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Religion and politics in the progress of 1578
Patrick Collinson

time’, and about the perils which would follow ‘if she married not at all’.87 VI To marry not at all? It was in the cultural context of the 1578 progress, and in Thomas Churchyard’s Norwich, that Elizabeth I was first publicly celebrated as the Virgin Queen. The allegorical symbolism was transparent in the entertainment staged by Churchyard on the fourth day of the visit, ‘Tuesday’s Device’. Churchyard claimed that this playlet was almost improvised, taking 134 Pulling the strings: religion and politics in the progress of 1578 the opportunity of the queen passing

in This England
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Sian Barber

current use.’23 Films which depict the same historical character but which are produced in very different periods offer an insight into the expectations of different audiences. For example, Cate Blanchett’s Elizabeth I is very different to portrayals of the Virgin Queen by Glenda Jackson, Bette Davis or Flora Robson.24 The grandiose style of Robson, the imperious theatricality of Davis and the political astuteness of Jackson indicate different aspects of the same fictional character, but also draw attention to the different periods in which these successive films were

in Using film as a source
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
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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
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Alexander Samson

-religious women. Mary, more than Elizabeth, can be rightly celebrated for her chastity and virginity, qualities highly prized in women in the era. A whiff of scandal surrounded Elizabeth on more than one occasion. It is clear the moniker acquired in her later years, the Virgin Queen, would have appeared risible in the 1550s. As Paulina Kewes has shown, there were many continuities between the reigns of the Tudor half-sisters,45 not least in their struggles to find an iconography of female power to legitimate their rule. The very different expectations in England and Spain of

in Mary and Philip
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Tim Thornton and Katharine Carlton

’s mistress 35 Paul E. J. Hammer, ‘Sex and the Virgin Queen: Aristocratic Concupiscence and the Court of Elizabeth I’, Sixteenth Century Journal, 31 (2000), 77–97; Rickman, Love, Lust, and License. 36 The Courts of the Archdeaconry of Buckingham 1483–1523, ed. E. M. Elvey, Buckinghamshire Record Society, 19 (1975), no. 94; noted by Ingram, Carnal Knowledge, pp. 105–6. 37 Polydore Vergil, Anglica Historia, ed. Denys Hay, Camden Society, 3rd ser., 74 (1950), p. 198; S. J. Gunn ‘The Courtiers of Henry VII’, EHR, 108 (1993), 23–49, at p. 37; C. S. L. Davies, ‘Richard III

in The gentleman’s mistress
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Stephen Orgel

looked quite different still had Ralegh ever succeeded in discovering any gold in Guiana, that country that, notoriously, “hath yet her maidenhead.” 5 Maidenheads, as Ralegh and his English backers from the virgin queen and the pacific king on down assume, are there to be taken. The allusion to The Tempest is significant too because the debate

in Spectacular Performances
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Empire and music
Jeffrey Richards

island under the presiding genius of the Virgin Queen standing alone against a tyrannical Catholic Empire. This historical-pastoral tradition was espoused by Vaughan Williams, Gustav Holst and George Butterworth, on the one hand, and by Edward German on the other. 36 There was a third element – as popular in England as in Scotland, Wales, Ireland and Cornwall from where it drew inspiration

in Imperialism and music
The theoretical origins of English colonialism
Rachel Winchcombe

aid of a husband and, as Ralegh suggested, when the Amazons ‘heereby heare the name of a virgin’ who is able to do this they would undoubtedly submit themselves to her, making the Virgin Queen their leader. 115 Ralegh transformed the image of the Amazons, from one that epitomised female aberrance and monstrosity, into one that could be used to praise female leadership and in turn help him achieve his imperial objectives. By reworking and manipulating well-known classical models of monstrosity, then, English explorers once again transformed Old World knowledge to

in Encountering early America
Russia’s resonances in late Elizabethan England
Felicity Jane Stout

virgin queen” steadfastly refused to name her successor even as she advanced into old age, the fear that had haunted the English monarchy since the Wars of the Roses was becoming all too real again: the succession would be disputed; the country would descend into civil war’.15 Fletcher addressed the succession question of the contemporary Russian royal line, the house of Beala, as a cause for concern in Russia’s uncertain future, drawing a disquieting comparison between the Russian situation and that of other powers in Europe: ‘For the continuance of the race, this

in Exploring Russia in the Elizabethan commonwealth