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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
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 www.nzherald.co.nz/world/news/article.cfm?c_id=2&objectid=11214321 (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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Prince Alfred, Queen Victoria and Melbourne, 1867–68
Cindy McCreery

: And ees wishin with is muthar, Like a good boy, ’e ad stayd; But it aint no use regrettin’, Four ees bound for Addeylayd. Here both the British prince and his colonial destination of Adelaide, in the rival colony of South Australia, are ridiculed. But this image of Alfred as a seasick mother’s boy and the predictable Victorian put

in Crowns and colonies
Ton Hoenselaars and Helmer Helmers

) Such divine support for royal revenge may also be found in one of the most outspoken political appropriations of Senecan revenge tragedy in seventeenth-century Dutch drama, Jan Bara’s Herstelde Vorst, ofte geluckigh ongeluck ( Restored Prince, or Fortunate Misfortune , 1650). 54 Bara presents Rasimo, a British prince in mythical times, who is visited by the ghost of his murdered father. In a passage

in Doing Kyd
African encounters with Prince Alfred on his royal tour, 1860
Hilary Sapire

with the British Prince. It can be assumed that some of the reported euphoria was genuine even if it derived as much from the pleasures of performing a dance with deep cultural resonances as it did from the sightings of an English prince. It is also undeniable that the Shepstonian indirect rule that was visually dramatised in the ceremonies was valued by many chiefs and commoners

in Mistress of everything
Ramsay’s Cyrus and Plan
Andrew Mansfield

’Auvergne (1728–92), later duc de Bouillon. As the possessors of a principality the male children of the senior branch of the Auvergne family were styled princes (of Turenne), so it is conceivable that the work had his pupil in mind when framing the moral character of the student. Yet its inclusion of English government would favour the education of a British prince, so it is likely that the work was meant for his former pupil Prince Charles Edward Stuart (1720–88); or, less likely, one of George II’s younger sons. The Turenne’s were connected to the Jacobite court through

in Ideas of monarchical reform