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The writers, the artificers and the livery companies
Tracey Hill

, entertainments and hospitality relating to visits from members of the royal family and other non-civic dignitaries, although on those infrequent occasions the set-up was very similar to the approach taken over mayoral Shows.3 The costs of the Shows fell to individual Company members, whose putative contribution was assessed: for example, in 1604 the highest rank of the Bachelors of the Haberdashers’ Company who were going to be ‘in foins’ (wearing pine-marten fur) paid a charge of £3 6s each, those wearing the more lowly ‘Budge’ (lambs’ wool) £2 10s, and the other members

in Pageantry and power
Political and contemporary contexts of the Shows
Tracey Hill

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 royal family 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 taking

in Pageantry and power
A reassessment
Josephine A. Koster

. Kempe adapts the traditional bidding prayer petitions in other ways as well. She gives short shrift to a prayer for the royal family to skip to a petition for ‘alle lordys and ladiis that arn in this world’ (p. 424). This is not unprecedented; the unidentified bidding prayers in The Lay Folks Mass Book request grace for wealthy people who perform acts of charity and the Wyggeston Hospital prayer offers petitions ‘for þe lord of þis toune & for þe leuody’ and their children, and also for ‘alle þo þat honuren þis kirke wit bok or wit belle or any oþir ournament

in Encountering The Book of Margery Kempe
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The narrative grotesque
Caitlin Flynn

Scotland in the fifteenth and sixteenth centuries, including Douglas’s masterful translation of Virgil’s Aeneid , the Eneados (1513), boasted patrons from the nobility rather than the royal family. The second relevant aspect of courtliness raised by Royan’s remarks pertains to the distinction between interacting with the court on a personal level and engaging courtly modes of writing. During the period that Dunbar and Douglas were active, c . 1490–1513, court poetry in Scotland and England was undergoing a stylistic

in The narrative grotesque in medieval Scottish poetry

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.

Sarah C.E. Ross and Elizabeth Scott-Baumann

first printed in 1664, her state-political poems, on members of the royal family and events of the Civil War, Interregnum, and Restoration, were all placed at the beginning of the volume – suggesting that Philips should be read as a poet writing on matters of political significance.2 For Margaret Cavendish, the 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. While 1653 is 318 Textual introduction usually prioritised as the first iteration of Cavendish

in Women poets of the English Civil War
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Don’t Ever Wipe Tears Without Gloves as a reparative fantasy
Anu Koivunen

 216 12 THE CARING NATION Don’t Ever Wipe Tears Without Gloves as a reparative fantasy Anu Koi v unen I n February 2013, Swedish author and comedian Jonas Gardell was awarded the prize of ‘Homo of the Year’ by the Swedish Crown Princess Victoria, who was the first ever member of the royal family to attend the annual QX gay gala. An enthusiastic gala audience welcomed her appearance on the stage with cheers and a standing ovation. In her short award speech, Crown Princess Victoria proclaimed a wish: ‘Your message is clear. Straighten your back. Reach out your

in The power of vulnerability
Before She Met Me
Peter Childs

Graham brutally killing the close friend who introduced him to his second wife, before himself committing suicide. The story’s humour derives from the sardonic wit with which Barnes charts Graham’s gradual thought-tormented descent into psychopathological violence from his initial security, conveyed by the book’s opening lines: ‘The first time Graham Hendrick watched his wife commit adultery he didn’t mind at all. He even found himself chuckling’ (BS, p. 9). Rejected early titles for Before She Met Me included: ‘Wet dreams about the royal

in Julian Barnes
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A spiritual wit
Laura Alexander

and visual, and painted members of the royal family.9 Her portrait of James II, then Duke of York, was hung in the Royal Collection. It was falsely attributed to the most famous of the Restoration portrait artists, Lely, until the twentieth century, when a cleaning of the portrait actually revealed Killigrew as the painter.10 Reflecting a desire to express a self within acceptable social, moral and religious boundaries, Killigrew usually confined her painting to ‘safe’ subjects, with at least one exception on a classical subject, Venus Attired by the Graces. The

in Writing and constructing the self in Great Britain in the long eighteenth century
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Pleasure in form
Peter Childs

and another of reading the memoirs of the Conservative Prime Minister Thatcher, whom he characterises as running the country like a parade-ground sergeant-major (LL, p. 241). The book covers a variety of English subjects from the royal family to the Rushdie fatwa and it is hard not to see it as contributing to the thoughts that would issue in England, England in 1999. One essay, ‘Fake!’, uses as a title the word he decided not to employ in that novel, but hinges on the precepts ‘fakery follows wherever money leads’ and, in a Robin Hood image, ‘the gap between

in Julian Barnes