Servants in general don't show up often enough, unless they're there to stab their masters in the back. But they were a fundamental fact of life until fairly recently.
I hope, at least, that people who think "So why'd she kill him?" will at least go on to think, "Probably because that's when and how she dies." But if you're not up on the history, then no -- making use of when and how he dies won't cause any particular glee.
As for Deven and Lune, you remind me: when I worked out how that relationship would go, my subconscious insisted on calling their confrontation in the orchard the Big Misunderstanding, borrowing a term particularly used in romance fiction. But it isn't a Big Misunderstanding, and that's what pleased me about it: Deven is, in fact, entirely justified and right to be suspicious of Anne. (Though he misses his mark slightly at first, through no fault of his own.)
Also, the original plan was for Lune to go to Deven for help after she gets out of prison, and to therefore be required to confess that she's a fae. This? Was not interesting enough. Telling people stuff is not half so fun as having them find out when you don't want them to. Hence the Cloak Lane scene, when her glamour gets shattered in front of him. (And it let me get him to the Goodemeades, which was useful, since they could actually convince him not to run screaming and/or stab people.)
"And now and then stab, as occasion serves" is another Marlowe quote, and one Deven would subscribe to. He resorted to the Latin mostly because he didn't have anything for stabbing. Also, area of effect.
More to the point, the Goodemeades were useful for convincing him not all fae were lying bitches and/or murdering bastards. (And for cheerfully meddling in his love life. They knew exactly what they were asking for, when they suggested he give Lune a ride back to London.)
I included 'choosing the right weapon for the job' as part of 'figuring things out'. But yes, definitely a stabby sort of person when necessary.
Drat it, *, I do not need more encouragement to become an Elizabethan theatre nerd. Really. I am half-sick of a particular smugness I see in some Elizabethan theatre nerdiness-- which I realize may not actually be there-- and I cannot learn everything all at once. And here you come with quotes! And spies! And historical context which does not exclude underhill interference!
*I find I want to say Bryn here, and I am not sure if this is right. Ideally, there would be some confluence of names, a nickname that serves for both, but no.
Swan? You can always go with the username as a basis. But, eh, welcome to the confusion of my nomenclative* life.
My Elizabethan theatre nerdiness is amateur in the extreme. I've read only one Marlowe play, and seen none performed, much less anybody else who isn't Shakespeare. But he's got some very quotable lines.
"But that was in another country, and besides, the wench is dead . . . ."
I hope, at least, that people who think "So why'd she kill him?" will at least go on to think, "Probably because that's when and how she dies." But if you're not up on the history, then no -- making use of when and how he dies won't cause any particular glee.
As for Deven and Lune, you remind me: when I worked out how that relationship would go, my subconscious insisted on calling their confrontation in the orchard the Big Misunderstanding, borrowing a term particularly used in romance fiction. But it isn't a Big Misunderstanding, and that's what pleased me about it: Deven is, in fact, entirely justified and right to be suspicious of Anne. (Though he misses his mark slightly at first, through no fault of his own.)
Also, the original plan was for Lune to go to Deven for help after she gets out of prison, and to therefore be required to confess that she's a fae. This? Was not interesting enough. Telling people stuff is not half so fun as having them find out when you don't want them to. Hence the Cloak Lane scene, when her glamour gets shattered in front of him. (And it let me get him to the Goodemeades, which was useful, since they could actually convince him not to run screaming and/or stab people.)
More to the point, the Goodemeades were useful for convincing him not all fae were lying bitches and/or murdering bastards. (And for cheerfully meddling in his love life. They knew exactly what they were asking for, when they suggested he give Lune a ride back to London.)
Drat it, *, I do not need more encouragement to become an Elizabethan theatre nerd. Really. I am half-sick of a particular smugness I see in some Elizabethan theatre nerdiness-- which I realize may not actually be there-- and I cannot learn everything all at once. And here you come with quotes! And spies! And historical context which does not exclude underhill interference!
*I find I want to say Bryn here, and I am not sure if this is right. Ideally, there would be some confluence of names, a nickname that serves for both, but no.
My Elizabethan theatre nerdiness is amateur in the extreme. I've read only one Marlowe play, and seen none performed, much less anybody else who isn't Shakespeare. But he's got some very quotable lines.
"But that was in another country, and besides, the wench is dead . . . ."
*I suspect I just made that word up.