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Patrick Collinson

appears to have been a political campaign both concerted and orchestrated to frustrate the diplomatically advantageous marriage to Anjou: in effect a mini-exclusion crisis so long as it lasted.6 The ultimate rejection of a biologically somewhat improbable suit signalled the public unveiling of the Protestant virgin queen. This is the Elizabethan persona most familiar to us, and perhaps always most congenial to her, but one which was fully developed only towards 1580 and back-projected into the earlier years of the reign by William Camden.7 That was an exclusion crisis

in This England
Uncivilised topographies in Jane Eyre and Wuthering Heights
Stella Hockenhull

(2007), Britain is pastoral and rolling –​a Britain to be defended –​ when used as a backdrop for the Virgin Queen (Cate Blanchett). However, Mary Stuart, Queen of Scots (Samantha Morton), is seen predominantly in a ‘medieval’ landscape:  in this precipitous terrain, the unforgiving and bleak hills of Scotland prevail, overpowering and diminishing her figure, although the two landscape variations ultimately converge through the spectacle of the Armada, whereby the picturesque heritage becomes realist drama. Rugged moorlands and dark, impenetrable forestation correlate

in British rural landscapes on film
Scriptural tradition and the close of The Faerie Queene
Margaret Christian

excellent conceipt of Cynthia.”29 This goddess reigns in “the Circle of the moone,” and the moon, at least during the tenure of a virgin queen, was England’s national orb. Furthermore, Spenser twice uses the word “glory” to characterize Cynthia’s reign, here and in stanza 10: “Shee gan to burne in her ambitious spright,/ And t’envie her that in such glorie raigned.” “Glory,” like “glorious” and the name Gloriana, is a word associated with Elizabeth (and occasionally with her antitheses, such as Lucifera). 27 Mary K. Woodworth, “The Mutabilitie Cantos and the Succession

in Spenserian allegory and Elizabethan biblical exegesis
Sir Wa’ter’s two Books of Mutabilitie and their subject’s allegorical presence in select Spenserean narratives and complaints
James Nohrnberg

, like the name, belonged to the Virgin Queen. Raleigh named Virginia after the Queen, at the time of his being knighted for his unsuccessful plan to settle it, which was hatched at his palatial r­ esidence at Durham House – just off ‘the Strand’, in London. But at the same time that the rich strand was Manteo, it was also El Dorado, the golden Peru described by Lopez, the Caribbean occupied by the Spanish, and the generally promising shores of the New World, which could be counted on ‘to equalize … Tyrus for colours, Basan for woods, Persia for oils, Arabia for spices

in Literary and visual Ralegh
Abstract only
Size matters
Deanne Williams

at Juno’s temple, their idylls in the cave, and, ultimately, Dido’s self-immolation. The painting thus sets up the great Elizabeth, the Virgin Queen, against a Dido diminished by love: Dido the sensualist, Dido the seduced, the Dido who wanted to marry Aeneas, and the Dido who considered herself married to him anyway. However, the opposition between Elizabeth and

in Goddesses and Queens
The crucial year
David Wallace

with the powers of Scotland and Spain. 16 Millennial fears, in the approach to 1600, segued into misgivings over the end of a very long reign; Westminster courtiers, unnerved by the ageing and decaying body of a virgin queen, hurried north to negotiate. Fearful imaginings conjured what might descend upon England from Scotland: the unknown absolutist offspring of a murdered Catholic queen. ‘The end crowns

in Love, history and emotion in Chaucer and Shakespeare
Victoria Coldham-Fussell

-divine Virgin Queen. Likewise, we need not regard Lucifera as a reflection of ‘what Spenser really thought of Elizabeth’ or as evidence of his Republican sympathies in order to read the House of Pride episode as genuinely subversive. Beyond its primary function as a satire on the sin of pride, it presents a dystopic image of monarchy – a grotesque magnification of the human failings Elizabeth’s position made her uniquely susceptible to, and a vision of this susceptibility pushed to its logical conclusion without check, inhibition, or redemption. The episode is a parable and a

in Comic Spenser
Abstract only
William Camden and the making of history
Patrick Collinson

private to a public life had actually strengthened this celibate resolve. ‘But now that the publick Care of governing the Kingdom is laid upon me, to draw upon me also the Cares of Marriage may seem a point of inconsiderate Folly.’126 And then follows the little ring scene. The effect of this, when added to ‘Virgo Regnavit, Virgo Obiit’ was to strengthen Elizabeth’s apparent commitment to virginity, and at the age of twenty-five; indeed to project back into 1559 the legend of the Virgin Queen which, as recent scholarship assures us, was in reality invented, for

in This England
Movement as emotion in John Lyly
Andy Kesson

Sapho and Phao is one play-length exemplum, not only reflecting but challenging a court organised around male courtiers and a virgin Queen. Lyly reminds us, too, that rhetoric, writing and performance are peculiarly combative and kinetic processes. His images of wrestling and dancing both allude to activities that are competitive as well as collaborative. Bryce describes dancing

in The Renaissance of emotion
All’s Well That Ends Well
Lisa Hopkins

presence of well imagery in the play when she suggests that ‘In one respect … the name Diana is a repetition of Fontibell, not a correction. Fontibell means “beautiful fountain”, and fountains are invariably associated with chaste women, with the goddess Diana … and with the virgin queen Elizabeth’ ( 2007 : 104–5). 5 Moreover, Winifred Joy Mulligan notes that ‘later legends lauded

in Biblical women in early modern literary culture 1550–1700