Love, Hate, and the Law in Tudor England: The Three Wives of Ralph Rishton

MUSICAL INSTRUMENTS The Guitar in Tudor England: A Social and Musical History. By Christopher Page. (Musical Performance and Reception.) Cambridge: Cambridge University Press, 2015. [xix, 248 p. ISBN 9781107108363 (hardcover), $99.99; ISBN 9781316257975 (e-book, Cambridge Books Online).] Music examples, figures, tables, appendices, bibliography, index.Although the four-course Renaissance guitar flourished above all in France, where several publications for the instrument appeared in the 1550s, it was played by men and women of varied social and musical backgrounds throughout Europe. The English were no exception. But unlike the cittern, a related four- or six-course wirestrung instrument popular in England and elsewhere, the Renaissance guitar (or in the English of the time) has received little attention from scholars interested in Tudor musical life. The surviving sources, moreover, offer limited and often obscure evidence of repertoire, development, or social meaning. The purpose of Christopher Page's book is to frame a social and musical history of the guitar in Tudor England by gathering the relevant literary, archival and pictorial documents in a more comprehensive manner than has yet been attempted (p. 7). Indeed, by complementing the known print and manuscript sources with a number of new archival documents, Page is able to offer credible accounts, for the first time, of many of this instrument's basic social and musical characteristics.The book is divided into two parts. The first examines extramusical evidence of the guitar's role in sixteenth- and earlyseventeenth-century England. Chapter 1 reproduces and reviews the six known images of the guitar produced in Tudor England, with special attention paid to the Eglantine Table, a decorative panel inlaid with designs of several musical instruments. The six images are often vague in what they represent, but Page draws from them a number of inferences: that by 1568 the guitar was considered a fitting appurtenance for English nobility, since in that year one appears in the decorative border of Robert Dudley's engraved portrait; that fourcourse guitars may have come in various sizes or even sets; and that the instrument may have held antique associations in England as it did elsewhere in Europe. A drawing included in a 1604 publication also seems to depict a guitarist playing in consort, but Page stresses that this last implication is uncertain and corroborated nowhere else in the historical record. The next two chapters showcase the author's gift for archival sleuthing. In chapter 2, Page examines books of accounts, royal and estate inventories, and various university documents to establish who specifically owned guitars in Tudor England. He finds evidence of possible ownership by more than two dozen individuals spanning the social gamut from royalty to yeoman. How these and other English guitarists came into possession of their instruments, few of which appear to have been manufactured in England, is the subject of chapter 3, a fascinating introduction to the gittern trade. The few surviving sixteenth-century London Port Books, i.e., records of imported commodities compiled by customs officials, attest to an international trade in instruments and strings. Grocers, haberdashers, goldsmiths, and other small businessmen dominated the trade in the 1560s, while one John White, a draper, appears alone to have specialized in the importation of guitars. By tracing the affairs of these individuals in other documents, Page throws into relief a small but active community of London merchants with capital to invest in their city's musical activities.Page turns to the guitar's music and performance in the final four chapters of the study. First up is James Rowbothum's An instruction to the Gitterne, ca. 1569, the only tutor for the four-course guitar published in England and the sole instruction for the instrument to survive, albeit partially. Eight test-pulls, or prepublication review pages, remain of the work, which appears to be a translation of a lost French original by Adrian Le Roy. …

Contents: Foreword Introduction, Simon McVeigh. Part 1 Towns And Cities: Concert topography and provincial towns in 18th-century England, Peter Borsay Clergy, music societies and the development of a musical tradition: a study of music societies in Hereford, 1690-1760, Elizabeth Chevill Competition and collaboration: concert promotion in Newcastle and Durham, 1752-72, Roz Southey Musical culture and the capital city: the epoch of the beau monde in London, 1700-1870, William Weber. Part 2 Sources And Genres: 'The first talents of Europe': British music printers and publishers and imported instrumental music in the 18th century, Jenny Burchell Musicians and music copyists in mid-18th-century Oxford, Donald Burrows and Peter Ward Jones The catch and glee in 18th-century provincial England, Brian Robins The string quartet in London concert life, 1769-99, Meredith McFarlane and Simon McVeigh. Part 3 Contexts For Concerts: Music and drama at the Oxford Act of 1713, H. Diack Johnstone The pleasures and penalties of networking: John Frederick Lampe in the summer of 1750, Roy Johnston 'So much rational and elegant amusement, at an expence comparatively inconsiderable': the Holywell concerts in the 18th century, Susan Wollenberg Gigs, roadies and promoters: marketing 18th-century concerts, Rosamond McGuinness Women pianists in late 18th-century London, Nicholas Salwey. Index.

Introduction, J.Pittock and A.Wear reflections on the origins of cultural history, P.Burke cultural history in a new key - towards a semiotics of the nerve, G.Rousseau bodies of thought - thoughts about the body in 18th century England, R.Porter the representation of the family in 18th century England - a challenge to the cultural historian, L.Jordanova intellectual ornaments - style, function and society in some instruments of art, M.Kemp inventing the common reader - Samuel Johnson and the canon, L.Lipking rewriting the Caribbean past - cultural history in the colonial context, P.Hulme provincial town culture 1740-1780 - urbane or civic?, J.Barry ignorance and revolution - perception of social reality in revolutionary Marseille, W.Scott the experience of modern popular culture in North East Scotland, P.Dukes.

The Collected Essays of Christopher Hill: Volume One: Writing and Revolution in 17th Century England. Volume Two: Religion and Politics in 17th Century England. Volume Three: People and Ideas in 17th Century England. Reviving the English Revolution. By Geoff Eley and William Hunt

Every retelling of a story is an interpretation, and children’s Bible stories are no exception. This paper analyzes changes made to the Biblical story of creation in a collection of thirteen Bible stories published in 19th century Britain. The aim of this paper is to answer two questions: what purpose did the story of creation serve in Bible stories in 19th century Britain, and what changes were made to the story to serve this purpose? Common themes and changes made to the Bible stories discussed here suggest that the story was told to children for various reasons. For many, the creation narrative was used to familiarize young children with the story, and changes were aimed to simplify the story. For others, the original sin was closely tied to Jesus’ atonement, and in stories that stress this, Jesus often shows up as an additional character. Moreover, many versions of this story add lessons to impart moral or didactic advice to their audience. Overall, analyzing changes made to children’s Bibles stories reveals how authors changed the story of creation to influence their intended audiences.

Religious Studies ReviewVolume 35, Issue 4 p. 294-294 Defending Royal Supremacy and Discerning God's Will in Tudor England – By Daniel Eppley Torrance Kirby, Torrance Kirby McGill UniversitySearch for more papers by this author Torrance Kirby, Torrance Kirby McGill UniversitySearch for more papers by this author First published: 26 November 2009 https://doi.org/10.1111/j.1748-0922.2009.01387_87.xRead the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Volume35, Issue4December 2009Pages 294-294 RelatedInformation

Religion and Politics in Tudor England - The Debate on the English Reformation. By Rosemary O'Day. New York: Methuen, 1986. - The “Polytyque Churche”: Religion and Early Tudor Political Culture, 1485–1516. By Peter Iver Kaufman. Macon, Ga.: Mercer University Press, 1986. - War, Taxation and Rebellion in Early Tudor England: Henry VIII, Wolsey and the Amicable Grant of 1525. By G. W. Bernard. New York: St. Martin's Press, 1986. - Parliament and the Crown in the Reign of Mary Tudor. By Jennifer Loach. Oxford: Clarendon Press, 1986. - The Tudor Parliaments: Crown, Lords and Commons, 1485–1603. By M. A. R. Graves. New York: Longman, 1985. - Volume 28 Issue 1

Tudor experience of Islam; continuing advances of the “infidel” – recapturing Holy Land to defending central Mediterranean; Mandeville's Travels - representing “Muslim faith in a relatively favourable light”; Christian–Islamic conflict; “Mahometism” and “Mahometist” – “Mahomet” for Prophet Muhammad; appetite for Qur'ān in Tudor England - material concerning Islam; reformation and conflation; use of Islam - reflecting upon Christian depravity or disunity; military alliance between French king and Ottoman sultan - Tudor England's experience of Islam; Marlowe's Jew of Malta and Tamburlaine - “Turks” contrasted with hypocritical Christians.

The current volume brings together contributions from two separate editors. The first is a collection of texts edited by Peter Clarke that evidence Cardinal Thomas Wolsey's legatine powers to grant dispensations and other papal graces and his exercise of these powers during the 1520s in Henry VIII's realm. The second is a text edited by Michael Questier. It takes the form of glosses on and suggested readings of the Elizabethan statute law which imposed treason penalties on Catholic clergy who exercised their office in reconciling to Rome (i.e. absolving from schism and heresy) and on those who availed themselves of this sacramental power. The rationale for linking these contributions in a single volume is threefold. First, both generally concern Catholicism in Tudor England, especially the authority of Catholic clergy there both before and after the break with Rome. Secondly and more specifically, they regard the role of these clergy as agents of papal authority in Tudor England. Wolsey was appointed as a papal legate in 1518 and obtained legatine powers from successive popes on a scale unparalleled in pre-Reformation England, notably to grant dispensations, and he exercised these dispensing powers there extensively; he was thus the papal agent par excellence in Tudor England on the eve of the Reformation. The Elizabethan ‘tolerationist’ text, by contrast, seeks to deny that Catholic clergy necessarily functioned as agents of papal authority. They were not, therefore, all without exception traitors to the queen, even though one literal reading of the statute book might give the impression that this was what the State had meant. Instead, so this manuscript claimed, the statutes themselves could be read in such a way as to imply that the legislators themselves accepted that the Catholic clergy's priestly functions did not depend exclusively on papal supremacy (unlike Wolsey's legatine status) or even a malign anti-popish understanding of the papacy as a legal and ecclesiastical entity. Therefore the exercise of their faculties could not automatically be interpreted as treasonable. Coincidentally Wolsey's activity as a papal agent led to him being attainted him with treason, and although the charge did not relate to his dispensing powers, four years after Wolsey's fall Henry VIII forbade his subjects to petition Rome or its agents for the kinds of graces Wolsey had issued. He established the Faculty Office to issue such graces instead, and its authority depended on royal, not papal, supremacy. Both contributions, therefore, concern the relationship between Catholic clergy and supreme authority in the English Church, wherever this was deemed to lie. Thirdly, both contributions illuminate the limits of the law and flexibility in interpreting and applying it. Wolsey's graces in effect limited the operation of canon law: his dispensations suspended it in specific instances, notably regarding marriage and ordination; and he also granted licences permitting activity that it normally forbade, such as clergy not residing in their benefices. The ‘tolerationist’ text implies, although with arguments which at times seem rather specious, that the Elizabethan State was, even in its more draconian utterances, to some extent drawing in its horns. Both contributions, therefore, concern apparently binding law which might be relaxed in Tudor England with regard to Catholic clergy (as well as laity in the case of Wolsey's papal graces).

Book Review| October 01 1973 The Religious Sublime: Christian Poetry and Critical Tradition in 18th-Century England by David B. Morris The Religious Sublime: Christian Poetry and Critical Tradition in 18th-Century England. By Morris, David B.. Lexington: The University Press of Kentucky, 1972. Pp. ix, 260. $8.50. J. M. Armistead J. M. Armistead Rider College Search for other works by this author on: This Site Google South Atlantic Quarterly (1973) 72 (4): 616. https://doi.org/10.1215/00382876-72-4-616 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation J. M. Armistead; The Religious Sublime: Christian Poetry and Critical Tradition in 18th-Century England by David B. Morris. South Atlantic Quarterly 1 October 1973; 72 (4): 616. doi: https://doi.org/10.1215/00382876-72-4-616 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsSouth Atlantic Quarterly Search Advanced Search The text of this article is only available as a PDF. Copyright © 1973 by Duke University Press1973 Article PDF first page preview Close Modal You do not currently have access to this content.

Following its Man Booker Prize in 2009, Hilary Mantel’s Wolf Hall has gained a cult status in literature and cemented her position as one of the leading contemporary novelists in Britain. The novel follows the story of Thomas Cromwell’s rise to power from an underdog to becoming the architect of Tudor politics during the reign of Henry VIII. Narrated through the perspective of Cromwell himself, Wolf Hall chronicles Cromwell’s journey from 1527 to 1535. In doing so, Mantel has speculated Tudor history and its representation in historical discourse. As the narrative travels with Cromwell, Mantel leaves her reader with multiple possibilities to question the historical image of Cromwell who has been archived as a villain for his political activities. By allowing Cromwell to take control of the narrative, Mantel shows the existing Tudor history from a marginalised point of view. Before he became a minister in the court of Henry VIII, he was a butcher’s son for which he was the subject of mockery to his contemporaries. However, the narrative of Wolf Hall does not only stop at exploring Cromwell’s personal life but also his public activities that are connected to Tudor politics and history. Following Cromwell’s association with the common people of the society, this paper aims to analyse the representation of Tudor history in the novel. Moreover, it seeks to understand the city as a major site for historical and political exploration and the contribution of the lower-class characters in the rise of Cromwell to power. Keywords: Tudor history, Cromwell, Wolf Hall, Tudor Politics, Marginalised

The purpose of this study is to reveal about womens’ image in England in 19th century especially the existance of women that lived during Austen’s era at the time. In analyzing this study the writer used qualitative research design which is the data collected in form of words rather than numbers. The data collected in this research are from two sources; primary and secondary. The primary source is from the novel itself and the secondary sources are from internet, and some other books. The datas are analyzed by using mimetic approach. The result of the study shows that fearness, dissapointment, unhappiness, and even arrogance are parts of life of some women at that time. They have no choice to choose a better life. England adopted Primogeniture as a basic of inherit the wealth to the children. This one is a reason why woman in society is placed lower rather than man. Man hold the authorithy in many aspects such as social, politics, and economic. However, girls were not gaining any noticeably easier access to legal rights or professional opportunities at this time. There was an over-riding assumption that men and women were different in natural capabilities. Consequently, both men and women ought to accept distinct social roles, marked out along gender lines, where women were denied equality of opportunity in areas such as education, business and action. Girls were praised for being submissive, modest, pure and domesticated. The qualities of being independently-minded, studious or talented were seldom regarded as feminine attractions. In the other hand, there was still few women who could face the problem toughly.Keywords: Woman, Late Ninetenth Century, Mimetic Approach, social roles

The suspense of Hamlet 3.4 has everything to do with what is behind the arras. Summoned to Gertrude's closet after staging The Mousetrap, Hamlet hears a noise behind the arras and, assuming it to b...

Student Number 3111644 Supervisor(s) Stefan Petrovic and Jed Wentz Title Did They Throw Tomatoes? The Performer-Audience Relationship in 18-century England Research Question What was the nature of the performer-audience relationship in 18th-century England and how can this influence our relationship with audiences today? Summary With the explosion of the public concert in 18th-century England and the ensuing so called “rage for music”, it is clear that concerts were a vital part of the social life of England’s elite and burgeoning middle class. What created this experience? What roles did both audience and performers play? How did it differ from the ways in which we encounter classical music concerts in the 21st century? This research explores how 18th-century English music was publicly experienced in paid, secular concert settings. It was quite different from what we might now expect in the same setting, and therefore it engendered a vastly different performer-audience relationship than what we often have today. The concert spaces, audience makeup, and concert etiquette each were contributing factors in creating a varied and highly social experience for concertgoers. The aim of this research paper is to illuminate this experience and explore how something similar might be relevantly created in the 21st century. Short Bio Chloe Prendergast is a violinist originally from Denver, Colorado. She is the artistic director of the Beethoven Festival of the Hague, a member of Holland Baroque and the Butter Quartet, and has performed with groups including the Handel and Haydn Society, Pacific Musicworks, Henry Purcell Society of Boston, Baroque Chamber Orchestra of Colorado, Luthers Bach Ensemble, Collegium Ad Mosam, and Arcadia Players. Chloe currently studies at the Royal Conservatory of the Hague with Kati Debretzeni and Walter Reiter. She holds a degree from Willamette University, where she was a Phil Hanni scholar and studied principally with Anthea Kreston and Daniel Rouslin.

Misty G. Anderson. Imagining Methodism in 18th-Century Britain: Enthusiasm, Belief & Borders of Self. Baltimore: Johns Hopkins UP, 2012. 296 + xii pages. $65.Misty Anderson's study of how Methodism was represented in eighteenth century, Imagining Methodism in 18th-Century Britain: Enthusiasm, Belief & Borders of Self, opens up her subject into broad historical narratives about gender, sexuality, relationship between Christianity and secular, and, indeed, very nature of identity itself, all without losing its grounding in dense, evidential detail drawn from a dazzling array of diverse sources. In book, close readings work dialectically with important theoretical and political concepts instead of being driven and constrained by them. While focused on answering a very specific question-not what Methodism was but how Methodism was imagined in eighteenth century-Anderson's analysis of print texts from novel to hymn, of visual representations, and of embodied performances presents new ways of thinking about just religion but also gender, sexuality, and such bedrock modern concepts as the self. This is a book with its telos in any one theoretical camp or subdivision of cultural studies, though it has its roots in many. Imagining Methodism starts with an openeyed, honest interest in figuring out what Methodism and Methodists meant to eighteenth-century British publics and individuals. In process of that investigation, Anderson contributes invaluable, field-changing insight to queer, feminist, materialist, and performance-oriented work on early modern Britain and its place in history of the modern.Of course, as introduction amply documents, Anderson's focus on Methodism is hardly random but rather places her book in midst of historical debates over social relationships between various types of Christianity and alleged secularism emergent with European Enlightenment. There is a real need for good, historical, materialist work in this area. As Anderson points out, work of Marxist cultural historians such as E. P. Thompson and Max Weber tends to subsume religion into capitalist ideology as the Protestant ethic while Marxist literary critics like Ian Watt edge it out of their readings altogether to focus on an emergent, secularly motivated middle class and its realist aesthetic. Much otherwise excellent work in literary and historical cultural studies has been limited by this implicit alignment between secularism and progressive politics. Anderson joins cultural critics who are skeptical about dominance of skepticism by taking seriously proposition that Methodism, largest new religious movement in period and at heart of modern evangelicalism, might be intrinsic to our understanding of eighteenth-century culture and its active negotiation of religion in 'a secular age,' which redefines rather than destroys modern belief (6). This is to say that Anderson embraces religion over secularism as key to understanding formation of modern identities. As she puts her argument, it is not that secular and religious capture complete horizon of possibility in project of modernity, but that their opposition achieves a cultural dominance that defines era (11).The concept of self is central to Anderson's cultural analysis, a turn back to an older term and away from well-theorized, post-structuralist preference for subjectivity. Of course, Anderson has strong methodological backup in Dror Wahrman's The Making of Modern Self: Identity and Culture in Eighteenth-Century England on historical formation of modern gender identities, but her choice is primarily historical; she takes her definition of term back to John Locke's conscious, thinking thing, individual consciousness. The Lockean self links this consciousness with sensation, opening itself up to feeling as well as thought. …