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Peel’s Protection Act and the retreat from approachability, 1837–50
Steve Poole

woman of twenty-one (for) the life of a man old enough to be her father and who was, indeed, the father of a numerous family’, but most maintained a faith in Victoria’s instinctive feminine compassion. Mercy had always been the brightest gem in the crown of a king, declared another speaker at the same meeting: ‘how much more bright, then, in the coronet of a virgin Queen? (Cheers) He had heard that her Majesty was charitable, benevolent and kind; and he sincerely trusted she would add to these qualities that of mercy.’ The memorialists were encouraged by an unexpected

in The politics of regicide in England, 1760–1850
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Shakespeare’s brute part
Richard Wilson

enough ‘emotional literacy’ to universalize their wandering minds and hands. 102 So it is that in Shakespearean Windsor the master language meets its accidental match in the mother tongue spoken not by the Virgin Queen of the Castle, but by Dame Quickly, another kind of ‘quean, an old cozening quean!’ [ 4,2,149 ], who can have ‘nothing to do with marriage’. 103 ‘I pray you remember in your prain’: with

in Free Will
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Richard Wilson

Press, 1992), p. 244. 16 Ortega y Gasset, Ortega y Gasset: Velázquez, Goya, and the Dehumanization of Art , trans. A. Beeching (New York: Littlehampton, 1972), p. 88. 17 Arifa Akbar, ‘The Virgin Queen, the Serpent and the Doctored Portrait: Artist

in Free Will
Puritans and Dissenters
Robert G. Ingram

Elizabeth’s reign but rather by quoting repeatedly from the managers of Henry Sacheverell’s trial regarding Elizabeth’s persecution of the Puritans.84 The path from the persecutory Virgin Queen through Sacheverell to Edmund Gibson and his fellow orthodox churchmen was one that Neal left his readers to trace for themselves.85 Gibson became an increasingly polarizing figure during the 1730s, as he 212 Factions, seditions and schismatical principles strengthened the resolve of the bench of bishops to defend the established Church. The 1734 parliamentary election returned a

in Reformation without end
Lyly’s elusive theatre (1583–c.1590)
Andy Kesson

does not (V.i.103–4). In both plays, the dreams are composed of threatening images that articulate fears about sexuality and power, and so are especially provocative in court performance in front of a queen who had recently abandoned prolonged marriage negotiations and begun to promote herself as the Virgin Queen. These dreams are further tied to the real queen in the audience

in John Lyly and Early Modern Authorship
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Our Lyly?
Andy Kesson

contained by its courtly context and that he is a writer who writes only to flatter and pay tribute. The brilliance of Hunter’s book on the subject of the Renaissance means that this view of Lyly extends well beyond the rather diminutive field of Lylian criticism, so that in her study of Elizabethan literature and the Virgin Queen Philippa Berry reminds scholars that ‘G. K. Hunter suggested that Lyly was a

in John Lyly and Early Modern Authorship
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Annaliese Connolly and Lisa Hopkins

featured the Earl of Essex, including the two-part drama series Elizabeth I screened on Channel Four in 2005. This starred Helen Mirren as Elizabeth and concentrated on her relationships with the Earl of Leicester, played by Jeremy Irons, in episode one and with Hugh Dancy as the Earl of Essex in episode two. 24 The second drama series, for the BBC and called The Virgin Queen , starred Anne Marie Duff as the queen

in Essex
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The Faerie Queene III–IV
Victoria Coldham-Fussell

visual absurdity – what Bergson would call the comic spectacle of ‘something mechanical encrusted on the living’ – as we imagine ‘two burning lampes ... set / In siluer sockets’ stirring and rolling ‘like to womens eyes’ and framed with ‘golden wyre’ for hair (III.viii.7.1–5). 48 As well as making fun of Petrarchan excess (as the Amoretti often do), the material reproduction of Florimell’s virginity would seem to point up reductive emphasis on chastity as a merely physical qualification – moreover using language familiar from serious panegyric of the Virgin Queen

in Comic Spenser
Queen Elizabeth I as Lady Alchymia
Jayne Elisabeth Archer

the traditional attributes of Alchymia and the symbolism used in representations of the Virgin Queen, and these correspondences provided a discourse through which alchemists could imagine and approach their ‘ultimate patron’. Chastity, which, as Philippa Berry has noted, was crucial to Elizabeth’s representation as an authoritative, but potentially unsettling, bearer and creator

in Goddesses and Queens
Un Condamné à mort s’est échappé, Pickpocket and Le Procès de Jeanne d’Arc
Keith Reader

. Some considerable time before the concept of gender had ventured outside the world of linguistics, ‘Joan was using male apparel to appear sexless, rather than male, to appear not-female, rather than female’ (Warner, 1996 : 27) – a wilful stepping outside the defining binary antitheses of sexuality that pre-dates those other celebrated ‘strategic virginsQueen Elizabeth I and Simone Weil. Bresson’s rejection of acting and

in Robert Bresson