Progresses and Public Processions of Queen Elizabeth I

Nichols, John; Goldring, Elizabeth; Eales, Faith; Clarke, Elizabeth; Archer, Jayne Elizabeth; Heaton, Gabriel; Knight, Sarah

doi:10.1093/oseo/instance.00057520

Cited by 98 publications

(43 citation statements)

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“…Protector Somerset got Braydon, Chute, Purbeck, St. Leonard's and Savernake forests, all but the last reverting to the crown on his execution in 1552 . Elizabeth I granted Allendale, Haywood and Purbeck forests to Sir Christopher Hatton . James I gave Nichol Forest to the earl of Cumberland, Dean Forest to the earl of Pembroke for forty years, Cranborne Chase to the earl of Shaftesbury in 1611 then the earl of Salisbury in 1616, and Leighfield Forest to the duke of Buckingham .…”

Section: Non‐royal Forests and Chases In The Hundred And Quo Warrantomentioning

confidence: 99%

Royal and non-royal forests and chases in England and Wales

Langton

2015

Hist Res

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Royal forests comprised land devoted primarily to hunting. They were a distinctive feature of Norman and Angevin England and Wales. Expressing the crown's arbitrary power to prevent holders of land from using it as they chose, they were generally resented. Royal forests must disappear to enable individuals to utilize landholdings for their own private economic purposes, and so for commercially oriented land uses to occur. However, it is shown here that ‘royal forests’ did not constitute a hermetic historiographical category, distinct from non‐royal ‘chases’. There were royal chases as well as royal forests; monarchs had private forests and chases as well as royal ones; and non‐royal earls, barons and high churchmen possessed and created forests and chases of their own, which were as well protected and displayed the same non‐economic imperatives and cultural consequences as those of the crown. They were not a transient feature of medieval times which inevitably disappeared with the inexorable progress of commercial economy. Some of them continued to flourish, in all their distinctiveness, through early modern times into the nineteenth century. In consequence, the transition between the medieval and modern worlds was not as clear‐cut nor as complete as is suggested by the conventional narrative of English historical development.

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Section: Non‐royal Forests and Chases In The Hundred And Quo Warrantomentioning

confidence: 99%

Royal and non-royal forests and chases in England and Wales

Langton

2015

Hist Res

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“…20 Suggestively, the casting of a woman as Richard also echoes Elizabeth I's self-identification with Richard in her alleged assertion: 'I am Richard II, know ye not that'. 21 Elizabeth's claim is most obviously linked to perceptions of her susceptibility to flattery and the unsettled question of her succession. 22 When considered alongside evidence which proposes that Shakespeare's play was performed on the eve of the Essex rebellion on 7 February 1601, her comment further strengthens the association between femininity and Richard's leadership difficulties.…”

Section: Media Response I: Presenting 'Real' Shakespearementioning

confidence: 99%

‘It's not about gender’: Cross-gendered casting in Deborah Warner'sRichard II

Silverstone¹

2007

Women: A Cultural Review

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“…Yet her Majestie rose and dawnced." 50 The Queen repeats Anne and Elizabeth Russell's rhetoric involving love and falsity and criticizes men in a similar way, again suggesting the Queen's agreement with Lady Russell's assessment of false male courtiers. Like her participation in the Bisham entertainment, Queen Elizabeth's contribution to this wedding masque implies her approval.…”

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confidence: 95%

Lady Russell, Elizabeth I, and Female Political Alliances through Performance

Kolkovich

2009

English Literary Renaissance

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The entertainment at Bisham Abbey in 1592 offers a rare example of female authorship and performance in a sixteenth‐century dramatic text. Lady Elizabeth (Cooke Hoby) Russell wrote and staged this entertainment for Elizabeth I during a royal progress, and her two teenaged daughters performed speaking roles. The Bisham performance challenges assumptions about women's limitations, endorses a militant Protestant foreign policy, and revises conventions of Elizabethan progress entertainments to claim the genre as an appropriate arena for aristocratic women's political negotiations. In successful auditions to be maids of honor, the young Russell women urge the Queen to surround herself with capable female servants who can better assist her in religious and gender battles than her flawed male advisors. As they propose themselves as loyal alternatives to self‐serving male courtiers, these young performers adopt elements of the Queen's image, revealing that they claim authority to engage in court performance and promote political agendas from her example. (E.Z.K.)

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Progresses and Public Processions of Queen Elizabeth I

Cited by 98 publications

References 0 publications

Royal and non-royal forests and chases in England and Wales

Royal and non-royal forests and chases in England and Wales

‘It's not about gender’: Cross-gendered casting in Deborah Warner'sRichard II

Lady Russell, Elizabeth I, and Female Political Alliances through Performance

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