The visual images of Queen Elizabeth I displayed in contemporary portraits and perpetuated and developed in more recent media, such as film and television, make her one of the most familiar and popular of all British monarchs. This book is a collection of essays that examine the diversity of the queen's extensive iconographical repertoire, focusing on both visual and textual representations of Elizabeth, in portraiture, literature, contemporary sermons, speeches and alchemical treatises. It falls into three sections. The first part looks at the diverse range of religious and quasi-religious images that were employed by and about Elizabeth, such as the Prophetesse Deborah, the suggestive parallel with Joan of Arc, and finally Lady Alchymia, the female deity in alchemical treatises. When Queen Elizabeth I, the first female Protestant monarch, was enthroned in 1558, male poets, artists, theologians, and statesmen struggled to represent this new phenomenon. The second part turns to one of the major enterprises of the Elizabethan era, the attempt to colonise the New World, during which the eastern seaboard of America was renamed Virginia in celebration of the Virgin Queen. The last part focuses on the ways in which the classical world was plundered for modes of imaging and figuring the queen. Finally, the book summarises the enormously wide range of Elizabeth's iconographical repertoire of its appeal, and provides a fitting end to a book which ranges so widely across the allegorical personae of the queen.
. Their work also examines the notion, common in alchemical
literature, that women possess a unique, privileged and unsettling
knowledge of the secrets of Nature.
Part II turns to one of the major enterprises of the
Elizabethanera, the attempt to colonise the New World, during which the
eastern seaboard of America was renamed Virginia in celebration of the
Virgin Queen. The naming of the land in this way
ment that the emergence of a new literary subject in the late Elizabethanera was intrinsically linked with the expression of shame: indeed, selfpromotion and self-articulation are both ‘sources of shame’ (p. 220). If
we read Mary Wroth’s sonnet sequence in this perspective, then we see
a female poet grappling with the necessary pursuit of (shameful) selfassertion. The sonnets can in fact be read as an attempt at redeeming the
shame-ridden female subject from the stigma of self-expression, a stigma
made worse by the fact that she was writing her poems in
Shirley’s and Davenant’s protectorate entertainments
entertainment might refer could
equally be interpreted as being Elizabethan rather than Caroline. When
we consider that some parliamentarians rewrote the Elizabethanera as
a period where monarch and parliament governed cohesively (and some
who would learn to support republicanism admired Elizabeth), it is possible for the masque to have multiple interpretations.87 Republicans and
royalists alike could therefore interpret the pre-civil-war Inca existence in
accordance with conflicting ideologies.
The prophetic depiction of the New Model Army offering a Protestant
The Digby Mary Magdalen and Lewis Wager’s Life and Repentaunce of Marie Magdalene
of the evolution
of anti-theatrical writings from Plato to the present day, and contains
chapters on anti-theatrical Lollardy and Puritanism.
56 Badir, The Maudlin Impression, p. 43.
57 STC 19865.
58 STC 6518.
59 STC 1059.
60 STC 6501. Though he does not treat the plays listed here, for a
more extensive treatment of the secularisation of the saint play see
John Wasson, ‘The Secular Saint Plays of the ElizabethanEra’, in
Davidson, The Saint Play in Medieval Europe, pp. 241–60. For a consideration of The Honest Whore as a Magdalene play see Frédérique
(eds), Renaissance Bodies , pp. 198–217; and ‘Civic buildings and courtier houses: new techniques and materials for architectural ornament’, in D. Gaimster and P. Stamper (eds), The Age of Transition: The Archaeology of English Culture 1400–1600 (Oxford, 1997), pp. 105–13.
11 M. Girouard, Robert Smythson and the Architecture of the ElizabethanEra (South Brunswick, NJ, 1967); M. Airs, The Making of the English Country House 1500–1640 (London, 1975); and N. Cooper, ‘The gentry house in the Age of Transition’, in Gaimster and Stamper