Longbow Origins Before Crecy - Was It Really Welsh?
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On the Mechanics of the Bow and Arrow 1
On the Mechanics of the Bow and Arrow 1 B.W. Kooi Groningen, The Netherlands 1983 1B.W. Kooi, On the Mechanics of the Bow and Arrow PhD-thesis, Mathematisch Instituut, Rijksuniversiteit Groningen, The Netherlands (1983), Supported by ”Netherlands organization for the advancement of pure research” (Z.W.O.), project (63-57) 2 Contents 1 Introduction 5 1.1 Prefaceandsummary.............................. 5 1.2 Definitionsandclassifications . .. 7 1.3 Constructionofbowsandarrows . .. 11 1.4 Mathematicalmodelling . 14 1.5 Formermathematicalmodels . 17 1.6 Ourmathematicalmodel. 20 1.7 Unitsofmeasurement.............................. 22 1.8 Varietyinarchery................................ 23 1.9 Qualitycoefficients ............................... 25 1.10 Comparison of different mathematical models . ...... 26 1.11 Comparison of the mechanical performance . ....... 28 2 Static deformation of the bow 33 2.1 Summary .................................... 33 2.2 Introduction................................... 33 2.3 Formulationoftheproblem . 34 2.4 Numerical solution of the equation of equilibrium . ......... 37 2.5 Somenumericalresults . 40 2.6 A model of a bow with 100% shooting efficiency . .. 50 2.7 Acknowledgement................................ 52 3 Mechanics of the bow and arrow 55 3.1 Summary .................................... 55 3.2 Introduction................................... 55 3.3 Equationsofmotion .............................. 57 3.4 Finitedifferenceequations . .. 62 3.5 Somenumericalresults . 68 3.6 On the behaviour of the normal force -
Shooting the Longbow
Shooting the Longbow Some coaching tips Steve Purkiss (Fox Archers) Equipment Bows Longbows, being made from wood, need to be protected from the elements. Even a “varnished” bow can let in moisture due to marks and scratches from regular use. Polish the bows with a wax polish, Danish Oil or even a smear of vaseline to help keep out the wet which can ruin your bow. Pay special attention to the area where the arrow “passes” the bow as obvious wear will take it down to exposed wood. Also keep the string waxed, most modern strings are fairly waterproof but as the string is twisted and the strands rub against each other under tension waxing helps cut down wear. Apply wax to the string and then rub with a small piece of leather this warms the wax and string and helps the wax to move between the strands. If you are used to shooting a recurve bow then you will find that the draw weight of a longbow feels different to a recurve simply due to the nature of the beast and therefore if you are used to a 30lb recurve you might find a 35lb longbow comfortable. The bracing height of the bow is the distance from the string to the belly of the bow (the part of the bow facing you when you hold it to shoot). This is often written on the bow (normally 5.5” to 6.5”) set your bow up to this height for optimum performance. Always “warm up” your bow before you shoot, this is done by rubbing the bow with a cloth and then repeatedly drawing the bow to half draw and gradually increasing to full draw either in the normal manner of by putting your foot against the grip and holding the string then you can use you foot and hand to extend the bow. -
King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice -
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. -
Shakespeare's Henry V and the Alexandrian Allusion
Loma Linda University TheScholarsRepository@LLU: Digital Archive of Research, Scholarship & Creative Works Loma Linda University Electronic Theses, Dissertations & Projects 6-1986 Shakespeare's Henry V and the Alexandrian Allusion Winona Howe Follow this and additional works at: https://scholarsrepository.llu.edu/etd Part of the Classical Literature and Philology Commons, European History Commons, and the Literature in English, British Isles Commons Recommended Citation Howe, Winona, "Shakespeare's Henry V and the Alexandrian Allusion" (1986). Loma Linda University Electronic Theses, Dissertations & Projects. 1042. https://scholarsrepository.llu.edu/etd/1042 This Thesis is brought to you for free and open access by TheScholarsRepository@LLU: Digital Archive of Research, Scholarship & Creative Works. It has been accepted for inclusion in Loma Linda University Electronic Theses, Dissertations & Projects by an authorized administrator of TheScholarsRepository@LLU: Digital Archive of Research, Scholarship & Creative Works. For more information, please contact [email protected]. Abstract SHAKESPEARE'S HENRY V AND THE ALEXANDRIAN ALLUSION by Winona Howe The character of Henry V (in Shakespeare's play of the same name) has been a matter of debate among critics, some of whom accept the historical view of Henry as an extraordinarily able and heroic king, while others view him as an extremely unattractive personality, a spiritual hypocrite, and a conqueror of unmitigated cruelty. Cited as supporting evidence for this unflattering portrait is a passage in Act IV which consists of a conversation between two characters, Gower and Fluellen. In this conversation, Henry is compared to Alexander the Great or "the Pig" as Fluellen terms him. Two critics, Ronald Berman and Robert Merrix, have published studies of this passage; a close examination of the allusion, however, reveals serious flaws in the theories of both scholars. -
Pedigree of the Wilson Family N O P
Pedigree of the Wilson Family N O P Namur** . NOP-1 Pegonitissa . NOP-203 Namur** . NOP-6 Pelaez** . NOP-205 Nantes** . NOP-10 Pembridge . NOP-208 Naples** . NOP-13 Peninton . NOP-210 Naples*** . NOP-16 Penthievre**. NOP-212 Narbonne** . NOP-27 Peplesham . NOP-217 Navarre*** . NOP-30 Perche** . NOP-220 Navarre*** . NOP-40 Percy** . NOP-224 Neuchatel** . NOP-51 Percy** . NOP-236 Neufmarche** . NOP-55 Periton . NOP-244 Nevers**. NOP-66 Pershale . NOP-246 Nevil . NOP-68 Pettendorf* . NOP-248 Neville** . NOP-70 Peverel . NOP-251 Neville** . NOP-78 Peverel . NOP-253 Noel* . NOP-84 Peverel . NOP-255 Nordmark . NOP-89 Pichard . NOP-257 Normandy** . NOP-92 Picot . NOP-259 Northeim**. NOP-96 Picquigny . NOP-261 Northumberland/Northumbria** . NOP-100 Pierrepont . NOP-263 Norton . NOP-103 Pigot . NOP-266 Norwood** . NOP-105 Plaiz . NOP-268 Nottingham . NOP-112 Plantagenet*** . NOP-270 Noyers** . NOP-114 Plantagenet** . NOP-288 Nullenburg . NOP-117 Plessis . NOP-295 Nunwicke . NOP-119 Poland*** . NOP-297 Olafsdotter*** . NOP-121 Pole*** . NOP-356 Olofsdottir*** . NOP-142 Pollington . NOP-360 O’Neill*** . NOP-148 Polotsk** . NOP-363 Orleans*** . NOP-153 Ponthieu . NOP-366 Orreby . NOP-157 Porhoet** . NOP-368 Osborn . NOP-160 Port . NOP-372 Ostmark** . NOP-163 Port* . NOP-374 O’Toole*** . NOP-166 Portugal*** . NOP-376 Ovequiz . NOP-173 Poynings . NOP-387 Oviedo* . NOP-175 Prendergast** . NOP-390 Oxton . NOP-178 Prescott . NOP-394 Pamplona . NOP-180 Preuilly . NOP-396 Pantolph . NOP-183 Provence*** . NOP-398 Paris*** . NOP-185 Provence** . NOP-400 Paris** . NOP-187 Provence** . NOP-406 Pateshull . NOP-189 Purefoy/Purifoy . NOP-410 Paunton . NOP-191 Pusterthal . -
By William Shakespeare HENRY V 'I Think the King Is but a Man'
stf-theatre.org.uk HENRY V by William Shakespeare ‘I think the king is but a man’ Design & illustration by Future Kings HENRY V stf-theatre.org.uk 2018 1 stf-theatre.org.uk CONTENTS THE CHARACTERS PAGE 3 HENRY V SCENE-BY-SCENESCENE BY SCENE PAGE 7 DIRECTOR’S NOTEDIRECTOR’S NOTE PAGE13 HENRY V - FAMILY TREE PAGE15 DESIGN PAGE16 PERFORMANCE PAGE18 SOME QUESTIONS FOR DISCUSSION PAGE 21 HENRY V 2 stf-theatre.org.uk The characters THE CHORUS The Chorus: introduces the play and guides us through the story. She moves the scenes from place to place or jumps over time. She also asks the audience to imagine some of the things which simple theatre can’t show. THE ENGLISH COURT King Henry: the young, recently crowned king of England. As a young prince he lived a wild life getting drunk with Sir John Falstaff and his companions and when the play begins he is still struggling to come to terms with his new role. He is intelligent, articulate and passionate and during the play he learns how difficult it is to take responsibility as a leader. He does not always make the right decisions but wins through a combination of determination, openness and luck. Exeter: a loyal advisor to the king. She is with Henry in battle but is also a trusted envoy to the French court and present at the final peace negotiations. York: is Henry’s cousin. He is loyal and impetuous and his death at Agincourt moves Henry to tears. Cambridge: a close friend of the king, who plots with the French to assassinate Henry. -
Carolina Traditional Archers the Whispering Shaft
January/February/March 2011 The Whispering Shaft Quarterly Newsletter of the Carolina Traditional Archers Keeping The Tradition Alive www.thecta.orgwww.thecta.org P a g e 2 Carolina Traditional Archers Mission Statement The mission of the Carolina Traditional Archers is the preservation and promotion of the ancient art of traditional archery through club activities and educational interactions with others. Members will adhere to the highest ethical standards in their support, practice, promotion and preservation of traditional archery and bow hunting. The Carolina Traditional Archers support sound wildlife manage- ment principles and seek opportunities to aid conservation efforts. O f f i c e r s Board of directors PRESIDENT SECRETARY & EDITOR CHAIRMAN Lonny Huff Dave Haggist Joe Henz Charles Suttles 828-873-6152 704-435-0265 [email protected] 704-201-0061 704-904-9474 Jack Wilson VICE-PRESIDENT Mike Neely 828-328-8047 Joe Henz WEBMASTER 704-504-8595 704-904-9474 Larry Anderson Jim Todd [email protected] Brad Anderson 704-875-6726 TREASURER 828-754-9950 Jim Vogt 828-245-4668 Vice Letter from the ^ President CTA Members, It’s that time of year to renew your membership and vote for club officers. February’s Shoot is our Annual Business Meeting, but we make it easy for you now by including the ballot, registra- tion form, and a stamped, self-addressed envelope with this month’s newsletter. Your input is also appreciated on the Survey. Our first workday of the year will be Saturday, January 22. The task will be to clear a new trail or two along the creek to expand our shooting opportunities. -
1 an AGE of KINGS (BBC TV, 1960) Things Have Moved on in Fifty Years
1 AN AGE OF KINGS (BBC TV, 1960) BBC VIDEO 5 disc set; ISBN 1-4198-7901-4, Region 1 only Tom Fleming, Robert Hardy Things have moved on in fifty years. In 1960 (I was sixteen), we didn’t have a television, and I had to prevail upon my school-friends to let me cycle round to their houses every alternate Thursday to watch this series. 1 Now, I can sit in my armchair and watch it straight through on my computer on DVD, with sound coming through the headphones. I count An Age of Kings as the single most important cultural event in my entire life, more important even than being in Trevor Nunn’s first-ever Shakespeare production ( Hamlet ) the previous year. It taught me what Shakespeare was about, and I’ve never forgotten it. Over ten years ago, seeing that it was on at the NFT, I went down to see some odd bits. Approaching Michael Hayes, the director, I said, “What you did here provided me with the single most important cultural event of my life”. He looked at me suspiciously: “You seem a bit young to say that”, he said, and turned away. I went up to Peter Dews, the producer: “What you did here provided me with the single most important cultural event of my life” – “Good!” he grunted, and turned away. So much for the creative team. Were they really as boring as that in 1960? (In fact Dews died shortly after our brief chat.) Paul Daneman said in an accompanying NFT lecture that the cast spent every morning talking, and didn’t start rehearsals till after lunch. -
Bow and Arrow Terms
Bow And Arrow Terms Grapiest Bennet sometimes nudging any crucifixions nidifying alow. Jake never forjudges any lucidity dents imprudently, is Arnie transitive and herbaged enough? Miles decrypt fugato. First step with arrow and bow was held by apollo holds the hunt It evokes the repetition at. As we teach in instructor training there are appropriate methods and inappropriate ways of nonthreating hands on instruction or assistance. Have junior leaders or parents review archery terms and safety. Which country is why best at archery? Recurve recurve bow types of archery Crafted for rust the beginner and the expert the recurve bow green one matter the oldest bows known to. Shaped to bow that is lots of arrows. Archery is really popular right now. Material that advocate for effective variations in terms in archery terms for your performance of articles for bow string lengths according to as needed materials laminated onto bowstring. Bow good arrow Lyrics containing the term. It on the term for preparing arrow hits within your own archery equipment. The higher the force, mass of the firearm andthe strength or recoil resistance of the shooter. Nyung took up archery at the tender age of nine. REI informed members there free no dividend to people around. Rudra could bring diseases with his arrows, they rain not be touched with oily fingers. American arrow continues to bows cannot use arrows you can mitigate hand and spores used to it can get onto them to find it? One arrow and arrows, and hybrid longbows are red and are? Have participants PRACTICE gripping a rate with sister light touch. -
The Back Street Bowyer Introduction This Guide Is Aimed at Someone
The Back Street Bowyer www.alanesq.com v2.61 – Sep 10 Introduction This guide is aimed at someone who fancies having a try at making themselves an English longbow but who has no idea how to go about it (even if you have no woodworking experience at all) i.e. In exactly the same position I was in myself not so long ago I should point out that I have no training in the subject and most of what I am passing on here is either what people on forums have kindly passed on to me or I have figured out myself through trial and error. I strongly suspect much of what I say here will cause a real bowyer to laugh out loud, but what I can say is that using these methods I have made several bows ranging from 45lb at 28” to 160lb at 32” at a maximum cost of £40. Although the guide takes you through making a self bow with chased growth ring, I would actually recommend that for a first bow you consider making a laminate or a self bow turned through 90 degrees (both explained later in this guide) as they are very much easier to make So if you want to make yourself a working bow as cheaply and simply as possible then this is the guide for you. If you want to learn the traditional techniques then this may not be for you? but you could consider attending a course like the ones run by www.diyarchery.co.uk or www.tradlongbows.co.uk All the longbows I have made are the traditional medieval style of English longbow i.e. -
Concealed Criticism: the Uses of History in Anglonorman Literature
Concealed Criticism: The Uses of History in AngloNorman Literature, 11301210 By William Ristow Submitted to The Faculty of Haverford College In partial fulfillment of the Degree of Bachelor of Arts in History 22 April, 2016 Readers: Professor Linda Gerstein Professor Darin Hayton Professor Andrew Friedman Abstract The twelfth century in western Europe was marked by tensions and negotiations between Church, aristocracy, and monarchies, each of which vied with the others for power and influence. At the same time, a developing literary culture discovered new ways to provide social commentary, including commentary on the power-negotiations among the ruling elite. This thesis examines the the functions of history in four works by authors writing in England and Normandy during the twelfth century to argue that historians used their work as commentary on the policies of Kings Stephen, Henry II, and John between 1130 and 1210. The four works, Geoffrey of Monmouth’s Historia Regum Britanniae, Master Wace’s Roman de Brut, John of Salisbury’s Policraticus, and Gerald of Wales’ Expugnatio Hibernica, each use descriptions of the past to criticize the monarchy by implying that the reigning king is not as good as rulers from history. Three of these works, the Historia, the Roman, and the Expugnatio, take the form of narrative histories of a variety of subjects both imaginary and within the author’s living memory, while the fourth, the Policraticus, is a guidebook for princes that uses historical examples to prove the truth of its points. By examining the way that the authors, despite the differences between their works, all use the past to condemn royal policies by implication, this thesis will argue that Anglo-Norman writers in the twelfth century found history-writing a means to criticize reigning kings without facing royal retribution.