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Lena Steveker


In this article, I discuss Richard Brome's tragicomedy The Queen and Concubine (1635–1636), focusing on how the play reflects the iconography of Charles I as well as Stuart ideals of statecraft. I argue that the play's representation of a royal ruler in a pastoral setting draws on Van Dyck's portraiture and on Charles I's masques, as well as on Lipsius's political concept of ‘love’. I claim that the play promotes a ‘politics of happiness’ which affirms the Caroline ideology of royal rule. My reading of Brome's play aims at furthering the critical understanding of the cultural and political concerns shared by court drama and drama written for the commercial theatre in the Caroline period.