QUACK, CORNELIUS

Sacked by Artesio for killing a wealthy patient in Quarles' The Virgin Widow, Cornelius Quack obtains from Bellarmo license to practice as a mountebank. He is retained by Lactusia to poison Kettreena, though the plan misfires.

QUADRATUS

Quadratus is a cynical scorner of the world in Marston's What You Will. He is a friend of Jacomo and warns Laverdure that Lampatho Doria is a parasite, but his impulses are generally satirical rather than charitable. He castigates Simplicius Faber as a poor specimen of the satirist.

QUAILPIPE

Quailpipe is Letoy's curate in Brome's The Antipodes.

QUARLOUS

Quarlous is a gamester and companion to Winwife in Jonson's Bartholomew Fair. Quarlous enters Littlewit's house, apparently to look for Winwife, when Cokes enters with Grace to retrieve the marriage license. Quarlous ridicules the foolish young man. Cokes leaves with his party to go to the Fair, and Quarlous follows after him. At the Fair, Quarlous and Winwife see Knockem and Whit, to whom they seem to be acquainted. During the confusion created before Ursula's booth, Edgworth tries to steal Quarlous's and Winwife's purses, but it emerges that they carried no money. Quarlous and Winwife are at the Fair, before Ursula's booth, when Edgworth steals Cokes' second purse. Quarlous and Winwife see the theft and confront Edgworth with it. Quarlous blackmails Edgworth and forces him to steal the box with Grace's marriage license from Wasp. Quarlous and Winwife enter fighting for Grace's hand. Grace wants to pacify them, suggesting that they should let fate decide between the two suitors. Quarlous and Winwife write a secret code-name on a tablet and Trouble-all, who happens to pass by, chooses blindly between the two names. It is inferred that Quarlous, eager to know what was written in Grace's book, departs from Winwife and Grace and follows Trouble-all. Seeing that the only name the madman could say was Justice Overdo, Quarlous has the idea of disguising himself as the madman. As Trouble-all, Quarlous receives an official carte blanche from Justice Overdo, which he uses in the final revelation scene. Revealing himself, Quarlous uses Overdo's blank warrant, determining the judge to give his ward Grace to him in marriage. However, since Winwife is Grace's winner-husband resulting from the game, Grace must relinquish her land to Quarlous. Quarlous seems pleased with the arrangement of marrying the rich Dame Purecraft.

QUARRELL

A "ghost character" in Heywood's 2 If You Know Not Me. A glazier once served by Quick.

QUARTFIELD **1637

A captain in Mayne’s City Match. He beats Roseclap for daring to ask him to pay his reckoning. He’s run a tab for twelve months and pays only in promises. He dresses as a trumpeter to lead in Mrs. Seathrift and Mrs. Holland to see his wonderful fish. This is his fifth wonderful fish, the others have looked like mermaids, porcupines, and the like. The fish turns out to be Timothy, drunken and asleep, dressed up. He and Baneswright come in the final scene in disguise to assure Warehouse’s ‘lost’ ships. They engage in the assurances with Warehouse.

QUEASY, MISTRESS

The landlady of the house in which the younger Pallatine's schemes are enacted in Davenant's The Wits. At first she, Snore and Mistress Snore are convinced that some sort of illegal and bawdy activity is taking place. She engages in much arguing with Mistress Snore about their relative virtue and fertility.

QUEEN **1561

A "ghost character" in the anonymous Pedler's Prophecy. The Queen (presumably Elizabeth I) is mentioned by the Judge when he asks if the Pedler speaks about or against her or her counsel. All four men then praise the Queen.

QUEEN **1595

King Richard's wife in Shakespeare's Richard II. Although her husband's impending deposition is common knowledge in London, the Queen is only able to learn about it by overhearing and then confronting the Gardener (III.iv). She is sent to France when Richard is deposed. Historically, she was Richard's second wife, Isabella of France.

QUEEN **1597

The note for scene 17 of the Anonymous plot of Frederick and Basilea has "To the queene Theodore," the only female character who could have remained on the stage from scene 16 is Leonora

QUEEN **1599

I.
The widow of John Gray and occasionally called Bess by King Edward in Thomas Heywood's 1 Edward IV, the Queen argues her status with the Duchess of York, claiming to have come as chaste to Edward's bed as she had to that of John Gray. (See also under "ELIZABETH").
II.
The Queen is wife to Edward in Thomas Heywood's 2 Edward IV. She has Jane Shore brought before her while the king is away. She speaks sarcastically of Jane as a sister queen and describes the many titles that Jane should have by virtue of her relationship with the king and her position in court. Urged by her son to kill or at least maim Jane, the Queen does indeed lift a knife. However, she casts the weapon aside, forgiving Jane for woman's weakness in the face of an all-powerful king. (See also under "ELIZABETH").

QUEEN **1602

Isabella in Heywood's Royal King is referred to as 'Queen' in speech prefixes and stage directions after her marriage.

QUEEN **1605

Wife of Archigallo, King of Britain, and sister-in-law to Lady Elydure in the Anonymous Nobody and Somebody. She dislikes Lady Elydure because of Elydure's humility and refusal to act decisively. Because of her hatred of Lady Elydure, she urges Peridure and Urgenius to seize power when Elydure is again crowned king after her husband's sudden death. When Peridure and Urgenius are both killed, she reconciles with Lady Elydure and supports Elydure's third coronation.

QUEEN **1608

The Queen of Britain in William Rowley's A Shoemaker a Gentleman. She refuses to leave the body of her husband, Allured, when he is killed in battle. She is captured by the Romans, but not before she has persuaded her sons Elred and Offa to flee. She is marched to Rochester castle, and sees her sons in the shoemaker's shop on the way. She is freed when her newly honoured sons demand her release, and she is therefore reunited with them, and with her new grandson.

QUEEN **1609

The queen is Cymbeline's second wife, Cloten's mother, and Imogen's stepmother in Shakespeare's Cymbeline. She plots to unite her son with Imogen, kill Cymbeline, and place Cloten on the throne. On her deathbed, she confesses that she has been slowly poisoning Cymbeline and never loved him. Ironically, she dies of accidental poisoning.

QUEEN **1621

A "ghost character" in Fletcher's The Pilgrim. Wife to the King; she is described as a model of chastity and fulsomely praised by the characters who attend the King's birthday celebrations.

QUEEN **1622

Wife of Francis I and supporter of Montmorency in Chapman's The Tragedy of Chabot, Admiral of France. She urges the King to take action against Chabot when he refuses to sign the suit approved by the Constable. She indicates in an aside that she is jealous of Chabot's wife, and the Chancellor and Treasurer urge her to continue to work on the King. After Chabot is led off to his arraignment, she confronts his wife and father-in-law, stating that Chabot's corruption will finally be revealed. The Queen is impressed by Chabot's wife's defense of her husband and asks Montmorency whether or not he believes Chabot is truly corrupt. When he reveals that he believes Chabot is honest, they both go to the King to speak on Chabot's behalf.

QUEEN **1625

Only mentioned in Davenport's New Trick to Cheat the Devil. Queene is mentioned by Slightall when, in the haunted Chamber, he faces Anne and tries to identify her "as if she were the Queene grim Pluto stole, / And great Alcides once redeem'd from Hell?" According to Greek mythology, the queen Pluto (Roman version of Hades) stole was Persephone. She was daughter to Demeter and Zeus. In her youth, her mother hid her from the gods, but her father–to whom Hades had expressed his wish to marry her–found her and, aware of the fact that Demeter would not consent to the marriage, abducted her. He then offered her to Hades as his bride and, thus, the infernal god took her to the underworld. However, the reference to Alcides (Hercules) is misleading, since it was Alcestis–Admetus's wife–and not Persephone, who was actually rescued by Hercules, who took her back from Hades after she had chosen to die instead of her husband–thus showing her great love for him.

QUEEN **1629

A "ghost character" in ?Clavell's The Soddered Citizen. The Queen is mentioned by Undermine at the end of the play. She would probably be part of the audience, as his address indicates: "[All humble thanks unto our gratious Queene], [That ask'd his pardon and our Kings thus gave it]." Taking into account that the approximate date of the play is 1629, the Queen at that time was Henrietta María, married to King Charles I (reigned 1625-49), and daughter to the French king Henry IV.

QUEEN **1637

A “ghost character" in Mayne’s City Match. She is a customer of Mrs. Holland and often buys bonelace from her.

QUEEN **1638

The former Princess of Otranto in Davenant's The Fair Favorite. She is beloved of Oramont. The Queen was married to the King for political reasons. She, however, is in love with him. She is patient about his love for Eumena, hopeful when he attempts to reconcile with her, and at one point, ready to resign her pretensions and to enter a convent. She persuades Oramont to behave better, engineers the return of Amadore, and is finally rewarded by the love of the King, her husband.

QUEEN, (A) and (B)

Only mentioned. Two queens figure in the anonymous Wit's Triumvirate.

QUEEN ANNE of BOHEMIA

Otherwise known as Anne o' Beame, Queen of England, first wife of Richard II in the anonymous Thomas of Woodstock. From her first appearance, at the coronation, Anne tries to calm the anger and suspicion between Richard and his uncles, in particular Woodstock, and her own charity and high reputation does Richard some good among his subjects. But her husband's reckless behaviour makes her first sad, then ill. The Duchess of Gloucester, Woodstock's wife, is her friend, and, on her husband's insistence, leaves their home at Plashy to go to the Queen on her deathbed; in the Duchess's absence, Richard carries out his plot against Woodstock. Anne's death plunges Richard into deep grief. [The historical Anne of Bohemia died before the plotting of Woodstock's murder.]

QUEEN AURELA

A "ghost character" in Kirke's The Seven Champions of Christendom. She sent Saints Patrick, Denis and James to slay Argalio.

QUEEN ELEANOR

Queen Eleanor is the mother of John and grandmother of Arthur in Shakespeare's King John. She supports John completely as king of England. When the Falconbridges arrive, she recognizes the Bastard's resemblance to Richard I and asks if he will deny his connection to the Falconbridge family and instead serve her. In front of Angers, Eleanor taunts Constance for being disloyal and even suggests that Arthur is a bastard. She is apparently threatened during the battle between France and England, and is rescued by the Bastard. The Messenger who delivers the report of a French army ready to invade also reports that Eleanor has died.

QUEEN ELINOR **1591

I.
Elinor (historically Eleanor of Castile) is Edward's proud queen in Peele's Edward I. She insists that Edward delay his formal coronation so that the finest garments in the world may be procured for such a glorious occasion. Her vanity and pride are signaled by the outrage she feels when she catches sight of Mary Bearmbar, the wife of the mayor of London, being escorted through the streets to the accompaniment of music. Elinor takes her revenge by tricking Mary into believing she will become nurse to the infant Edward of Caernarvon, having her tied to a chair, and having poisonous snakes affixed to Mary's breasts. Although she is generally presented as cruel and overbearing, her exchanges with Edward are often marked by playfulness and suggest that a considerable affection obtains between them. After the murder of Mary Bearmbar, Elinor's daughter Joan of Acon castigates her mother for the crime, and when Elinor swears falsely that she had nothing to do with the deed, the ground at Charing-Green opens up and swallows her. A short time later, Elinor reappears from the earth at Potter's Hive (afterwards called Queenhith) and is taken to the court in a weakened condition. Realizing that her death is near, Elinor wishes to confess her sins, but not trusting the English clergy, she sends to France for two friars. When Edward and Edmund of Lancaster arrive disguised as the churchmen, Elinor confesses to having slept with Edmund on the night before her marriage to Edward and also to having had an affair with a French friar, the issue of which was Joan of Acon. Having made these admissions, the queen expires.
II.
Queen of England in J.W.'s The Valiant Scot. Queen Elinor encourages King Edward to be kinder to the Scots, and makes him agree to punish transgressing officers. She is one of the leaders of the English army against Wallace but contributes nothing more to the action.

QUEEN ELINOR **1598

I.
Queen Elinor is the mother of both Richard and John in (?Chettle and) Munday's Downfall of Robert Earl of Huntington. She is in love with Robin and apparently supports the plan to have Robin outlawed, as punishment for loving Marian instead of her. After Robin reveals that he knows of the plot and leaves, Queen Elinor promises to help Marian leave with him by changing clothes with her to avoid detection by John. Her real plan is to fool Robin and leave for the forest with him, but Marian tells Robin the plot. When Marian and Elinor arrive at the meeting place, Robin pretends to desire the supposed Queen and leaves with Marian before anyone can stop them. She leaves, swearing to turn love into hate. She then pursues Ely, although unsuccessfully, and supports John in his quest for the throne. When Fitzwater is banished and tries to appeal to the Queen, she responds that his daughter robbed her of her love, and leaves. When Leicester arrives, Elinor claims that John is simply acting as Richard's regent, but when it is revealed that Richard has returned to England, Elinor deserts John, saying she will do her best to win back Richard's favor.
II.
Queen Elinor joins with the others in viewing the ring around the neck of the stag Richard has killed in Munday and Chettle's Death of Robert, Earl of Huntington. She is also present when Robin is poisoned and offers a powder she believes will cure him, but Doncaster mocks her, saying nothing can save Robin. When it is revealed that Doncaster raped Sir Eustace Stutville's daughter, the Queen asks Richard to punish Doncaster, since the girl was more pure than any.
III.
Queen Eleanor is the mother of John and grandmother of Arthur in Shakespeare's King John. She supports John completely as king of England. When the Falconbridges arrive, she recognizes the Bastard's resemblance to Richard I and asks if he will deny his connection to the Falconbridge family and instead serve her. In front of Angers, Eleanor taunts Constance for being disloyal and even suggests that Arthur is a bastard. She is apparently threatened during the battle between France and England, and is rescued by the Bastard. The Messenger who delivers the report of a French army ready to invade also reports that Eleanor has died.

QUEEN ELINOR **1599

Queen Elinor is the French wife of the old King, and mother of the four princes Henry, Richard, Jeffrey, and John in Chettle's(?) Looke About You. Portrayed as violent and vengeful, she is estranged from her husband. She is imprisoned for the first part of the play, but once free encourages young Henry and Prince John in their humiliation of the old King, her husband, and backs the killing of Gloster as a traitor.

QUEEN ELIZABETH I

I.
Princess Elizabeth, crowned Queen by the play's end, is the target of Winchester and others who despise her non-Catholic preferences in Heywood's 1 If You Know Not Me. Accused of treason, she is taken to the Tower, refusing to admit of any guilt or conspiracy. Finally allowed an audience with Queen Mary, Elizabeth pleads her innocence and is set at liberty. With one of her greatest enemies, Winchester, dead, Elizabeth succeeds to the throne upon Mary's death; her future religious bent is foreshadowed as she praises the Lord Mayor's gift to her of an English Bible.
II.
The title page of the 1584 quarto of Peele's The Arraignment of Paris indicates that the Children of the Chapel presented Peele's play before Queen Elizabeth I. Because this group performed at court in January and in February of 1584, it is possible that the queen herself was present on one of these occasions and personally accepted the "golden apple" at the end of the play, thereby becoming an active participant and technically a character in the play.
III.
Mute character in Dekker's Old Fortunatus. She is acknowledged directly twice in the play as a member of the audience, once at the beginning and at the end when Vice yields to her power.
IV.
A "ghost character" in Chapman's The Conspiracy of Charles, Duke of Byron. Crequi reports to D'Aumont the speeches exchanged between Queen Elizabeth and Byron during Byron's visit to England.
V.
A "ghost character" in Edwards's Damon and Pithias. Probably envisioned as an audience member. At the end of the play, Eubulus prays the Lord that he should grant the noble Queen Elizabeth the best of friends. All characters join in a final praise of the Queen and her friends.
VI.
A "ghost character" in Wilson's The Three Lords and Three Ladies of London. Policy prays for her at the end of the play.

QUEEN ELIZABETH

When Lady Grey's husband is killed fighting on the Yorkist side in Shakespeare's 3 Henry VI, she visits the newly crowned King Edward to seek the return of their confiscated lands. She leaves the meeting with more than she had sought, withstanding Edward's sexual advances but finally agreeing to his proposal of marriage, thus becoming Queen Elizabeth. The union is potentially disastrous for Edward, since he has already sent Warwick to seek the French king's consent to a marriage between Edward and the French queen's sister, Lady Bona. After Warwick captures Edward and arranges his imprisonment, Elizabeth reveals that she is pregnant. Later she gives birth to a son.

QUEEN ELIZABETH GRAY

The Queen is Edward IV's widow and mother to Edward V, the Duke of York and Elizabeth in the anonymous True Tragedy of Richard III. She is also the mother to Elizabeth, Marcus and a number of other daughters. Unlike in Shakespeare's play, Queen Elizabeth Gray is clearly distinguished from Jane Shore. Soon after Richard assumes the role of Lord Protector, the Queen seeks sanctuary, along with her daughter Elizabeth and young son, the Duke of York. She surrenders her youngest son Richard to the Cardinal, Archbishop of York, to be delivered to Gloucester. The Queen remains in sanctuary with her daughter Elizabeth. When Richard sends Lowell to the Queen to propose marriage between Richard and Elizabeth, the Queen consents and agrees to leave sanctuary. The Queen sends word to Richmond before the battle of Bosworth Field to assist him in intelligence gathering. She appears on stage at the end of the play to find out that her son Dorset is safe in France. The Queen, along with Elizabeth and two messengers, serve as a final Chorus for the play. They tell of the great dynasty founded by Henry and Elizabeth.

QUEEN, FIRST, SECOND, and THIRD

Three royal widows appear at the wedding of Duke Theseus and Hippolyta. They are aggrieved that their husbands, who took up arms against Creon and Thebes, have been slain and that Creon has not allowed their burial in Shakespeare's Two Noble Kinsmen:
  1. The First Queen is wife to a King Capaneus. She pleads that Theseus help the women recover and bury the bodies of their slain husbands.
  2. The Second Queen falls at the feet of Hippolyta and pleads her case.
  3. The Third Queen falls at the feet of Emilia and pleads her case.

QUEEN FORTUNE

A role assumed by Jaquina in the pageant in the final scene of Chapman's An Humourous Day's Mirth.

QUEEN GUINEVER **1590

A "ghost character" in Wilson's The Cobbler's Prophecy. Zelota claims that Raph has an appointment to mend Queen Guinever's shoes, despite the fact that the story is set in Ancient Greece. Zelota is mad when she says this, but the anachronism remains unaccountable.

QUEEN GUENEVER **1598

Only mentioned in Jonson's Every Man out of His Humour. When Puntavorlo starts a rehearsed game of chivalric courtship to his wife before his country house, he pretends to be an errant-knight who seeks refuge in the castle, while she pretends to receive him gallantly. Carlo Buffone, Sogliardo, and Fastidious Brisk are watching the scene, making caustic comments. Carlo Buffone says this is a tedious chapter of courtship, in the manner of Sir Lancelot and Queen "Guenever." The irony addresses the medieval chivalric romances.

QUEEN HEDONE

A "ghost character" in Hawkins's Apollo Shroving. She is apparently "neere allyed to Manto, Cassandra, Aspasia, and the ancient Roman Tanaquil" and "might pretend to be the tenth Muse," Queen Hedone is "the Goddesse of delight and pleasure." Siren claims to be Queen Hedone's messenger throughout the play, and informs Amphibius that Hedone would have attended Apollo's Court "but that she knew not the set day, and now resideth in one of the fortunate Ilands in the Atlantique sea farre oft from Thessaly. And besides all this, she is invited to a feast of foure or five gods by Mercury into Ethiopia." Amphibius claims that he "cannot divorce" himself from her at the play's beginning, and describes her to Philoponus as "all-conquering" and "that high and mighty soveraigne of delights." The two scholars discuss Amphibius's desire to "untwist" himself from his "bond of service to Apollo"–the result of Amphibius's encounter with Siren and his receipt of what he sees as a very convincing letter from Queen Hedone encouraging him to give up his scholarly goals. Siren advertises the Queen's virtues and, in Hedone's name, tries to tempt various characters from their work. For Hedon'es mischief and interference in the affairs of Apollo's school, Museus gives the banished Siren a message "to carry to Dame Hedone, if ere they meete againe" - "that Hedone shall ever unseparably bee manacled to Lupe."

QUEEN ISABEL **1598

I.
Queen Isabel was originally engaged to Hugh le Brun, and her marriage to John caused the first rebellion, shown in dumb show of Munday and Chettle's Death of Robert, Earl of Huntington. She feels neglected by John because of his continuing love for Matilda, but when Salisbury tells her that John is now praising her, she is pleased and agrees to go to Guildford for him and convince Lady Bruce to give up her son as a pledge. She is surprised by Hubert's arrival, and defends herself against Lady Bruce, who claims she was part of a plot to take the castle. During the first battle between John and the rebel lords, Matilda is captured and given to Queen Isabel, who scratches her face out of jealousy. When the tables are reversed, and Isabel is captured by the rebels, Matilda lies to protect her, claiming that soldiers scratched her and that the Queen actually saved her. Queen Isabel, now convinced of Matilda's innocence, is then returned to her husband. She decides to visit Matilda in Dunmow Abbey and arrives, with Oxford, after Matilda has been poisoned, but before she has died. After Matilda dies, the Queen orders her corpse taken to Windsor in an open bier to demonstrate John's cruelty and lust. She confronts John with Matilda's body, but when Leicester plots a rebellion that would put the Dauphin on the throne, she speaks against it, suggesting that Louis might be worse than John.
II.
King John's second wife and Queen in Davenport's King John and Matilda. Loyal to John in political strategies, she occupies the Bruces's castle with Oxford. There she assures Lady Bruce of Hubert's innocence of the murder of Arthur Plantagenet. The King sends her on to persuade Chester to force Matilda's co-operation. She is, however, violently jealous of Matilda and attacks her physically. Ultimately, Isabel is persuaded that Matilda is innocent of trying to seduce her husband. She is moved when Matilda generously exculpates her to Young Bruce, and so befriends her. Isabel endures the King's fury after Matilda's escape and is sent to pursue Fitzwater. Next, she is sent as the King's envoy to the opposition and treated with courtesy: Richmond arranges the masquers' visit to entertain her with dancing, which turns into a successful attempt by the King and his party, in disguise, to abduct Matilda again. Isabel is again enraged when Matilda seems to be relenting to Hubert's persuasion to accept the King's attentions. She joins Matilda in pleading with Hubert to give Matilda safe conduct to the Abbey where she might become a nun. Isabel is absent when the King discusses divorcing her in order to make Matilda an honorable offer of marriage. She escorts Matilda's cortège in mourning to Windsor, where, with everyone else, she accepts the King's declaration of penitence.

QUEEN ISABEL **1599

Isabel, queen of France in Shakespeare's Henry V, twice expresses her sense of her function as a peacemaker. After France has been conquered, when Charles VI and his advisors discuss Henry's demands, Isabel says she will join the discussion to help them accept the terms of the treaty. Later, when Charles consents to a marriage between Henry and Katherine, Isabel offers a maternal blessing replete with images of harmony and accord.

QUEEN ISABELLA **1592

Queen Isabella, wife to Edward II, mother to Edward III, and sister to the King of France in Marlowe's Edward II. She is devoted to her husband but is continually spurned by him in favor of Gaveston. Called Isabel throughout the play, she goes to France with Prince Edward and with Edward II's blessing, but there tries to raise support to put her son on the throne. Joined by Mortimer, who has a romantic interest in her, forces are gathered which defeat Edward II's troops, capture him, and crown the prince King Edward III. In the final scene the young king sends her to the Tower to await trial for complicity in the murder of King Edward II.

QUEEN ISABELLA **1635

Queen Isabella of Spain marries King Sebastian of Portugal in Heywood's A Challenge for Beauty. She is proud and demands that the Spaniards praise her as the most beautiful and virtuous woman in the world. When Lord Bonavida refuses to be a flatterer, she challenges him to find a woman more beautiful and virtuous than she or lose his head. When Bonavida returns and describes Hellena, Isabella is angry that he has not brought her with him. She throws him in a dungeon and confiscates the carcanet that Hellena gave him. She then orders Pineda and Centella to test Hellena's virtue by trying to retrieve the ring from her. She is triumphant when they succeed. But at the execution of Bonavida, Hellena arrives in time to reveal that the ring was unjustly stolen from her, and Isabella, dazzled by Hellena's beauty and virtue, admits that she was wrong, and orders the release of Bonavida.

QUEEN MAB

See also MAB for additional listings.

QUEEN MAB

I.
A fictional character invented by Mercutio in Shakespeare's Romeo and Juliet to illustrate the fruitlessness of dreams. Queen Mab is a minuscule fairy who inspires dreams appropriate to the dreamer.
II.
A "ghost character" in Habington's The Queen of Aragon. She is mentioned by Sanmartino as the probable employer of the Dwarf's supposed mistress.

QUEEN MARGARET

I.
Margaret of Anjou, daughter of Reignier in Shakespeare's 1 Henry VI, is captured by Suffolk, who gives her to King Henry for a wife. In the later Henry VI plays, Margaret is a powerful figure, but in 1 Henry VI Shakespeare only suggests the character that he will develop more fully in the other plays.
II.
The new queen in Shakespeare's 2 Henry VI. At the end of 1 Henry VI, Suffolk had concocted a plan to have Margaret marry King Henry, believing that he would be able to control the king through her. 2 Henry VI opens with Margaret's transfer from Suffolk to Henry, and as the first act continues we learn that Margaret and Suffolk are in league against Eleanor and Gloucester, Cardinal Beaufort, and the Duke of York.
III.
Margaret is the wife of King Henry and mother of Edward, Prince of Wales in Shakespeare's 3 Henry VI. When Henry negotiates an entente with the Duke of York, by which Henry will remain king during his lifetime succeeded by York, Margaret vows to defend her son's right to inherit the throne from his father. At the helm of an army of northern nobles, Margaret captures Richard Plantagenet, Duke of York, and torments him before ordering his death. In his response to her, York enumerates the female virtues and basic human qualities which she lacks, characterizing her among other things as a 'tiger's heart wrapped in a woman's hide.' After Lord Clifford avenges his father by stabbing York, Margaret takes her turn, recommending that York's severed head be hung on the gates of York. Margaret journeys to France seeking French support, and her cause is assisted when Edward insults the French king by marrying Lady Grey while Warwick is in France negotiating Edward's marriage to the French queen's sister Lady Bona. Later, Margaret fights on Henry's side at the helm of a French contingent, but she is captured by Edward's forces. When Margaret is ransomed and sent back to France, the Yorkists believe that they have seen the last of her, but in Richard III she will return to curse them.

QUEEN MARIANA

A "ghost character" in Dekker's The Whore of Babylon. Although she is never seen in propria persona, her hearse is brought on during the dumb show at the beginning of the play. The attendance of friars and cardinals at her funeral shows that she was a Catholic, and the fact that Titania immediately replaces her shows that she represents Mary Tudor. Time and Truth are overjoyed by her death, which results in the rout of the friars and cardinals. In later discussions between Titania and her counselors, the dead queen is referred to as 'Mariana.'

QUEEN MARY **1627

Only mentioned in Randolph's Plutophthalmia. Anus misses the days of Queen Mary (some seventy-nine years before this play) because women back then could get sexual gratification from a "lusty friar in auricular confession."

QUEEN MOTHER **1591

The Queen is Edward IV's widow and mother to Edward V, the Duke of York and Elizabeth in the anonymous True Tragedy of Richard III. She is also the mother to Elizabeth, Marcus and a number of other daughters. Unlike in Shakespeare's play, Queen Elizabeth Gray is clearly distinguished from Jane Shore. Soon after Richard assumes the role of Lord Protector, the Queen seeks sanctuary, along with her daughter Elizabeth and young son, the Duke of York. She surrenders her youngest son Richard to the Cardinal, Archbishop of York, to be delivered to Gloucester. The Queen remains in sanctuary with her daughter Elizabeth. When Richard sends Lowell to the Queen to propose marriage between Richard and Elizabeth, the Queen consents and agrees to leave sanctuary. The Queen sends word to Richmond before the battle of Bosworth Field to assist him in intelligence gathering. She appears on stage at the end of the play to find out that her son Dorset is safe in France. The Queen, along with Elizabeth and two messengers, serve as a final Chorus for the play. They tell of the great dynasty founded by Henry and Elizabeth.

QUEEN MOTHER **1591

She bemoans the impact of the rebellion on King Richard II in the anonymous Jack Straw. The Queen Mother wonders why Sir John Morton is with the rebels because he is worthy and, therefore, should not be with them. After Sir John Morton agrees to act as a go-between to learn what the commoners want, the Queen wishes him well. She encounters Tom Miller as he is trying to determine his fate by throwing his staff and verbalizes the action of most of the commoners who have gone home after the first general pardon. Agrees to speak to King Richard II for Tom Miller's safety.

QUEEN MOTHER **1591

The Queen Mother (historically Eleanor of Provence) is involved in the public reception upon Edward's return from crusade in Peele's Edward I, and when the new king encourages the nobles to follow his lead and contribute to causes that will help provide for his wounded veterans, the Queen Mother donates five thousand pounds for surgeons to be employed for them and further offers an annuity of forty pounds to the Ancient, Edward's standard bearer, if he will become her personal beadsman.

QUEEN MOTHER **1598

Another name used for Queen Elinor in (?Chettle and) Munday's Downfall of Robert Earl of Huntington. It is applied to her without apparent pattern.

QUEEN MOTHER **1600

Eugenia, wife of King Philip and mother of Fernando, Isabella and Prince Philip in the Anonymous Lust's Dominion. She begins the play as old Philip's unfaithful queen. At her husband's death, when her son Fernando becomes king, she becomes Queen Mother. The Moor Eleazar is her lover or male concubine as the play opens, but recently their liaison has become too well known. When she visits him in I.i he insults her and tries to break off their relationship. She must return to the Royal Palace through a secret passage when her dying husband asks for her. When her son, Prince Philip arrives, he calls his mother a Moor's concubine. When Mendoza banishes Eleazar and King Fernando reinstates the Moor, Mendoza swears revenge. He and Eleazar draw their swords, but Eugenia makes peace between her two lovers. Eleazar asks her whether she would be prepared to kill her own son for him—she says that she is, but asks which one. As part of her revenge, she has the two friars spread the news that her son Philip is a bastard. While her lover Eleazor is away chasing Philip and Mendoza, Eugenia plots to kill Maria who stands between her and Eleazar. Together with Alvero and other courtiers she plans to surprise her in the arms of her son Fernando. When they enter the room, however, they find both Maria and Fernando unconscious. They think that she has killed Fernando and determine to strangle her, but he is only asleep while Maria herself is dying from the poison she has consumed. Eleazar holds Fernando responsible for his wife's death and kills the King. A new King has to be chosen, but Eugenia has seen to it that Philip has been proclaimed a bastard and traitor and cannot therefore assume the crown. Eleazar offers himself, supported by Eugenia, the Queen Mother. When Eleazar seems to lose the battle against Philip, the Queen Mother seduces the Cardinal Mendoza and brings him back to her camp. She has Eleazar come, and the two men make peace again. Eleazar promises to lay down the crown and arrange for Mendoza to marry the Queen Mother and become King. Once Philip is arrested, Eleazar abdicates, and Mendoza asks for a new election. The Queen Mother is requested to tell the name of Philip's father, presumably that he might marry her and legalize the offspring. But the lords have other ideas and decide that he should die whoever he is, Spaniard or Moor. The Queen Mother swears that Mendoza had raped her while her husband had been in Barbary. Believing this to be part of the plot, Mendoza confesses his guilt and offers to marry her. Eugenia, however, insists on justice and revenge, claiming the throne for herself. Eleazar treacherously votes for Isabella and has the Queen Mother arrested together with Hortenzo, Philip and the Cardinal. She and the others are placed in chains as Eleazar's prisoners. He plans to have them all killed. Isabella manages to set them free by bribing the guard Zarack. Zarack kills Baltasar and sets Philip and Hortenzo free. Philip kills Zarack and with Hortenzo sets the other prisoners free and kills Eleazar. After Philip accedes to the crown, Eugenia protests that she wishes to go to some solitary residence and repent.

QUEEN of AMASIA

Wife of Acomat in ?Greene's Selimus I. When Selimus' siege of Amasia begins, the Queen has a parley with Selimus and refuses to surrender to him. After Selimus' army storms the walls of Amasia, the Queen is captured and, after scorning Selimus, is strangled by Hali.

QUEEN of ARAGON

The unnamed Queen of Aragon might be Cleodora, a name used as subtitle but nowhere else in Habington's The Queen of Aragon. She loves Florentio, whom she met when he was the Castilian ambassador to Aragon. Aragon is now a prisoner in her own city because the populace wish her to marry Decastro because Decastro had been appointed Regent by her father. When she learns that her rescuer Ascanio loves her and is the King of Castile, she is torn between him and Florentio, but when she is finally given freedom to choose her choice is her first love, Florentio.

QUEEN of ARCADIA

Only mentioned in Glapthorne's Argalus and Parthenia. Wife to the King and mother to the princesses Philoclea and Pamela, who are imprisoned by Amphialus. Her known favor for Argalus makes it possible for Parthenia to defy her mother's preference for her suitor Demagoras and invoke royal support in her choice of husband. This character is based on Gynecia, from Sydney's Arcadia, and Glapthorne's play assumes great familiarity with this work.

QUEEN of ARRAGON

The young Queen of Arragon in ?Ford's The Queen is a paragon of both beauty and virtue: the "excellency of her sex," as the play's subtitle has it. Having condemned Captain Alphonso to death for his misogynistic rebellion against her, she is convinced by Velasco's pleas and by her own mercy to pardon him. Seduced by his beauty and his soft speeches, she falls in love with him and marries him. Alas, even her perfect obedience and duty are not enough to turn Alphonso from his hatred of all women. She submits when he demands that she avoid his presence and bed for a week after their wedding, but when he ignores her for a full month she appears to ask what she has done to offend him. Although he spurns her, she forbids anyone to criticize him and resolves to retire to her chambers with her woman, Herophil, there to mourn her sad lot. She is enchanted when Alphonso appears penitent and send his respects to her, little knowing that he suspects her of adultery and is trying to trap her. When Alphonso sends her friend, Petruchi, a ring, she recognizes it as one she gave her husband, takes it from Petruchi and gives it back to Alphonso herself. She thus enables Alphonso to accuse Petruchi of having given her the ring as a love-token. Condemned for adultery, she gently defends her honour but commands all of her nobles to swear that they will not attempt to fight Alphonso in order to save her. When both Velasco and Petruchi appear at her trial to challenge Alphonso and refuse to be changed by her pleas, she swoons at the thought of the potential harm to her beloved husband. Fortunately, before any blood is spilled Muretto appears to reveal that he has maligned the Queen in an effort to force Alphonso to realize her virtue and beauty. Alphonso admits his love for his saintly wife and repents, granting the beleaguered Queen her longed-for wedding night.

QUEEN of CORINTH **1566

A "ghost character" in Gascoigne and Kinwelmershe's Jocasta. In her opening exposition, Jocasta tells Servus how the childless king and queen of Corinth raised the rescued infant Oedipus as their own son.

QUEEN of CORINTH **1617

The Queen of Corinth, mother to Prince Theanor in Fletcher's Queen of Corinth. It is clear that she is Queen by heredity, not by marriage, as we are told that she raised her husband, the King, to royalty through her love. The Queen is an exemplary Spartan lady, dedicated to the ideals of public justice and stoicism even at great personal cost. At the beginning of the play, she accedes to Leonidas' request that she give his sister Merione to Agenor despite the fact that she had already promised Merione to her own son, Theanor. After Merione is raped, she vows to punish the evil-doer no matter who he may turn out to be. She conceives a passionate regard for the young soldier, Euphanes, after he is recommended to her by Beliza, and promotes him to the position of her favourite. She shows some inclination toward marriage with him, and owns herself jealous of Beliza, but eventually relents and allows the two to plan their wedding. In the process, she unwittingly puts Euphanes in danger by giving him a ring that she in turn had received from Theanor; it is Merione's ring, taken from her when she was raped, and when Euphanes gives it to Beliza her friends become convinced that he was Merione's rapist. Agenor and Leonidas capture Theanor in an effort to force the Queen to give up Euphanes, but she utterly refuses to do so, declaring that she will never abandon an innocent man. When she eventually discovers that Theanor himself was the rapist, she disowns him on the grounds that her son was a free man, while Theanor has made himself a slave. She is willing to execute him to satisfy Beliza despite her own motherly feelings; but when she discovers that he raped only Merione and that Merione is willing to marry him, she is vastly relieved. She closes the play by proposing to assuage Agenor's loss of Merione by marrying him herself, declaring that she is not "[s]o farre in debt to yeares, but that she may / Bring [him] a lusty Boy."

QUEEN of CORINTH **1638

Only mentioned in Glapthorne's Argalus and Parthenia. She miraculously cures Parthenia of her "leprous" disfigurement during her self-imposed exile from Arcadia, allowing the heroine to return to Argalus in disguise and test his love for her. This character is based on Helen, from Sydney's Arcadia, and Glapthorne's play assumes great familiarity with this work. In Sidney's Arcadia, Helen is in love with Amphialus, who here loves Philoclea, who loves Pyrocles.

QUEEN of DENMARK

Mother to Clyomon and Juliana in the Anonymous Clyomon and Clamydes. She makes her first entrance at play's end (xxiii). She is overjoyed to learn from "Cur Daceer" that Clyomon returns. She withdraws with "Cur Daceer" supposedly to hear a private communication from Clyomon. It is a ploy, however, and they return with Neronis in her proper attire to be reunited with Clyomon.

QUEEN of ENGLAND

A "ghost character" in Greene's James IV. She is mentioned by the King as having derived comfort from her daughter, Dorothea's marriage. Historically, she would be Elizabeth of York, but there is no indication that Greene has remembered this or that he is attempting historical verity. Henry VII and Elizabeth of York did not have a daughter named Dorothea, and James IV married their daughter Margaret Tudor.

QUEEN of ETHIOPIA

The blackface masquing role in Brome's The English Moor meant to be performed by a disguised Millicent, but actually carried out by the doubly-disguised Phyllis.

QUEEN of FAERY

A disguise adopted by Dol Common in order to dupe Dapper in Jonson's The Alchemist. Subtle promises Dapper that he will gain miraculous powers through her to help him win at games of chance. Face tells Dapper that the Queen of Faery is Dapper's aunt. She kissed him in the cradle and may be summoned with the help of Subtle's magic. Face creates an elaborate personal fiction about the Queen of Faery. He says she is a rich lonely woman and can do strange things if she wants to. Dapper must fast and take vinegar up his nose in order to be spiritually prepared for his encounter with the Queen of Faery. The false Queen gives Dapper a fly in a purse and tells him to wear it about his neck as an amulet, feed it on his own blood daily, and not break his fast. She promises to leave her "nephew" four hundred chests of treasure and some twelve thousand acres of fairyland if he gambles well.

QUEEN of FRANCE **1597

The Queen makes her first appearance in scene 13 after Lemot has fetched her in Chapman's An Humourous Day's Mirth. Lemot tells her that the King is in love with another. He then proceeds with a very confusing tale of the King's temptation. The royal couple is reunited by play's end.

QUEEN of FRANCE **1614

The Queen of France is John's wife in Smith's The Hector of Germany. She unsuccessfully tries to prevent her husband from foolishly incurring the wrath of England by lecturing King Edward on what wars should and should not be fought. The Queen graciously accepts Floramell into her court; however, the Queen soon suspects that Floramell is trying to seduce the King. The Queen first confronts Floramell with the charge. She then hires spies to watch the young woman. When the King coerces a single kiss from Floramell, the Queen misreads the incident as proof Floramell is a whore. The Queen hires Young Fitzwaters to deliver Floramell to King Edward for execution. She additionally hires two travelers to testify falsely against Floramell and the King. Most importantly, the Queen decides to betray her husband's cause by allowing Edward and the Palsgrave access into the French castle in the disguise of masque dancers. When the King moves to clear Floramell name and the travelers show up drunk to testify, the Queen leaves the stage in a nervous breakdown.

QUEEN of IRELAND

She silently observes the religious ceremony in which Jupiter calls for Patrick's death–generally, this character says very little in Shirley's St. Patrick For Ireland. She is so moved by Patrick's piety, that she turns Christian, getting herself put under the guard of Milcho. She endures the imprisonment, aided by the comfort-giving Patrick. Caught up in the fire that Milcho starts in his own house, she is presumed to have died. But she surprises her son, Conallus, by appearing in the woods with Patrick's other followers, and tells him how Patrick calmly led her out from the inferno. She tells of the sacrifices that her new Christian lifestyle necessitates, and speaks about the perennial comforts of the Christian belief system.

QUEEN of LYDIA

In Act One of T.D.'s The Bloody Banquet, in effective asylum, she guards her young children in a forest, cursing her treacherous nephew, Lapyrus, who has sided with the Lycians. She vows to kill Layprus, but accepts him into her service when he rescues her from rapine by two soldiers, and after he expresses remorse for his disloyalty. In Act Two, she buries the child that has expired. She briefly loses the other child; she is relived to find the child again, but is still immersed in exiled wretchedness. In Act Five, she enters the castle of the now-vanquished Armatrites, bringing with her Manophes, her surviving Son and rightful heir to the Lydian throne.

QUEEN of NAPLES

The Queen of Naples in Fletcher's A Wife for a Month responds to her husband, the wicked King Frederick, with a strange mixture of defiance and submission. She is angry at being neglected by her husband and grateful that Evanthe did not succumb to his adulterous advances. Evanthe cites her as an example of bravery and female heroism. The Queen encourages Evanthe to accept the king's sentence and to go bravely into death. The Queen disappears from the text around the middle of the play.

QUEEN of PRUSIAS, THE

The Queen of Prusias attempts to intervene in the manipulation of her husband on behalf of Antiochus in Massinger's Believe As You List, however she is quickly dismissed by Prusias.

QUEEN of SICILY

The unwilling object of the King of Cyprus' affection in Markham and Machin's The Dumb Knight. The Queen refuses the King's importunities; in response, he lays siege to her country. To save lives, she first threatens suicide, then proposes double combat between her champions the Duke of Epire and Alphonso and the King, who is seconded by Philocles. The King loses to the Duke, but Philocles defeats Alphonso and then the Duke, winning the Queen for the King. When the King offers a huge reward to anyone who can cure Philocles, the Dumb Knight, the Queen begs Mariana not to accept the challenge, and later begs the King to spare Mariana's life. Mariana's brother, Epire, enraged by the near-execution of his sister, plots against the royal couple, hoping to convince the King that the Queen has been unfaithful. Persauding the King to disguise himself as a guard, Epire brings the King to observe the Queen's revels. The Queen dances with Philocles, inflaming the King's jealousy; then she encourages Mariana to argue that a fair woman should be proud. When Epire reveals himself and announces the King's imminent return, the Queen ends the revels, asking Philocles to play cards with her. Their innocent discussion of the game is overheard by the King and Epire; the latter "interprets" each remark as a sign of infidelity. The King orders the arrest of the Queen and Philocles, and intends to condemn them to death without a trial. As the Queen tries to speak to the King as she is on her way to her execution, he stops his ears; Mariana then suggest the Queen challenge the law. The Queen does this, and Philocles, who has escaped from prison and is in disguise, fights on her behalf, defeating Epire and forcing the Duke to confess his plot against the King and Queen. The King begs the Queen's pardon and allows her to determine Epire's fate; the Queen sentences him to live to repent.

QUEEN of SPAIN **1611

She takes exception in Dekker’s Match Me in London to the king’s courtesan, Tormiella, and makes her a waiting lady to shame them both. She later is happy to tell the king that Tormiella has run away from court. It is all a test, however, to see how much the king prizes the girl. She prepares to murder Tormiella with two knives but relents when she discovers the girl has not slept with the king and would rather die. The king creates a situation that makes it seem that she has taken Martines as her lover and both are sent to prison. Gazetto is sent to kill her and returns with news of her death, though it is a false report. She returns at play’s end to forgive her repentant husband.

QUEEN of the FAIRIES

A fictional character within Massinger's A New Way to Pay Old Debts, along with the Lady of the Lake, whom Marrall imagines to be the possible "lady" which Welborne invites him to dine with because he thinks "it must be an enchanted dinner."

QUEEN of the ISLE of STRANGE MARSHES

Mother of Neronis and wife (later widow) to King Patranius in the Anonymous Clyomon and Clamydes. We first learn of her when Rumor tells Clyomon that she, pregnant and recently widowed, is in a power struggle over the crown with her brother-in-law, Mustantius. Alexander, their liege lord, decides that a contest of champions must resolve the issue. The queen cannot find a champion for her cause to stand against Mustantius's champion, Clamydes. Alexander brokers an agreement whereby Mustantius is allowed to rule until her child is born, after which Mustantius is to receive five thousand crowns to recompense him. She agrees just as Clyomon enters, disguised, and offers to be her champion. The arrangement, however, is already concluded.

QUEEN of THESSALY

A "ghost character" in Brome's Love-Sick Court. She has died prior to the action of the play. She gave birth to Philocles during a civil war while fleeing for her life. Fearing for the child's safety, she arranged to have the child raised as Themyle's and gave out that she had miscarried. After the war ended, she still did not feel that Philocles would be safe, so she forbad Garalus and Themyle from revealing his true identity. Before her death, she certified Philocles's identity in writing.

QUEEN PAULINA

Originally from Florence, she is married to the King of Spain in Dekker's Noble Spanish Soldier. As Onælia gains public support, Paulina follows Count Malateste's plan of pretending that she is pregnant to further endear herself to the King and help coalesce support for herself. She pressures her husband to have Onælia and Sebastian killed, for which task she nominates Balthazar. When she learns that Onælia is to be married to Cockadillio, she instructs Malateste to poison her at the wedding feast. When the King is mistakenly poisoned, she flies into a rage and attacks Onælia but is restrained.

QUEEN PERFECTION

Queen Perfection is a "ghost character" in the First Masque presented at Cynthia's revels in Jonson's Cynthia's Revels. Cupid, disguised as Anteros, presents the First Masque, introducing Storge, Aglaia, Euphantaste, and Apheleia. Cupid/Anteros tells how these four fair virgins have come from the palace of their Queen Perfection to visit Cynthia's imperial court. Cupid/Anteros reports that Queen Perfection could not find a place for these four virgins among men, before her return to heaven, and advised them to pledge themselves to Cynthia's service. Queen Perfection, through her emissaries, presents Cynthia with a crystal globe, a symbol of monarchy and of perfection, dedicated to the moon deity. The crystal globe refracts many colors, and each color symbolizes one cardinal virtue represented by the virgins.

QUEEN REGENT of SCOTLAND

A "ghost character" in Sampson's The Vow-Breaker. Mary of Guise, the mother of Mary Stuart. At war with Queen Elizabeth of England, she sends her trumpeter, Trumball, to enquire as to the English Queen's grievance. She vows to sue for peace if she finds that the grievance is legitimate, but her French troupes attack the English forces before the parley takes place. Mary Stuart sends her legate, Monlucke, into Scotland to speak with the Queen Regent and to try to article a peace with England.

QUEEN VIDENA

Ferrex's and Porrex's mother in ?Tarlton's Three Plays in One. Appears in the first playlet.

QUERPO

Disguise adopted by Clutch in order to cheat Undermine in ?Clavell's The Soddered Citizen. He pretends to be a decayed gentleman, and he claims to be a Savoyan, a gentleman and a "scholler." In that guise he and his friends (Brainsicke and Shackle) mislead Undermine into believing that they intend to help citizens like him who, due to their knavery, have become bankrupt and are prosecuted by their creditors. They offer to hide and protect him in their household until everything is over.

QUEST

The spokesperson for the jury at Ismael's trial in the anonymous Nice Wanton. The jury returns the guilty verdict.

QUESTENBERG

Earl of Questenberg, of the Emperor's party in Glapthorne's Albertus Wallenstein. When Wallenstein defies the Emperor, Questenberg warns that he is a powerful enemy. When the Emperor is discouraged by a heavy defeat in battle, he extols the justice of their cause and the Emperor's successful reign of twenty-four years.

QUIBBLE, JEFFERY

Quibble, Quack's man in Quarles' The Virgin Widow, initially reminds him of the demands of conscience, but soon desists and advertises Quack's wares, pretending, among other things, that he has stabbed himself and then healed himself with Quack's magic ointment.

QUICK

A yeoman who aids the sergeant Honesty in Heywood's 2 If You Know Not Me.

QUICKLY, MISTRESS

I.
As Hostess at the Boar's Head Tavern in Eastcheap in Shakespeare's 1 Henry IV. Mistress Quickly, occasionally known as Dame Partlet, is well acquainted with the carousing of Falstaff and company. She is also on familiar terms with Prince Hal, who also frequents the tavern.

II.
Also known as the Hostess of the Boar's Head Tavern in Eastcheap, Mistress Quickly has gone to considerable expense in meeting the needs of Falstaff in Shakespeare's 2 Henry IV. She reports to the Lord Chief Justice not only Falstaff's debt but also his promise to marry her. Despite her suit for redress, it is apparent that Mistress Quickly has tender feelings for Sir John and easily—if not willingly—lets herself be won over by his artifices, bragging, and excuses.
III.
A servant to Dr. Caius in Shakespeare's The Merry Wives of Windsor. In a departure from the histories in which she appears, Falstaff does not in the beginning know her. Mistress Quickly attempts to help Slender in his quest to woo Mistress Anne. However, she is responsible not only for knowing the true feelings of Anne Page, but also for ensuring that her heart's desire is answered. She informs Mistress Anne of her parent's plans at Herne's Oak. She also conspires with Mistress Margaret Page and Mistress Alice Ford to help "cozen" Falstaff.
IV.
Pistol's wife in Shakespeare's Henry V. She is a London tavern hostess and was known as Mistress Quickly in the Henry IV plays. She reports Falstaff's death, blaming Henry's rejection for killing him. She bids farewell to her husband and his comrades as they depart for the French war. Near the end of the play, Pistol learns that she has died of the "malady of France", syphilis.

QUICKSANDS, MANDEVILLE

A Jewish moneylender in Brome's The English Moor who, at the play's beginning, has married Millicent. When she exhibits an apparent sexual voraciousness, he is frightened into postponing the consummation of their marriage. This causes gossip, and Millicent then proposes to him that, in return for his promise to let her remain celibate for a month, he might claim she has run away while she remains in his house in disguise. He chooses for her the disguise of a Blackamoor. A month passes, during which he has declared Millicent dead; he plans to hold a great feast to which he will invite the rakes (in order to expose their malice) and at which he will unmask and re-possess Millicent. He welcomes his guests to the feast, presenting the disguised Millicent as a blackamoor servant, Catalyna. He presents a masque of blackamoors, unaware that Phyllis has assumed Millicent's disguise and appears in the masque as the "Queen of Ethiopia." In the masque, he is named as the "Queen's" white bridegroom, but the ceremony is interrupted when Buzzard appears disguised as his idiot bastard. Quicksands is forced to acknowledge him. Learning that the "Queen of Ethiopia" has been caught with Nathaniel, he laments that it is his wife who has been debauched. In Testy's court the next morning, he publicly divorces the "Moor," supposed his wife. In quick succession, he loses Millicent, her jewels, and the debts of Nathaniel, Vincent, and Edmond.

QUICKSILVER, FRANCIS

Francis Quicksilver is Touchstone's apprentice and a rebel youth in Jonson, Marston, and Chapman's Eastward Ho!. The name carries alchemical connotations and suggests instability, intelligence, and quick movements, being related to Mercury. Quicksilver comes drunk to his master's shop in the morning, which wins Touchstone's disapproval. Though he is always in debt and maintains a woman and an expensive horse in town, Quicksilver pretends he is the son of a gentleman and his motto is "Eastward ho!" When Touchstone dismisses him for suspected false dealings, Quicksilver goes to Security's house, where he meets his woman Sindefy. At Security's house, Quicksilver, Sindefy, and Security plot how to trick Gertrude out of her land. When Sir Petronel enters with his new wife, Quicksilver is introduced as a knight and Sindefy as a gentleman's daughter just arrived from the country. After Gertrude is tricked into signing the papers for the sale of her land, Quicksilver runs to Security's house to fetch Winifred, who is going to elope with Sir Petronel. At the Blue Anchor tavern, Quicksilver brings Winifred disguised in her own gown, pretending she is Petronel's cousin who comes to say good-bye. After having a lot to drink, Quicksilver embarks on the boat, together with Winifred, Petronel, and his crew, despite the storm warning. Following the boat's wreck, Quicksilver is cast ashore and meets Sir Petronel and Seagull, who are in the same lamentable situation. Quicksilver offers to take them to his woman's house in London. The Constable brings Petronel and Quicksilver before Golding, the new deputy alderman, saying that they were about to be shipped away to the Low Countries as vagrants. Touchstone confronts Quicksilver with his trickery and has him taken to prison. In prison, Bramble visits Quicksilver and Petronel, offering them legal counsel. When the penitent Quicksilver hears that Golding showed pity for their situation and sent him some money, he is impressed. He dismisses the lawyer and says he will put his fate into God's hands. In a gesture of magnanimity, the reformed Quicksilver tells Wolf to give the money to the other prisoners and ask them to pray for him. When Touchstone comes to prison, ostensibly to rescue Golding, the repentant Quicksilver sings a heart-breaking song of repentance. After Touchstone forgives him and Golding suggests that he should marry Sindefy, Quicksilver does one more penance. He wants to go dressed in rags through the streets of London, to give an example of humility to the people of Cheapside. Quicksilver speaks the play's Epilogue. He notices that the people of London are already crowding to see them exit the Counter and gathered in multitude, as is if when attending a pageant. Effecting the transition from the real world to the reality of the theatrical show, Quicksilver addresses the audience. He wants them to come to the show once a week, just as they are drawn to a pageant every year.

QUICKSILVER, QUINTILIAN

A "ghost character" in Mountfort's The Launching of The Mary. One of the workers in the shipyard. His name is called out by the Clerk of the Check.

QUICQUID

A "ghost character" and possibly a fictitious character in Marston's Dutch Courtesan, Master Quicquid the parson does not appear in the play. Cockledemoy, disguised as Andrew Shark the barber, refers to Quicquid when he's explaining to Mulligrub where his usual barber has gone. Since "quicquid" means "whoever," and since Cockledemoy is an improvising trickster, it's possible that the parson is one of Cockledemoy's fictions. Interestingly enough, though, later in the play, when Mulligrub is being carted off to the stocks, one of the constables (who is not intelligent enough to make up names) says that Mulligrub will appear before Justice Quodlibet (or "Justice Whatever you please") the next morning. Justice Quodlibet, although he does not appear in the play either, seems to be someone whom the other characters believe exists, and perhaps in this case it is the playwright Marston who is the improvising trickster. The similarities between the name that Cockledemoy devises for the parson and the name that Marston devised for the justice suggests that Marston is saying, first, that playwrights are like tricksters in their ability to fictionalize, and second, that both religious and legal authority figures are arbitrary and capricious, a commentary that was characteristic of Marston.

QUIETO

Quieto is a Ferraran whose past has been wild and crowded with incident in Middleton's The Phoenix. He now loves the quiet life and feels that modern law contains too much cheating and too many errors. He is called to court to minister to the lawyer Tangle, who has become so immersed in his crafty work that his mind is unhinged. Quieto provides medications and leads Tangle through a sort of exorcism coupled with bleeding; his ministrations seem to affect Tangle positively.

QUINCE, PETER

Peter Quince, a carpenter by profession, is script master and director for the group of rude mechanicals planning a theatrical performance in honor of Duke Theseus' wedding in Shakespeare's A Midsummer Night's Dream. Originally casting himself in the part of Thisbe's father, Peter Quince ultimately assumes the newly written Prologue part. The poorly phrased, punctuated, and delivered Prologue proves a comedic introduction to what was intended as a tragedy.

QUINTILIAN QUICKSILVER

A "ghost character" in Mountfort's The Launching of The Mary. One of the workers in the shipyard. His name is called out by the Clerk of the Check.

QUINTILIAN SHORTHOSE, SIR

The father of Cælestine and father-in-law of Sir Walter Terill in Dekker's Satiromastix, Sir Quintilian is the proud host of the wedding celebration that opens the play. He is also one of the suitors of Mistris Miniver. Little is made of his interest in the widow in the play. This is perhaps due to the fact that Sir Quintilian is soon distracted by the news that his daughter is commanded to submit herself sexually to the king, William Rufus, on her wedding night. Sir Quintilian sees the harsh reality of duty and fealty to the king, and agrees that Cælestine must go to the court as commanded, but he devises a plan whereby they may fulfill their side of the bargain while preserving Cælestine's constancy. He concocts a potion that makes Cælestine appear dead for a short while. However, he tells his children that the potion is poison, and Cælestine drinks it believing she is committing suicide rather than submit her body to the king, and her bridegroom Terill believes that she is dead. After Terill confronts the king with Cælestine's body and the king repents, Cælestine revives and Sir Quintilian reveals his part in the plot. He explains that his intention in keeping the harmless effects of the potion secret was to test the bride-groom's love and the bride's constancy. Terill and Cælestine pass Sir Quintilian's test, and he announces himself doubly happy in having a constant daughter and loving son.

QUINTILIANO

Quintiliano is a captain who believes devoutly in his wife's fidelity, and takes advantage of tradesmen and those who seek his favor, including Innocentio and Giovanello in Chapman's May Day. He takes advantage of the funds and knowledge of his gulls at the Emperor's Head and in the town. When he returns home to discover the disguised Lorenzo in the coal-house, he believes his story and releases him. He sets up the continued gulling of Innocentio at the May night show, sees (unknowingly) Franceschina disguised as a man in Aurelio's clothes (and later learns what is happening when he eavesdrops on Fannio and Giacomo). As a masquer at the ball, he dances with his wife, but chooses not to believe her when she says that she mistook him for someone else. He persuades Innocentio to consider Temperance as a partner at the play's end.

QUINTILIANUS

A "ghost character" in the Anonymous Tragedy of Nero. Listed by Melichus as one of the conspirators against Nero.

QUINTUS

Quintus, a son of Titus Andronicus, and his brother Martius are falsely charged with the murder of Bassianus in Shakespeare's Titus Andronicus. They are later executed and their heads are delivered to Titus on a platter.

QUINTUS ATRIUS

Commander of the Roman fleet in Fisher's Fuimus Troes. He comes in IV.iv.50 to tell Caesar that a storm has destroyed their ships.

QUINTUS CATULUS

Quintus Catulus is a senator in republican Rome in Jonson's Catiline. He is trustworthy but rather gullible and judges people at face value. In the Roman Senate, Catulus enters with the senators. Following the election of Cicero and Caius Antonius as consuls, Cicero delivers a speech of gratitude. While Caesar is displeased with Cato's support of Cicero, Catulus remarks that, if all reports were true, the times needed an eager spirit to watch over Rome. Catulus makes vague and generalizing comments regarding the state of the nation, such as when he says that those states that are forced to buy their rulers' fame with their own infamy are in a miserable situation. When Catiline pretends to congratulate Cicero on his election, the naïve Catulus remarks that Catiline has been wrongly judged. At Cicero's house, Cicero tells his brother to summon a number of senators and tribunes he could trust, among whom he mentions Catulus. When Cornelius and Vargunteius try to gain access into Cicero's house under the guise of friends, but with the purpose of murdering him, Catulus is in the group of Cicero's honest friends and clients who witness the scene. When the conspirators flee, and the remaining senators advise Cicero to follow the assassins and bring them to justice, Catulus says that, if the allegations for murder are proved, the consul should let the commonwealth punish the conspirators. In the Senate, before Cicero accuses Catiline of conspiracy to murder, Catulus says that, like Cato, he will not stand beside Catiline. Catulus is used as a trustworthy witness, but does not get implicated in the events.

QUINTUS CICERO

Quintus Cicero is Cicero's brother and a tribune of the people in republican Rome in Jonson's Catiline. When Cicero learns of Catiline's conspiracy, he is preparing to take measures. Thus, he sends for his trusted brother Quintus Cicero and the tribunes, as well as for his colleague Caius Antonius, the other consul. At his house, Cicero welcomes his brother, telling him to order the Porter to let no one into the house that night. When Quintus Cicero asks if his brother would not admit his clients or his colleagues, Cicero says that his murderers are coming under the guise of friends. According to intelligence obtained from Curius via Fulvia, Catiline's plan was to have Vargunteius and Cornelius introduce themselves into Cicero's house as friends and then murder him. Cicero asks Quintus Cicero to send for Cato and Catulus to act as reliable witnesses, and for the praetors. Quintus Cicero is surprised at his brother's excessive caution, warning Cicero that, by behaving like that, he might make his friends angry with him, while his enemies would laugh at his stupidity. Later, Quintus Cicero reports the arrival of Cato, Catulus, and Crassus, as well as some of his clients and friends, among whom are Vargunteius and Cornelius. Quintus Cicero attends the scene in which the conspirators are not admitted in, and then steal away cowardly, while the other witnesses enjoin Cicero to send the praetors after the alleged assassins.

QUINTUS CORNIFICIUS

A "ghost character" in Jonson's Catiline. Quintus Cornificius is a Roman senator. According to Sempronia, Catiline's initial plan of becoming consul included the arrangement of having some of the eligible senators withdraw from the competition, thus leaving Catiline and Caius Antonius the only candidates. It seems that Cornificius, like other senators, was privy to Catiline's plans, but did not get involved in the conspiracy. When Catiline's plot is disclosed in the Roman Senate, the consul rules that the conspirators should be placed in private custody. Cornificius is charged with supervising Cethegus.

QUINTUS CURIUS

Quintus Curius is a former senator in republican Rome, a member of Catiline's conspiracy, who later betrays him to Fulvia and acts as a spy for Cicero in Jonson's Catiline. At Catiline's house, Autronius enters with the other conspirators. After hearing Catiline's incendiary address, the confederates are invited to partake of fresh human blood as a symbolic seal of their pact. After the ritual ceremony, the conspirators exeunt. At Fulvia's house, Curius is trying to regain his mistress's favors, despite the fact that he is broke and can no longer entertain her extravagant tastes. While at first Fulvia spurns him, she later accepts his attentions in order to find out about Catiline's conspiracy. It is inferred that Curius discloses the plot to Fulvia in bed, and Fulvia transmits it to Cicero. At Fulvia's house, Curius enters after Fulvia has had a discussion with Cicero. Both Cicero and Fulvia try to win Curius for their party, and they succeed. Curius accepts to play the spy in Catiline's party. After the plot has been exposed in the Senate, the conspirators gather at Catiline's house to elaborate their strategy. The plan is to set Rome on fire on the night of the Saturnalia, and remove all the enemies at once. After each conspirator has been allotted his task, the separate meetings of the women and men conspirators convene, but Fulvia pretends she is tired and wants to retire. Curius whispers to her to convey the message to Cicero that he should be on his guard, because Cornelius and Vargunteius are charged specifically to kill him. After Cicero has accused Catiline of conspiracy in the Senate, based on the information obtained from Curius via Fulvia, Curius attends the conspirators' meeting, in which the decision is taken to go along with the plan while Catiline is in exile. Curius learns of a secret conference with Allobroges at Sempronia's house and informs Cicero. Eventually, Curius is rewarded discreetly for his services in divulging the conspiracy.

QUINTUS FABIUS SANGA

Quintus Fabius Sanga is a senator in the Roman republic in Jonson's Catiline. The nation of the Allobroges was under his patronage. Therefore, when they hear of Catiline's conspiracy, Allobroges inform Sanga first. In his turn, Sanga informs Cicero. At the Senate, Sanga enters announcing the Allobroges. He informs Cicero of the conspirators' plot to attract Allobroges to their side. Sanga attends the discussion between Cicero and Allobroges, making side comments on the personality of Sempronia, wife of Decius Brutus, at whose house the conspirators planned to meet the ambassadors secretly. After the Allobroges have obtained the incriminating letters from the conspirators, Sanga enters Cicero's house while the consul was holding a council of war. Sanga informs Cicero that the conspirators have taken the bait and Cicero must send his troupes at once to the Milvian Bridge to intercept Allobroges. In addition, Sanga asks Cicero what he would do with Sempronia, and the consul says that his anger is not vented on fools and women, so she will be spared. After the conspirators have been tried in the Senate, the consul rules that Sanga should be given public thanks for his good services to the nation.

QUINTUS HORACE

Only mentioned in Jonson's Bartholomew Fair. Quintus Horatius Flaccus was the first-century BC Latin poet, author of Odes, Epodes, Epistles, and Satires. When Overdo enters the Fair disguised as a madman, in order to detect the wrongdoers and bring them to justice, he says he defies anyone who could recognize him under his disguise. Even if that person had met the Epidaurus serpent, as Quintus Horace calls him, still they could not have recognized Justice Overdo in his madman's disguise. Horace, in his Satires, mentions the serpent, which people thought to have keen sight and to be an incarnation of Aesculapius, whose temple was at Epidaurus. Overdo's logic is doubtful, transferring the serpent's excellent seeing quality to someone who only met the legendary beast, as reported in Horace.

QUINTUS LABIENUS

A "ghost character" in Shakespeare's Antony and Cleopatra. Quintus Labienus is reported to have turned against Caesar and raised a Parthian army, taking Syria, Lydia and Ionia.

QUIRE **1627

Dull-pate calls in this group to chant benedictus while the Pope blesses Plutus in Randolph's Plutophthalmia.

QUIRINUS**1594

Only mentioned in Kyd's Cornelia. Cicero refers to him as the son of Mars and the founder of Rome.

QUISANA**1621

Aunt to Princess Quisara in Fletcher's The Island Princess. She is experienced in the ways of love and thinks she understand male motivations. She attempts to explain women to Pyniero but he already understands—or so he thinks. Quisana acts as chaperone to the Princess and cares deeply for her. She desires nothing less than to care for her niece, offering to sing to her or read to her to help her sleep.

QUISARA**1621

The lovely, virtuous, and noble Island Princess in Fletcher's The Island Princess: sister of the King of Sidore and niece to Quisana. She has many suitors, but she prefers Ruy Dias above all the others. She issues a proclamation that she will marry any man who is able to rescue her brother, the king, from the Terna prison where he is being held by the evil Governor of Terna. Ruy Dias hesitates, but Armusia and his Portuguese soldier/comrades disguise themselves as Merchants, blow up the prison, and rescue the king. The Princess has made a promise, but she still prefers Ruy Dias and does not want to marry Armusia. The valiant Armusia courts her gently, refuses to renounce his Christian religion when she asks him too, and stands on his honor and courage through all his adversities, even torture and imprisonment. With the helpful intervention of her waiting-woman, Panura, and her aunt Quisana, Armusia and the Princess are united and, once the Governor of Terna is exposed, it is apparent that she will marry Armusia, convert to Christianity, and live on as his devoted wife.

QUISQUILLA

Quisquilla, Quack's shrewish wife in Quarles' The Virgin Widow, attends Kettreena when she is ill and tells tales about her to her sister.

QUIXOTE, DON

I.
Only mentioned as an epithet in Jonson's The Alchemist. In the garden of Lovewit's house, while Surly was still in his Spanish costume, Kastril enters and abuses the false Spaniard, whom he thinks guilty of seducing his sister. Kastril calls the Spaniard derisively a Don Quixote. Don Quixote is the hero of Cervantes's novel.
II.
Only mentioned in Jonson's Epicoene. Don Quixote is the hero of Cervantes's eponymous novel. Since his extensive reading of chivalric literature influenced the hero's mind, Don Quixote became a symbol of the damaging influence of this genre on the education of nobility and the life at court. Truewit, Clerimont, and Dauphine discuss the behavioral characteristics of court ladies and their ways of hiding various defects. Truewit shows excellent expertise in this matter and offers instructions on how women should conceal their physical blemishes. Dauphine is impressed with Truewit's competence and asks him how he came to study court ladies so thoroughly and give such exact descriptions of their manners. Truewit responds that one must go out and study court ladies where they are, at court, not stay inside and read courtly romances. Truewit implies that it is not efficient for a gentleman to stay in his chamber and read Amadís de Gaule or Don Quixote, the stock romance characters. Instead, Truewit recommends a direct involvement in the life of the court and a live study of ladies' behavior, which would allow an educated choice of a future wife.
III.
Only mentioned in Randolph's Plutophthalmia. Carion compares his valor with that of Quixote.

QUODLIBET

A "ghost character" in Marston's Dutch Courtesan, Justice Quodlibet does not appear in the play. When Mulligrub is being carted off to the stocks, one of the constables says that Mulligrub will appear before Justice Quodlibet (or "Justice Whatever you please") the next morning. His counterpart seems to be Master Quicquid the parson, who also does not appear in the play. Cockledemoy, disguised as Andrew Shark the barber, refers to Quicquid when he's explaining to Mulligrub where his usual barber has gone. Since "quicquid" means "whoever," and since Cockledemoy is an improvising trickster, it's possible that the parson is one of Cockledemoy's fictions. On the other hand, Justice Quodlibet, although he does not appear in the play either, seems to be someone whom the other characters believe exists, and perhaps in this case it is the playwright Marston who is the improvising trickster. The similarities between the name that Cockledemoy devises for the parson and the name that Marston devised for the justice suggests that Marston is saying, first, that playwrights are like tricksters in their ability to fictionalize, and second, that both religious and legal authority figures are arbitrary and capricious, a commentary that was characteristic of Marston.

QUOMODO

Family name of Ephestian, Thomasine, Susan, and Sim in Middleton's Michaelmas Term.