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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
Open Access (free)
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
Open Access (free)
Emotional connections to the young hero in Beowulf
Mary Dockray-Miller

an unclear but important biological relationship with the Swedish royal family, enough of one that Wiglaf is called ‘leod Scylfinda’ (a prince of the Swedes) (2603b) when he is introduced. Once Beowulf is dead, the Geats need Wiglaf more than he needs them. As noted above, critics have parsed the end of the poem in an attempt to determine whether Wiglaf succeeds Beowulf as king of the Geats, but they have proceeded on the assumption that Wiglaf would want that succession. Hill emphasizes the ways in which Wiglaf's loyalty to Beowulf is that of a retainer to a lord

in Dating Beowulf
Eric Pudney

entertainment flatters the King at the expense of the Queen, flatters the Queen at the expense of the King, or attempts to achieve a balance between these two possibilities.61 But regardless of how it was perceived by individual members of the royal family, there can be little doubt that flattery is the masque’s primary function. The means by which this end is achieved is contrast: The Masque of Queens was the first masque to present a fully fledged anti-masque as part of the entertainment, with a group of witches (played by men) ultimately defeated by the eponymous queens

in Scepticism and belief in English witchcraft drama, 1538–1681
Open Access (free)
Thomas Baines on expedition to the coronation of Cetshwayo kaMpande, Zululand, 1873
Lindy Stiebel

where there is limited verbal interaction between white and black men, in Zululand much more conversation is possible given the number of available translators and white men who could speak Zulu. Baines is, therefore, able to respond when approached by members of the Zulu royal family with a request for advice as to how to make beards grow – he suggests ‘a little fat or marrow or vegetable oil pressed out of the ground-nut as the only thing I would recommend’. 50 Em Robarts corroborates this interchange in his diary, adding that Baines ‘gave them the best advice he

in Worlding the south
The Show from street to print
Tracey Hill

than its probable predecessor, and quite a few seem solely to be what Greg calls ‘indifferent variants’ which may reflect either the compositor’s preferred spelling or that of the author, if the printer was working from an authorial manuscript.53 It is possible that special care may have been taken over the second attempt at this text because the Goldsmiths were expecting members of the royal family to be present at the Show. In addition, on those regular occasions where the authors were responsible for 226 Pageantry and power co-organising the printing of the

in Pageantry and power
The unknowable image in The Winter’s Tale
Chloe Porter

, Paulina patronises an image that disrupts the solidity of the monumentalised form in order to mark the reunion of the Sicilian royal family. The supposed image of Hermione is ‘unfixed’ and unstable partly because, like The Great Picture Triptych , the work attempts to reflect the passage of time. For example, Leontes observes that the statue is presented with an ‘aged’ appearance (5.3.29). Displaying her

in Making and unmaking in early modern English drama
Critical and historical contexts of the Lord Mayor’s Show
Tracey Hill

period seem more to resemble the occasional events put on for members of the royal family, with the use of conventional ‘morality’ emblems, speeches written by schoolmasters and given by children, and the usual sideshows such as fireworks.193 Indeed, chief among the enabling factors of the Shows proper was the extant dramatic tradition of ‘the medieval cycle drama’ usually sponsored by guilds, from which the resultant livery companies developed the habit of sponsoring entertainments, together with schools (some of which were also connected to the Companies) able to

in Pageantry and power
Sukanta Chaudhuri

Pastoral Poetry of the English Renaissance contains the text of the poems with brief headnotes giving date, source and other basic information, and footnotes with full annotation.

in Pastoral poetry of the English Renaissance