Alone.
CÆSAR
Thou knewest it?
MICHELOTTO
Where my lord may be
And what beseems his thrall to know of him
I were not worthy, knew I not, to know.
CÆSAR
I do not ask thee where my brother sleeps.
And where to-morrow sees him yet asleep—
MICHELOTTO
Ask of the fishers’ nets on Tiber.
CÆSAR
Nay—
Not I but Rome shall ask it. Pass in peace.
The benediction of my sire be thine.
[_Exeunt_.
SCENE II
_A narrow street opening on the Tiber_
_Enter_ MICHELOTTO _and_ ASSASSINS
MICHELOTTO
Ye know the lordlier harlot’s house—there?
FIRST ASSASSIN
Ay,
Surely.
MICHELOTTO
The first whose foot comes forth is he.
SECOND ASSASSIN
How know we this?
MICHELOTTO
I know it. Ye need but slay.
[_Exit_.
_Enter_ FRANCESCO
FRANCESCO (_singing_)
Love and night are life and light;
Sleep and wine and song
Speed and slay the halting day
Ere it live too long.
FIRST ASSASSIN
That shalt not thou. Sing, whosoe’er thou be,
Thy next of songs to Satan.
[_They stab him_.
FRANCESCO
Dogs! Ye dare?
God! Pity me! God!
[_Dies_.
SECOND ASSASSIN
God receive his soul!
This was a Christian: many a man I have slain
Died with all hell between his lips.
FIRST ASSASSIN
Be thine
Dumb. Lift his feet as I the head.
SECOND ASSASSIN
A boy!
And fair of face as angels
FIRST ASSASSIN
If the nets
Snare not this fish betimes ere others feed,
None that shall heave it airward for the sun
To mock and mar shall say so. Bring him down.
Tiber hath fed on choicer fare than we
May think to feed his throat with ere we die.
[_Exeunt with the body_.
SCENE III
_The Vatican_
ALEXANDER and LUCREZIA
ALEXANDER
The day burns high. Thou hast not seen them—thou?
LUCREZIA
My brethren, sire? Nay, not since yesternight.
ALEXANDER
The night is newly dead. Since yestereven?
LUCREZIA
Nor then. I saw them when we parted here
Last.
ALEXANDER
I believe thou liest not. Girl, the day
Looks pale before thy glory. Brow, cheek, eye,
Lips, throat, and bosom, thou dost overshine
All womanhood man ever worshipped. Once
I held thy mother fairest born of all
That ever turned old Rome to heaven. Thou hast read
Her golden Horace?
LUCREZIA
Else were I cast out
From all their choir who serve the Muses.
ALEXANDER
Ay.
‘Fair mother’s fairer daughter,’ dost thou deem
That praise was ever merited as by thee?
I cannot.
LUCREZIA
I concern myself no whit
If so it were or were not.
ALEXANDER
Thou dost well.
Thou hast not seen, thou sayest, Francesco?
LUCREZIA
Nay—
Give me some reliquary to swear it on—
Some rosary—crucifix or amulet,
Sorcerous or sacred.
ALEXANDER
Never twins were born
More like than thou and he—nor lovelier: yet
No twins were ye.
LUCREZIA
What ails thy Holiness?
ALEXANDER
I am ill at ease: my heart is sick. Last night
No revel here was held, and yet the day
Strikes heavier on me wearier, body and soul,
Than though we had rioted out with raging mirth
The lifelong length of darkness.
LUCREZIA
Evil hours
Fret somewhiles all folk living; none sees why:
No child sleeps always all night long.
ALEXANDER
Wast thou
Wakeful? No trouble clung about thee? Nought
Made the air of night heavier with presage felt
As joy feels fear and withers? I am not
Afraid: methinks I am very fear itself.
_Enter an Officer of the household_
OFFICER
His holiness be gracious towards me.
ALEXANDER
Speak.
Thy face is death’s: let death upon thy lips
Live.
OFFICER
Sire, the humblest hireling knave in Rome—
A waterman that plies his craft all night—
Craves audience even of thee.
ALEXANDER
A Roman?
OFFICER
Nay.
Some outlander—some Greek—they call the knave
George the Slavonian.
ALEXANDER
They?
OFFICER
The fisherfolk
On Tiber.
ALEXANDER
Bid him in: bid God himself
Come in with doom upon me.
[_Exit Officer_.
Hear’st thou, child—
Daughter?
LUCREZIA
What horror hangs on thee?
ALEXANDER
Abide,
And thou shalt know as I know.
_Enter_ GIORGIO SCHIAVONE
Speak. I say,
Speak. What thou art I know: and what I am
Thou knowest—and yet thou knowest not.
GIORGIO
Holiest sire,
Last night I kept my boat on Tiber—Sire,
The thing I saw was nothing of my deed—
It shook me out of sleep to see it—Lord,
Have mercy: look not so upon me.
ALEXANDER
Dog,
Speak, while thy tongue is thine.
GIORGIO
Two men came down
And peered along the water-side: and two
Came after—men whose eyes raked all the night,
Searching the shore—I lay beneath my boat—
Beside it on the darkling side—and saw.
Then came a horseman—Sire, his horse was white—
The moonshine made his mane like dull white fire—
And on his crupper heavily hung a corpse,
Arms held from swaying on this side, legs on that,
I know not which on either—but the men
Held fast that held: and hard on Tiber side
They swung the crupper towards the water—sharp
And swift as man may steer a horse—and caught
And slung their dead into the stream: and he
Drifted, and caught the moon across his face
That shone like life against it: and the chief
Till then sat silent as the moon at watch,
And then bade hurl stones on the drifting dead
And sink him out of sight; and seeing this done,
Rode thence, and they strode after.
ALEXANDER
Man, and thou—
Thou?
GIORGIO
Sire, I set my heart again to sleep:
I turned and slept under my boatside.
ALEXANDER
Man—
Dog—devil, if this be truth, and if my fear
Lie not—how hadst thou heart to hold thy peace?
How comes it that the warders of the shore
Knew not of thee, while yet the crime was hot,
What crime had made night hell?
GIORGIO
A thousand times
I have seen such sights, but never till this hour
Seen him who cared to hear of them.
ALEXANDER
Till now,
Never. He looks in God’s mute face and mine,
And says it. God be good to me! But God
Will not—or is not. Where is then thy dead,
Devil, called of God from hell to smite—to scourge—
Me?
GIORGIO
Sire, at hand I left him.
ALEXANDER
Stir not. Bid
Thy fellows bring my dead before me.
[_Exit Officer_.
Nay,
But mine it is not yet—it may not be
Mine—while it may not be, it is not. Child,
It shall not be thy brother. Pray no prayer.
Prayer never yet brought profit. Be not pale.
Fear strikes more deep into the fearful heart
The wound it heals not.
Enter Officers with the body of FRANCESCO
What is he they bring?
O God! Thou livest! And my child is dead!
[_Falls_.
SCENE IV
_The Vatican_
ALEXANDER _and_ CÆSAR
ALEXANDER
Thou hast done this deed.
CÆSAR
Thou hast said it.
ALEXANDER
Dost thou think
To live, and look upon me?
CÆSAR
Some while yet.
ALEXANDER
I would there were a God—that he might hear.
CÆSAR
’Tis pity there should be—for thy sake—none.
ALEXANDER
Wilt thou slay me?
CÆSAR
Why?
ALEXANDER
Am not I thy sire?
CÆSAR
And Christendom’s to boot.
ALEXANDER
I pray thee, man,
Slay me.
CÆSAR
And then myself? Thou art crazed, but I
Sane.
ALEXANDER
Art thou very flesh and blood?
CÆSAR
They say,
Thine.
ALEXANDER
If the heaven stand still and smite thee not,
There is no God indeed.
CÆSAR
Nor thou nor I
Know.
ALEXANDER
I could pray to God that God might be,
Were I but mad. Thou sayest I am mad: thou liest:
I do not pray.
CÆSAR
Most holiest father, no.
Thy brain is not so sick yet. Thou and God
Friends? Man, how long would God have let thee live—
Thee?
ALEXANDER
Long enough he hath kept me, to behold
His face as fire—if his it be—and earth
As hell—and thee, begotten of my loins,
Satan.
CÆSAR
The firstfruits of thy fatherhood
Were something less than Satan. Man of God,
Vaunt not thyself.
ALEXANDER
I would I had died in the womb.
CÆSAR
Thou shalt do better, dying in Peter’s chair:
Thou shalt die famous.
ALEXANDER
Ay: no screen from that,
No shelter, no forgetfulness on earth.
We shall be famed for ever. Hell and night,
Cover me!
CÆSAR
Hast thou heard that prayers are heard?
Or hast thou known earth, for a man’s cry’s sake,
Cleave, and devour him?
ALEXANDER
I have done this thing.
Thou hast not done it: thy deed is none of thine:
Upon my hand, upon my head, the blood
Rests.
CÆSAR
Wilt thou sleep the worse for this next year?
ALEXANDER
I will not live a seven days’ space beyond
This.
CÆSAR
Thou hast lived thy seven days’ space in hell,
Father: they say thou hast fasted even from sleep.
ALEXANDER
Ay.
CÆSAR
What they say and what thou sayest I hold
False. Though thou hast wept as woman, howled as wolf,
Above our dead, thou art hale and whole. And now
Behoves thee rise again as Christ our God,
Vicarious Christ, and cast as flesh away
This grief from off thy godhead. I and thou,
One, will set hand as never God hath set
To the empire and the steerage of the world.
Do thou forget but him who is dead, and was
Nought, and bethink thee what a world to wield
The eternal God hath given into thine hands
Which daily mould him out of bread, and give
His kneaded flesh to feed on. Thou and I
Will make this rent and ruinous Italy
One. Ours it shall be, body and soul, and great
Above all power and glory given of God
To them that died to set thee where thou art—
Throned on the dust of Cæsar and of Christ,
Imperial. Earth shall quail again, and rise
Again the higher because she trembled. Rome
So bade it be: it was, and shall be.
ALEXANDER
Son,
Art thou my son?
CÆSAR
Whom should thy radiant Rose
Have found so fit to ingraff with, and bring forth
So strong a scion as I am?
ALEXANDER
By my faith—
Wherein, I know not—by my soul, if that
Be—I believe it. God forgot his doom
When he thou hast slain drew breath before thee
CÆSAR
God
Must needs forget—if God remember. Now
This thing thou hast loved, and I that swept him hence
Held never fit for hate of mine, is dead,
Wilt thou be one with me—one God? No less,
Lord Christ of Rome, thou wilt be.
ALEXANDER
Ay? The Dove?
CÆSAR
What dove, though lovelier than the swan that lured
Leda to love of God on earth, might match
Lucrezia?
ALEXANDER
None. Thou art subtle of soul and strong.
I would thou hadst spared him—couldst have spared him.
CÆSAR
Sire,
I would so too. Our sire, his sire and mine,
I slew not him for lust of slaying, or hate,
Or aught less like thy wiser spirit and mine.
ALEXANDER
Not for the dove’s sake?
CÆSAR
Not for hate or love.
Death was the lot God bade him draw, if God
Be more than what we make him.
ALEXANDER
Bread and wine
Could hardly turn so bitter. Canst thou sleep?
CÆSAR
Dost thou not? Flesh must sleep to live. Am I
No son of thine?
ALEXANDER
I would I saw thine end,
And mine: and yet I would not.
CÆSAR
Sire, good night.
[_Exeunt_
* * * * *
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LONDON
About this edition
This edition of The Duke of Gandia reproduces the public-domain text as preserved in Project Gutenberg's archive, presented in a clean reading layout suitable for study, audition preparation, dramaturgical research, and rehearsal-room reference. The play sits within the tradition of Romantic Drama drama, and reading it alongside other works from the period — many of which are also available in our library — is the fastest way to appreciate what Algernon Charles Swinburne was doing differently. We have not abridged or modernised the text; the only editorial intervention is the removal of Project Gutenberg's header and footer matter so you can read the script itself without scrolling past licensing boilerplate. Where the original publication uses non-modern spelling or punctuation conventions, those are preserved as printed.
Notes for performance
If you are mounting The Duke of Gandia in production, two practical notes. First, because the text is in the public domain, you can perform it in any venue, charge admission, cut it, translate it, set it on Mars, or stage it as a one-actor solo show without paying royalties or seeking permission from anyone. Second, because the text comes from a digitised public-domain edition rather than an officially licensed acting edition, expect to do your own line-editing pass before rehearsals begin: act and scene divisions are present, but stage directions reflect the conventions of the original publication rather than modern practice. Most companies producing Algernon Charles Swinburne budget a week of dramaturgy time before the first read-through to harmonise the text with their production concept.