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Diana Webb

’t write very well and you write well; so I beg you to take down a reply according to what my patron, the glorious Virgin Mary, will dictate to me, because of myself I shouldn’t know how to think or write anything good.’ Raising the eyes of his mind and his body to heaven, he began to dictate the reply, and at almost every sentence he said piously, ‘O Mary the Virgin, Queen of Heaven, who bore him who is

in Saints and cities in medieval Italy
Alexander Samson

response to the Elizabethan government’s proclamation against ‘Seminarie Priests and SAMSON 9781526142238 PRINT.indd 198 10/12/2019 14:42 SPANISH TUDOR/ENGLISH HABSBURG 199 Jesuits’ (1591) in the aftermath of the Armada, Elizabeth was labelled just as Mary was here, a Jezebel and unnatural stepmother.150 Elizabeth I, it is suggested ‘carefully developed the cult of the Virgin Queen’ and cultivated her difference from other women in a post-Reformation world where the icon of the Virgin Mary was no longer available as a model for emulation.151 However, the

in Mary and Philip
Ladan Niayesh

, Fetch his imperial car from deepest hell, And ride in triumph through the wicked world, Sparing none but sacred Cynthia’s friend, Whom Death did fear before her life began; For holy Fates have graven it in their tables, That Death shall die if he attempt her end, Whose life is heavens’ delight and Cynthia’s friend! 15 20 25 30 35 40 FINIS   14.  wast’ning]  laying waste to.   27.  car] chariot.   37.  Cynthia]  Elizabeth I. In court entertainments, the Virgin Queen was frequently associated with Diana or Cynthia, the goddess of chastity, e.g. in Ben Jonson

in Three romances of Eastern conquest
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Tristan Marshall

that a play’s subject matter had to be relevant for its audience, the move to plays with a British – rather than English – identity suggests that the historical construct of Great Britain was by no means on the decline in 1603–14. At the dawn of the Stuart age, the theatre described a vision of the British past as well as its future, drawing not only on the recent years of expansion into Ireland and Virginia, but on semi-mythical history too. In her study of imperial thought and imagery during the reign of Queen Elizabeth, Astraea, Frances Yates showed how the Virgin

in Theatre and empire
Susana Onega

across Europe in 1591 (PB 10) points to this story as a rewriting of Virginia Woolf’s Orlando: Ali’s sea journey, including the captain’s invitation to eat (PB 13),80 replicates Orlando’s voyage from Turkey to England dressed as a gypsy woman, after her change of sex.81 Likewise, Ali’s initiation into sex of the virginal princess inverts Orlando’s sexual initiation by Elizabeth I, the Virgin Queen.82 Orlando kept updating her outfits according to the period she was chap 4.qxd 2/2/06 2:00 pm Page 186 186 Jeanette Winterson living in. Echoing this, Tulip is asked

in Jeanette Winterson
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E.J. Clery and Robert Miles

with the character or action, not warranted by the history of great men, in more enlightened periods. Though pope Sixtus Quintus admired the character of our Elizabeth, and Christina of Sweden longed to see Cromwell; yet a novellist could not decently, or with much probability, feign an intrigue between his holiness and the virgin queen, or between the fanatical Cromwell and the amorous, though

in Gothic documents
Polarized Approaches to Psychology, Poetics, and Patronage
Robert L. Reid

rites have made them mad’ (I.vi.15). In its richly sensual and mythic allure the episode recalls the seductive entertainments for the Virgin Queen in her early reign, such as Leicester’s pageant at Kenilworth (which Shakespeare’s Oberon wistfully recalls: MND , 2.1.148–64). But the resistance to theological truth by these ‘salvage people’, their distracted focus on immediate sensory things

in Shakespeare and Spenser
Robert Lanier Reid

did inuent, / Or Cybeles franticke rites haue made them mad’ (1.6.15). In its richly sensual and mythic allure the episode recalls the seductive entertainments for the Virgin Queen in her early reign, such as Leicester’s pageant at Kenilworth (which Shakespeare’s Oberon wistfully recalls: MND 2.1.148–64). But the resistance to theological truth by these ‘salvage

in Renaissance psychologies
Sukanta Chaudhuri

goddesse plaine, And I her shepherds swayne, Albee forswonck and forswatt I am. 70 90 cryen: plural ending in -en fully, absolutely although 57-9 Scarlot, Ermines, Cremosin] attributes of royalty and/or high birth. Cremosin] crimson. 60-63 E.K. points out how the crown is set with flowers rather than ‘perles and precious stones’. 65 Phœbe] Diana: the usual comparison for the virgin queen. 68 Redde rose ... White] emblems of the Houses of Lancaster and York respectively in the Wars of the Roses. The Tudor dynasty, founded by Elizabeth’s grandfather Henry VII, claimed

in Pastoral poetry of the English Renaissance
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Brian McFarlane and Anthony Slide

Featuring more than 6,500 articles, including over 350 new entries, this fifth edition of The Encyclopedia of British Film is an invaluable reference guide to the British film industry. It is the most authoritative volume yet, stretching from the inception of the industry to the present day, with detailed listings of the producers, directors, actors and studios behind a century or so of great British cinema.

Brian McFarlane's meticulously researched guide is the definitive companion for anyone interested in the world of film. Previous editions have sold many thousands of copies, and this fifth instalment will be an essential work of reference for universities, libraries and enthusiasts of British cinema.

in The Encyclopedia of British Film