Challenges traditional view of Elzabeth as intrinsically hostile to marriage Comprehensive coverage of all the marriage negotiations First to look at marriage negotiations in political context rather than solely from the perspective of Elizabeth's personality and image Based on extensive archival research in Britain, France and Spain Draws conclusions about Elizabeth's ability as a ruler
As a woman wielding public authority, Elizabeth I embodied a paradox at the very center of 16th century patriarchal English society. This text illuminates the ways in which the Queen and her subjects variously exploited or obfuscated this contradiction.
This analysis of royal marriage cases across seven centuries explains how and how far popes controlled royal entry into and exits from their marriages. In the period between c.860 and 1600, the personal lives of kings became the business of the papacy. d'Avray explores the rationale for papal involvement in royal marriages and uses them to analyse the structure of church-state relations. The marital problems of the Carolingian Lothar II, of English kings - John, Henry III, and Henry VIII - and other monarchs, especially Spanish and French, up to Henri IV of France and La Reine Margot, have their place in this exploration of how canon law came to constrain pragmatic political manoeuvring within a system increasingly rationalised from the mid-thirteenth century on. Using documents presented in the author's Dissolving Royal Marriages, the argument brings out hidden connections between legal formality, annulments, and dispensations, at the highest social level.
Challenges traditional view of Elzabeth as intrinsically hostile to marriage Comprehensive coverage of all the marriage negotiations First to look at marriage negotiations in political context rather than solely from the perspective of Elizabeth's personality and image Based on extensive archival research in Britain, France and Spain Draws conclusions about Elizabeth's ability as a ruler
The Royal Historical Society Transactions offers readers an annual collection of major articles representing some of the best historical research by some of the world's most distinguished historians. Also available as a journal, volume seven of the sixth series will include: 'The Peoples of Britain and Ireland, 1100-1400: IV Language and Historical Mythology', Rees Davies; 'The Limits of Totalitarianism: God, State and Society in the GDR', Mary Fulbrook; 'History as Destiny: Gobineau, H. S. Chamberlain and Spengler', Michael Biddiss; 'Constructing the Past in the Early Middle Ages: The Case of the Royal Frankish Annals', Rosamond McKitterick; 'England, Britain and the Audit of War', Kenneth Morgan; 'The Cromwellian Decade: Authority and Consent', C. S. L. Davies; 'Place and Public Finance', R. W. Hoyle; 'The Parliament of England', Pauline Croft; 'Thomas Cromwell's Doctrine of Parliamentary Sovereignty', Conrad Russell; 'Religion', Christopher Haigh; 'Sir Geoffrey Elton and the Practice of History', Quentin Skinner.
Royal Poetrie is the first book to address the significance of a distinctive body of verse from the English Renaissance—poems produced by the Tudor-Stuart monarchs Henry VIII, Mary, Queen of Scots, Elizabeth I, and James VI/I. Not surprisingly, Henry VIII is no John Donne, but the unique political and poetic complications raised by royal endeavors at authorship imbue this literature with special interest. Peter C. Herman is particularly intrigued by how the monarchs' poems express and extend their power and control. Monarchs turned to verse especially at moments when they considered their positions insecure or when they were seeking to aggregate more power to themselves. Far from reflecting absolute authority, monarchic verse often reveals the need for authority to defend itself against considerable, effective opposition that was often close at hand. In monarchic verse, Herman argues, one can see monarchs asserting their significance and appropriating images of royalty to enhance their power and their position. Sometimes, as in the cases of Henry and Elizabeth, they are successful; sometimes, as for James, they are not. For Mary Stuart, the results were disastrous. Herman devotes a chapter each to the poetic endeavors of Henry VIII, Mary Stuart, Elizabeth I, and James VI/I. His introduction addresses the tradition of monarchic verse in England and on the continent as well as the textual issues presented by these texts. A brief postscript examines the verses that circulated under Charles I's name after his execution. In an argument enhanced by carefully chosen illustrations, Herman places monarchic verse within the visual and other cultural traditions of the day.
The Masters of the Revels and Elizabeth I's Court Theatre places the Revels Office and Elizabeth I's court theatre in a pre-modern, patronage and gift-exchange driven-world of centralized power in which hospitality, liberality, and conspicuous display were fundamental aspects of social life. W.R. Streitberger reconsiders the relationship between the biographies of the Masters and the conduct of their duties, rethinking the organization and development of the Office, re-examining its productions, and exploring its impact on the development of the commercial theatre. The nascent capitalist economy that developed alongside and interpenetrated the gift-driven system that was in place during Elizabeth's reign became the vehicle through which the Revels Office along with the commercial theatre was transformed. Beginning in the early 1570s and stretching over a period of twenty years, this change was brought about by a small group of influential Privy Councillors. When this project began in the early 1570s the Queen's revels were principally in-house productions, devised by the Master of the Revels and funded by the Crown. When the project was completed in the late 1590s, the Revels Office had been made responsible for plays only and put on a budget so small that it was incapable of producing them. That job was left to the companies performing at court. Between 1594 and 1600, the revels consisted almost entirely of plays brought in by professional companies in the commercial theatres in London. These companies were patronized by the queen's relatives and friends and their theatres were protected by the Privy Council. Between 1594 and 1600, for example, all the plays in the revels were supplied by the Admiral's and Chamberlain's Players which included writers such as Shakespeare, and legendary actors such as Edward Alleyn, Richard Burbage, and Will Kempe. The queen's revels essentially became a commercial enterprise, paid for by the ordinary Londoners who came to see these companies perform in selected London theatres which were protected by the Council.
This is the first edition ever of the Queen’s correspondence in Italian. These letters cast a new light on her talents as a linguist and provide interesting details as to her political agenda, and on the cultural milieu of her court. This book provides a fresh analysis of the surviving evidence concerning Elizabeth’s learning and use of Italian, and of the activity of the members of her ‘Foreign Office.’ All of the documents transcribed here are accompanied by a short introduction focusing on their content and context, a brief description of their transmission history, and an English translation.
