Search results

You are looking at 1 - 5 of 5 items for :

  • "Austerity" x
  • Manchester Literature Studies x
  • Manchester Shakespeare x
Clear All
Abstract only
Cynthia’s Revels imagines the death of the queen
Matthew Steggle

during and as a result of the revels. The revels were explicitly supposed to be a demonstration of Cynthia’s lack of ‘austerity’, so that there is something unsporting about using them as a means of carrying out reformation ‘strictly, and to roote’. Cynthia is, in effect, acting as an agent provocateur . And this speech can also be carried forward to compromise Cynthia when she

in Goddesses and Queens
Bryan White

continuity with the past, overlaid with experience at the French court and constrained by financial austerity, one obvious absence is through-​sung opera. While cost was surely significant in shaping Charles’s entertainments, he was nevertheless happy to loosen the purse strings from time to time; Boswell calculated tradesmen’s bills relating to the ‘Queen’s Masque’ at £2,316.1.2, and that was certainly not the limit of what he was willing to pay.22 The first large-​scale musical-​theatrical work at court for which the text survives was composed by the Frenchman Robert

in From Republic to Restoration
Republicanism,exclusion, and the name of king in Nathaniel Lee’s Lucius Junius Brutus
Lisanna Calvi

shake your head and cross your arms /​And wonder what the gods and he intend’ (V.2.23–​25). Has Rome removed one tyrant only to earn another? Brutus’s deeds seem to be governed by some personal and arbitrary notion of justice, and what he calls ‘th’austerity of my virtue’ (II.309) is in fact an unrestrained, upstart pride that, when Valerius stabs Titus to spare him the scaffold, makes him exclaim: ‘Why, my Valerius, didst thou rob me of my justice?’ (V.2.150). His sole aim is to live up to a personal notion of righteousness, even at the price of forfeiting his own

in From Republic to Restoration
Abstract only
Remapping early modern literature
Matthew C. Augustine

dawn, bringing with it ‘the restoration of the old constitution’, and emancipating ‘thousands of minds from a yoke which had become insupportable’. 20 The ‘revenge’ of wit upon Puritan austerity and censoriousness, however, Macaulay finds to have been intolerably extreme, giving rise to a polite culture he deems ‘profoundly immoral’: The hostility excited by a grotesque caricature of virtue did not spare virtue herself. Whatever the canting Roundhead had regarded with reverence was insulted. Whatever he had proscribed

in Aesthetics of contingency
Abstract only
Sukanta Chaudhuri

. (#189, #190) Byrd, William (?1539–1623), a leading composer of Renaissance England. Of a London family migrated from Essex. Perhaps, like his elder brothers, a member of the Chapel Royal choir as a boy. Appointed organist and choirmaster at Lincoln Cathedral in 1563 but fell foul of the authorities, perhaps for his lack of reformist austerity. Moved to the Chapel Royal in 1572, where he had Thomas Tallis as a colleague. For a time, the two held a virtual monopoly of music publishing in England. In 1577, moved to Harlington, Middlesex, where he was known for his

in A Companion to Pastoral Poetry of the English Renaissance