Royal Occasions Research Articles

ULUSAL BİR SANAT OLARAK ŞİİR: CAROL ANN DUFFY’NİN SARAY ŞAİRLİĞİ DÖNEMİNDEKİ POLİTİK ŞİİRİ

When Carol Ann Duffy became Britain's first female poet laureate in 2009, it was a surprise as Duffy has always been a political poet with very harsh criticism of government policies in her works. However, she made it clear that she would not be writing poems for the monarchy and the royal occasions unless she feels to. In an interview with Andrew McAllister in 1988, Carol Ann Duffy stated that her intention as a poet is "to present it, as it is" (72). She added, "poets don't have solutions, poets are recording the human experience." This manifesto informs her work as her political poems illustrate life in the multicultural Britain of the 1980s and 1990s with a close observation of the underprivileged and deprived in Standing Female Nude (1985), Selling Manhattan (1987), and The Other Country (1990). Duffy's laureate poems also reflect her concern to speak for the unvoiced, as for Duffy "poetry provides an important alternative voice to journalists or pundits or academics as a way of dealing with things that matter to us all" (Wroe, 2014, para 1). Thus, this paper is concerned with the political aspect of Duffy's laureate poems, focusing on her political poetry written during her poet laureateship between the years 2009-2019 mainly targeting politicians and highlighting public concerns. Accordingly, she speaks for the public, to present the social and emotional experience of living in contemporary Britain by way of highlighting public concerns of the British people by targeting her criticism to the politicians.

Liturgical reflections on the funeral of Queen Elizabeth II: mass participation and mass detachment

ABSTRACT The funeral of the late Queen raises questions for liturgists and for the associated disciplines of ethnography and ritual studies. It followed a rite little used for Christian funerals, framed in language now deemed archaic and unintelligible. Yet promoters of modern language liturgy who might have been expected to be critical remained silent. For a wider public, the language choice at the funeral was consistent with an image of a figure who embodied tradition. This article considers the funeral liturgy in three movements – outdoor, transitional, and indoor. It concludes that this was a funeral in keeping with the liturgical formation of the deceased and her sense of her symbolic role in the Church of England. But it also asks how the contemporary language rites of the Church of England could be shown to be capable of supporting the kind of pageantry and ceremonial expected of royal occasions.

Leach Glover, ‘Dancing Master to the Royal Family’, Part Two: Teachers of Dancing

In 1738, Leach Glover (1697–1763) was appointed as a dancing master to Britain’s royal family. He had been a leading dancer in John Rich’s company for some twenty years, first at Lincoln’s Inn Fields and then at Covent Garden, and would retire from the stage in 1741. This article focusses on Glover’s work as a teacher of dancing, beginning with his training by the French dancer and member of the Paris Académie Royal de Danse Romain Dumirail, and revealing Glover’s later close relationship with him. The article investigates the role of a royal dancing master and discusses the context for Glover’s own appointment. As part of his duties, Glover created the ballroom dance The Princess of Hesse for the marriage of Princess Mary in 1740. The dance was published in notation and is analysed here as a late example of a surviving choreography to celebrate a royal occasion. Glover’s later life and his family connections are also considered for what they can tell us about his status within the society of his time.

Philip Williamson, Stephen Taylor, Alasdair Raffe and Natalie Mears, eds., National Prayers: Special Worship Since the Reformation, vol. 3 Worship for National and Royal Occasions in the United Kingdom, 1871–2016 (Church of England Record Society). Woodbridge: Boydell & Brewer, 2020; pp. cxxxviii + 882 plus 31 Black and White Illustrations.

Journal of Religious HistoryVolume 45, Issue 3 p. 512-514 BOOK REVIEWS Philip Williamson, Stephen Taylor, Alasdair Raffe and Natalie Mears, eds., National Prayers: Special Worship Since the Reformation, vol. 3 Worship for National and Royal Occasions in the United Kingdom, 1871–2016 (Church of England Record Society). Woodbridge: Boydell & Brewer, 2020; pp. cxxxviii + 882 plus 31 Black and White Illustrations. Mark W. Stamm, Corresponding Author Mark W. Stamm [email protected] orcid.org/0000-0002-3947-1366 Perkins School of Theology, Southern Methodist University[email protected]Search for more papers by this author Mark W. Stamm, Corresponding Author Mark W. Stamm [email protected] orcid.org/0000-0002-3947-1366 Perkins School of Theology, Southern Methodist University[email protected]Search for more papers by this author First published: 08 June 2021 https://doi.org/10.1111/1467-9809.12772Read 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 No abstract is available for this article. Volume45, Issue3September 2021Pages 512-514 RelatedInformation

Canadian Women’s Responses to Royal Tours from the Eighteenth Century to the Present Day

In the United Kingdom and Canada, support for the monarchy is higher among women than men. From Walter Bagehot’s political theory in the nineteenth century to modern day polling data, monarchism among women is usually attributed to royal events in popular culture from nineteenth-century royal weddings to twenty-first century depictions of the royal family in television and film. Press coverage of royal tours of Canada in the nineteenth and twentieth centuries often depicted women as passive bystanders in crowds, only gradually adding depictions of women as active participants in welcoming royalty. The history of Canadian women’s responses to royal tours and other public engagements by royalty in Canada from the eighteenth century to the present day reveals that there is a long history of women assuming active roles when royalty are present in Canada, seeking redress in legal cases in the eighteenth century, requesting patronage for organizations benefiting women in the nineteenth and early twentieth centuries, and debating the future of the monarchy in Canada in the late twentieth and early twenty-first centuries. The impact of royalty in Canada on women’s lives has become part of Canadian culture and literature. The higher levels of support for monarchism among women compared to men should therefore not be assumed to be due to passively viewing royal weddings, fashions or popular culture alone, but should be placed within this context of women actively engaging with royalty during their public appearances in Canada, viewing royal occasions as opportunities to have their concerns addressed by prominent public figures.

Performing rustics: pastoral moments and masques in Henry Purcell’s King Arthur (1691) and Benjamin Britten’

This essay analyses the functions and forms of the pastoral masques in two musical works celebrating England and its monarchs: Purcell’s semi-opera King Arthur (1691) and Britten’s coronation opera Gloriana (1953). The conventions of the masque and the pastoral combine in performances involving singing and dancing by rustics and shepherds. In both works, the pastoral masques or moments are spectacles within the spectacle, offered as gifts to the character(s) on stage. The masques thus foreground the artificiality of pastoral by this mise-en-abyme of the pageantry attending royal occasions. They invite reflection on the relation between the pastoral texts and their musical settings, and raise the question of what constitutes “pastoral” music. Given the themes and original functions of the two works and the national status of their composers, the essay also examines the nature of the “Englishness” of the pastoral masques in King Arthur and Gloriana.

Special Days of Worship and National Religion in the Australian Colonies, 1790–c. 1914

ABSTRACTThroughout the period between 1790 and 1914 the governments of the Australian colonies asked their populations to suspend work and amusements and join in collective acts of prayer. Australia’s special days of prayer have much historical significance and deserve more scholarly attention. They had an enduring popularity, and they were rare moments when a multi-faith and multi-ethnic community joined together to worship for a common cause. This article builds on recent work on state prayers in Britain by considering what the colonial tradition of special worship can tell us about community attachments in nineteenth-century Australia. ‘Fast days’ and ‘days of thanksgiving’ had both an imperial and a regional character. A small number of the Australian days were for imperial events (notably wars and royal occasions) that were observed on an empire-wide scale. The great majority, such as the numerous days of fasting and humiliation that were called during periods of drought, were for regional happenings and were appointed by colonial authorities. The article argues that the different types of prayer day map on to the various ways that contemporaries envisaged ‘Greater Britain’ and the ‘British world’. Prayer days for royal events helped the empire’s inhabitants to regard themselves as imperial Britons. Meanwhile, days appointed locally by colonial governments point to the strength of regional attachments. Colonists developed a sense that providence treated them differently from British communities elsewhere, and this sense of ‘national providence’ could underpin a sense of colonial difference—even a colonial nationalism. Days of prayer suggested that Greater Britain was a composite of separate communities and nationalities, but the regional feelings they encouraged could still sit comfortably with attachments to an imperial community defined by commonalities of race, religion and interest.

Laureateship under the Reign of Queen Victoria

Many foreign learners of English in our Middle Eastern universities encounter terms such as poet laureate or laureateship without troubling themselves to search for the origin of these terms, or even taking enough time to specify their true meanings or identify the poets honoured with the title of poet laureate, and how the candidates are selected in Victorian times. This paper is designed to give answers to the above speculations. Upon reviewing many sources in this regard, we become sure that the title of Laureateship is often offered by the authority to a man of letters not necessary very well-known poet, but to a man who could serve the Queen by writing poems or articles celebrating her royal occasions and sharing her the same political taste.

Christine de Pizan et son epoque: actes du colloque international des 9, 10 et 11 decembre 2011 a Amiens

The current vogue of unrelenting interest in Christine de Pizan has fulfilled Martin Le Franc's prediction that her fame would endure for ever. This publication is particularly revealing, in that it is one of an increasing number of monographs on Christine unrelated to the triennial colloquia of the International Christine de Pizan Society. The twenty-one articles (plus one varia contribution by Agata Sobczyk on Gautier de Coinci) reflect a wide variety of interests, constituting a distinguished tribute to the dedicatee, Liliane Dulac. Olivier Delsaux, the late Gilbert Ouy, Christine Reno, and Inès Villela-Petit deploy collective detective work in arguing that Chantilly, MSS Condé 492–493 constitute the first ‘Queen's manuscript’. Iconography is represented by Anne-Marie Barbier on the fusion of secular and profane in the Epistre d'Othea, and by Olga Vassilieva-Codognet on alterations made to miniatures in the Mutacion. Two of the six textual studies are particularly welcome, as they deal respectively with as yet unedited works: the Heures de contemplation (Liliane Dulac and Earl Jeffrey Richards) and Prudence (Barbara Falleiros); the others concern the German and English Fais d'armes (Danielle Buschinger), the Cité des dames (Maria Alessandra Soleti), and the Ditié de Jehanne d'Arc (Claire Le Ninan on national cohesion, Muriel Schmid on prophecy). Four studies are literary-historical in approach: Tracy Adams challenges the view that Christine became disillusioned with Louis d'Orléans in the early 1400s; Thierry Lassabatère argues that cross-comparisons of Du Guesclin and Louis II de Bourbon show that, for Christine, their exploits redound not to their own glory but to that of the monarchy; Bernard Ribémont carries out a perceptive reassessment of a 1378 trial, arguing that Christine may have felt more at ease with justice in the abstract rather than in practice; Lori Walters examines the didactic purpose underlying Philippe le Hardi's loan to Queen Isabeau of the Grandes chroniques. The remaining eight contributions are all thematically based: Thelma Fenster on Jewish history in the Mutacion, Ana Pairet on Circe, Małgorzata Posturzyńska-Bosko on associative anaphora, Delphine Reix on justice, E. Jeffrey Richards on the word ‘tyrant’, Shigemi Sasaki on fame, Anna Slerca on the folklore roots of the theme of rival contenders, and Friedrich Wolfzettel on feminine discourse. While admiring the ingenuity with which Schmid reads the Ditié's prophetic dimension in the light of Isaiah, some readers will remain uneasy about the importance attached to ‘crier Noël’ (which just means to ‘shout words of welcome’, particularly on royal occasions, irrespective of season) and the selective nature of some of the evidence (Isaiah 43. 2b is quoted, but not 43. 2a). There are frequent misprints (e.g. p. 55, read Fig. 5; p. 190, read ornithologique), although only a few hinder comprehension (e.g. p. 167, for Science read Sciene, for fleur read fleuri). Despite the claim made on p. 232 to the contrary, there is a modern edition of the Cité des dames. No doubt cost considerations explain the densely printed pages, but a slightly larger font for main and footnote text would have been welcome.

NEGOTIATING PRINCELY STATUS THROUGH THE PHOTOGRAPHIC GIFT

In 1937 Prince Pakualam VII of Yogyakarta sent a family album to Crown Princess Juliana of the Netherlands as a wedding gift. It contained drawings and photographs of all the dynasty's leading members since the early 19th century. This article examines the album, firstly, as a diplomatic gift given by a Javanese aristocrat living under Dutch colonial rule to a future queen of the Netherlands, and secondly, as a mode of self-representation that Javanese and Dutch monarchs embraced in different ways. While the portraits in the album contained general concessions to European mores, there was limited recognition of the Dutch royal occasion that it was meant to celebrate. Indeed, the gift represented an assertion of Pakualam VII's own dynasty. Thus, while Pakualam VII was technically a subject of the Dutch monarchy, his album gift to Juliana was ambiguous on the relations of sovereignty and subordination between the two families.

Monarchy and constructing identity in ‘British’ Gibraltar, c.1800 to the present

British Gibraltar began as a fortress, and royal coronations, jubilees and visits were initially celebrated in Gibraltar primarily by the British military and the colonial government. However, a substantial civilian population developed, to service the garrison and engage in trade. Sections of this civil community, not British-by-birth, increasingly demonstrated their loyalty to the crown on such royal occasions, in order to raise their status internally, protect their interests and increase their political influence inside Gibraltar. Spanish participation in royal events in Gibraltar, especially by members of the military and political elites from across the frontier, were also once commonplace and in Gibraltar uncontested. However, the relationship with Spain deteriorated, especially from the 1950s. Gibraltar's civil community then used expressions of loyalty to the British crown on royal occasions to assert its Britishness and to emphasise the duty of the British government to resist Spanish claims.

Organización de corridas de toros en la Nueva España del siglo XVIII y primeros años del XIX

The article studies the bullfights organization in New Spain during the XVIIIth Century, when bullfight had changed to the infantry bullfight. Then, generally, there were two weeks seasons, with four days of bullfight each week, in the morning and in the afternoon. Authorities auctioned the ring, and they organized everything. The collected money was used to pay some public works. During whole century, there were still bullfights to celebrate royal occasions, like coronations, royal marriages and royal births. Some times, there were bullfights in theatres, cockrings and slaughterhouses.

Symbolic mirrors: commemorations of Edward Carson in the 1930s

The 1930s in Northern Ireland was a period of rituals, performed for the population at large. Such unionist demonstrations and theatrical set pieces were unique manifestations of unionist culture. In a period of austerity and high unemployment in Northern Ireland, and increasingly aggressive nationalism in the Irish Free State, they were also a response to political developments. The demonstrations of the 1930s provided unionists with a common political tradition with which to identify, as well as an affirmation of the state, particularly through unionist involvement in royal occasions. The colour and drama of these ceremonies was forcefully conveyed through the pages of the main unionist papers, the Belfast Newsletter, the Northern Whig and the Belfast Telegraph, as the theatricality of the third home rule drama had been. The attention given to these rituals in the press in Northern Ireland is important because it was through the press that these often elitist events were made accessible to the population at large. Through press coverage, which was as comprehensive as it was dramatic, the masses were at least given a sense that they were participating in the collective life of their community. The major ceremonial festivals of this decade were those which celebrated Edward Carson: the opening of the Stormont parliament, which was presented as the first monument to the former unionist leader; the unveiling of the statue honouring him in 1933; his funeral in 1935; and the unveiling of a plaque in his honour in 1938. Andrew Gailey has already outlined the way in which Carson’s ‘performances’ were orchestrated in the period of the third home rule crisis. Carson’s appearances were, he argues, limited to ‘maintain an air of mystery’, while unionist meetings were made a ‘social occasion to remember, with large crowds, local bands and choirs and with the entertainment of theatrical parades, inspections, mounted escorts of lancers’. In the 1930s similar theatrical techniques were employed; unionist commemorations in this period were marked by distinctive ceremonial settings, formal speeches and, often, impressive dress. Loudspeakers were installed at the opening of parliament, and also at the unveiling of the Carson statue and during his funeral, in order to enable the audience to feel more intimately involved in the proceedings.

Rain-Charm for the Duchy and Other Laureate Poems

In 1984 Ted Hughes was made Poet Laureate. Since then, he has fulfilled his duties by writing a number of poems celebrating important royal occasions. These are major works, calling on the Laureate's full powers and embodying a complete vision of royalty and nationhood. Rain-Charm for the Duchy collects these poems for the first time. It also contains a section of notes, throwing light on the context and genesis of each poem.

MUSICAL PATRONAGE: THE SPANISH ROYAL COURT

While it is usual to approach artistic patronage at Renaissance courts as a matter of royal taste or preference (with the attendant issues of aes thetic value), it would be grossly naive to examine musical patronage at the Spanish royal court from this perspective alone. Financial support for musical composition and performance at the Spanish court during the sixteenth and seventeenth centuries was encumbered by an elabo rate administrative apparatus. Musicians were hired, governed, and paid not through a single administrative unit but by various units, each with its own regulations, forms of payment, and (often conflicting) admini strators. The bureaucracy was such that it distanced the royal majesties from their musicians and placed musical affairs far out of their reach. Most of the musical issues at court for most of the period in question were simply decided by the appropriate officials. The organizational structure, the character of the musical admini stration, even the assumptions governing the choice of music for royal occasions were largely a matter of inherited tradition and ancestral emulation. From the time of Charles V, Spanish court administration and ceremonial were bound to a double inheritance from Castile and from the elegant, elaborate Burgundi?n court, as Luis Robledo has pointed out1. From the itinerant court of Ferdinand and Isabella, the Casa de Castilla, with its own livery and protocol, survived as one of the units governing music and musicians. Its ceremonial and organization

Unity in Dichotomy: The Fundamental Dualism of Calderón's Guárdate del agua mansa

Calderón's Guárdate del agua mansa is a lively comedy with which a succession of set-pieces related to a royal wedding has been combined. The hybrid nature of the work has given rise to much discussion and not a little adverse comment. It is the aim of this article to show —as J. E. Varey has already done with the comedy Casa con dos puertas mala es de guardar — that both comedy and epithalamium are in fact heavily stylized and closely interrelated. What is in question is not a trivial if amusing play onto which a protracted piece of flattery has been rather clumisly superimposed, but a skillfully unified piece of work. In the comedy the audience is shown the absurdity of various extreme points of view through a series of sharply contrasting characters who ultimately recognize their own follies and, having improved in discretion and responsibility, finally enter into suitable marriages with every prospect of happiness. The court episodes, apart from being a graceful celebration of a royal occasion, present the spectator with a contrasting standard by which to measure what he is seeing in the main action. Instead of the confusion which reigns in the comedy, a stately harmony pervades the wedding poem, and the audience is presented with the ideal marriage in the ideal setting. The play therefore has an essential unity, based on entry into matrimony: progress from indiscretion and irresponsibility towards discretion and responsibility is reinforced by an idealized royal example. (CJW)

Ballet: A Neglected Key to Moliére's Theatre

When Moliere began to incorporate ballet into his comedies and to perform them at court for the entertainment of Louis XIV and his courtiers, he was building on, and radically recasting, a traditional court spectacle which had already been in vogue in France for more than a century. On her marriage to Henri II of France in 1533, Catherine de Medici had brought with her from Italy a taste for entertainment in which dancing and music were prominent, and this led to the establishment of a new genre known as 'ballet de cour'. Le Balet Comique de la Reyne (1581) was one of the earliest known attempts in France closely to combine music, poetry and dancing in one spectacle.' Beaujoyeulx, the director of court festivals, gave a predominant place to dance, using this element of the entertainment to depict Ulysses' escape from the wiles of the sorceress Circe. Marie de Medici, wife of Henri IV, maintained the tradition of court ballets with regular performances each Sunday. Her son, Louis XIII, used ballet to express and affirm his political power and authority.2 Mythological and romanesque subjects tended to predominate, giving way to a 'ballet burlesque' of more improvised character during the years 1620-36. Ballet gradually came to be regarded more as a form of social entertainment than as a magnificent spectacle mounted for royal occasions, and was increasingly performed at the Louvre, Saint-Germain, Fontainebleau, Chantilly, or in private apartments. The subject of ballet in Moliere's theatre has been accorded much less prominent treatment in comparison with other aspects of the plays. The reason for this is probably that attention tends to focus on the great and enigmatic character-comedies such as Le Tartuffe, Dom Juan, and Le Misanthrope. Beside such theatrically and philosophically substantial plays, comedies involving ballet may appear at first sight to be distinctly flimsy and unimportant in dramaturgical terms. The notion of a comic genius who was constantly thwarted in his wish to create comic masterpieces by the need to provide and at

British Association: Royal occasion

British Association: Royal occasion

Alexander Graham Bell and the invention of the telephone

Mr. Watson was stationed in one room with the receiving instrument. He pressed his ear closely against S [the receiving instrument] and closed his other ear with his hand. The transmitting instrument was placed in another room and the doors of both rooms were closed. I [Graham Bell] then shouted into M [the horn of the transmitting instrument] the following sentence: “Mr. Watson-Come here-I want to see you.” The story of the invention of the telephone is a fascinating one: it contains romance; a rise from poverty to riches; royal occasions; a race between inventors; the defeat of a giant corporation by the small man; and success brought about by a combination of genius, hard work and happy coincidences

The Welsh and the Anglo-Welsh: Politics and Poetry

The investiture of Charles as Prince of Wales was a magnificently staged pageant, as most of the 500 million people who saw it on television will attest. Two hundred thousand pounds went into the making of the extravaganza of July 1, 1969, an event that Queen Elizabeth had promised to her Welsh subjects as far back as 1958, at the close of the Commonwealth Games at Cardiff. But no date had been set for the Caernarvon investiture until July 1, 1967. Predictably, the timing of that announcement has been seen as politically motivated, as a direct response to the emergence of Plaid Cymru (the Welsh Nationalist Party) as a threat in two recent by-elections in Wales.The investiture ceremony was itself a matter of much contention within Wales. Most Welshmen, to the distaste, even disgust, of the minority separatists, welcomed the event: as a royal occasion, a boost to tourism, and as a state celebration in which they, as Welshmen, were to take pride of place. It was to cost too much, true, but then the Welsh are not alone in questioning the cost of maintaining Royalty. And it is true that Charles was an English prince, but he had behaved himself admirably while a student at University College, Aberystwyth, and had even learned some Welsh during his stay in the Principality. He was, in that respect, the first “English” prince of Wales to identify himself with the Welsh in so intimate and endearing a way. Some memories on that July day, 1969, were directed to the first “English” Prince of Wales, a baby son of Edward I who was born at Caernarvon in 1301 and presented to the Welsh as their prince to replace the defeated Llywelyn. Edward II, it turns out, not only grew up to speak no Welsh, but used French more than English as his own language. It is from this precedent that English monarchs have, ever since, named their first-born son and heir Prince of Wales (it is not itself strictly a hereditary title in the sense of being passed from the Prince to his first-born, but reverts to the crown in the event of the Prince's death; nor has there ever been a Princess of Wales).