May Day and Merrie England

Judge, Roy

doi:10.1080/0015587x.1991.9715815

Cited by 9 publications

(1 citation statement)

References 3 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…When morris dancing was revived, it was often via antiquarians' accounts of early morris; D' Arcy Ferris, for instance, pasted his readings of antiquarians onto the existing village morris of Bidford-on-Avon and used the resulting reconstruction as the basis for the morris shows he put on in London in the 1880s. 76 An advertisement for the 1886 show aptly catches contemporary attitudes toward morris dancing: "The Old English Morris Dance (not seen in London for 40 years) by villagers from Shakespeare's country, with Robin Hood, Friar Tuck, Little John and the Hobby Horse, and others." 77 Morris dancing had also become popular as a tool for teaching the lower classes as in evidenced in Maude Stanley's remarks in 1890 in her Clubs for Working Girls: "The dances the girls like in our clubs are, Valses, Polkas, Schottisches, Quadrilles, lancers, and the Morris dance."…”

mentioning

confidence: 99%

Writing the Unwritten: Morris Dance and the Study of Medieval Theatre

Sponsler¹

1997

Theat Surv

View full text Add to dashboard Cite

During the course of her summer's progress in 1575, Elizabeth I spent nineteen days at Kenilworth, the Earl of Leicester's Castle in Warwickshire, where she was presented with various entertainments—including plays, fireworks, bear-baitings, water-pageants, acrobatic performances, and dancing—at a cost of over a thousand pounds a day, as part of what has been called “unquestionably sixteenth-century England's grandest and most extravagant party.” Robert Langham, a minor court functionary who wrote an eyewitness account of the party, describes a “lyvely morisdauns” that was featured in this festive show of fealty to the queen. According to Langham, the morris performed for Elizabeth was danced “acording too the auncient manner” and featured “six daunserz, Mawdmarion, and the fool.” The dance was part of a bride-ale procession made up of “lusty lads and bolld bachelarz of the parish” arranged two by two in “marciall order,” who preceded sixteen horsemen and the bridegroom; after the horsemen came the morris dance, followed by three “prety puzels” carrying spicecakes and leading the bride (“ill smellyng” and “ugly fooul ill favord”), who was accompanied by “too auncient parishionerz, honest toounsmen” and a dozen bridesmaids. The procession marched to the castle in the great court in which a quintain had been set up for feats of arms; when these games were concluded, a performance of the traditional Hock Tuesday play from nearby Coventry was enacted. Though these festivities were staged outside her window, apparently the queen did not see much of them because, Langham tells us, “her highnes behollding in the chamber delectabl dauncing indeed: and heerwith the great throng and unruliness of the peopl, waz cauz that this solemnitee of Brydeale and dauncing had not the full muster waz hoped for” (11. 722–26). Elizabeth asked that the Hocktide play be performed again for her on the following Tuesday; Langham does not mention whether or not the morris dance was also repeated for the queen's pleasure.

show abstract

mentioning

confidence: 99%