God and the King — Text and Context

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Bowen, Marjorie, 1888-1952 Project Gutenberg 2013 Not confirmed
James II, King of England, 1633-1701 -- Fiction; Great Britain -- History -- Revolution of 1688 -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 130,363
Reading time 567 min
Text sections 18

God and the King — Text and Context can be approached with a clearer sense of reading commitment from its source measurements: 130,363 words, 9 hr 27 min estimated reading time, and 18 detected text sections.

The text analysis averages about 19.7 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “James II, King of England, 1633-1701 -- Fiction,” connecting these edition facts with the source record’s subject description.

Marjorie Bowen's 1911 historical novel uses ornate diction and intimate dialogue to dramatize the Revolution of 1688, focusing on James II, Mary of Modena, and the political tensions between crown and conscience.
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Editorial Edition Score 4.8/5

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

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Read the Text

oom, a gentleman seated opposite the window at a tall black cabinet decorated with gold lacquer Chinese figures, that showed vivid even in the twilight. He was watching his companion with a gentle expression of judgment, and twirling in his slim fingers a half-blown white rose.

An over-richness of furniture, hangings, and appointments distinguished the chamber, which was little more than a cabinet. The flush of rich hues in the Mortlake tapestries, the gold on the China bureau, the marble, gilt, and carving about the mantel, two fine and worldly Italian paintings and crystal sconces, set in silver, combined to give the place an overpowering air of lavishness; noticeable in one corner was a large ebony and enamel crucifix.

The persons of these two gentlemen were in keeping with this air of wealth, both being dressed in an opulent style, but in themselves they differed entirely from each other.

Neither was young, and both would have been conspicuous in any company for extreme handsomeness, but there was no further likeness.

He at the window was by many years the older, and past the prime of life, but the magnificence of his appearance created no impression of age.

Unusually tall, finely made and graceful, he carried himself with great dignity; his countenance, which had been of the purest type of aristocratic beauty, was now lined and marred—not so much by years, as by a certain gloom and sourness that had become his permanent expression; his eyes were large, grey, and commanding, his mouth noble, but disfigured by a sneer, his complexion blond and pale, his nose delicately formed and straight; a fair peruke shaded his face and hung on to his shoulders; he was dressed, splendidly but carelessly, in deep blue satins, a quantity of heavy Venice lace, and a great sword belt of embroidered leather.

The other gentleman was still in the prime of life, being under fifty, and looking less than his age.

Slight in build, above the medium height, and justly proportioned, handsome and refined in feature, dressed with great richness in the utmost extreme of fashion, he appeared the very type of a noble idle courtier, but in his long, straight, heavy-lidded eyes, thin sensitive mouth, and the deeply cut curve of his nostril was an expression of power and intelligence above that of a mere favourite of courts.

He wore his own fair hair frizzed and curled out on to his shoulders and brought very low on to his forehead; under his chin was a knot of black satin that accentuated the pale delicacy of his complexion; every detail of his attire showed the same regard to his appearance and the mode. Had it not been for that unconscious look of mastery in the calm face he would have seemed no more than a wealthy man of fashion. In his beautifully formed and white hands he held, as well as the rose, a handkerchief that he now and then pressed to his lips; in great contrast to the other man, who appeared self-absorbed and natural, his movements and his pose were extremely affected.

A pause of silence wore out; the man at the window beat his fingers impatiently on the high walnut back of the chair beside him, then suddenly turned a frowning face towards the darkening room.

"My lord, what doth this presage?"

He asked the question heavily and as if he had much confidence and trust in the man to whom he spoke.

My lord answered instantly, in a voice as artificial as the fastidious appointments of his dress.

"Nothing that Your Majesty’s wisdom and the devotion of your servants cannot control and dispel."

James Stewart turned his eyes again to the open casement.

"Do you take it so lightly, my lord?" he asked uneasily. "All London shouting for these disloyal prelates—the city against me?"

Lord Sunderland replied, his peculiarly soothing tones lowered to a kind of caressing gentleness, while he kept his eyes fixed on the King.

"Not the city, sir. Your Majesty heareth but the mobile—the handful that will always rejoice at a set given to authority. The people love Your Majesty and applaud your measures."

"But I am not popular as my brother was," said the King, but half satisfied, and with an angry look towards London.

The Earl was ready with his softly worded reassurances.

Marjorie Bowen opens God and the King with a speaker at a Whitehall window, listening to the 'unusual and tumultuous noises' of bells, shouting, and fireworks on the afternoon of June 30, 1688. The room is cluttered with 'over-richness'—Mortlake tapestries, a gold-lacquer Chinese cabinet, a large ebony and enamel crucifix. This dense, sensory description immediately establishes a court where opulence and tension coexist. Bowen's prose lingers on material details (a 'half-blown white rose', 'crystal sconces set in silver') to evoke a world on the verge of upheaval. The dialogue, too, is weighted: 'There is no managing an unreasonable people. By Heaven, my lord, they do not deserve my care.' The speaker's petulance and the listener's silent judgment set up a dynamic of power and restraint that runs through the excerpts.

Diction and the Weight of Words

Bowen's vocabulary is deliberately formal and slightly archaic, matching the late-17th-century setting. Characters speak in balanced, rhetorical phrases: 'the saddest salute he was ever like to know' or 'We will to London—there to face these misfortunes.' The narrator uses words like 'obscured', 'tumultuous', and 'superbly' to heighten emotional registers. In the scene with Queen Mary, her internal cry—'Ye had no right to make childless women!'—breaks the measured tone with raw, colloquial force. This contrast between controlled public speech and private anguish is a recurring structural choice. Bowen also employs French mottoes and Latin tags (the epigraph from Massillon, the dedication's 'Luctor et Emergo') to signal the novel's intellectual and European scope.

Dialogue as Political Theater

Conversations in the excerpts are rarely casual; they are performances of loyalty, fear, or authority. The opening exchange—a lord twirling a rose while another complains—is a silent negotiation. Later, Queen Mary's dialogue with Lord Nottingham is a study in composure: 'There must be grave news,' she says, and when he reports defeats, she replies, 'Then it is not the worst.' Bowen uses short, clipped lines to convey resolve. The child's innocent remark—'I have even dropped the blackamoor's teeth'—punctures the queen's grief, showing how domestic detail intrudes on political drama. The whistle that summons him ('That is my father—I must go now') adds a layer of offstage control, hinting at unseen power structures.

Description as Emotional Landscape

Bowen's interiors mirror her characters' states. The opening cabinet is 'overpowering' in its 'lavishness', with a crucifix amid worldly art—a visual emblem of the conflict between piety and power. In the queen's chamber, the 'dusty floor' and 'shadow of the chest' frame her desperation. The shell she picks up, 'still warm and moist from his tight clutch', becomes a tangible symbol of lost motherhood. Later, the council room is described with 'walls of varied-coloured tapestry' and 'rugs from Persia', but the view through the window—'housetops and a little turret with a bell clear against a sky of flaming summer'—offers a brief, ironic beauty against the news of defeat. These settings are never neutral; they are charged with the characters' anxieties.

Recurring Motifs: Silence and Restraint

Throughout the excerpts, characters suppress emotion. The queen 'bit her lips to steady them' and 'thrust her sorrows back into her heart with that placid courage that never failed her.' The opening lord watches 'with a gentle expression of judgment' while saying little. Silence itself becomes a form of communication: the queen 'sat quite still, listening' after the child leaves. Bowen often notes what is not said—'She had not long even the comfort of lonely weeping'—and uses physical gestures (embracing, dropping objects) to convey inner turmoil. The repeated phrase 'the poor Queen' echoes through the text, a refrain that underscores the isolation of Mary of Modena. This pattern of restraint, broken by rare outbursts, gives the prose a taut, theatrical quality.

Bowen's novel rewards attention to its verbal texture: the way a character 'twirls' a rose, the precise naming of furniture, the sudden shift from formal address to raw exclamation. Readers may find it useful to track how Bowen uses objects—a shell, a crucifix, a half-blown rose—as emotional shorthand. The excerpts suggest a work where political history is filtered through intimate, almost claustrophobic scenes of personal crisis. The author's choice to begin in medias res on a specific afternoon, rather than with exposition, signals a confidence in the reader's familiarity with the period—and a focus on the human cost of historical events.

That rainy afternoon, Bowen’s ornate diction made James’s doomed conscience feel close, almost tactile. When I finally set the book down, my hand drifted to the shelf and found The Luminous Face — Reading Companion instead. Its quieter prose felt like a lantern left burning in a room I’d just left, casting a gentler shadow on everything I’d been mulling.

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