This chapter examines the contrasting uses, or non-uses, of medieval art objects in two medieval films and assesses how they contribute to the films' overall authenticity-effects. Both films are based on twentieth-century novels which share a knowing approach to the past, patching overt anachronism with real and apparent samples of medieval text. The chapter makes tentative contribution to a list of such characteristics: that the fragmented visual profile of the medieval makes medieval authenticity-effects particularly troublesome to produce. One of the few medieval films to refer explicitly to the art of the period, Perceval le Gallois, uses it to construct a non-mimetic aesthetic. The anti-mimetic Monty Python and the Holy Grail, in which various modes of the illusory medieval - chivalric glamour, earthy squalor, quotations of medieval forms - jostle with the rude interruptions of modernity, may be the paradigmatic medieval film, and is certainly a favourite of many medievalist.
Weaving around the Bayeux Tapestry and cinema in Robin Hood: Prince of Thieves and El Cid
The Bayeux Tapestry appears most often in historical fiction cinema as a prologue integrated into an opening title sequence, and, less frequently, in scenes of it being embroidered and assembled by women: Chimene in El Cid; Ophelia and other women in Hamlet; and Marian Dubois in Robin Hood: Prince of Thieves. This chapter discusses the ways in which the Bayeux Tapestry in cinema clarifies the limits of the dominant ways in which literary and film historicism has been thought in terms of mimetic matching between film and history or in terms of a framing effect. A close reading of Robin Hood: Prince of Thieves's opening title sequence, which condenses and recuts panels of the Tapestry as a montage, helps explain how the film fails to deliver both on its ostensibly liberal politics of multicultural tolerance and as a narrative film of any consequence.
This chapter pinpoints 27 December 1601 as the date of the first performance of Twelfth Night – and demonstrates that Shakespeare wrote his play for two audiences, one at Elizabeth’s Court, the other at the Inns of Court.
This chapter identifies some of Shakespeare’s unrecognized tributes to friends, former patrons, and others who were dear to him.
This chapter reveals the identities of Quinapalus, the Vapians, Pigrogromitus, and the court jester behind Feste’s name. It’s Shakespeare at his word-playing best.
This chapter explains how Shakespeare marshalled St. Paul’s Epistles to the Corinthians as the subtext for Twelfth Night.
This book will come as a revelation to Shakespeare scholars everywhere. It reveals the identity of the playwright and Shakespeare’s colleague behind the mask of Jaques in As You Like It. It pinpoints the true first night of Twelfth Night and reveals why the play’s performance at the Inns of Court was a momentous occasion for shakespeare. It also the identities Quinapalus, the Vapians, Pigrogromitus and Feste, as well as the ‘Dark Lady’ of the Sonnets and the inspiration for Jessica in The Merchant of Venice. And it solves Shakespeare’s greatest riddle: the meaning of M.O.A.I. in Twelfth Night. In sum, this book reveals William Shakespeare as a far more personal writer than we have ever imagined.
This is a companion to Pastoral poetry of the English Renaissance: An anthology (2016), the largest ever collection of its kind. The monograph-length Introduction traces the course of pastoral from antiquity to the present day. The historical account is woven into a thematic map of the richly varied pastoral mode, and it is linked to the social context, not only by local allegory and allusion but by its deeper origins and affinities. English Renaissance pastoral is set within the context of this total perspective.
Besides the formal eclogue, the study covers many genres: lyric, epode, georgic, country-house poem, ballad, romantic epic, drama and prose romance. Major practitioners like Theocritus, Virgil, Sidney, Spenser, Drayton and Milton are discussed individually.
The Introduction also charts the many means by which pastoral texts circulated during the Renaissance, with implications for the history and reception of all Early Modern poetry. The poems in the Anthology have been edited from the original manuscripts and early printed texts, and the Textual Notes comprehensively document the sources and variant readings. There are also notes on the poets and analytical indices of themes, genres, and various categories of proper names. Seldom, if ever, has a cross-section of English Renaissance poetry been textually annotated in such detail.
Gabriel Harvey has long been recognized as the inspiration for Malvolio in Twelfth Night. This chapter explains how Shakespeare turned his late friend Thom Nashe into Feste, and continued Nashe’s torment of Harvey from beyond the grave.