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Marie Helena Loughlin

Somerset, Villiers rose swiftly from Viscount (1616), to Earl (1617), to Marquis (1618), and finally to Duke of Buckingham (1623). Buckingham’s talents and commitment to James’s service were demonstrated in his reorganization and revitalization of the navy. His relationship with James’s eldest son, Charles, was cemented into a lasting and deep friendship during their joint incognito visit to Spain in 1623, in an unsuccessful attempt to win the Spanish Infanta as Charles’s wife. Under Charles, Buckingham encouraged England’s wars with Spain and France, their disastrous

in Same-Sex Desire in Early Modern England, 1550–1735
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Edmund Waller, Andrew Marvell, and the advice-to-a-painter poem
Noelle Gallagher

absurd or grotesque parts as metonymic symbols. The poem’s depictions of Clarendon and Sir Robert Paston, for example, employ the same hyperbolic scale used by Waller, but turn it to satiric purposes: First, let our navy scour through silver froth, The ocean’s burden and the

in Historical literatures
Contemporary texts, propaganda, and life writing
G. H. Bennett

special because she was the only female engineer in the merchant navy, and one of a small number of women serving as crew on British merchant ships during wartime. This was an aspect of the Battle of the Atlantic that the majority of the British public did not appreciate. Drummond became the first woman to receive a Lloyd’s medal for bravery. It was perhaps unsurprising that, with the need to involve women fully in

in Gender and warfare in the twentieth century
Laura Peters

written in 1879. In this literature, the orphan becomes the sailor who, in finding employment on the seas in either the merchant navy or marines, does the work of empire. Whether working in the imperial economy or defending the empire on the high seas battling foreign enemies and pirates, the orphan sailor is crucial to the defence of the empire, the centre of which, ironically, is the very Victorian

in Orphan texts
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A final story
Geraldine Cousin

’, though in fact the Hospital ‘never employed such a man’ (p. vii). Otis Gardiner sells the older children he collects to mill owners or to the navy. If the babies don’t die quickly, he murders Coram Boy: a final story 163 them. He forces his simple-minded son, Meshak, to help him to bury the bodies in woods and ditches and by deserted hedgerows. Meshak is haunted by the dead babies. He sees their faces in trees and brambles, or staring up at him from the depths of a pond where his father made him hide some of the babies. One autumn night he is terrified by the sight of

in Playing for time
The Vorticist critique of Futurism, 1914–1919
Jonathan Black

inconsistency and superficiality and the patent absurdity of claiming that Italy was at all in the same league as Imperial Britain. Lewis stressed that Britain, or more specifically England, was the birthplace of the modern industrial world. It had the largest empire, the largest merchant marine, the most powerful navy, especially after the launch of the revolutionary big-gun turbine-driven battleship HMS Dreadnought Adamowicz and Storchi, Back to the Furutists.indd 159 01/11/2013 10:58:46 160 Jonathan Black in 1906 (Blom 2009: 163). Britain had a much greater

in Back to the Futurists
Patsy Stoneman

none of the authority-bodies dealt with in the novel measures up to this standard. The church, the universities, the law, the army, the navy and the employers are all exposed as complacent, self-seeking and inhumane. This exposure of the fallible nature of authority is the theme which links a number of plot details which are generally read as ‘irrelevant’ – Mr Hale’s honourable defection from the church (NS: 35; cf W Gaskell: 22–3), Margaret’s refusal to marry an ambitious lawyer, Edith’s lazy life as an army wife, Mr Bell’s comfortable prevarication with truth (NS

in Elizabeth Gaskell
Transculturality and Otherness in twenty-first-century Irish poetry
Michaela Schrage-Früh

seems ‘swift as an antelope’ as his ‘[l]egs, long as spears, gather speed’. In the speaker’s imagination the ordinary winter surroundings are magically transformed by the man’s exotic presence. Despite the fact that he is appropriately dressed in a ‘winter coat, shirt and navy trousers’, in the speaker’s imaginative perception his clothes ‘dissolve to gorgeous Maasai colours’, thus suggesting his African origin, and the Luas itself is transformed into ‘a metal beast’, ‘a wild one / broken free from the herd’. Unlike Bolger’s poem, ‘Warriors’ refrains from exploring

in Literary visions of multicultural Ireland
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Whiskey, tea, and sympathy
Katherine O’Donnell

and gently says: ‘I am from Nigeria’. Joe nodded. ‘I am from Drumcondra’, he said. ‘Originally’. Albert clutched the neck of his robe. ‘Will it be quiet now for a while?’ ‘Yes. Sorry’. ‘Thank you’. He stepped back and turned. The robe was a dressing gown. It was navy blue, collared, comfortable looking. ‘Call in sometime’, said Joe. Leaning out the window. ‘Come and have some whiskey’. Albert waved a hand vaguely, hopped the low bushes that divided the gardens. He disappeared. ‘My name is Joe’, called Joe. ‘I’m your neighbour’. (52) While Joe’s encounter with the

in Literary visions of multicultural Ireland
Clemence Dane and Virginia Woolf
Jenny Hartley

Kindergruppe. We had a sort of semi, better- than-nothing uniform: a white blouse, navy skirt with shoulder straps and a beautiful stainless steel swastika badge to pin onto the crosspiece in front. 33 Uniform for the young Katrin signified ‘belonging’, something particularly desirable for a young girl of dubiously mixed parentage

in Gender and warfare in the twentieth century