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Elizabeth CaryA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Herod’s brother Pheroras arrives on stage with the servant girl Graphina, whom he loves and wishes to marry. Pheroras explains that he has been praying for a long time that he could follow his own will and marry Graphina. He describes Graphina as irresistibly alluring and his brother as maniacal. Had Herod lived, he says, he would have forced Pheroras to wed his infant niece. His brother’s power in every instance overwhelms his own intentions and preferences. Although Herod would have given him power, property, and a set place in the royal succession for complying with his wishes, Pheroras proclaims that he would rather have the prerogative to marry Graphina than three times the territory of Judea. He notes the irony that Herod capriciously divorced his first wife Doris for Mariam. His brother, however, will not let him make decisions about his own wife. Pheroras concludes by boasting that Graphina is as lovely as Mariam.
He then asks Graphina why she has been so silent as he spoke. She affirms that she also has eagerly awaited this opportunity to marry; she is afraid she cannot adequately express her joy at the way Pheroras is lifting her from her lowly state. She lingers on the distinctions between her social standing and his, saying he alone does not consider her unworthy. Graphina says she has much to reflect upon, and remaining silent helps her with that task. She finds this wisest, not wanting to inadvertently promise more to Pheroras than she can deliver.
Even though she is silent, he says, she does not need to be solemn. Her beauty and his love for her cut through the “far-fetched eloquence” of those who profess love but do not possess the affection he feels for Graphina (2.1.76). He asserts that he loves Graphina more than Herod loves Mariam. He states that not even Herod’s ghost can prevent them from marrying.
The two sons of Babus enter with Constabarus. The first son recounts the manner in which Constabarus has endangered himself by concealing them from Herod for 12 years. They know that Salome knows of their existence and thus has been a constant danger to them and to her husband. The son professes that they cannot repay Constabarus with more than friendship, though they know they owe him their lives.
Constabarus elaborately explains that their friendship is more than payment enough, for it has broken down all the barriers and distinctions between them. He says they already know in their hearts the truth of what he is saying. Now, he proclaims, he is freeing them from their “living tombe” so they can make the most of the years they have left (2.2.33).
The second son elaborates on the depths of Herod’s hatred and the consequences Constabarus would face if Herod knew the boys were still alive. He commits to demonstrating with his life how much he appreciated the sacrifices Constabarus made on their behalf.
The first son remarks that he is worried Herod might not actually be dead. If so, the dangers Herod faced might make him all the more bloodthirsty. He asks if he and his brother can stay hidden until Herod’s death can be verified.
Constabarus asks him if he has become a coward. He is convinced Herod is dead. The first son responds that it is not cowardice but rather a recognition of Herod’s past and Caesar’s capriciousness that has made him reluctant to easily accept the rumors of Herod’s death.
The second son then recounts spending years in Rome, where he encountered Octavius—now Caesar Augustus. Knowing Caesar’s inclinations, he is fearful that Caesar granted clemency to Herod.
Constabarus tries to convince the brothers of his certainty that Herod is dead. Regardless, he says, Salome cannot know that the Babus boys are still alive, since she will be looking for a way to blackmail Constabarus into granting her divorce. Trying to go back into hiding is likely impossible, however. The boys in turn respond that they understand the dilemma they are all in. They will yield to Constabarus’s assertion that they can go about freely, though both fear Herod is likely alive and soon to return to Judea. Constabarus counsels them to be courageous.
Doris, Herod’s first wife, and her son Antipater enter. Doris takes in the sight of Jerusalem nostalgically, stating that it has been nine years since she last saw the city, to which she is native. Throughout the time of her exile, she has observed all sacred royal rituals. Herod banished her and Antipater when he divorced her and married Mariam. She once had great expectations for her son, and she had no idea that anything was amiss until Herod forced them from their home.
She reflects on the drastic negative changes forced upon her and Antipater, whom she names as Herod’s son and rightful heir. She recounts how Herod wooed her for her beauty, family wealth, and important social position. He abandoned her, she says, when he saw the opportunity to gain even higher status. In response, she has prayed for revenge against Mariam. It appears to her that her prayer has been answered with the death of Herod. Doris has come to Herod’s palace to fight for Antipater to take Herod’s place rather than any of his children with Mariam, whom she deems illegitimate. She recognizes, however, that Mariam’s offspring are highly regarded in Jerusalem, and she has little hope that Antipater will ascend to the throne. She is determined to remain in the city even if Herod is not dead, gambling that Herod will only show resentment to her and not to his son.
Noting that everyone thinks Herod is dead, Antipater counsels his mother to devise a plot to kill Mariam’s children, leaving him the only successor. He says he is not concerned about the incidentals of an assassination plot, since these children are the fruit of an adulterous relationship.
Doris replies that the children are beyond their reach. If anyone killed the children, they would immediately be suspected. She advises that the two of them need to hide out and mourn for the time being.
Silleus and Constabarus enter. Silleus says he has come to confront his rival. Constabarus states that he knows why Silleus has sought him out, but that he is ready to deal with him regardless of the source of their conflict. When Silleus asks Constabarus what he thinks the issue is, Constabarus responds that Salome is the source of their discord, although he says he believes her not to be worth fighting for. Silleus takes exception to the husband’s words and angrily vows to make Constabarus take them back. Constabarus urges Silleus to come up with a better reason to duel; perhaps Silleus could strike the first blow or insult his Hebrew faith, because he cannot make himself angry enough to fight over his wife. Silleus responds that he has nothing else to fight for but Salome and warns his adversary that he is an able fighter.
Constabarus enters a soliloquy, explaining that he already pities Silleus for loving Salome and is not willing to injure him further. If Silleus should win the duel, the husband warns, he has not gained much, because Salome is completely undependable and will leave her new lover at some point for another man. He describes her as someone who cannot love and who only desires to possess. She is no more, he says, than “a painted sepulcher, / That is both fair, and vilely foule at once” (2.4.43-44). He points to Josephus and himself as examples of her deadliness.
Silleus accuses Constabarus of being all talk. Constabarus insists he will not fight over Salome, at which Silleus calls him a coward. Constabarus replies that Silleus has at last given him a reason to fight, and points out that Silleus should know that Constabarus is no coward since he himself has watched as Constabarus successfully dueled others. Silleus acknowledges that he may be wounded and both of them may die, but that this is a good day for it. As a final warning, Constabarus tells Silleus he cannot win, and that they can put the duel off indefinitely. He asks what Silleus is trying to achieve in fighting for Salome, since he already has her love. Constabarus cedes any claim to her, saying he has come to detest her.
The two continue to duel throughout their dialogue, with Constabarus wounding Silleus repeatedly and offering to cease the fight. Silleus vows to fight as long as he has breath, saying his love for Salome has overcome his fear. Watching Silleus warily, Constabarus says he wishes that his rival could envision the obvious outcome of the duel. He implies that if they were really fighting to win Salome, he would rather die too, death being preferable to life with her. To this, Silleus says he is ready to die. Constabarus responds that he can if that is his choice; he does not hate Silleus and would kill him only as an act of charity. He implores Silleus not to embrace death before his time, though he senses death may be close and asks, “How far’st thou brave Arabian?” (2.4.101).
Acknowledging that he can no longer fight, Silleus says his leg is injured, but that his real wound is not being able to defend Salome’s honor. Constabarus says the wounds are not fatal, and Silleus will soon recover. He announces that he is taking Silleus to his own home to heal, expressing admiration for his character. In a conciliatory tone, Silleus responds that Constabarus is a worthy, noble opponent, and that under different circumstances they would have been friends. His love for Salome prevents him from befriending Constabarus, though he will never forget the way his enemy has provided for him. Constabarus concludes that he accepts Silleus’s comradeship and will continue to provide, but that they need to hurry home because Silleus is bleeding.
The act concludes with six stanzas in which the Chorus discusses the impetuous nature of human beings. Our assumptions and biases make us hear what we want to hear, confounding our better judgment and opening us to believing untruths—particularly intentional lies. The Chorus posits that we want to believe the best about ourselves and wash away examples of our wrongs and weaknesses, though eventually the truth of who we are will surface.
Concerning the fate of Herod, the Chorus warns that once before false rumors had him dead, only to have him return to Palestine very much alive. No one has sought to verify the latest rumors by tracing them to their source. Only a few wise people seem to remember the previous false rumors and thus guard their expectations, actions, and words. Those who openly embrace the questionable news of Herod’s death are recklessly putting themselves in peril. The Chorus concludes with a warning to those who act as if Herod is dead; they have made a serious error, and their best hope now is that the rumors are correct, since their unwise decisions have opened them to Herod’s revenge if he turns up alive.
In Act II, multiple players foolishly act upon their impulses without verifying that Herod is dead. With her brother no longer able to protect and enable her, Salome makes plans to leave her husband and marry a landowning Arab prince. Her husband Constabarus decides, after 12 years of harboring brothers he was to have executed, that the time has come to let them out in public. Pheroras abandons his brother’s command to wed his infant niece and instead marries a common woman he adores. Doris, assuming her ex-husband can no longer object, sneaks into Jerusalem with her firstborn son to claim Herod’s throne.
Herod’s assumed death thus creates a space in which those around him can dream and plan freely. As the Chorus puts it, they should have waited to make sure Herod was really dead. However, their reactions reveal just how little King Herod was loved. Apart from Mariam’s mixed emotions, the only person who is legitimately sorrowful about his death is Salome. It does not take long, however, for her to move from dependence upon Herod to hatching a new scheme.
Other topics that re-emerge in the chapter are classism and racism. Mariam and Alexandra allude to the diluted blood lines of Herod and Salome in Act I. One of Constabarus’s issues with Salome falling in love with Silleus is that he is of a different race. In Act II, Salome gazes at Graphina, Pheroras’s bride, through a similar lens and determines she is unworthy to be the king’s sister-in-law because she is merely a common woman.
One character introduced in Act II reveals his true nature in one brief stanza. Antipater, the eldest son of Herod by Doris, expresses his willingness to kill the children of Mariam so as to smooth his journey to the throne of Judea. In eight lines, Antipater demonstrates that he is as bloodthirsty as his father and his aunt Salome, and as vindictive as his mother. He voices no grief at all over the assumed death of his father.
Though there is little physical action in the play, Act II, Scene 4 is the noteworthy exception. Constabarus and Silleus’s duel otherwise resembles other scenes in which conflict builds slowly as the characters react to each other’s words, thus making literal Cary’s ability to fashion dialogue around life-or-death action. Cary provides clear distinctions between the two players: the cool-headed, dispassionate Constabarus and the passionate, offended Silleus. Like the two combatants, the dialogue itself combines inflamed rhetoric with unconcerned observations.
Cary also gives Constabarus another anachronistic allusion. In a profound insult, Constabarus compares Salome to a painted burial tomb. This mirrors the grave affront Jesus spoke against the Pharisees in Matthew 23:27, calling them whitewashed tombs. For a Jew, a tomb was the epitome of uncleanness. Thus, Jesus is telling the Pharisees that they look good on the outside, but within they are unclean corpses. For an observant Jew like Constabarus to say this about his wife is the ultimate degradation. Constabarus’s language also reflects the misogynistic trope common to 16th- and 17th-century England that linked women’s use of makeup (“paint”) to duplicity.