The Queens of England series is Jean Plaidy's retelling of novels she's already written. The difference being the earlier novels are in the third person; TQOE books are in first person. The books are not sequels to one another; they're stand-alone novels.
“Queen of this Realm” is about Elizabeth I. Like the other books in the series, this one features many events that the narrator has no direct involvement in, so the story has many dry second-hand reports. This, to me, makes the point of rewriting a third-person narrative as a first-person one pointless.
Statements like, “Although I was far from the centre of events, I had my own informants”, are common. Sometimes such are events are relevant to Elizabeth’s story, but in most cases the info is relayed as dry facts, rather than the author finding a way to liven up the narrative. Yet, on other occasions, events have little or no relevance to Elizabeth’s life, so not only does this result in dry facts, it results in irrelevant dry facts.
It’s one of the author’s traits to include as much history as possible in all her novels, which always proves detrimental. We don’t need extensive second-hand accounts of other historical personages just for the sake of it. Take this segment about Katherine Parr, for example:
“It was enough, and by ill fortune the scheming Gardiner was present. According to Katharine he hurried to commiserate with the King, and the others in the chamber fell silent for a terrible dread had fallen on them. When a man has disposed of two of his wives by decapitating them, uneasy thoughts must quickly enter the heads of others. They would wonder how long that necessary part of the body would be with them.”
If the above quote was dramatized, featuring action, dialogue, body language, suspense, etc., it would’ve been highly engaging, but as this is a first-person narrative, it can’t be done, so it should either have been condensed and presented in a less dry way, or better still cut. The focus should’ve been on Elizabeth and her first-hand experiences. If gaps are evident in parts of her history, then what better opportunity for an author to let loose their imagination?
While I consider Mary, Queen of Scots, to have led a more exciting life than Elizabeth I, I skipped many paragraphs relating to her in this book. Elizabeth and Mary never met, though their lives were intertwined. Yet, one long-winded paragraph after another providing dry historical facts about Mary’s life have no place in a first-person narrative of someone who’s never been in the same room as her. 90 per cent or more of this material should’ve been cut.
As the following quote reveals, at times the narrator is recounting facts that someone tells her after they heard news from somebody else: “Soon I heard the whole story from Kat. She had managed to prize it from Edward, the messenger.” I wish the author had concentrated on storylines that Elizabeth was directly involved in, along with creating her own scenes where history has left no record.
This “telling” instead of “showing” is apparent throughout the book, much of which would’ve fit better in a textbook, rather than a novel. Odd lines, like, “Robert was clearly uneasy,” is blatant telling. Why not *show* his uneasiness?
Reported speech is a particularly annoying way of telling instead of showing with dialogue and action: “I thanked her for her concern and said that I was as well as I could hope to be after my sojourn in the Tower.”
Language is at times inconsistent. It’s mainly contemporary, which I feel is how it should be, but on certain occasions it becomes archaic: “‘Thou art welcome,’ he replied. ‘I forgive thee. Thou art the minister of justice.’”
It’s usually in letters that the language becomes archaic. I presume it’s the author’s way of being authentic, but it’s ridiculous when most of the book features contemporary language. Things like this quote stick out like a sore thumb:
“Let Her Majesty understand how her singular kindness doth overcome my power to acquit it, who, though she will not be a mother, yet she sheweth herself, by feeding me with her own princely hand, as a careful norice.”
And I’ve no clue what “norice” means.
Continuity error: at one point Elizabeth is described as 66, then a few paragraphs later as 65.
Speaking of age, this is another gripe I have: it’s hard to gauge the passage of time because the novel isn’t chapterized. We get breaks, but no chapters, which can be confusing and frustrating when, with no sense of time passing, we learn that Elizabeth is several years older than you think she is. Every so often, we learn what year it is, but otherwise days, weeks, months, and years blend together.
Also, by not chapterizing her novel, the author is missing a trick. Not only do chapters help to break up passages of time, they serve as mini-cliffhangers, or at least give the reader a moment to reflect on what’s just happened and what might happen next. Hitting “enter” twice and leaving a bit of space between sections doesn’t have the same effect as the end of a chapter and the start of the next.
Emotion: Elizabeth makes it clear over and over that she loves Robert of Essex, and she laments his death for years afterwards; however, the death of her governess Kat Ashley, whom she loved dearly as a child and during the early years of her reign, is referred to as if she were a causal acquaintance. She’s only mentioned once after that, much later in the narrative, and she’s referred to indifferently. I find this inconsistent characterization.
The second Robert in Elizabeth’s life is a much more interesting character than the first one. He livens things up quite a bit, though the author’s dry style of writing means it’s not nearly as good as it should’ve been. Still, this did engage my interest for the most part, as did certain parts here and there, which is why I’ve rated this novel three stars, not one or two, but overall, this is a missed opportunity.
Something about Jean Plaidy’s books keep me coming back for more. Perhaps it’s her obvious love for English and French history, which I share, that draws me back. I wish she’d focused less on turning out as greater quantity of novels as possible and concentrated more on quality writing. A novel like this one should be revised about 20 times, yet this at best feels like a second draft. This was poorly put together. Endless second-hand reports, most of which have no relevance to Elizabeth I, spoil what could've been a great novel.