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King Lear and the King’s Men
Richard Wilson

in false gaze’ [ 1,3,19 ] stage-managed by Iago, a conspiracy theorist who abuses the other characters as his ‘Players’ [ 2,1,115 ], and whose name approximates to James. 46 If ‘what the stained-glass in the Great Hall at Hampton Court did’ for the Tudors, ‘ Macbeth did … for the Stuarts’, the commission was ironized by a tragedy in which life itself appears no

in Free Will
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Global Caesars
Andrew James Hartley

(first in English for the Amateur Shakespeareans, 1949, then in Bengali for the same company, now named The Little Theatre Group, in 1964) used modern dress and had Fascist overtones which some saw as derived from Welles’ 1937 production. The earlier of the two used modern battle-dress, gunfire and Cubist stained glass, Caesar himself vaguely Hitler-esque in hat and coat, with the conspirators as

in Julius Caesar
Paul Edmondson

implementation of harsher anti-Catholic laws; meanwhile, puritanism was on the rise. One response – presumably to Elizabeth’s excommunication – made itself felt in the town the following year when, on Midsummer’s Day in 1571, the Guild Chapel’s ‘idolatrous’ medieval, stained-glass windows were smashed. A glazier was paid 23s 8d to smash the windows and to replace them with plain glass (Shapiro, 2005 : 164

in Finding Shakespeare’s New Place
The ends of incompletion
Chloe Porter

that correspond to YHWH (God’s name, Yahweh)’. 67 Hamling explains that the deployment of the Tetragrammaton in the stained-glass window in the Mildmay chapel in St Leonard’s, Apethorpe, produces a ‘modified iconography’ that in reformist terms was ‘not unacceptable’. 68 The Tetragrammaton is also deployed in Trevilian’s depiction of the creation of Eve, who is shown

in Making and unmaking in early modern English drama
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Rewriting the English lyric landscape
Anne Sweeney

the trap of employing the very effects that he is decrying, praises such created works, but insists that all remain caterpillars of the spiritual commonwealth unless they can re-engage their creativity in support of the living Church. The flowers in this garden are designed both as products of, and to appeal to, the richest imagination. They are given powerfully physical existences, the lost beauties of the Church: stained

in Robert Southwell
Chloe Porter

8 ). Also installed in the chapel in 1621 was a stained-glass window, attributed to Baptista Sutton, showing Adam and Eve in the Garden of Eden, the Crucifixion and Judgement Day ( figure 9 ). 156 In 1622–24, Rachel Fane’s father, Francis Fane, first Earl of Westmorland, undertook a major programme of building at Apethorpe in order to accommodate visits by James I, Anne of Denmark and Prince Charles

in Making and unmaking in early modern English drama
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Kenneth Borris

Recontextualizing Spenser’s 1579 Shepheardes Calender according to book history, the author analyzes its characteristics as a material text. The circumstances of its publication and of the stationer involved, Hugh Singleton, indicate that it was probably subsidized by the Earl of Leicester. The book’s complex design was deeply innovative, and the poet himself appears to have conceived its most unusual features, including its incorporation of a newly devised illustrative program and a commentary, both atypical for a first edition of imaginative fiction or poetry. His Calender samples and reinterprets diverse literary and nonliterary forms and discourses, ranging from humanist eclogues and emblem books to various calendars and popular almanacs, as well as their norms of print. The bibliographical format, paper, typography, and decoration, and the choice, arrangement, and sequence of the various textual parts recall English and continental precedents for printing eclogues and other kinds of books, as well as commentaries, and yet the book introduces various important changes. The twelve original woodcuts were probably devised according to Spenser’s own designs, and the author reveals elaborate symbolism in several selected pictures to show that the 1579 Calender’s illustrations profoundly interact with its poetry. Shedding much new light on its genesis and contents, including its poetics, politics, and satire of the queen’s prospective marriage to the duc d’Anjou, this comprehensive inquiry into the Calender’s first materialization as a book provides invaluable means to advance knowledge of Spenser’s first major poem, his poetic development, and his early reception.

in Edmund Spenser’s Shepheardes Calender (1579)
Vivienne Westbrook

problem was not Ralegh but the inappropriate size of his representation. Westminster debated for years over the matter of Sir Walter’s embarrassing smallness, all only serving to prove Henri Lefebvre’s theory that ‘Turmoil is inevitable once a monument loses its prestige’ (222). Since his destruction was clearly out of the question the question became about where to put him. Lord McIntosh suggested that St Margaret’s churchyard was appropriate since Ralegh was buried there. However, that idea was not well received by St Margaret’s, who already had an 1882 stained glass

in Literary and visual Ralegh
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Reading Old Testament women in early modern England, 1550–1700
Victoria Brownlee and Laura Gallagher

Holbein’s officially commissioned miniature, ‘Solomon Receiving the Homage of the Queen of Sheba’ (c.1534), and also in a stained-glass window commemorating Henry’s reign in King’s College Chapel. 12 As these images attest, the Bible’s female figures can be found in a variety of genres and in works that, although biblically inspired, might be political in emphasis

in Biblical women in early modern literary culture 1550–1700
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Shakespeare shaping modern movie genres
R. S. White

Arbor, MI: Ardis, 1976 ). 21 Stephanie Trigg, ‘Transparent Walls: Stained Glass and Cinematic Medievalism’, Screening the Past , 26 ( 2009 ). Online: www.latrobe.edu.au/screeningthepast/26/early-europe/stained-glass

in Shakespeare’s cinema of love