The Causes of Tyranny As a Guide to Political Reform: St
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The Cultural and Ideological Significance of Representations of Boudica During the Reigns of Elizabeth I and James I
EXETER UNIVERSITY AND UNIVERSITÉ D’ORLÉANS The Cultural and Ideological Significance Of Representations of Boudica During the reigns of Elizabeth I and James I. Submitted by Samantha FRENEE-HUTCHINS to the universities of Exeter and Orléans as a thesis for the degree of Doctor of Philosophy in English, June 2009. This thesis is available for library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgment. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. ..................................... (signature) 2 Abstract in English: This study follows the trail of Boudica from her rediscovery in Classical texts by the humanist scholars of the fifteenth century to her didactic and nationalist representations by Italian, English, Welsh and Scottish historians such as Polydore Virgil, Hector Boece, Humphrey Llwyd, Raphael Holinshed, John Stow, William Camden, John Speed and Edmund Bolton. In the literary domain her story was appropriated under Elizabeth I and James I by poets and playwrights who included James Aske, Edmund Spenser, Ben Jonson, William Shakespeare, A. Gent and John Fletcher. As a political, religious and military figure in the middle of the first century AD this Celtic and regional queen of Norfolk is placed at the beginning of British history. In a gesture of revenge and despair she had united a great number of British tribes and opposed the Roman Empire in a tragic effort to obtain liberty for her family and her people. -
Theatricality and Historiography in Shakespeare's Richard
H ISTRIONIC H ISTORY: Theatricality and Historiography in Shakespeare’s Richard III By David Hasberg Zirak-Schmidt This article focuses on Shakespeare’s history drama Richard III, and investigates the ambiguous intersections between early modern historiography and aesthetics expressed in the play’s use of theatrical and metatheatrical language. I examine how Shakespeare sought to address and question contemporary, ideologically charged representations of history with an analysis of the characters of Richard and Richmond, and the overarching theme of theatrical performance. By employing this strategy, it was possible for Shakespeare to represent the controversial character of Richard undogmatically while intervening in and questioning contemporary discussions of historical verisimilitude. Historians have long acknowledged the importance of the early modern history play in the development of popular historical consciousness.1 This is particularly true of England, where the history play achieved great commercial and artistic success throughout the 1590s. The Shakespearean history play has attracted by far the most attention from cultural and literary historians, and is often seen as the archetype of the genre. The tragedie of kinge RICHARD the THIRD with the death of the Duke of CLARENCE, or simply Richard III, is probably one of the most frequently performed of Shakespeare’s history plays. The play dramatizes the usurpation and short- lived reign of the infamous, hunchbacked Richard III – the last of the Plantagenet kings, who had ruled England since 1154 – his ultimate downfall, and the rise of Richmond, the future king Henry VII and founder of the Tudor dynasty. To the Elizabethan public, there was no monarch in recent history with such a dark reputation as Richard III: usurpation, tyranny, fratricide, and even incest were among his many alleged crimes, and a legacy of cunning dissimulation and cynical Machiavellianism had clung to him since his early biographers’ descriptions of him. -
RHO Volume 35 Back Matter
WORKS OF THE CAMDEN SOCIETY AND ORDER OF THEIR PUBLICATION. 1. Restoration of King Edward IV. 2. Kyng Johan, by Bishop Bale For the year 3. Deposition of Richard II. >• 1838-9. 4. Plumpton Correspondence 6. Anecdotes and Traditions 6. Political Songs 7. Hayward's Annals of Elizabeth 8. Ecclesiastical Documents For 1839-40. 9. Norden's Description of Essex 10. Warkworth's Chronicle 11. Kemp's Nine Daies Wonder 12. The Egerton Papers 13. Chronica Jocelini de Brakelonda 14. Irish Narratives, 1641 and 1690 For 1840-41. 15. Rishanger's Chronicle 16. Poems of Walter Mapes 17. Travels of Nicander Nucius 18. Three Metrical Romances For 1841-42. 19. Diary of Dr. John Dee 20. Apology for the Lollards 21. Rutland Papers 22. Diary of Bishop Cartwright For 1842-43. 23. Letters of Eminent Literary Men 24. Proceedings against Dame Alice Kyteler 25. Promptorium Parvulorum: Tom. I. 26. Suppression of the Monasteries For 1843-44. 27. Leycester Correspondence 28. French Chronicle of London 29. Polydore Vergil 30. The Thornton Romances • For 1844-45. 31. Verney's Notes of the Long Parliament 32. Autobiography of Sir John Bramston • 33. Correspondence of James Duke of Perth I For 1845-46. 34. Liber de Antiquis Legibus 35. The Chronicle of Calais J Downloaded from https://www.cambridge.org/core. IP address: 170.106.35.93, on 27 Sep 2021 at 13:24:50, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S2042169900003692 CAMDEN K^AHkJ|f SOCIETY, FOR THE PUBLICATION OF EARLY HISTORICAL AND LITERARY REMAINS. -
Featuring Articles on Henry Wyatt, Elizabeth of York, and Edward IV Inside Cover
Richard III Society, Inc. Vol. 42 No. 3 September, 2011 Challenge in the Mist by Graham Turner Dawn on the 14th April 1471, Richard Duke of Gloucester and his men strain to pick out the Lancastrian army through the thick mist that envelopes the battlefield at Barnet. Printed with permission l Copyright © 2000 Featuring articles on Henry Wyatt, Elizabeth of York, and Edward IV Inside cover (not printed) Contents The Questionable Legend of Henry Wyatt.............................................................2 Elizabeth of York: A Biographical Saga................................................................8 Edward IV King of England 1461-83, the original type two diabetic?................14 Duchess of York—Cecily Neville: 1415-1495....................................................19 Errata....................................................................................................................24 Scattered Standards..............................................................................................24 Reviews................................................................................................................25 Behind the Scenes.................................................................................................32 A Few Words from the Editor..............................................................................37 Sales Catalog–September, 2011...........................................................................38 Board, Staff, and Chapter Contacts......................................................................43 -
Prophecy in Shakespeare's English History Cycles Lee Joseph Rooney
Prophecy in Shakespeare’s English History Cycles Lee Joseph Rooney Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor in Philosophy September 2014 Abstract Prophecy — that is, the action of foretelling or predicting the future, particularly a future thought to represent the will of God — is an ever-present aspect of Shakespeare’s historical dramaturgy. The purpose of this thesis is to offer a reading of the dramas of Shakespeare’s English history cycles — from 1 Henry VI to Henry V — that focuses exclusively upon the role played by prophecy in representing and reconstructing the past. It seeks to show how, through close attention to the moments when prophecy emerges in these historical dramas, we might arrive at a different understanding of them, both as dramatic narratives and as meditations on the nature of history itself. As this thesis seeks to demonstrate, moreover, Shakespeare’s treatment of prophecy in any one play can be viewed, in effect, as a key that can take us to the heart of that drama’s wider concerns. The comparatively recent conception of a body of historical plays that are individually distinct and no longer chained to the Tillyardian notion of a ‘Tudor myth’ (or any other ‘grand narrative’) has freed prophecy from effectively fulfilling the rather one-dimensional role of chorus. However, it has also raised as-yet- unanswered questions about the function of prophecy in Shakespeare’s English history cycles, which this thesis aims to consider. One of the key arguments presented here is that Shakespeare utilises prophecy not to emphasise the pervasiveness of divine truth and providential design, but to express the political, narratorial, and interpretative disorder of history itself. -
George Ferrers and the Historian As Moral Compass.” LATCH 2 (2009): 101-114
Charles Beem. “From Lydgate to Shakespeare: George Ferrers and the Historian as Moral Compass.” LATCH 2 (2009): 101-114. From Lydgate to Shakespeare: George Ferrers and the Historian as Moral Compass Charles Beem University of North Carolina, Pembroke Essay In or around the year 1595, playwright William Shakespeare wrote the historical tragedy Richard II, the chronological starting point for a series of historical plays that culminates with another, better known historical tragedy Richard III. The historical sources Shakespeare consulted to fashion the character of Richard II and a procession of English kings from Henry IV to Richard III included the chronicles of Edward Hall and Raphael Holinshed, as well as the immensely popular The Mirror For Magistrates, which covered the exact same chronological range of Shakespeare’s Ricardian and Henrician historical plays. While Hall’s and Holinshed’s works were mostly straightforward prose narratives, The Mirror was a collaborative poetic history, which enjoyed several print editions over the course of Elizabeth I’s reign. Subjects in The Mirror appear as ghosts to tell their woeful tales of how they rose so high only to fall so hard, a device frequently employed in a number of Shakespeare’s plays, including Richard III. Among the various contributors to The Mirror for Magistrates was a gentleman by the name of George Ferrers. While it is highly unlikely that Shakespeare and Ferrers ever met—indeed, Shakespeare was only 15 when Ferrers died in 1579 at the ripe old age of 69. It is much more certain that Shakespeare was acquainted with Ferrers’ literary works. -
The Tragedy of King Richard the Third
Dating Shakespeare’s Plays: Richard III The Tragedy of King Richard t he Third with the Landing of Earle Richmond and the Battel at Boſworth Field he earliest date for The Tragedy of King murther of his innocent Nephewes: his Richard III (Q1) is 1577, the first edition tyrannicall vsurpation: with the whole of Holinshed. The latest possible date is at course of his detested life, and most deserued Tthe publication of the First Quarto in 1597. death. As it hath beene lately Acted by the Right honourable the Lord Chamber laine his seruants. By William Shake-speare. London Publication Date Printed by Thomas Creede, for Andrew Wise, dwelling in Paules Church yard, at the signe of the Angell. 1598. The Tragedy of King Richard III was registered in 1597, three years after The Contention( 2 Henry The play went through four more quartos before VI) and three years before The True Tragedy of the First Folio in 1623: Richard Duke of York (3 Henry VI): [Q3 1602] The Tragedie of King Richard [SR 1597] 20 Octobris. Andrewe Wise. Entred the third. Conteining his treacherous Plots for his copie vnder thandes of master Barlowe, against his brother Clarence: the pittifull and master warden Man. The tragedie of murther of his innocent Nephewes: his kinge Richard the Third with the death of the tyrannical vsurpation: with the whole course Duke of Clarence. of his detested life, and most deserued death. As it hath bene lately Acted by the Right The play was published anonymously: Honourable the Lord Cham berlaine his seruants. -
Richard III: Victim Or Villain?
Richard III: Victim or Villain? SYNOPSIS As a student in history class my favourite topic was always the Tudors and their monarchs. So, when presented with the opportunity to form an investigation into a historical period of my choice, without hesitation, I chose the Tudors. After researching, I settled on the controversies surrounding Richard III. Many of the contemporary records widely available are written by the Tudors, the family who usurped the English throne from Richard. I also looked into popular culture and the enduring image we see of Richard III in many dramas, due to Shakespeare. This led me to question how much of King Richard’s image was created by the Tudors and not necessarily based on historical fact. Hence, this led me to my question: “To what extent has the image of Richard III been shaped by Tudor historians?” The most prevalent depictions of Richard III are those that have been kept in popular history, most prominently, the Tudor depiction, through Shakespeare’s play Richard III. To answer my question, I focussed on assessing the role of the early Tudor historians, focussing on the work of Thomas More and Polydore Vergil, in creating the image of Richard III. I then looked at how this image was immortalised by Shakespeare in his historical tragedy Richard III. Finally, I considered more modern revisionists attempts, such as Philippa Langley and the team who led the 2012 dig to find Richard’s remains, and the impacts these efforts have had on revising King Richard III’s image. Jeremy Potter, through his work Good King Richard?1 was the main source which provided insight into the personal context of key historians Sir Thomas More and Polydore Vergil. -
Jukebox Decades – 100 Hits Ultimate Soul
JUKEBOX DECADES – 100 HITS ULTIMATE SOUL Disc One - Title Artist Disc Two - Title Artist 01 Ain’t No Sunshine Bill Withers 01 Be My Baby The Ronettes 02 How ‘Bout Us Champaign 02 Captain Of Your Ship Reparata 03 Sexual Healing Marvin Gaye 03 Band Of Gold Freda Payne 04 Me & Mrs. Jones Billy Paul 04 Midnight Train To Georgia Gladys Knight 05 If You Don’t Know Me Harold Melvin 05 Piece of My Heart Erma Franklin 06 Turn Off The Lights Teddy Pendergrass 06 Woman In Love The Three Degrees 07 A Little Bit Of Something Little Richard 07 I Need Your Love So Desperately Peaches 08 Tears On My Pillow Johnny Nash 08 I’ll Never Love This Way Again D Warwick 09 Cause You’re Mine Vibrations 09 Do What You Gotta Do Nina Simone 10 So Amazing Luther Vandross 10 Mockingbird Aretha Franklin 11 You’re More Than A Number The Drifters 11 That’s What Friends Are For D Williams 12 Hold Back The Night The Tramps 12 All My Lovin’ Cheryl Lynn 13 Let Love Come Between Us James 13 From His Woman To You Barbara Mason 14 After The Love Has Gone Earth Wind & Fire 14 Personally Jackie Moore 15 Mind Blowing Decisions Heatwave 15 Every Night Phoebe Snow 16 Brandy The O’ Jays 16 Saturday Love Cherrelle 17 Just Be Good To Me The S.O.S Band 17 I Need You Pointer Sisters 18 Ready Or Not Here I The Delfonics 18 Are You Lonely For Me Freddie Scott 19 Home Is Where The Heart Is B Womack 19 People The Tymes 20 Birth The Peddlers 20 Don’t Walk Away General Johnson Disc Three - Title Artist Disc Four - Title Artist 01 Till Tomorrow Marvin Gaye 01 Lean On Me Bill Withers 02 Here -
Love Thy Neighbor
Love Thy Neighbor An Exhibition Commemorating the Completion of the Episcopal Chapel of St. John the Divine Curated by Christopher D. Cook Urbana The Rare Book & Manuscript Library 2007 Designed and typeset by the curator in eleven-point Garamond Premier Pro using Adobe InDesign CS3 Published online and in print to accompany an exhibition held at The Rare Book & Manuscript Library, University of Illinois at Urbana-Champaign, 16 November 2007 through 12 January 2008 [Print version: ISBN 978-0-9788134-1-3] Copyright © 2007 by the Board of Trustees of the University of Illinois All rights reserved. Published 2007 Manufactured in the United States of America Contents Commendation, The Reverend Timothy J. Hallett 5 Introduction 7 A Brief History of the Book of Common Prayer, Thomas D. Kilton 9 Catalog of the Exhibition Beginnings 11 Embroidered Bindings 19 The Episcopal Church in the United States 21 On Church Buildings 24 Bibliography 27 [blank] Commendation It is perhaps a graceful accident that the Episcopal Chapel of St. John the Divine resides across the street from the University of Illinois Library’s remarkable collection of Anglicana. The Book of Common Prayer and the King James version of the Bible have been at the heart of Anglican liturgies for centuries. Both have also enriched the life and worship of millions of Christians beyond the Anglican Communion. This exhibition makes historic editions of these books accessible to a wide audience. Work on the Chapel has been undertaken not just for Anglicans and Episcopalians, but for the enrichment of the University and of the community, and will make our Church a more accessible resource to all comers. -
John Milton╎s History of Britain: Its Place in English Historiography
Studies in English Volume 6 Article 9 1965 John Milton’s History of Britain: Its Place in English Historiography Michael Landon University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/ms_studies_eng Part of the Literature in English, British Isles Commons Recommended Citation Landon, Michael (1965) "John Milton’s History of Britain: Its Place in English Historiography," Studies in English: Vol. 6 , Article 9. Available at: https://egrove.olemiss.edu/ms_studies_eng/vol6/iss1/9 This Article is brought to you for free and open access by the English at eGrove. It has been accepted for inclusion in Studies in English by an authorized editor of eGrove. For more information, please contact [email protected]. Landon: John Milton’s History of Britain: Its Place in English Historiogr JOHN MILTON'S HISTORY OF BRITAIN ITS PLACE IN ENGLISH HISTORIOGRAPHY by Michael Landon The History of Britain, that part especially now called England, from the first traditional Beginning continued to the Norman Conquest, by John Milton, was written at intervals between 1646 and 1660 and was first published in 1670 by James Allestry in a quarto volume of some three hundred and fifty pages which sold for five shillings.1 Few think of Milton as a historian, although anyone familiar with Paradise Lost alone of his best known works will realize that the famous mid-seventeenth century poet knew and had a pro found sense of history.2* His History of Britain has tended to be neglected by Milton scholars and has not as yet been critically -
THE PROBLEM of the HERO in SHAKESPEARE's KING JOHN APPROVED: R Professor Suiting Professor Minor Professor Partment of English
THE PROBLEM OF THE HERO IN SHAKESPEARE'S KING JOHN APPROVED: r Professor / suiting Professor Minor Professor l-Q [Ifrector of partment of English Dean or the Graduate School THE PROBLEM OF THE HERO IN SHAKESPEARE'S KING JOHN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Wilbert Harold Ratledge, Jr., B. A. Denton, Texas June, 1970 TABLE OF CONTENTS Chapter Page I. INTRODUCTION 1 II. THE MILIEU OF KING JOHN 7 III. TUDOR HISTORIOGRAPHY 12 IV. THE ENGLISH CHRONICLE PLAY 22 V. THE SOURCES OF KING JOHN 39 VI. JOHN AS HERO 54 VII. FAULCONBRIDGE AS HERO 67 VIII. ENGLAND AS HERO 82 IX. WHO IS THE VILLAIN? 102 X. CONCLUSION BIBLIOGRAPHY 118 in CHAPTER I INTRODUCTION During the last twenty-five years Shakespeare scholars have puolished at least five major works which deal extensively with Shakespeare's history plays. In addition, many critical articles concerning various aspects of the histories have been published. Some of this new material reinforces traditional interpretations of the history plays; some offers new avenues of approach and differs radically in its consideration of various elements in these dramas. King John is probably the most controversial of Shakespeare's history plays. Indeed, almost everything touching the play is in dis- pute. Anyone attempting to investigate this drama must be wary of losing his way among the labyrinths of critical argument. Critical opinion is amazingly divided even over the worth of King John. Hardin Craig calls it "a great historical play,"^ and John Masefield finds it to be "a truly noble play .