Search results

You are looking at 1 - 6 of 6 items for :

  • "Exchequer" x
  • Manchester Literature Studies x
  • Refine by access: Open access content x
Clear All
Critical and historical contexts of the Lord Mayor’s Show
Tracey Hill

Exchequer. Critical and historical contexts 3 Occasionally, speeches were given to the procession as it passed by one or more of the pageant stations on the route through the City to the river for the first leg of the trip. The journey along the river to Westminster was marked by fireworks and cannon set off from the river banks, and the barges themselves were ornately painted and decorated with flags, banners, and the like; musicians usually travelled in the barges too. A series of emblematic figures and/or mythical beasts usually called the ‘water show’ entertained the

in Pageantry and power
Bringing the Shows to life
Tracey Hill

silent until the Lord Mayor emerged from his house, at which point they were to sound. The Company members then formed lines through which the Lord Mayor and his retinue passed.60 Once the mayoral party had arrived at Westminster for the oathtaking, one of the chief ritual cruxes of the day, further formalities ensued. The new Lord Mayor, accompanied by the outgoing incumbent, took his oath of office at the Exchequer before dignitaries of the Crown and of the City. The latter body was represented, as well as by the two Lord Mayors, by the Recorder of London, who made a

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

that the king may be the head of the body politic but the City is the heart. Middleton calls it ‘the Fountayne of the bodies heate: / The first thing [that] receiues life [and] the last that dyes’ (sig. B2v). Middleton’s emphasis on the importance of the City to the health of the country as a whole is a common, if carefully negotiated, theme in mayoral inaugurations. Recorder Finch claimed in his Exchequer speech in 1623 that the City is ‘the center in which all the lines of the kingdome meete’.26 Dekker uses another kind of metaphor in Brittannia’s honor to encompass

in Pageantry and power
The writers, the artificers and the livery companies
Tracey Hill

hospitallity . . . feastes and entertainments’ were highlighted by the Recorder of London when he was presented to the Barons of the Exchequer on the latter occasion.68 Unexpected vicissitudes had to be dealt with at times too. The Bachelors of the Merchant Taylors’ Company had to contribute more than usual in 1605, when Leonard Holliday’s Show was repeated on All Saints Day in November owing to ‘very wett and fowle weather’. Further costs on this occasion included ‘repayring the Pageant, and the rest of the other shewes’, rebuying the apparel for the child actors

in Pageantry and power
Open Access (free)
Jonathan Atkin

Keynes working from within was his influence on the original Military Service Bill. As Vanessa Bell reported to Roger Fry in early January 1916: Maynard came for the weekend … He held out hopes of a conscience clause. The bill had first been drafted without one then Reginald McKenna [the Chancellor of the Exchequer] put one in but Maynard thought that it would only do for Quakers and made him change it.33 To a certain extent, Keynes also remained at the Treasury in the hope and expectation that the war would soon be over, particularly after President Wilson’s envoys

in A war of individuals
Sukanta Chaudhuri

] revenue records of the exchequer; hence any books of accounts, but with an obvious connotation of evil. The poet is neither a borrower nor a lender, hence enjoys peace of mind. 11 wash] swim, bathe (OED 6c). 2 faithful fild Content] secure and total content. Bradner reads fild as ‘field’, i.e., ‘Content with his faithful (trusty, reliable) field’. 6-7 i.e. Honey was not adulterated with wine. 8 Serike shining flise] silk. Serica, identifiable with China, was conceived by Europeans as the source of silk. 9 tirius venom die] purple dye vended by the merchants of Tyre. Cf

in Pastoral poetry of the English Renaissance