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A cultural history of the early modern Lord Mayor’s Show, 1585-1639

The London Lord Mayors' Shows were high-profile and lavish entertainments that were at the centre of the cultural life of the City of London in the early modern period. The Show was staged annually to celebrate the inauguration of the new Lord Mayor. The London mayoralty was not simply an entity of civic power, but always had its ritual and ceremonial dimensions. Pageantry was a feature of the day's entertainment. This book focuses on the social, cultural and economic contexts, in which the Shows were designed, presented and experienced, and explores the Shows in textual, historical, bibliographical, and archival and other contexts. It highlights the often-overlooked roles of the artificer and those other craftsmen who contributed so valuably to the day's entertainment. The Show was the concern of the Great Twelve livery companies from the ranks of one of which the Lord Mayor was elected. The book discusses, inter alia, the actors' roles, the props, music and costumes used during the Show and looks at how important emblems and imagery were to these productions. Pageant writers and artificers took advantage of the space available to them just as dramatists did on the professional stage. From 1585 onwards the Lord Mayor's Show was with increasing frequency transmitted from event to text in the form of short pamphlets produced in print runs ranging from 200 to 800 copies. The book also demonstrates the ways in which the Shows engaged with the changing socio-economic scene of London and with court and city politics.

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Christopher D’Addario

recovering this shared vocabulary, Hirst raises important questions over the limits of experiential language and whether a culture must identify and name an experience before it can be fully felt. Just as Hirst’s essay deals with child abuse as it emerged into the collective consciousness of the print world of seventeenth-century England, so Randy Robertson’s ‘Debating censorship: liberty and press control in the 1640s’ traces the debates surrounding censorship in the print pamphlets of the 1640s as public awareness of the realities of state control of the press became

in Texts and readers in the Age of Marvell
Noelle Gallagher

–118). Citing both primary and secondary materials with pointed exactness, North transcribes passages from printed pamphlets and manuscripts ‘for Fullness of the Evidence’, while also exercising careful control over the selection and presentation of the speakers whose voices he quotes (96). Like many secret histories, the Examen places particular emphasis on eyewitness testimony, and

in Historical literatures
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Brian Baker

window, the worse the noises from the island, the more closely do I attend to the mass of instant-printed pamphlets that pile up around my desk … Why should they be easy? Why should they not reflect some measure of the complexity of the climate in which they exist? 1 We find here the traces of Romanticism: these poets are, in a sense, contemporary Britain’s ‘unacknowledged legislators’. Their avant-gardism (their ‘difficulty’) is a direct reflection of the world and times in which they live. Their ‘fractured’ forms are in actuality a kind of

in Iain Sinclair
Nehemiah Wallington’s experimental method
Kathleen Lynch

more tables of contents at the end are added as finding aids. There, the controlling organising factor is sequential pagination. With these tables, he leaves a record of what previous observations he found especially useful at the point of rereading. Re-inscription became the key to the formation of memory. Some of Wallington’s contemporary note-takers pasted passages from printed materials into their notebooks. Others mixed in printed pamphlets in full. For the most part, Wallington did not, though there are several examples of newsbooks. Neither does he

in Texts and readers in the Age of Marvell
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Marvell’s Horatian Ode, print culture, and literary history
Joad Raymond

’s final speech. Echoes of this speech in the poem, then, suggest that Marvell read it in a newsbook or printed pamphlet. One of the Ode’s most redolent moments is the dramatic encounter between the king’s eye and the axe’s edge, as if the fortunes of the moment hang upon this encounter; as if the king is gauging whether the blade is of such a subtlety that it can cut, like Will’s knife in Philip Pullman’s His Dark Materials trilogy, into a new political world; as if this sightline stages the real historical tournament or history as Hegelian dialectic. Marvell may be

in Texts and readers in the Age of Marvell
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Rachel Willie

cemocracy’, in Craig Calhoun (ed.), Habermas and the Public Sphere (Cambridge, MA, and London: MIT Press, 1992), pp. 109–42; Michael Warner, ‘Publics and counterpublics’, Public Culture, 14 (2002), 49–90.   5 Alexandra Halasz, The Marketplace of Print: Pamphlets and the Public Sphere in Early Modern England (Cambridge: Cambridge University Press, 1997), esp. pp. 178–9.   6 Stephen Mullaney, ‘What’s Hamlet to Habermas? Spatial literacy, t­heatrical publication, and the publics of early modern public stage’, in Angela Vanhaelen and Joseph Ward (eds), Making Space Public

in Staging the revolution
The Show from street to print
Tracey Hill

). The standings of the printers varied. The majority, like Raworth and Okes senior and junior, were associated with what Watt calls ‘cheap print’ – pamphlets, play quartos, popular histories, and so on – whereas others, like the Printer to the City, William Jaggard, had more stature in civic circles. Nicholas Okes was primarily a printer and typesetter of drama and as such would have had the right kind of experience to print mayoral pageants, for, as well as being set out in similar ways to play-texts as far as the verse elements were concerned, the printed Shows were

in Pageantry and power
Bringing the Shows to life
Tracey Hill

helpful to them only if they were audible, and we do know that in some cases they were not. In Metropolis coronata, for instance, Munday warns that the first speech of the Show should be heard with ‘such silence . . . as the season can best permit’ (sig. A4v). Furthermore, Bringing the Shows to life 177 despite what many modern commentators tend to assume, the descriptions in the printed pamphlets may not correspond precisely to what was experienced on the day. Smuts too argues that many ‘have failed to recognise . . . that the elaborate allegorical schemes recorded

in Pageantry and power
Sabine Doering-Manteuffel
Stephan Bachter

onwards, though it is the ‘low brow’ printed version which disseminated more widely, and found its way to America, particularly to Pennsylvania, via German emigrants.45 Even within both variants the contents of different editions varies widely, and from a detailed analysis of the borrowings, crossovers and complexities of such manuscripts and printed pamphlets, originals and copies, titles and editions, I would like to suggest a new method of examining the spell book genre, their contents and their usage in everyday practice. Grimoires can be described as being created

in Beyond the witch trials