Lytton Strachey's Elizabeth and Essex is not a book which has pleased everybody, but it was the starting-point of this opera. This is not the place to analyse the book's deficiencies, real or alleged, but to assert that it tells skilfully a tense and dramatic story based upon historical persons and happenings. The late Sir Desmond MacCarthy, in his recently published Memories, recalls an interesting opinion that Elizabeth and Essex is almost a sketch for a play and that Strachey's method was inspired by or borrowed from the Elizabethan stage. Both the composer and the librettist of Gloriana were able to see in the book a sketch for an opera, and both are ready to acknowledge their debt to Strachey's dramatic sense. This does not mean that Gloriana is wholly based upon Elizabeth and Essex, or that it has emerged merely as an operatic version of that book. In the first place the makers of an opera are not under the obligation of even a picturesque biographer like Strachey to stick closely to history or chronology. Secondly, the makers of this particular opera came to be less concerned than Strachey with the amatory motives of the two principal characters and more concerned with the Queen's pre-eminence as a Queen, a woman, and a personality.