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Politics, Pageantry and Colonialism

Royal tours of the 1800s and early 1900s, and since, have created much documentation, perhaps the most obvious record contained in newspapers and magazines, newsreels and then radio and television broadcasts. Tours expressed and promoted royal and imperial authority, though in some instances they revealed resistance against expansionist designs. The royal visitor was the central actor in a tour, but was surrounded by an entourage of other people and a store of paraphernalia that played essential roles. This book examines how presentation is managed when ambassadors are sent in place of the royal personage. Sultan Alauddin of Aceh mounted a royal tour by proxy in which he was embodied - and concealed - in his gifts and in the humbler persons of his placeholders. Prince Alfred Ernest Albert, Duke of Edinburgh, provided a template for later royal tours in three ways. First, he pioneered a new relationship with the Royal Navy as a training institution for British princes. Second, his lengthy visits paved the way for similarly ambitious global tours. Alfred's tours cultivated a range of trusted support staff. Imperial citizenship and even Britishness were embraced by non- English and non- British subjects of the queen. One young prince who was present in Britain at some of the most glittering events was Thakur Sahib Bhagvatsinh, a Rajput who ruled Gondal. The book also discusses Kaiser Wilhelm II's tour, King Sisowath and Emperor Khai Dinh's tour to France, the Portuguese crown prince's tour of Africa, and tours during Smuts's Raj.

Prince Alfred’s precedent in overseas British royal tours, c. 1860– 1925
Cindy McCreery

When the young British princes Albert Victor and George visited Australia in 1881, they and their hosts recalled another royal tour and another royal tourist. Visiting a new grammar school in Brisbane, ‘they were told how their uncle, the Duke of Edinburgh, had laid the foundation-stone of the old Prince Alfred Grammar School, within sight, and now vacated’. 1 Alfred was in many ways the first British royal to tour major

in Royals on tour

Ralph Knevet's Supplement of the Faery Queene (1635) is a narrative and allegorical work, which weaves together a complex collection of tales and episodes, featuring knights, ladies, sorcerers, monsters, vertiginous fortresses and deadly battles – a chivalric romp in Spenser's cod medieval style. The poem shadows recent English history, and the major military and political events of the Thirty Years War. But the Supplement is also an ambitiously intertextual poem, weaving together materials from mythic, literary, historical, scientific, theological, and many other kinds of written sources. Its encyclopaedic ambitions combine with Knevet's historical focus to produce an allegorical epic poem of considerable interest and power.

This new edition of Knevet's Supplement, the first scholarly text of the poem ever published, situates it in its literary, historical, biographical, and intellectual contexts. An extensive introduction and copious critical commentary, positioned at the back of the book, will enable students and scholars alike to access Knevet's complicated and enigmatic meanings, structures, and allusions.

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The Jacobean writing of Britain
Christopher Ivic

dedicated to the king (as Verstegan’s was); the reality is that another subject of Britain, Prince Henry, was emerging as a major patron and therefore dedicatee. 11 Ayscu’s book was dedicated not to James but to Henry. In his dedicatory epistle ‘To the Prince’, Ayscu celebrates Henry’s ‘[p]rincely and powerfull aspect’, although he is quick to add ‘without deminution of his super-eminent Majestie, whence you derive it’. 12 After describing the mixed feelings of James’s Scottish subjects at the time of his departure from Scotland in 1603, the Presbyterian and republican

in The subject of Britain, 1603–25
Charles V. Reed

his eldest son Albert Victor, about ‘illuminations and horsemanship’ (he encouraged him to pursue his interest in the latter). 118 During the return visit to Baroda, the young gaekwad grasped the Prince of Wales’ right hand and led him toward an elephant that would carry him to the durbar for local dignitaries at the British Residency. 119 Later, the British prince was treated by the young gaekwad

in Royal tourists, colonial subjects and the making of a British world, 1860–1911
New Zealand’s Maori King movement and its relationship with the British monarchy
Vincent O’Malley

. Reproduced with permission Notes 1 ‘Maori King Refuses Meeting with British Prince’, see (accessed 28 April 2014). 2 ‘Royal Snub Annoys Kingi

in Crowns and colonies
Charles V. Reed

Miriam Scheider, ‘Royal Naval Education, Sailor Princes, and the Re-Invention of the Monarchy’ (MPhil thesis, University of Cambridge, 2011 ). 27 In 1863, John O’Shanassy, the Premier of Victoria, suggested the Prince Alfred might become king of Australia. Cindy McCreery, ‘A British Prince and a

in Royal tourists, colonial subjects and the making of a British world, 1860–1911
Monika Fludernik

, on Thomas Dekker's play The Shoemaker's Holiday (performed in 1599). In particular, A Shoemaker, A Gentleman uses two stories from The Gentle Craft and welds them together: that of St Winifred's martyrdom and Sir Hugh's love for her; 33 and the folk myth of St Hugh's bones, which provides the link to the two British princes (Elred and Offa), who hide as shoemaker's apprentices 34 at the shop of the Simon Eyre-like unnamed ‘Shoemaker of Faversham

in Enacting the Bible in medieval and early modern drama
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Regina Lee Blaszczyk

stimulated the American appetite for British style and luxury. 21 In the American capital to promote all things British, Prince Charles and Princess Diana attended a gala dinner at the White House as the guests of President Ronald Reagan and First Lady Nancy Reagan. Wearing an ink blue velvet evening gown, Princess Diana famously danced with the American movie star John Travolta to the music of his 1977 film Saturday Night Fever . Diana’s pale complexion, swept-back blonde hair and Edwardianinfluenced style complemented the old-fashioned Hollywood elegance of the Reagan

in Fashionability
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Mark S. Dawson

doth in touching melt, embroidered with blew art[ri]es, is it ought but a Ladies hand and fingers?’27 Likewise, as Arviragus mourns over Fidele, the British prince’s similes from Shakespeare’s Cymbeline are an indication that the young page is not dead, rather, he is an unconscious, cross-dressed and well-born woman; the prince’s own sister, Imogen: With fayrest Flowers Whil’st Sommer lasts, and I live heere, Fidele, Ile sweeten thy sad grave: thou shalt not lacke The Flower that’s like thy face. Pale-Primrose, nor The azur’d Hare-bell, like thy Veines: no, nor The

in Bodies complexioned