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The iconography of Elizabeth I

The visual images of Queen Elizabeth I displayed in contemporary portraits and perpetuated and developed in more recent media, such as film and television, make her one of the most familiar and popular of all British monarchs. This book is a collection of essays that examine the diversity of the queen's extensive iconographical repertoire, focusing on both visual and textual representations of Elizabeth, in portraiture, literature, contemporary sermons, speeches and alchemical treatises. It falls into three sections. The first part looks at the diverse range of religious and quasi-religious images that were employed by and about Elizabeth, such as the Prophetesse Deborah, the suggestive parallel with Joan of Arc, and finally Lady Alchymia, the female deity in alchemical treatises. When Queen Elizabeth I, the first female Protestant monarch, was enthroned in 1558, male poets, artists, theologians, and statesmen struggled to represent this new phenomenon. The second part turns to one of the major enterprises of the Elizabethan era, the attempt to colonise the New World, during which the eastern seaboard of America was renamed Virginia in celebration of the Virgin Queen. The last part focuses on the ways in which the classical world was plundered for modes of imaging and figuring the queen. Finally, the book summarises the enormously wide range of Elizabeth's iconographical repertoire of its appeal, and provides a fitting end to a book which ranges so widely across the allegorical personae of the queen.

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Annaliese Connolly and Lisa Hopkins

. Their work also examines the notion, common in alchemical literature, that women possess a unique, privileged and unsettling knowledge of the secrets of Nature. Part II turns to one of the major enterprises of the Elizabethan era, the attempt to colonise the New World, during which the eastern seaboard of America was renamed Virginia in celebration of the Virgin Queen. The naming of the land in this way

in Goddesses and Queens
Eric Klingelhofer

(eds), Renaissance Bodies , pp. 198–217; and ‘Civic buildings and courtier houses: new techniques and materials for architectural ornament’, in D. Gaimster and P. Stamper (eds), The Age of Transition: The Archaeology of English Culture 1400–1600 (Oxford, 1997), pp. 105–13. 11 M. Girouard, Robert Smythson and the Architecture of the Elizabethan Era (South Brunswick, NJ, 1967); M. Airs, The Making of the English Country House 1500–1640 (London, 1975); and N. Cooper, ‘The gentry house in the Age of Transition’, in Gaimster and Stamper

in Castles and Colonists
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The House by the Church yard
W. J. McCormack

Puddock’s preference is in fact for Rowe’s play of 1702, where the hero is presented as a calm philosopher-prince and presented also as modelled on William III! In Puddock and Dunoran, the Chattesworth ladies have chosen husbands who mediate between the undeniable violence of the Elizabethan era when Ireland was finally conquered and the uneasy, smoke-clouded politics of an

in Dissolute characters
The Earl of Essex, Sir Philip Sidney and surviving Elizabeth’s court
Richard Wood

’s purpose in writing the Arcadia also relies on the suitability of Greville’s ‘A Dedication to Sir Philip Sidney’ for reading the Arcadia . However, given that it was completed in the Jacobean (between 1610 and 1612) rather than the Elizabethan era, in a different political and philosophical climate, its suitability is open to doubt. Greville’s early career under the reign of James I was marked by the

in Essex
The Earl of Essex, Sir Philip Sidney and surviving Elizabeth’s court
Richard James Wood

pass through any straits or latitudes of good or ill fortune, might (as in a glass) see how to set a good countenance upon all the discountenances of adversity, and a stay upon the exorbitant smilings of chance. 21 James’s conception of Sidney’s purpose in writing the Arcadia also relies on the suitability of Greville’s ‘A Dedication to Sir Philip Sidney’ for reading the Arcadia . However, given that it was completed in the Jacobean (between 1610 and 1612) rather than the Elizabethan era, in a different political and philosophical climate, its suitability

in Sidney's Arcadia and the conflicts of virtue
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The Digby Mary Magdalen and Lewis Wager’s Life and Repentaunce of Marie Magdalene
Tamara Atkin

of the evolution of anti-theatrical writings from Plato to the present day, and contains chapters on anti-theatrical Lollardy and Puritanism. 56 Badir, The Maudlin Impression, p. 43. 57 STC 19865. 58 STC 6518. 59 STC 1059. 60 STC 6501. Though he does not treat the plays listed here, for a more extensive treatment of the secularisation of the saint play see John Wasson, ‘The Secular Saint Plays of the Elizabethan Era’, in Davidson, The Saint Play in Medieval Europe, pp. 241–60. For a consideration of The Honest Whore as a Magdalene play see Frédérique Fouassier

in Sanctity as literature in late medieval Britain
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Thomas Middleton, the book, and the genre of continuation
Jeffrey Todd Knight

’, Criticism , 53.1 (2011), 53–82, which I quote below. 53 The ‘ghost complaint’, in which a female victim of male sexual violence is summoned from the dead to speak, was popularized in the Elizabethan era. The best known example outside of the Lucretia nexus is Samuel

in Formal matters
Heather James

experiment in what Richard Helgerson has called ‘forms of nationhood,’ and can arguably take their place alongside other ambitious volumes of the Elizabethan era, such as Spenser’s The Faerie Queene , Coke’s Institutes of the Lawes of England , Camden’s Britannia , Speed’s Theater of the Empire of Great Britain , Drayton’s Poly

in Formal matters
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Normative arrays of sexuality
Helen Cooper

go well beyond the places where he cites Chaucer by name, though those moments carry particular weight and have received particular attention. As Judith H. Anderson argues elsewhere in this volume, the reflections and refractions of Chaucer’s meanings can take many forms; and even when Spenser does not explicitly name his predecessor, his references to him are usually clearly intended to be recognised by his readers. The richness and breadth of allusions to Chaucer’s work across the Elizabethan era show how deeply the

in Rereading Chaucer and Spenser