DOCSLIB.ORG

Cambridge University Press 978-1-107-13933-6 — Shakespeare, Music and Performance Edited by Bill Barclay , David Lindley Index More Information

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cambridge University Press 978-1-107-13933-6 — Shakespeare, Music and Performance Edited by Bill Barclay , David Lindley Index More Information Cambridge University Press 978-1-107-13933-6 — Shakespeare, Music and Performance Edited by Bill Barclay , David Lindley Index More Information Index 1 Henry IV, 108, 257 Asbury, Nick, 236 2 Henry IV, 179, 257 Ascham, Roger, 63 underscore in, 4 Astley, Sir John, 103 Astley’s Circus, 147 Aberg, Maria Attey, John, 64 production of As You Like It, 238 Auden, W.H., 7, 59, 225 production of King John, 237 Austern, Linda Phyllis, 29, 33, 36, 39 actors as musicians, 1, 12, 20, 21, 30, 86–87, 182, 246, Banister, John, 114, 120, 125, 127 251, 258, 267 Barclay, Bill, 10 women, introduction of, 119 Barton, Todd, 10 Adson, John, 22 Basti, Jawar, 234 Akimov, Nicolai Bate, Jonathan, 104 production of Hamlet, 206 Beard, John, 142 All’s Well That Ends Well Beaujoyeulx, Balthazar de Arpana company production of, 266 Balet Comique de la Royne, 122 Allen, Robert, 195 Beaumont, Francis Allison, Richard, 95 Knight of the Burning Pestle, The, 7, 25, 37, Almereyda, Michael 84–98 film of Hamlet, 210, 211–14 Little French Lawyer, The, 20 Angel, Edward, 123 Woman’s Prize, The, 62 Anne of Cleves, 63 bells Anon and the Reformation, 74, 82 Sir John Oldcastle, 109 change-ringing of, 75 Two Noble Ladies, The, 102, 105–8 church bells, 76 Antony and Cleopatra onstage, 76–78 infernal music in, 28, 34, 50 Bendinelli, Cesare, 51 Apollo Theatre, 48 Bennett, Susan, 257 Appelbaum, Robert, 123 Benson, Frank, 201 Arbeau, Thoinot, 51 production of Henry V, 181 Armin, Robert, 45 Berkeley, Lennox, 5, 10 The Historie of the Two Maides of Betterton, Thomas, 114, 120 Moreclacke, 22 Bird, Tom, 256, 272 Arne, Thomas, 9, 10, 131–44 Birtwistle, Harrison, 10 Alfred, 136 Blackfriars theatre, 2, 17, 29–41, 85, 86, 101, Juliet’s funeral procession, 148 103, 108 popularity of songs, 141–43 Bulstrode Whitelocke at, 25 publication of songs, 140–41 musicians of, 24 As You Like It, 7, 9, 10, 94, 96, 131, 133 Blount, Elizabeth, 63 1740 production of, 136–39 Blow, John Aberg production of, 238 Venus and Adonis, 119 279 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-13933-6 — Shakespeare, Music and Performance Edited by Bill Barclay , David Lindley Index More Information 280 Index Boleyn, Anne, 63 Comedy of Errors, The Bonneau, Danielle, 84 Propeller production of, 241, 242, 245, 246, Booke of Sir Thomas Moore, The, 22 248–49 Booth, Mark, 8 Cooper, Thomas, 79 Booth’s Theatre, New York, 173 Coriolanus Boyce, William Chiten Company production of, 264–65 Juliet’s funeral procession, 148 Fiennes film of, 193, 219–22 Brathwaite, Richard Cotgrave, Randle, 91 The English Gentlewoman, 60 Covent Garden Theatre, 132, 148 Britten, Benjamin, 200, 250 enlargement of, 153 Brook, Peter Cressy, David, 74 ‘quarter-ear music’, 6, 11 Cumberland, Richard, 153, 166 film of King Lear, 194 The Village Fete, 146 production of The Tempest, 195 Cummings, W. H., 131 production of Titus Andronicus, 195 Curtain theatre, 100 Browne, Robert, 20 Cymbeline, 8, 31–32, 53, 257 Browne, William Czinner, Paul, 200 on bell-ringing, 80–82 Bruckner, Anton, 252 Daborne, Robert Burnett, Mark Thornton, 220 Poor Man’s Comfort, The, 33 Burney, Charles, 10, 142, 147 Danyel, John, 65–67 Burton, Robert, 64, 93, 94, 96 Davenant, Sir William, 114, 118–19 Burwell, Carter Siege of Rhodes, The, 118 music for Almereyda’s Hamlet, 210, 211–12 Davenport, Robert King John and Matilda, 102, 108, 109, 110–13 Calvert, Charles Davies, Mary, 119 production of Henry V, 167–68, 173–78 Day, John Campion, Thomas Humour Out of Breath, 31 Lord Hay’s Masque, 2 Degenhardt, Jane Hwang, 107 Captain Corelli’s Mandolin Dekker, Thomas Warbeck’s music for, 191 Bellman of London, The, 37–38 Carson, Christie, 257 Magnificent Entertainment, The, 38–39 Case, John, 61 Old Fortunatus, 18 Castiglione, Baldassare, 60 Patient Man and the Honest Whore, 68 catch, the, 46, 95–96 Shoemaker’s Holiday, The, 77 Chapman, George Spanish Gypsy, The, 32 Eastward Ho, 88 Virgin Martyr, The, 18, 107 Revenge of Bussy D’Ambois, The, 98 Dessen, Alan C, 35 Chardevoine, Jean, 51 Dibdin, Charles, 142 Charles II Dolmetsch, Arnold, 5 and The Enchanted Island, 120 Dorset Garden theatre, 115, 120, 127 Chettle, Henry Dowland, John, 45, 68, 91–92, 96 Booke of Sir Thomas Moore, The, 22 Downes, John, 120 Cholij, Irena, 140 Doyle, Patrick, 193, 209, 211 Clash, The Draghi, John Battista, 120 ‘London Calling’ in Propeller’s Henry V, Dromgoole, Dominic, 272 229–31 Drury Lane Theatre, 9, 132, 148 Clive, Kitty, 133, 138, 139, 142 enlargement of, 153 and Thomas Arne, 142 Dryden, John, 115, 117, 119, 120, 123, 154 Cockpit theatre, 29, 33, 108 Duckworth, Richard musicians of, 24 Tintinnalogia, 75 Coleman, John Dyantyis, Mandisi, 258 production of Henry V, 179 Colman, George, 150, 152 Elizabeth, Queen, 15 Man and Wife, 152 Elvetham entertainment, 15 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-13933-6 — Shakespeare, Music and Performance Edited by Bill Barclay , David Lindley Index More Information Index 281 Elyot, Thomas, 60 music for Julie Taymor’s Titus Andronicus, Enchanted Island, The, 114–30 216–18 1740 revival of, 133 Gosnell, Winifred, 119 Eshkeri, Ilan Gosson, Stephen, 86 music for Fiennes film of Coriolanus, 211, Green, Robert, 239 219–22 James IV, 61 Eyre, Richard, 189 Griffith, Eva, 101 Hollow Crown, The, 183 Grim, William E, 223 Gurr, Andrew, 29, 36, 104 Fearnley, James, 231 Fesch, William de, 142 Hall, Ed, 244 Field, Nathan Hall, Joseph, 83 Fatal Dowry, The, 34, 40 on bells, 78 Fiennes, Ralph Hamlet, 35, 51, 71–73, 102, 257, 272, See Ophelia film of Coriolanus, 193, 211, 219–22 adaptation as The Rest is Silence, 238 Fischlin, Daniel, 97 Akimov’s production of, 206 Fletcher, John Almereyda’s film of, 211–14 Bonduca, 35 bells in, 71 Captain, The, 40 ghost and music, 51 Chances, The, 62 Kean’s production of, 168 Double Marriage, The, 28, 35 Olivier film of, 198, 199 Henry VIII, 102 recorders in, 99–100 Mad Lover, The, 20 Hart, James, 127 Pilgrim, The, 27 Harvey, John Martin Prophetess, The, 103 production of Henry V, 181 Sea Voyage, The, 103, 121 Helmes, John, 81 Wild Goose Chase, The, 97 Hemmings, William Woman’s Prize, The, 62 Fatal Contract, The, 22 Flynn, Johnny, 10 Henry IV, 102 Fontane, Theodore, 168 Stephen Warbeck’s music for, 183 Ford, John Henry V, 193 Perkin Warbeck, 102, 108, 109–10 Benson’s production of, 181 Spanish Gypsy, The, 32 Calvert’s production of, 167–68, 173–78 Fortune theatre, 100, 102, 104 Coleman’s production of, 179 Fulke, William, 80 Kean’s production of, 168–72 Furtado, Pia Mansfield’s production of, 179 production of Titus Andronicus, 223 Propeller production of, 225, 226–33, 236 Walton’s music for, 201–2 Garden Theatre, New York, 179 Henry VIII, 102, 108, 109, 113 Garrick, David, 133, 148 Kean’s production of, 168 Cymon, 154 masque in, recalled, 110 Institution of the Garter, The, 146 Henslowe, Philip, 76 Jubilee, The, 150, 151 Herbert, Sir Henry, 23, 103 production of Romeo and Juliet, 149 Heywood, Thomas, 104 Stratford Jubilee, 149–52 If you know not me, Part II, 22 Gascoigne, George Rape of Lucrece, The, 95, 101 Jocasta, 15 Silver Age, The, 104, 105 German, Edward, 10 Holborne, Anthony, 45 Gerschow, Frederic Holman, Peter, 101 at Blackfriars theatre, 17, 87 Holmes, Matthew, 16, 17, 24 on bell-ringing, 74, 75, 76 Hosley, Richard, 36 Gielgud, John, 213 Howard, Edward, 101 Globe theatre, 38, 100, 101, 102, 104 Howard, Sir Robert, 117 Goldenthal, Eliot, 211 Hughes, Leo Austin, 135 music for Julie Taymor’s Tempest, 218–19 Hume, Robert, 132 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-13933-6 — Shakespeare, Music and Performance Edited by Bill Barclay , David Lindley Index More Information 282 Index Humfrey, Pelham, 114, 120, 122, 125, 127 Lindley, David, 33, 62, 100, 109, 131, 135, 224, 226, Hurley, Michael, 212 236, 239 Linley, Thomas, Jr, 9 Ichikawa, Mariko, 32 Linley, Thomas, Snr., 10 Isaacson, Bernard, 171 Locke, Matthew, 114, 120, 121–22, 127 Ives, Simon, 24 Logan, John, 220 Love’s Labour’s Lost, 9, 78, 134 Jenkins, Harold, 73 Deafinitely Theatre Company production of, jig, 10, 19, 20, 44, 47, 53–54, 56, 101, 257, 270 264 Lowe, Thomas, 136, 139, 142 Johnson, Robert, 8, 97, 127, 188 Lowerre, Katherine, 2 Joncus, Berta, 138 Luhrmann, Baz Jonson, Ben, 38 Romeo + Juliet, 209 Cynthia’s Revels, 98 Eastward Ho, 88 Macbeth, 9, 73, 77, 143, 153, 257, 272 Poetaster, 67 adaptation as Leila and Ben, 233–36 Volpone, ‘Blow, blow thou winter wind’ bells in, 77 in, 136 Geilgud production of, 206 Julius Caesar, 51, 257, 272 Kean production of, 168 Walton’s music for, 206 Kean, Charles, 167 Machin, Richard, 20 production of Henry V, 168–72 Macklin, Charles, 133 Keller, Hans, 198 Madden, John, 191, 194 Kemp, Will, 19 Malefane, Pauline, 258 Killigrew, Thomas, 118 Manhattan Transfer King John, 73, 257 music in Henry V, 229 Aberg production of, 237 Mann, David, 30 National Academic Theatre of Armenia Mansfield, Richard production of, 260–61 production of Henry V, 179 King Lear, 73, 257 Marling, Laura, 10, 238 Belarus Free Theatre production of, 269–70 Marlowe, Christopher Brook film of, 194, 195 Doctor Faustus, 26, 107 Kozintsev film of, 203–4 Marsh, Christopher, 14 Klemperer, Otto, 197 Marston, John Knutson, Roslyn L, 103 act music in, 3 Korngold, Erich Wolfgang Antonio’s Revenge, 36 music for A Midsummer Night’s Dream, 200 Eastward Ho, 88 Kozintsev, Grigori Fawne, The, 18 film of King Lear, 203–4 Insatiate Countess, The, 31 New Babylon, 205 Malcontent, The, 27, 29 on Shostakovich, 206 Sophonisba, 27, 28, 33–34, 35, 88 stage
Load more

Recommended publications
  • Lamctott Liu/ Which Was Regarded As the Chief Point of Interest, Not Only of This Day’S Excursion, but of the Whole Meeting
    38 Thirty-eighth Annual Meeting, Upon the motion of the President, a vote of thanks was offered to Mr. Green, for the diligence with which he had collected his materials, and the manner in which he had thrown light upon the subject of his paper. Mr. Green then read a paper hy Mr. Kerslake, on Gifla,^’ which is printed in Part II. p. 16. Mr. Green expressed his opinion that the derivation of the name was not from the river Yeo, which was a modern name. The meeting then terminated. The morning was delightfully fine, and at 9.30, the carriages being in readiness, a goodly number of Members left Yeovil for lamctott liU/ which was regarded as the chief point of interest, not only of this day’s excursion, but of the whole meeting. After a pleasant drive, passing by Odcombe, the birth-place of Tom Coryate,^ the cortege entered the camp by “ Bedmore Barn,’^ the site of the discovery of the large hoard of Roman coins in 1882, and drew up at (1) belonging to Mr. Charles Trask. The party having assembled on the edge of one of the deep excavations, at the bottom of (2) which the workmen were engaged in quarrying the celebrated Ham-stone,” Mr. Trask was asked to say a few words about the quarries. He said that the marl stone of the upper Lias was found plentifully along the level land within half a mile of the foot of the hill, on the western side. Above this were the Oolitic — : is . Leland says “ Hamden hill a specula, ther to view a greate piece of the country therabout The notable quarre of stone is even therby at Hamden out of the which hath been taken stones for al the goodly buildings therabout in al quarters.” paper, part ii.
    [Show full text]
  • Julius Caesar © 2015 American Shakespeare Center
    THE AMERICAN SHAKESPEARE CENTER STUDY GUIDE Julius Caesar © 2015 American Shakespeare Center. All rights reserved. The following materials were compiled by the Education and Research Department of the American Shakespeare Center, 2015. Created by: Cass Morris, Academic Resources Manager; Sarah Enloe, Director of Education and Research; Ralph Cohen, ASC Executive Founding Director and Director of Mission; Jim Warren, ASC Artistic Director; Jay McClure, Associate Artistic Director; ASC Actors and Interns. Unless otherwise noted, all selections from Julius Caesar in this study guide use the stage directions as found in the 1623 Folio. All line counts come from the Norton Shakespeare, edited by Stephen Greenblatt et al, 1997. The American Shakespeare Center is partially supported by a grant from the Virginia Commission for the Arts and the National Endowment for the Arts. American Shakespeare Center Study Guides are part of Shakespeare for a New Generation, a national program of the National Endowment for the Arts in partnership with Arts Midwest. -2- Dear Fellow Educator, I have a confession: for almost 10 years, I lived a lie. Though I was teaching Shakespeare, taking some joy in pointing out his dirty jokes to my students and showing them how to fight using air broadswords; though I directed Shakespeare productions; though I acted in many of his plays in college and professionally; though I attended a three-week institute on teaching Shakespeare, during all of that time, I knew that I was just going through the motions. Shakespeare, and our educational system’s obsession with him, was still a bit of a mystery to me.
    [Show full text]
  • Bacon-Shakespeare Timeline
    Bacon-Shakespeare Timeline Chart of the dates of the Francis Bacon and William Shakespeare literary works together with key dates in Bacon’s life. Author: Peter Dawkins The following chart gives the dates of composition and publication of the Francis Bacon and William Shakespeare literary works together with key dates in Francis Bacon’s life. The dates are given as accurately as possible, although some of these (such as for the writing of the Shakespeare plays) can only be approximate. Key to the Chart: Bacon Ph = Philosophical & Literary Ph# = Great Instauration, # referring to which Part of the G.I. the writings belong. Po* = Poetic L = Legal O = Other Shakespeare Po† = Poetic underlined = publications during Bacon’s lifetime Blue text = other important events Dates of Francis Bacon’s Life and Works and the Shakespeare Works 22 Jan. 1561 Birth of Francis Bacon (FB) 25 Jan. 1561 Baptism of Francis Bacon 1572-4 Supernova in Cassiopeia April 1573-1575 FB student at Trinity College, Cambridge – left Dec 1575 July 1575 The Kenilworth Entertainment Aug. 1575 The Woodstock Tournament 27 June 1576 FB admitted de societate magistrorum at Gray’s Inn 25 Sept.1576 FB departs for Paris, France, as an attaché to Sir Amyas Paulet, the new English ambassador to the French Court – besides studying French culture, politics and law, works as an intelligencer Dec 1576 FB moves with the embassy and French Court to Blois March 1577 FB moves with the embassy and French Court to Tours, then Poitiers Aug 1577 FB moves with the embassy and French Court to Poitiers Aug-Sept 1577 FB travels to England to deliver a secret message to the Queen Oct.
    [Show full text]
  • The Public and Private Life of Lord Chancellor Eldon
    This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com ThepublicandprivatelifeofLordChancellorEldon HoraceTwiss > JHEMPMEyER ,"Bequest of oAlice Meyer 'Buck, 1882-1979 Stanford University libraries > I I I Mk ••• ."jJ-Jf* y,j\X:L ij.T .".[.DDF ""> ». ; v -,- ut y ftlftP * ii Willi i)\l I; ^ • **.*> H«>>« FR'iM •• ••.!;.!' »f. - i-: r w i v ^ &P v ii:-:) l:. Ill I the PUBLIC AND PRIVATE LIFE or LORD CHANCELLOR ELDON, WITH SELECTIONS FROM HIS CORRESPONDENCE. HORACE TWISS, ESQ. one op hkr Majesty's counsel. IN THREE VOLUMES. VOL. III. Ingens ara fuit, juxtaquc veterrima laurus Incumbcns ane, atque umbra complexa Penates." ViRG. JEn. lib. ii. 513, 514. Hard by, an aged laurel stood, and stretch'd Its arms o'er the great altar, in its shade Sheltering the household gods." LONDON: JOHN MURRAY, ALBEMARLE STREET. 1844. w3 London : Printed by A. Spottiswoode, New- Street- Square. CONTENTS THE THIRD VOLUME CHAPTER L. 1827. Letter from Lord Eldon to Lady F. J. Bankes. — Mr. Brougham's Silk Gown. — Game Laws. — Unitarian Marriages. — Death and Character of Mr. Canning. — Formation of Lord Goderich's Ministry. — Duke of Wellington's Acceptance of the Command of the Army : Letters of the Duke, of Lord Goderich, of the King, and of Lord Eldon. — Letters of Lord Eldon to Lord Stowell and to Lady Eliza beth Repton. — Close of the Anecdote- Book : remaining Anec dotes ------- Page 1 CHAPTER LI. 1828. Dissolution of Lord Goderich's Ministry, and Formation of the Duke of Wellington's : Letters of Lord Eldon to Lady F.
    [Show full text]
  • Arthur Annesley, Margaret Cavendish, and Neo-Latin History
    The Review of English Studies, New Series, Vol. 69, No. 292, 855–873 doi: 10.1093/res/hgy069 Advance Access Publication Date: 22 August 2018 Arthur Annesley, Margaret Cavendish, and Neo-Latin History Downloaded from https://academic.oup.com/res/article-abstract/69/292/855/5078044 by guest on 13 November 2018 Justin Begley ABSTRACT This article explores a hitherto unstudied copy of De vita [...] Guilielmi ducis Novo- Castrensis (1668)—a Latin translation of The Life of William Cavendish (1667) by Margaret Cavendish (1623?–1673)—that Arthur Annesley (1614–1686), the First Earl of Anglesey, has heavily annotated. While Annesley owned the largest private li- brary in seventeenth-century Britain, his copy of De vita is by far the most densely glossed of his identifiable books, with no fewer than sixty-one Latin and Greek annota- tions, not to mention numerous corrections and non-verbal markers. By studying Annesley’s careful treatment of De vita, this essay makes an intervention into the bur- geoning fields of reading and library history along with neo-Latin studies. I propose that Annesley filled the margins of De vita with quotations from Latin poets, scholars, philosophers, and historians—rather than his personal views—in a bid to form a polit- ically impartial outlook on the British Civil Wars that was attuned to broader historical or even mythological trends. I. INTRODUCTION On 18 March 1668, the renowned diarist, Samuel Pepys (1633–1703), recorded that he had stayed ‘home reading the ridiculous history of my Lord Newcastle wrote by his wife, which shows her to be a mad, conceited, ridiculous woman, and he an asse to suffer [her] to write what she writes to him and of him’.1 Pepys’s evaluation of Margaret Cavendish (1623?–1673) and her 1667 The Life of William Cavendishe—an account of the deeds of her husband, William Cavendish (1592–1676), in the British Civil Wars—has fuelled the view that contemporaries either scorned or neglected her books.2 Yet, in spite of Pepys’s assessment, Cavendish’s history went through nu- merous editions over the years.
    [Show full text]
  • Oliver Cromwell and the Siege of Drogheda
    University of Montana ScholarWorks at University of Montana Undergraduate Theses and Professional Papers 2017 Just Warfare, or Genocide?: Oliver Cromwell and the Siege of Drogheda Lukas Dregne Follow this and additional works at: https://scholarworks.umt.edu/utpp Let us know how access to this document benefits ou.y Recommended Citation Dregne, Lukas, "Just Warfare, or Genocide?: Oliver Cromwell and the Siege of Drogheda" (2017). Undergraduate Theses and Professional Papers. 175. https://scholarworks.umt.edu/utpp/175 This Thesis is brought to you for free and open access by ScholarWorks at University of Montana. It has been accepted for inclusion in Undergraduate Theses and Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Dregne Just Warfare, or Genocide? Just Warfare, or Genocide?: Oliver Cromwell and the Siege of Drogheda." Sir, the state, in choosing men to serve it, takes no notice of their opinions; if they be willing to serve it, that satisfies. I advised you formerly to bear with minds of different men from yourself. Take heed of being sharp against those to whom you can object little but that they square not with you in matters of religion. - Cromwell, To Major General Crawford (1643) Lukas Dregne B.A., History, Political Science University of Montana 1 Dregne Just Warfare, or Genocide? Abstract: Oliver Cromwell has always been a subject of fierce debate since his death on September 3, 1658. The most notorious stain blotting his reputation occurred during the conquest of Ireland by forces of the English Parliament under his command.
    [Show full text]
  • Petr Osolsobě Sir Thomas More
    PETR OSOLSOBĚ SIR THOMAS MORE: LESS COLLABORATIVE, MORE SHAKESPEAREAN Is Sir Thomas More, in all its fortuitous dramatic unity, the subtle symmetries of its characters, and its network of cross-references a collaborative work? As far as modern editors are concerned, there is a measure of agreement that the original play was the work of Anthony Munday and Henry Chettle, and was completed around 1592-94. Its manuscript contains a number of rewritten and additional passages, attributed to Chettle, Heywood, Dekker and Shakespeare. Gabrieli and Melchiori, in their admirable 1990 Revels edition of Sir Thomas More, support the assumption: playwriting at the time, at least for the public stage, was a collaborative practice between men of letters and actors and the men of the theatre, frequently on the basis of a ‘plot’ devised by a single author[. Besides,] all the extant or lost plays connected with Munday’s name [...] are written in collaboration. (Gabrieli and Melchiori 1990: 13) Munday’s claim to authorship is, furthermore, supported by his access to Harpsfield’s Life of More as well as to other rare recusant literature used in the play; Munday was the right-hand man of Richard Topcliffe, a notorious priest-catcher under Queen Elizabeth, and his close ‘collaborator’ in arresting and executing Roman Catholic priests Edmund Campion, Ralph Sherwin and Alexander Briant in 1581 (Gabrieli and Melchiori 1990: 8). Moreover, Munday was familiar with Latin tags and quotations which are abundant in the original text, always correct in spelling, grammar and syntax, owing to his daily usage of Latin during the months he spent as a spy in the Catholic English College in Rome from February to May 1579.
    [Show full text]
  • Cromwellian Anger Was the Passage in 1650 of Repressive Friends'
    Cromwelliana The Journal of 2003 'l'ho Crom\\'.Oll Alloooluthm CROMWELLIANA 2003 l'rcoklcnt: Dl' llAlUW CO\l(IA1© l"hD, t'Rl-llmS 1 Editor Jane A. Mills Vice l'l'csidcnts: Right HM Mlchncl l1'oe>t1 l'C Profcssot·JONN MOlUUU.., Dl,llll, F.13A, FlU-IistS Consultant Peter Gaunt Professor lVAN ROOTS, MA, l~S.A, FlU~listS Professor AUSTIN WOOLll'YCH. MA, Dlitt, FBA CONTENTS Professor BLAIR WORDEN, FBA PAT BARNES AGM Lecture 2003. TREWIN COPPLESTON, FRGS By Dr Barry Coward 2 Right Hon FRANK DOBSON, MF Chairman: Dr PETER GAUNT, PhD, FRHistS 350 Years On: Cromwell and the Long Parliament. Honorary Secretary: MICHAEL BYRD By Professor Blair Worden 16 5 Town Farm Close, Pinchbeck, near Spalding, Lincolnshire, PEl 1 3SG Learning the Ropes in 'His Own Fields': Cromwell's Early Sieges in the East Honorary Treasurer: DAVID SMITH Midlands. 3 Bowgrave Copse, Abingdon, Oxon, OX14 2NL By Dr Peter Gaunt 27 THE CROMWELL ASSOCIATION was founded in 1935 by the late Rt Hon Writings and Sources VI. Durham University: 'A Pious and laudable work'. By Jane A Mills · Isaac Foot and others to commemorate Oliver Cromwell, the great Puritan 40 statesman, and to encourage the study of the history of his times, his achievements and influence. It is neither political nor sectarian, its aims being The Revolutionary Navy, 1648-1654. essentially historical. The Association seeks to advance its aims in a variety of By Professor Bernard Capp 47 ways, which have included: 'Ancient and Familiar Neighbours': England and Holland on the eve of the a.
    [Show full text]
  • Destiny and Choice in Andrew Marvell's 'An Horatian Ode Upon Cromwell's Return from Ireland'
    Destiny and Choice in Andrew Marvell's 'An Horatian Ode upon Cromwell's Return from Ireland' Takashi YOSHINAKA After the return of Cromwell from his success in Ireland, William Lenthall, Speaker of the Commons, gave him 'the hearty Thanks of this House for his great good Service', and delivered 'an eloquent Oration, setting forth the great Providence of God in those great and strange Works, which God hath wrought by him, as the Instrument'.1 In her Violence and Religion, Judy Sproxton argues that 'Marvell was as certain as other Puritans of his time that the events which had overtaken England in the mid-seventeenth century indeed manifested the will of God', and that it 'is in terms of his response to this that Marvell portrays Cromwell'.2 But, while this may be truer in the case of the 'Cromwell' portrayed in the second of his Cromwell trilogy, 'The First Anniversary of the Government under His Highness the Lord Protector', especially in the patriotic and apocalyptic context of his foreign policy, Marvell's first recorded response to the head of the military coup, 'An Horatian Ode upon Cromwell's Return from Ireland', as many critics have pointed out, can be regarded neither as a whole-hearted panegyric nor, as I want to make clearer in this paper, as bearing positive testimony that Cromwell is acting under the spiritual guidance of God. Whereas 'The First Anniversary' presents Cromwell's rise to power as divinely ordained, in the 'Horatian Ode' Marvell seems to have been still 'undiscerned among the tumult blind / Who think those high decrees by man designed' ('The First Anniversary', lines 241-242).
    [Show full text]
  • Year 7 – Unit 3 Rhetoric and Julius Caesar
    Making Meaning in English: Appendix 1 - The Art of Rhetoric Making Meaning in English: Appendix 1 Year 7 – Unit 3 Rhetoric and Julius Caesar 1 Making Meaning in English: Appendix 1 - The Art of Rhetoric Rhetoric and Julius Caesar – contents Key knowledge Rhetorical figures 4 Parts of speech 4 The three charioteers 4 The five parts of rhetoric 5 Key quotations form famous speeches 5 Characters in Julius Caesar 5 Plot of Julius Caesar 6 Key quotations from Julius Caesar 6 Section 1 The origins of rhetoric 7 Background to Shakespeare’s Julius Caesar 9 Julius Caesar Act 1 scene 2 – Vocabulary in action 10 Julius Caesar Act 1 scene 2 12 Act 1 scene 2: Check your understanding 18 The first part of rhetoric: Invention 20 Alliteration 22 Rhetorical questions 24 Satan from Paradise Lost 27 Your analysis: How does Satan use rhetoric to persuade his army to support him? 28 Grammar: Auxiliary verbs in verb phrases 29 Creation – Argument 30 Section 2 The Life of Cicero 31 Julius Caesar Act 2 scene 2 – Vocabulary in action 33 Julius Caesar Act 2 scene 2: “The heavens themselves blaze forth the death of princes” 35 Act 2 scene 2: Check your understanding 39 The second Part of Rhetoric: Arrangement 40 Anaphora 43 Transferred epithets 45 Cicero: attack dog of the Roman Forum 47 Your analysis: How did Cicero use rhetoric to make Catiline appear guilty? 48 Grammar: Participles of the Verb 49 Creation – Argument 50 Section 3 Julius Caesar - Act 3 scene 1 – The Senate 51 Julius Caesar Act 3 scene 2 – Vocabulary in action 54 Julius Caesar Act 2 scene 2: “Lend
    [Show full text]
  • 1943 Baconiana No. 107 Images
    Vol. XXVII. No. 107. April 1943 CONTENTS PAGE The Libraries of Bacon and Ben Jonson . 57 Bacon, Shakespeare, and War - 60 St. Alban’s and Francis Bacon 69 Facts that Fit - 76 The Magic Word “Genius” 87 A Riddle and Its Answer- 90 Arthur Mee on Francis Bacon - 91 Notes -. 94 Book Reviews - - - 104 Correspondence - 107 LONDON: Published by the Bacon Society Incorporated at. 240 High Holborn, London, W.C.2, and printed by The Rydal Press, Keighley. The Bacon Society (incorporated). The objects of the Society are expressed in the Memorandum of Association to be:— 1. To encourage study of the works of Francis Bacon as philosopher, lawyer, statesman and poet; his character, genius and life; his influence on his own and succeeding times and the tendencies and results of his work. 2. To encourage study of the evidence in favour of his author¬ ship of the plays commonly ascribed to Shakspere, and to investigate his connection with other works of the period. Officers of the Society -.—President: W. S. Melsome, M.A., M.D. Vice-Presidents: Lady Sydenham of Combe, The Dowager Lady Boyle, Miss Alicia Leith, Miss Constance M. Pott, Miss Duming-Lawrehce, Harold Bayley, Esq., Alfred Dodd, Esq.; Chairman of the Council: Miss Mabel Sennett; Vice- Chairman: A. E. Loosley, Esq.; Hon. Editor of Baconiana: Dr. W. S. Melsome; Hon. Treasurer: Lewis Biddulph, Esq., 51, High .Street, Olney, Bucks.; Hon. Librarian: Percy Walters, Esq.; Hon. Secretary: Valentine Smith, Esq.; Auditor: Mrs. F. A. Emmerson, F .L .A. A.; Other Members of the Council: Mrs. V. Bayley, Miss E.
    [Show full text]
  • Liber Famelicus
    LIBER FAMELICUS. THIS book I began to write in, the 18 April 1609, anno 7 Jacobi regni sui Anglise, et Scotise 42. In it I en tend to set downe roemorialls for my posterity of thinges most properly concerning myself and my familye. Oculis in solem, alis in coelum. Motto de cognisance.* Vive diu Whitlocke, tuis sic utere fatis Vt referent sensus alba nee atra tuos. JAMES WHITELOCKE. My father RICHARD WHITELOCK: was the fourthe sun of Richard Whitelock, and was born in the ancient seat of the Whitelocks, called Beeches, situate neer Okingham, a market towne in the countye of Barkes, whiche land hathe continued in our blud sithence the year of our Lord 1231; for it appeerethe by a deed in my cosen William f Whitelockes hand of Beches that Robert J then bishop of Salisburye, who was lord of the manor of Sunning neer Okingham, did give to William de la Beche, out of his purpres- ture§ of Bear Wood, that verye land my cosen William Whitelock now holdethe by discent from his father, and he bathe the originall • This "motto of cognisance" refers to the arms borne by the Whitelocke family, a chevron between three falcons, or, as they are called in one pedigree, three eagles, and the crest, a like bird rising out of a tower. +• My father's elder brother's son, and heir of the family ; William the eldest being ded without issue. Note by the writer of the MS. J Robert de Bingham, bishop of Salisbury 1228—1246. § Inclosure. CAMD. 8OC. B 2 LIBER FAMELICUS.
    [Show full text]