Mercantilism and the Path to Spiritual Salvation in Thomas Heywood's<i>Londini Emporia</i>, or<i>Londons Mercatura</i>(1633)

Finlayson, John

doi:10.1080/0013838x.2010.517302

Cited by 3 publications

(1 citation statement)

References 9 publications

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“…The use of symbolic and emblematic characters and themes was the most important means to convey a political, didactic message to the mayor and to the audience in general. Dramatic realism as we know it did not belong to the ultimate purpose of these shows: as J. Caitlin Finlayson writes, ‘[u]nlike stage plays, the Lord Mayor's Shows have no plot, and generally only minimal to no action, dialogue, conflict or character development, and the “characters” (allegorical, mythological or historical) are one‐dimensional types whose monologues (if they have one) merge self‐identification, edification and entertainment’ (‘Mercantilism’ 840). The new mayor was at the centre of the festival and followed a symbolic route leading him to his new office.…”

Section: The City As Theatre: Actors Audiences and Pageant Symbolismmentioning

confidence: 99%

The Lord Mayor's Show in Early Modern London

Trevisan

2014

Literature Compass

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The Lord Mayor's Show – a lavish entertainment organised yearly to celebrate the oath of the new mayor – became a key event in London civic life between the 1580s and the late 1630s, involving such authors as Thomas Middleton, Thomas Heywood, Anthony Munday, John Webster and Thomas Dekker. This essay provides a survey of the most important literature concerning the early modern Lord Mayor's Shows, their historical development as a dramatic form, their ceremonial role, their textual dimension and their symbolic representation of London's political life.

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Section: The City As Theatre: Actors Audiences and Pageant Symbolismmentioning

confidence: 99%

The Lord Mayor's Show in Early Modern London

Trevisan

2014

Literature Compass

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John Taylor, the Self-Made Poet, on Merit and Social Mobility in Mercantile London

Finlayson

2017

English Studies

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Jacobean Foreign Policy, London’s Civic Polity, and John Squire’s Lord Mayor’s Show, The Tryumphs of Peace (1620)

Finlayson¹

2013

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John Squire’s London Lord Mayor’s show has generally been undervalued as a largely typical example of the genre, formulaic in its deployment of traditional themes, characters, and devices. This article argues that Squire’s The Tryumphs of Peace is in actuality radically different from the typical pattern of Lord Mayor’s shows in directly commenting on an immediate, national political crisis. It is not just a traditional paean to the livery companies’ good government of London, but instead lauds James I’s role as peacemaker in both internal and external politics, using James’s image as a peace-maker as its central focus (and a material pageant device). This is not simply a tribute; rather it has immediate, pressing political significance in 1620 because of the imminent possibility that England might become engaged in the existing religious and dynastic struggles of the Netherlands and parts of the German states during the Thirty Years’ War. The Tryumphs of Peace presents the voice of an influential movement in the merchant class to urge James to continue in his role as peacemaker by avoiding direct conflict, and it presents a counterpoint to support for intervention at the royal court and among members of Parliament.

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Mercantilism and the Path to Spiritual Salvation in Thomas Heywood'sLondini Emporia, orLondons Mercatura(1633)

Cited by 3 publications

References 9 publications

The Lord Mayor's Show in Early Modern London

The Lord Mayor's Show in Early Modern London

John Taylor, the Self-Made Poet, on Merit and Social Mobility in Mercantile London

Jacobean Foreign Policy, London’s Civic Polity, and John Squire’s Lord Mayor’s Show, The Tryumphs of Peace (1620)

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