staying as a guest of the royalfamily
in their palace. Kunverba was waiting in the morning ready to go to the
ceremony separately. Radhakrishnan saw her and, assuming she was to
travel with him, invited her to enter his car, and she did so, getting in before
him, the President. She explained that he said to her:
‘Madam, you first.’ So I looked at
the royalfamily and
the fact that both King George VI and the Prince of Wales had
collections of his records, as indeed did British Prime Ministers
Churchill, Asquith, Bonar Law, Ramsay Macdonald and Stanley Baldwin, and
the Australian Prime Minister John Curtin. 26 In his 1951 autobiography, he
was at pains to stress that the new Australian Governor-General William
McKell, although a ‘rough diamond
VI and Queen Elizabeth II), and at the wedding of
Princess Elizabeth and Prince Philip.
The royalfamily always took a particular interest in
military music. In 1898 George Miller, Charles Godfrey and Ladislao
Zaverthal, the three leading bandmasters, were given honorary
commissions at the intervention of Queen Victoria herself. She thought
that the rank, pay and pensions of the bandmasters were wholly
Aries, Middleton had referred to James, albeit in
parentheses, as ‘that ioy of honest hearts’ and as the king ‘that
Vnites Kingdomes [and] who encloses / All in the Armes of Loue’
(sigs B2v–B3r). A rather more contingent form of goodwill towards
the royalfamily and state policy is in evidence in 1623.
As we have seen in relation to Himatia-Poleos, Chruso-thriambos
and Metropolis coronata, Munday’s texts can also be seen to have
contemporary political dimensions. However, if he did comment on
the underlying moment of the 1618 Show – the execution of Ralegh
The 2011 wedding of Prince William and Kate Middleton was a key moment for the contemporary British monarchy. It attracted two billion television viewers in 180 countries, and one million visitors to London.
As has become tradition for royal events since Queen Victoria's reign as a way for royals to manufacture intimacy with audiences,
the royalfamily appeared for now-famous photographs on Buckingham Palace balcony ( Figure 1
suggest nostalgia for older traditions. Indonesians still pay deference to people of aristocratic background. They may dress up as royals on their wedding day, honour royal appurtenances such as carriages in museums, or take part in staged festivals featuring descendants of former royalfamilies. But the only serious alternative in Indonesia’s modern history to a republican form of government based on popular participation has been Indonesia’s military, which backed two presidents who had pretensions to be ‘president for life’, Sukarno and Suharto.
The first men who
Bess of Hardwick was one of the most extraordinary figures of Elizabethan
England. She was born the daughter of a country squire. By the end of her long
life (which a recent redating of her birth suggests was even longer than
previously thought) she was the richest woman in England outside the royal
family, had risen to the rank of countess and seen two of her daughters do the
same, and had built one of the major ‘prodigy houses’ of the period. While
married to her fourth husband, the earl of Shrewsbury, she had been gaoler to
Mary, Queen of Scots, and her granddaughter by her second marriage, Lady Arbella
Stuart, was of royal blood and might have been succeeded to the throne of
England. This wide-ranging collection, which draws on the recent edition of her
correspondence, brings out the full range of her activities and impact. It
contains a biography, analysis of her language use, consideration of the roles
of her servants and the management and nature of her households (including the
complex and allegorical decorative scheme of Hardwick and its famous
embroideries), and a new appraisal of the relationship between Bess and her
For women writers, the decades of the English Civil War were of special importance. This book presents a complex and rewarding poetic culture that is both uniquely women-centred and integrally connected to the male canonical poetry. It brings together extensive selections of poetry by the five most prolific and prominent women poets of the English Civil War: Anne Bradstreet, Hester Pulter, Margaret Cavendish, Katherine Philips, and Lucy Hutchinson. All these five women were attracting new and concerted attention as poets by seventeenth-century women. Bradstreet's poems first appeared in The Tenth Muse Lately Sprung up in America, and the later volume of Several Poemsincluded revised texts of those poems and several new ones. Each version of the poems spoke more directly on the context of the English Civil War. Pulter's poems construe Broadfield as a place of unwelcome isolation: she describes herself as 'shut up in a country grange', 'tied to one habitation', and 'buried, thus, alive'. Philips's poetry was first printed in 1664, her state-political poems, on members of the royal family and events of the Civil War, Interregnum, and Restoration, suggest Philips as a poet writing on matters of political significance. Cavendish's two major editions of Poems and Fancies in 1653 and 1664 each have strongly competing claims both to textual authority and to the more resonant political moment. Across poetry and prose, print and manuscript, Hutchinson's writing bears the marks of her fervent hostility to corrupt rulers and her remarkably broad education, adventurous reading habits, and energetic intellect.
Moving images of the British monarchy, in fact and fiction, are almost as old as the moving image itself, dating back to an 1895 dramatic vignette, The Execution of Mary Queen of Scots. Led by Queen Victoria, British monarchs themselves appeared in the new 'animated photography' from 1896. Half a century later, the 1953 coronation of Elizabeth II was a milestone in the adoption of television, watched by 20 million Britons and 100 million North Americans. At the century's end, Princess Diana's funeral was viewed by 2.5 billion worldwide. Seventeen essays by international commentators examine the portrayal of royalty in the 'actuality' picture, the early extended feature, amateur cinema, the movie melodrama, the Commonwealth documentary, New Queer Cinema, TV current affairs, the big screen ceremonial and the post-historical boxed set. These contributors include Ian Christie, Elisabeth Bronfen, Andrew Higson, Steven Fielding, Karen Lury, Glyn Davis, Ann Gray, Jane Landman, Victoria Duckett, Jude Cowan Montague, James Downs, Barbara Straumann, Deirdre Gilfedder, Jo Stephenson, Ruth Adams, Erin Bell, Basil Glynn and Nicola Rehling.
This chapter examines the conversion of seventeenth-century Vietnamese women to Catholicism and the narration of their conversions in the accounts of European missionaries. In Annam (as early-modern Europeans called the two polities Tonkin and Cochinchina), missionaries from the Jesuit order and from the French Missions Étrangères de Paris converted tens of thousands of women and men during the seventeenth century and composed narratives of their most notable converts. In the accounts women stand out for two reasons: a number were from high ranking court families, including members of the royal families, and a number of the lower-ranking women converts suffered from demonic possession. The most spectacular conversion cases concerned women spirit-mediums, who played an important role in Annamese religious observances as oracles. The missionaries described them as possessed by demons. Once converted, these former spirit-mediums became miracle workers, and thus fit into another category recognizable to European readers. But the Catholic Reformation had ambivalent feelings at best about such women playing an important role in the evangelization campaign. Thus missionaries seeking credibility and narrating conversions by working with what Annamese culture offered them stretched the limits of what was acceptable to their audience at home.