55 pages • 1 hour read
Geoffrey TreaseA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
In Cue for Treason, Geoffrey Trease imbues his historical setting with social and political detail. This creates a rich backdrop that informs the circumstances and motives of the protagonists and antagonists.
In particular, the book draws on the nature of social structures and power in 16th-century England. Peter’s family are in the yeomanry, a rural middle class that grew in Elizabeth’s reign: relatively wealthy farmers who owned their own land. The yeomanry’s relative privilege meant that they were able to access education, especially the boys, and engage in wider intellectual and cultural pursuits. Peter’s experiences are revealing of this class: He attends grammar school and so, when he meets the theater troupe, he understands the dramatic genre and is able to read scripts very well.
Peter’s Coming of Age is impacted by wider social issues in Elizabeth’s reign. The yeomans’ protest that leads to Peter fleeing is in relation to enclosure, when landowners appropriated land that had traditionally been communal to enrich their own estates. Between 1530 and 1650, enclosure protest was the main cause of social revolt across England. Peter’s travels across the country with the troupe enable him to witness mass unemployment, poverty, and vagrancy. Through Peter’s eyes, Trease shows challenges of life for those without social status in this period, revealing The Impact of Social Structures on Individuals. Society was strictly hierarchical, with most power and wealth in the hands of a tiny elite. Although Elizabeth I’s reign (1558-1603) was a time of national stability and prosperity, the book shows the acute hardship of normal lives throughout human history. Peter is strongly motivated by his understanding of English history. He is aware of the relative stability of the Tudor monarchs after the Wars of the Roses in the previous century (1455-87). Elizabeth’s reign also ended a decade of successional and religious instability after the death of her father Henry VIII (1547). Trease shows that, to Peter, Elizabeth’s continuation as monarch represents peace for ordinary people.
Trease also uses the historical context of war and peace to create his book’s antagonist and sense of jeopardy. Sir Philip and his conspirators draw on the history of real attempts to kill or remove Elizabeth I. As in history, they are driven by a desire to consolidate their own power and to return England to Catholicism. The book refers to the historical Rising of the North (1569) in which Northern nobles were motivated by Catholicism and an assertion of historical feudal rights, which were increasingly challenged by Elizabeth’s Protestant Church of England, professional administration, and growing social mobility. Spanish invasion was a recurrent feature of historical conspiracies at the time, such as the Babington Plot. As the dominant Catholic power in Europe, the Spanish monarchs welcomed opportunities to add England to their empire, especially following a Papal bull in 1570 that named Elizabeth as a heretic and called for her removal. Trease uses real historical detail to create a world of intrigue and danger, incorporating the real secret service and spy network that countered these plots.
Trease draws on Elizabeth I as an iconic historical figure, especially her reputation for cleverness, fairness, self-mythologizing, and as a patron of the theatrical arts. Elizabeth’s unusual position as a female monarch in a patriarchal world supports the book’s exploration of gender discrimination at this period and becomes a point of resolution when she extends protection to Kit, another woman in a man’s world who must navigate pressure to marry.
Elizabethan Theater, also known as English Renaissance Theater, describes the flourishing theatrical culture that emerged during Elizabeth’s reign. This period gave rise to the most celebrated figure in English literature, William Shakespeare (1564-1616), as well as Christopher Marlowe (1564-93) and Ben Johnson (1572-1637). Trease uses frequent Shakespeare quotes, embedding his book into its cultural context.
This genre developed out of the medieval traditions of community or touring morality plays, travelling musicians and performers, and the performances of court poets. The burgeoning of the dramatic arts at this time was partly driven by the patronage of Elizabeth I and by the increased prosperity of a growing middle class who were able to access cultural entertainment. As Cue for Treason shows, there were two main forms of public theater during this time. In the winter (when the threat of plague was reduced), London theater companies put on runs of plays in the capital’s various playhouses. During the summer, touring troupes travelled across the countryside, bringing theater to those in the provinces. The employment of actors and writers was generally seasonal and piecemeal, but this also gave rise to a high level of cross-fertilization of ideas and techniques between companies and regions, as well as raising competition.
This theatrical culture shapes Peter and Kit’s adventures. The book contrasts the fictional Desmond touring company with Burbage’s renowned London company, with access to playhouses and royal and noble patronage. These embody the socio-economic extremes of Elizabethan theater culture, with the high-status London milieu feeding and informing the rural touring theaters: The relative discernment of the Desmonds’ audiences is shown to change depending on the socio-economic conditions of the communities they visit, with largely a rural/urban and north/south divide.
The action and plot of Cue for Treason shows that theater was a dynamic cultural phenomenon that both responded to and communicated news and ideas, and allowed for a certain level of socio-political critique. As Peter reflects, Shakespeare’s history play Henry V spoke to political and military concerns in Elizabethan England. Trease draws directly on the historical use of a Shakespeare play in a conspiracy against Elizabeth I: The supporters of the 1601 Essex Rebellion organized a performance of Richard II, a play that shows the downfall of a tyrannical monarch. Following this, the play’s abdication scene was banned from performances due to its dangerous implications about the fallibility of monarchy.