Margaret Tudor: A Romance of Old St. Augustine — A Reader’s Guide
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San Augustin, this 29th of June, Anno Domini 1670.
It is now more than a month since our captivity began, and there seems scant likelihood that it will come to a speedy close,--altho', being in good health myself, and of an age when hope dies slowly, I despair not of recovering both liberty and friends. Yet, in the event of our further detention, of sickness or any other evil that may befall me--and there is one threatening--I write these pages of true history, praying that they may some time reach the hand of my guardian and uncle, Dr. William Scrivener, if he be still alive and dwelling in these parts. Should they chance, instead, to meet the eyes of some friendly-disposed person of English blood and Protestant faith, to whom the name of William Scrivener is unknown, I beseech him to deliver them to any person sailing with the sloop _Three Brothers_, which did set out from the Island of Barbadoes on the 2nd of November last,--being in the hire of Sir Thomas Colleton, and bearing freight and passengers for these shores.
If the sloop has suffered some misadventure (as I fear is not unlikely,--either at the hands of the Spaniards, or else of the Indians of these parts, who do show themselves most unfriendly to all Englishmen, being set on to mischief by the Spanish friars), then I pray that word may be forwarded to his Lordship, the Duke of Albemarle, and others of the Lords Proprietors who did commission and furnish a fleet of three vessels, to wit: the _Carolina_, the _Port Royal_, and the _Albemarle_, which did weigh anchor at the Downs in August of last year, and set forth to plant an English colony at Port Royal.
In particular would I implore that word might reach Lord Ashley, seeing that his kinsman, Mr. John Rivers, is here detained a prisoner in sorry state, laden with chains in the dungeon of the Castle--for which may God forgive me, I being in some degree to blame; and yet, since it hath pleased Heaven to grant me the fair face that wrought the mischief, I hold myself the less guilty and grieve the more bitterly, inasmuch as I love him with a maid's true love and would willingly give my life to spare him hurt.
If it were so that I might give the true narrative of our present plight, and how it fell about, without cumbering the tale with mention of my own name, it would please me best; but as those who read it may be strangers, I would better tell my story from the start.
Of myself it is enough to say that my name is Margaret Tudor, and saving my uncle, Dr. Scrivener, I am alone in the world and well-nigh portionless--my father having spent his all, and life and liberty to boot, in the service of King Charles, being one of those unfortunate royalists who plotted for His Majesty's return in the year '55. For, as Cromwell did discover their designs ere they were fully ripe, many were taken prisoners, of whom some suffered death and others banishment. Of these last was my father, who was torn from the arms of his young wife and babe and sent in slavery to Barbadoes. We could learn nothing of his after fate, though many inquiries were made in his behalf.
And so it fell about that,--my mother having gone to her rest,--I did take passage with my uncle, Dr. William Scrivener, on board the _Carolina_, with intent to stop at Barbadoes and make some search for my poor father in the hope that he yet lived.
Among the passengers of the _Carolina_ was Lord Ashley's kinsman and agent, Mr. John Rivers, of whom I can find naught to say that seems fitting; for although it may hap that in this great world there are other men of a countenance as fine, a mien as noble, and a heart as brave and tender, it has not been my lot as yet to encounter them.
Together we did sail for three months on the great deep, in danger of pirates, in peril of tempests, and in long hours of golden calm when the waters burned blue around us and the wide heaven shone pale and clear over our heads. And in all that time we came to know one another passing well; and Mr. Rivers heard my father's story and promised to aid us in our search.
The opening chapter of Annie T. Colcock's Margaret Tudor: A Romance of Old St. Augustine immediately establishes a voice caught between captivity and self-possession. Dated June 29, 1670, the first-person narrative begins with a frank assessment of the narrator's situation: "it is now more than a month since our captivity began." The prose is measured, almost clinical, yet undercut by a personal urgency—the narrator writes in case of "sickness or any other evil that may befall me." This tension between composure and vulnerability runs through the excerpt, as Margaret Tudor reports mastering Spanish, playing the lute for the governor's wife, and recalling a Scots ballad whose melancholy cadences provoke a sharp exchange about love, tears, and power.
Captivity and the Written Record
The narrative frame is a document meant to reach the narrator's guardian, Dr. William Scrivener. This conceit—a diary or letter intended for a specific reader—gives the prose a double audience: the intended recipient and the eavesdropping reader. The narrator's voice is careful, almost legalistic in its dating and detail, yet it slips into personal anxiety when mentioning "one threatening" evil. The use of the present tense for the act of writing ("I write these pages of true history") creates a sense of immediacy, as if the text itself is a fragile object that might be lost or intercepted. The mention of the sloop Three Brothers and the plea to any "friendly-disposed person of English blood and Protestant faith" grounds the narrative in a specific historical moment—the early English settlement of Carolina—while also underscoring the narrator's isolation.
Language as a Tool and a Trap
Margaret Tudor's account of learning Spanish reveals a strategic mind: she cares "nothing for it as a mere accomplishment" but hopes it may aid escape. Yet the skill also wins her favor with Doña Orosia, the governor's wife, who demands songs until Margaret's "throat is weary." The relationship between the two women is layered with suspicion and performance. When Margaret sings a Scots ballad about a woman who weeps a river for a faithless lover, Doña Orosia offers a cynical interpretation: "the flood of a woman's tears will bear a man further than a mighty river." The Spanish woman's reading reframes the ballad as a commentary on female power—or its illusion. Margaret, however, makes no answer, "having none upon my tongue." This silence is telling; it suggests either deference, disagreement, or a strategic withholding of her own views.
The Ballad as a Mirror of Tensions
The Scots ballad quoted in full—"I bade my love fareweel, wi' tears"—is the emotional and thematic center of the excerpt. Its language is deliberately archaic, a dialect that Margaret must translate for her Spanish listener. The ballad's narrative of a woman who threatens to "drink the tearfu' seas" and cross the sea's dry bed to reclaim her lover is both absurd and desperate. Doña Orosia's response—that a man who suspects a woman could break her heart for him is "more than content to let her do it"—reframes the ballad as a cautionary tale about self-destructive love. The exchange highlights a cultural and personal divide: Margaret offers the ballad as a quaint relic; Doña Orosia reads it as a psychological drama. The scene suggests that the novel will explore how stories are interpreted differently depending on who tells them and who listens.
Readers should attend to the way Colcock uses the first-person diary form to create a sense of immediacy and uncertainty. The narrator's voice is not omniscient; she reports rumors, interprets silences, and admits when she cannot read the motives of those around her. The historical setting—Spanish St. Augustine in 1670—is rendered through specific details of captivity, language learning, and social performance rather than broad exposition. The ballad scene, in particular, rewards close attention for how it dramatizes the gap between what a character says and what she means.
There’s something about being caught between two languages and two loyalties that stays with you, like the narrator of that old St. Augustine romance. It reminded me of another quiet book I keep thinking about—the way it lingers around the edges of a life, asking what we owe the stories we inherit. The Twelfth Hour — A Reader’s Guide has that same unhurried ache.
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