Playing for High Stakes: the Archer's Stake and the Battle of Agincourt
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WAR, GOVERNMENT and ARISTOCRACY in the BRITISH ISLES, C.1150-1500
WAR, GOVERNMENT AND ARISTOCRACY IN THE BRITISH ISLES, c.1150-1500 Essays in Honour of Michael Prestwich Edited by Chris Given-Wilson Ann Kettle Len Scales THE BOYDELL PRESS © Contributors 2008 All rights reserved. Except as permitted under current legislation no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded or reproduced in any form or by any means, without the prior permission of the copyright owner First published 2008 The Boydell Press, Woodbridge ISBN 978-1-84383-389-5 The Boydell Press is an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk IP 12 3DF, UK and of Boydell & Brewer Inc. 668 Mt Hope Avenue, Rochester, NY 14620, USA website: www.boydellandbrewer.com A CIP record for this book is available from the British Library This publication is printed on acid-free paper Printed in Great Britain by CPI Antony Rowe, Chippenham, Wiltshire Contents List of Contributors Vll Introduction ix Abbreviations xvii Did Henry II Have a Policy Towards the Earls? 1 Nicholas Vincent The Career of Godfrey of Crowcombe: Household Knight of King John 26 and Steward of King Henry III David Carpenter Under-Sheriffs, The State and Local Society c. 1300-1340: A Preliminary 55 Survey M. L. Holford Revisiting Norham, May-June 1291 69 Archie Duncan Treason, Feud and the Growth of State Violence: Edward I and the 84 'War of the Earl of Carrick', 1306-7 Matthew Strickland The Commendatio Lamentabilis for Edward I and Plantagenet Kingship 114 Bjorn Weiler Historians, Aristocrats and Plantagenet Ireland, 1200-1360 131 Robin Frame War and Peace: A Knight's Tale. -
Orson Welles's Deconstruction of Traditional Historiographies In
“How this World is Given to Lying!”: Orson Welles’s Deconstruction of Traditional Historiographies in Chimes at Midnight Jeffrey Yeager, West Virginia University ew Shakespearean films were so underappreciated at their release as Orson Welles’s Chimes at Midnight.1 Compared F to Laurence Olivier’s morale boosting 1944 version of Henry V, Orson Welles’s adaptation has never reached a wide audience, partly because of its long history of being in copyright limbo.2 Since the film’s debut, a critical tendency has been to read it as a lament for “Merrie England.” In an interview, Welles claimed: “It is more than Falstaff who is dying. It’s the old England, dying and betrayed” (qtd. in Hoffman 88). Keith Baxter, the actor who plays Prince Hal, expressed the sentiment that Hal was the principal character: Welles “always saw it as a triangle basically, a love story of a Prince lost between two father figures. Who is the boy going to choose?” (qtd. in Lyons 268). Samuel Crowl later modified these differing assessments by adding his own interpretation of Falstaff as the central character: “it is Falstaff’s winter which dominates the texture of the film, not Hal’s summer of self-realization” (“The Long Good-bye” 373). Michael Anderegg concurs with the assessment of Falstaff as the central figure when he historicizes the film by noting the film’s “conflict between rhetoric and history” on the one hand and “the immediacy of a prelinguistic, prelapsarian, timeless physical world, on the other” (126). By placing the focus on Falstaff and cutting a great deal of text, Welles, Anderegg argues, deconstructs Shakespeare’s world by moving “away from history and toward satire” (127). -
Geoffrey Wheeler
Ricardian Bulletin Magazine of the Richard III Society ISSN 0308 4337 March 2012 Ricardian Bulletin March 2012 Contents 2 From the Chairman 3 Society News and Notices 9 Focus on the Visits Committee 14 For Richard and Anne: twin plaques (part 2), by Geoffrey Wheeler 16 Were you at Fotheringhay last December? 18 News and Reviews 25 Media Retrospective 27 The Man Himself: Richard‟s Religious Donations, by Lynda Pidgeon 31 A new adventure of Alianore Audley, by Brian Wainwright 35 Paper from the 2011 Study Weekend: John de la Pole, earl of Lincoln, by David Baldwin 38 The Maulden Boar Badge, by Rose Skuse 40 Katherine Courtenay: Plantagenet princess, Tudor countess (part 2), by Judith Ridley 43 Miracle at Denny Abbey, by Lesley Boatwright 46 Caveat emptor: some recent auction anomalies, by Geoffrey Wheeler 48 The problem of the gaps (from The Art of Biography, by Paul Murray Kendall) 49 The pitfalls of time travelling, by Toni Mount 51 Correspondence 55 The Barton Library 57 Future Society Events 59 Branches and Groups 63 New Members and Recently Deceased Members 64 Calendar Contributions Contributions are welcomed from all members. All contributions should be sent to Lesley Boatwright. Bulletin Press Dates 15 January for March issue; 15 April for June issue; 15 July for September issue; 15 October for December issue. Articles should be sent well in advance. Bulletin & Ricardian Back Numbers Back issues of The Ricardian and the Bulletin are available from Judith Ridley. If you are interested in obtaining any back numbers, please contact Mrs Ridley to establish whether she holds the issue(s) in which you are interested. -
Henry V Plays Richard II
Colby Quarterly Volume 26 Issue 2 June Article 6 June 1990 "I will...Be like a king": Henry V Plays Richard II Barbara H. Traister Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 26, no.2, June 1990, p.112-121 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Traister: "I will...Be like a king": Henry V Plays Richard II "I will . .. Be like a king": Henry V Plays Richard II by BARBARA H. TRAISTER N BOTH RichardII and Henry v, the first and last plays ofthe second tetralogy, I kings engage in highly theatrical activity. Each play, however, has a very different metadramatic focus. In Richard II acting becomes a metaphor for the way Richard sees himself. The focus of audience attention is the narcissistic royal actor whose principal concern is his own posturing and who is his own greatest, and eventually only, admirer. Richard is an actor and dramatist, the embodiment of Elizabeth I's comment: "We Princes, I tell you, are set on stages, in the sight and view of all the world duly observed" (quoted in Neale 1957,2:19). However, his self-ab sorption and blindness to the world around him lead the audience to make few, if any, connections between him and the actor-dramatist who created him. The play is nearly empty of self-reflexive dramatic overtones despite its complex portrait of a player king. -
The Battle Speeches of Henry V
The Battle Speeches of Henry V Anne Curry University qfSouthampton In the attack on Constantinople in 1204, when Peter of Amiens saw Murzurphlus spurring his horse towards him, he shouted to his followers Now lords, stand firm' We will have a fight on our hands: see the emperor is coming. Take care that there is no one so bold as to run away. But now resolve to stand firm,l Such scenes arc commonplace in medieval chronicles. As Bllese observed, chroniclers wrote hundreds of battle orations. harangues to the knights before or during combat, that show in detail the kinds of motive appeals the chroniclers believed would be most effective in building morale.' . One of the most famous battle speeches of all must be that of Henry V at Agincourt, well known not from its chronicle versions but from the stirring words of Shakespeare.' Shapiro has alerted us to Shakespeare's use of expressions he heard in daily life as well as those he read in the printed histories which informed his works. In the case of the battle speech, Shapiro detects the influence ofa sermon delivered to the royal court on Ash Wednesday 1599 by Lancelot Anclrewes. 4 The theme was war, the context the preparations for the expedition of the earl of Essex to Ireland. Andrewes' 'thumping reiteration of "this time" and "this day''', Shapiro argues, inspired Shakespeares similarly repeated emphasis on 'St Crispin's day'. Shakespearean scholars have detected other influences on the composition of the speech, ranging from popular sayings,' to biblical passages,6 to accounts of other battles in the histories of Hall and Holinshed.' But Henry V's battle speech has a much longer pedigree which can be traced back to the earliest chronicle narratives of the battle. -
Henry V Template
OHIO SHAKESPEARE FESTIVAL KING HENRY V AUGUST 2015 HISTORICAL CONTEXT QUIZZES & VOCAB ACTOR INSIGHTS READ ABOUT THE TRUE STORY OF FIND PRINTABLE QUOTES QUIZ OSF ACTORS SPEAK ABOUT THEIR HENRY V, THEN COMPARE IT TO THE (WITH TEACHER’S KEY) AND A CHARACTERS COMING ALIVE TAKE SHAKESPEARE CHOOSES TO VOCABULARY LIST WITH THROUGH SHAKESPEARE’S TEXT. TELL. DEFINITIONS. KING HENRY V Historical Context Henry Bolingbroke was king, King Henry IV, first king of the line of Lancaster. His claim to the throne was hotly contested, with powerful noble families “We few, we happy believing that Lord Mortimer, who Richard II named as his heir before his few, we band of death, was the rightful king. The Percy’s, led by Harry ‘Hotspur’ Percy, raised an brothers…” army against Henry IV, meeting him in the famed battle of Shrewsbury. Here, !1 OHIO SHAKESPEARE FESTIVAL KING HENRY V AUGUST 2015 Henry Bolingbroke’s son, Henry of Monmouth (the future Henry V), played a pivotal role in securing victory for the king and crushing O! the Percy rebellion. Henry of Monmouth continued to show his battlefield prowess by quelling a Welsh rebellion led by the mighty for a Muse of Owain Glydwr. fire, that would With the kingdom secured in the year 1408 and the king in ill health, Henry of Monmouth sought a more active role in politics. ascend the The king’s illness gave Henry political control over the country, leaving him free to enact his own policies. These policies differed brightest heaven much from those of the king, who, in 1411 after a recovery from his illness, dismissed Henry from the court and reversed many of his of invention! policies. -
Iowa State Journal of Research 56.1
IOWA STATE JOURNAL OF RESEARCH I MAY, 1982 4'3 -439 Vol. 56, No. 4 IOWA STATE JOURNAL OF RESEARCH TABLE OF CONTENTS Volume 56 (August, 1981-May, 1982) No. 1, August, 1981 ASPECTS IN RENAISSANCE SCHOLARSHIP PAPERS PRESENTED AT "SHAKESPEARE AND HIS CONTEMPORARIES" SYMPOSIUM, 1981 From the Editors. 1 GALYON, L. R. Introduction...................... ...... 5 BEVINGTON, D. M. "Why Should Calamity Be Full of Words?" The Efficacy of Cursing in Richard III . 9 ANDERSON, D. K., Jr. The King's Two Rouses and Providential Revenge in Hamlet . 23 ONUSKA, J. T., Jr. Bringing Shakespeare's Characters Down to Earth: The Significance of Kneeling . 31 MULLIN, M. Catalogue-Index to Productions of the Shakespeare Memorial/Royal Shakespeare Theatre, 1879-1978 . 43 SCHAEFER, A. J. The Shape of the Supernatitral: Fuseli on Shakespeare. 49 POAGUE, L. "Reading" the Prince: Shakespeare, Welles, and Some Aspects of Chimes at Midnight . 57 KNIGHT, W. N. Equity in Shakespeare and His Contemporaries. 67 STATON, S. F. Female Transvestism in Renaissance Comedy: "A Natural Perspective, That Is and Is Not" . 79 IDE, R. S. Elizabethan Revenge Tragedy and the Providential Play-Within-a-Play. 91 STEIN, C.H. Justice and Revenge in The Spanish Tragedy... 97 * * * * * * * * * * No. 2, November, 1981 From the Editors.. ... 105 TABLE OF CONTENTS PUHL, J. Forearm liquid crystal thermograms during sustained and rhythmic handgrip contractions . 107 COUNTRYMAN, D. W. and D. P. KELLEY. Management of existing hardwood stands can be profitable for private woodland owners....... .... 119 MERTINS, C. T. and D. ISLEY. Charles E. Bessey: Botanist, educator, and protagonist . 131 HELSEL, D. B. -
Henry V Play Guide
Henry V photo: Charles Gorrill by William Shakespeare Theatre Pro Rata November 5-20, 2016 Performing at The Crane Theater 2303 Kennedy St NE, Minneapolis The play Henry V is part of a series of eight plays that covers a critical time in English history: from the reign of Richard II to the death of Richard III and the ascension to the throne of Henry Tudor (Henry VII), the grandfather of Queen Elizabeth. The first four play sequence, Henry VI, parts 1, 2, and 3, and Richard III (1589- 94) were great hits when first produced, and were certainly part of the impetus for the second four play sequence chronicling the “back story” of the first (Richard II, Henry IV, parts 1 and 2, and Henry V). The first source to mention Shakespeare, Greene’s Groats-worth of Wit, was published in 1592, and parodies a line from Henry VI, part 3. Shakespeare based his work on history written by Raphael Holinshed (who drew on earlier work by Edward Hall); but these histories were those of the victors, so not all the information was accurate. Later historians have corrected information from Hall and Holinshed that was often as much mythology as history. Critical facts about Henry V that are reflected in the play: Born: summer 1386; died 31 August 1422 Ascended to the throne: 20 March 1413 Victory at Agincourt: 25 October 1415 He was the first king of England to grow up speaking and writing fluently in English; previous kings spoke either French or Saxon. The play was originally written/produced in 1599, and played at the court of King James 1 on January 7, 1605. -
1 William Worcester, the Boke of Noblesse, Ed. JG Nichols
1 Reforming England’s ‘harde covetouse hert’: 1 William Worcester and the diagnosis of defeat. Catherine Halsey By 1450 the English had been defeated in battle at Formigny and had lost their lands in northern France, with the exception of Calais. In 1453 the Hundred Years War was effectively over. Inevitably, contemporaries attempted to diagnose the factors that had let to defeat. William Worcester offered a diagnosis in the Boke of Noblesse. Although the purpose of the Boke was to encourage and promote a new campaign in France, Worcester also sought to explain and assess the English defeat and to offer models of reform for the future conduct of the war. He conventionally attributed defeat to the nation’s ‘synne and wrecchidnes’ and, within this framework, he identified the particular faults of the nation which had led to divine disapproval. These faults were lack of prudence and governance ‘and havyng no consideracion to the comon wele, but rathir to magnifie and enriche oure silfe by singuler covetise’.2 He discussed the practical manifestations of lack of prudence with reference to the 1 William Worcester, The Boke of Noblesse, ed. J. G. Nichols (London, 1860), p. 84. 2 Worcester, Boke, p. 51. 2 truce of Tours of 1444 and the cession of Maine in 1448.1 Worcester identified ‘singuler covetise’ as responsible for the misconduct of captains who withheld wages from their men and thus caused them to mistreat the non-combatant. On one level, Worcester sought to encourage a new campaign in France. He did this by emphasising issues of lineal and national pride and by presenting the French war as the forum for chivalrous and noble deeds. -
I1 ENGLISH RURAL LIFE in the FIFTEENTH CENTURY ISTORY Sometimes Has Scattered Poppy Without Merit
I1 ENGLISH RURAL LIFE IN THE FIFTEENTH CENTURY ISTORY sometimes has scattered poppy without merit. H We know little of many who were once great in the earth, and still less of the life of the people in their times. The life of the past must be visualized by piecing together detached and scattered fragments from many sources. The result is a composite picture, not a portrait. It is only now and then that the student of history is able to penetrate be- hind the veil of obscurity and get glimpses of intimate per- sonal life and learn to know the men and women of the past with some degree of acquaintance. A rare opportunity to know English provincial life in the fifteenth century is afforded in that wonderful collection known as “The Paston Letters.” This familiar correspond- ence of a Norfolk family, whose position was that of small gentry, covers three generations in some of the most stirring years of English history. It was the age when England’s empire in France was wrested from her by Joan of Arc; the age when the white rose of York and the red rose of Lan- caster were dyed a common color on the battlefields of Barnet, Towton, Wakefield Heath, and Bosworth Field. It was the century of W’arwick the kingmaker, and Henry Tudor ; of Sir Thomas More’s birth and of Caxton’s “Game of Chess.” The intense human interest of these letters has command- ed the admiration of readers ever since John Fenn edited 116 Rural Life in XV Century England 117 them, or those then known, in 1787. -
Abstract the Paston Women and Gentry Culture: The
ABSTRACT THE PASTON WOMEN AND GENTRY CULTURE: THE DEVELOPMENT OF INDIVIDUAL AND SOCIAL IDENTITY IN FIFTEENTH-CENTURY ENGLAND This gender and social history examines the role of the Paston family in the developing gentry culture in fifteenth-century England. A family who desired to increase their social standing, the Pastons worked to first obtain land and wealth in order to become a part of the gentry. This study primarily examines the second way that the Pastons proved their gentility; through exhibiting behavior associated with the gentry, the Pastons proved to the public that they were above the peasantry and that they belonged in the upper echelons of society. In their quest for gentility, the behavior of the Paston women was particularly important to the efforts of their family. This thesis focuses on the ways that Agnes and Margaret Paston adopted the advice present in contemporary conduct manuals and how they incorporated such behavior into their letters. By presenting an image of gentility in their letters, Agnes and Margaret participated in both the developing gentry culture in fifteenth-century England and in their family’s efforts to increase their social status. Letter writing was a venue through which medieval women could express their opinions, and in the case of the Paston women, it was a way for them to directly impact the station of their family. The exercise of gentility in which the Paston women participated demonstrates one way the creation of an individual identity impacts both social status and group formation in -
Political History
POLITICAL HISTORY ALDERMAN Clifford Lindsey Blood-red the Roses: the Wars of the Roses Hardback Date of Pub: 1973 SBN: 561-00172-3 Publisher: Bailey Bros & Swinfen Limited Subjects covered: Campaigns; politics Synopsis: ‘For thirty-five years the Houses of York and Lancaster engaged in a bloody struggle for the throne of England’ – a popularised account of the campaigns and the political history of the period ALLISON Richard BROWN Carole Medieval Realms Paperback Date of Pub: 1990 ISBN: 185-276-120-2 Publisher: Folens Subjects covered: Women; church; castles; towns; trades; crusades; Peasants Revolt; Richard III Synopsis: Social and political history of the Middle Ages for primary school children, with illustrations, questions and ideas for activities. ALLMAND Christopher Editor New Cambridge Medieval History, Vol VII c1415 - c1500 Hardback Date of Pub: 1998 ISBN: 0521-382-963 Publisher: Cambridge University Press Subjects covered: Europe; culture; art; Europe Synopsis: New edition of the standard history of the Medieval world: sections deal with government, cultural and artistic life and the political history of individual countries (“Lancastrian England” by Edward Powell and “Yorkist and Early Tudor England” by Rosemary Horrox) ARCHER Rowena E Editor Crown, Government and People in the 15th Century Hardback Date of Pub: 1995 ISBN: 0312-125-917 Publisher: St Martin's Press Subjects covered: Margaret of Anjou; Henry VI; Henry VII; Duchy of Lancaster; Pastons; Calais Synopsis: Ten essays from a conference at Manchester College, Oxford