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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
Contemporary texts, propaganda, and life writing

medal citation appeared alongside others and no special attention was drawn to it. However, Drummond’s case was special, so much so that when the ship eventually reached Norfolk Virginia she was feted in the American press and locals quickly raised £5oo to purchase the Victoria Drummond mobile canteen for use in London during the ongoing blitz. Drummond was 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

in Gender and warfare in the twentieth century
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Edmund Waller, Andrew Marvell, and the advice-to-a-painter poem

Dutch his twinging anguish know, / And feel what valor whet with pain can do’ (SA, 97–98). As this example suggests, Marvell’s poem parodies the vast limbs and great heart of Waller’s York by selecting 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 kingdom’s both, Whose very bulk may represent its birth From Hyde and Paston, burdens of the

in Historical literatures

3 Popular orphan adventure narratives T HE CONSIDERATION of the unassimilable figure of Heathcliff does raise another issue: what happens to the orphan children of the poor who are not ultimately recouped into families? This marginalised figure without family ties dominates juvenile literature, specifically popular orphan adventure narratives – the legacy of which is to be found in The Pirates of Penzance 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

in Orphan texts
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A final story

’, 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
Clemence Dane and Virginia Woolf

-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. And ‘Belonging’ is, indeed, the title she gives to the chapter covering this episode in her life. Fascists always wore uniforms, but not always black, as John Harvey points out in his stimulating book Men in Black: ‘In Spain, the Falangists wore blue shirts (theirs was the “EraAzul”, the Azure Age

in Gender and warfare in the twentieth century
The Vorticist critique of Futurism, 1914–1919

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

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
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Delarivier Manley’s Secret Memoirs and Manners and the modern chronicle

; but all their particulars united in one’ (8). The prince’s virtue will set him apart from his inferiors and enable him to resist the corruption of self-serving subordinates; for ‘’tis almost impossible for a king to be beloved,’ Astrea asserts, if he ‘resigns himself up to favourites, all their riots, oppression, covetousness, revenge, malice and cruelty’ (211). Accompanied on her quest by her mother, Virtue, and directed by the presiding spirit of Intelligence, Astrea sets out across the country, viewing the ‘lovers of this age’ in a panoramic tour of navy, court

in Historical literatures
Transculturality and Otherness in twenty-first-century Irish poetry

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