Skeres, by his record, preferred con games to out-and-out violence. The date above is Old Style; the difference between England's Julian calendar and the Gregorian (which in real history was not adopted in the English-speaking world until 1752) plays its role in the story here.
Edward Kelley, counterfeiter and alchemist, was an associate of John Dee's-and also, like Skeres and Frizer and Marlowe himself, belonged on the fringes of the murky world of Elizabethan espionage. So did Anthony Bacon, Francis' older brother, who was indeed involved in a scandal pertaining to what the Elizabethans called sodomy in France before the time of the Armada. Francis himself had similar tastes, though in real history they did not come to light till well into the seventeenth century.
Very little of what is supposed to be Boudicca and King Philip is my own work; I am not a true Elizabethan blank-verse beast, as George Bernard Shaw called Marlowe. Most of Boudicca is taken from John Fletcher's Bonduca (a variant on the name of the Queen of the Iceni, who is also widely, though incorrectly, known as Boadicea). Fletcher was Shakespeare's younger contemporary, and probably though not certainly his collaborator in Henry VIII, The Two Noble Kinsmen, and the lost Cardenio. A prolific dramatist, Fletcher collaborated most frequently with Francis Beaumont. My Boudicca does not follow his Bonduca in plot; he had his purposes, which are far removed from mine. I have taken his lines out of order and out of context, and have adapted them as I found necessary. He did not give Boudicca/Bonduca's younger daughter a name; I have supplied one. He called Judas the Roman soldier I have named Marcus-I do not believe Shakespeare would have been so unsubtle as to use that particular name. Other bits of the fictional drama here come from Henry VIII and Shakespeare's King John, from Marlowe's Tamburlaine (both the first and second parts), and from William Averell's An Exhortacion to als English Subjects, the last of which I confess to casting into blank verse.
A measure of the importance of drama in the Elizabethan world and its possible use in rebellions against the state is the presentation of Shakespeare's Richard II before the rebellion of the Earl of Essex (Sir Robert Devereux)-Essex wanted to use the play to show the people of London that a sovereign might be overthrown. He failed, but that he made the attempt is significant.
What purports to be King Philip is made up of adapted bits and pieces of Titus Andronicus (it is fortunate that "Spain" and "Parma" scan the same as "Rome" and "Titus"), The Merchant of Venice, Henry VIII, and Thomas Hughes' The Misfortunes of Arthur.
Lope de Vega holds a position in Spanish literature not far removed from that of Shakespeare in English.
He did in fact sail in the Armada, and was one of the lucky few to return safely to Spain. He had a lively time with women all through his life.
The alert reader will note cribs from Shakespeare scattered through the pages of Ruled Britannia. One of the pleasures of the research for this novel was reading all of Shakespeare's surviving work, and fitting in phrases and lines wherever they would go.
There really was a woman named Cicely Sellis charged with witchcraft, but she was not the same as the character in this book, and did not live in London. Captain Will Adams is also a historical figure.
Constable Walter Strawberry is not, but his origins should be obvious.
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Ruled Britannia Page 56
