Tudor Politics

striking how fictional works often anticipated later developments in scholarship. The post-Freudian interest in psychology, for example, is applied to Henry by Ford and Anderson and foreshadows later work by scholars such as Lacey Baldwin Smith. Fiction writers also frequently endow the women around Henry with an agency which academic scholarship would not explore until many years later. In this light, it is perhaps interesting that the volume ends with a chapter on The Autobiography of Henry VIII. After so many chapters which analyse distinctly negative interpretations of Henry, George's novel offers a comparatively positive portrayal of the king because its central fictional conceit is that it conveys Henry's own understanding of himself. Might this perhaps be a harbinger of the next turn in the academic study of Henry VIII?

İngiliz tarihinin en ilgi çekici dönemlerinden biri: Tudorlar Çağı.
Güller Savaşı’nın ardından tahta çıkan bu hanedan, VIII. Henry’den I. Elizabeth’e uzanan süreçte yalnızca İngiltere’yi değil, Avrupa’yı da şekillendirdi.
Bu kitap, siyasi mücadeleleri, kültürel dönüşümleri ve toplumsal değişimleri ele alarak Tudor dünyasına adım atmak isteyen herkes için güçlü bir başlangıç sunuyor.

Prepared for inclusion in Domesday to America, Volume II-by Patrick A. Payne A reevaluation of Payne family records from Norfolk and Suffolk has brought to light new evidence that the long-assumed extinct line of Thomas Payne of Itteringham and Elizabeth Boleyn may in fact have continued-through both documented descendants and a newly recognized cadet branch. At the heart of this rediscovery is Drew Payne, born circa 1568, identified in a 1589-90 petition to Queen Elizabeth I as the son of Elizabeth Bullen (Boleyn), daughter of Sir Edward Bullen. Drew petitioned the Crown for a reversion lease in recognition of his military service in the Low Countries-a request granted by Sir Thomas Heneage, one of the Queen's most senior courtiers. This single document proves two things: 1. Drew Payne descended directly from the Boleyn family, likely making him a distant cousin of Anne Boleyn, Queen of England. 2. The Payne-Boleyn bloodline did not die out in the 16th century as previously believed.

The conclusive section wraps up the narrative, showing the author's ability to weave sources of different natures into a strong and convincing argument. However, the chapters leading to this point do not display this same dynamism and often fall into repetition. The lack of footnotes and/or endnotes is noticeable in this regard, as they would have proven useful to take out from the main text the abundant load of reminders and references between chapters. In contrast, the book is at its most brilliant when presenting plans and carefully curated images. The single axonometry included proves the potential of this topic for further graphic exploration, synthesizing complex constructive and stylistic descriptions that may present a challenge to the untrained reader.

Anne Boleyn, Elizabeth I and Mary Queen of Scots can be considered as the proto-feminist figures of the Tudor era. They affected politics and religion and made a permanent mark on history. Elizabeth was a successful sovereign and overcame considerable obstacles due to the fact that she was a female monarch, while Anne Boleyn, her mother, and Mary, her cousin, were less successful. Because they defied the norm, Anne and Mary paid the ultimate price; ending their lives on the block. Historians have not always treated these women fairly and they do not agree as to the extent of these women's guilt in plots and murders that took place in their lives. Anne and Mary's history has never been told from their point of view. The historical novel becomes a powerful tool where these women are given a voice and their history is presented from different viewpoints. Writers of the women's historical novel can write about the lives of women and offer explanations for events that have not been fully explained by the historical record. This essay begins by discussing the historical novel and demonstrating how the historical novel is a combination of fact and fiction and how it can become a medium that tells a story about people and events, as well as explaining how the women's historical novel gives the women of history a voice they have never had. Further, by introducing Anne Boleyn, Elizabeth I and Mary Queen of Scots, the essay explores the main events in their lives, their influence on politics, religion and how they affected history. The essay goes on to analyse various portrayals of Anne Boleyn, Elizabeth I and Mary Queen of Scots in modern literature with focus on their characteristics, relationships and how main events in their lives are portrayed. It discusses both novels that stick mainly to historical facts and novels that are more fiction than facts. Finally, this essay explains how these portrayals differ by analysing how historical facts and fiction are intertwined, concluding by comparing some different portrayals of the queens in question. In England and Scotland during the 16 th century, three women lived fascinating lives that were characterized by romance, power struggles and death. Anne Boleyn was born into a noble family and later became queen, a fact that made its mark on English society. Elizabeth, her daughter, was born a princess, then declared a bastard before she became one of England's greatest monarchs. Mary Stuart, Elizabeth's cousin, was born a princess and later became Queen of Scotland and then Elizabeth's prisoner. The role of women during this era was mainly to procreate and they had no power nor a voice. However, for these three women this typical female role was not enough. Being a female monarch was not normal during this era, nevertheless Elizabeth I and Mary Queen of Scots were the daughters of kings and became the monarchs of their countries. Anne Boleyn, however, married the King of England after he had divorced his first queen, Catherine of Aragon, and in order to get a divorce, King Henry VIII split the English church from Rome and became Supreme Head of the Church of England. These women greatly influenced history; they affected religion and politics, among other things. Therefore, they can be viewed as the proto-feminists of their time. Plots, murders, love and death were all a part of these women's lives; however, historians do not agree as to the extent of their involvement in the plots and murders that took place around them. Anne Boleyn, Elizabeth I and Mary Queen of Scots have inspired modern authors to write biographies and novels about them. For instance, Philippa Gregory, a historian and a writer, has written many novels about the Tudor family, such as the novels The Other Boleyn Girl (2001), which is about Anne Boleyn, The Virgin 's Lover (2004), which is about Elizabeth I, and The Other Queen (2008), which is about Mary Queen of Scots. Many other authors have written novels about these women. Sandra Byrd wrote a novel about Anne Boleyn, named To Die For (2011), and a novel about Elizabeth I, named Roses Have Thorns (2013). Carolly Erickson wrote The Memoirs of Mary Queen of Scots (2009), which is about Mary Stuart. These novels will be discussed in this essay. The selection of novels about Anne Boleyn, Elizabeth I and Mary Queen of Scots is substantial, that is there are many different portrayals and many different stories available. The historical novel is a combination of historical facts and fiction. The woman's historical novel is very popular today and that is because women in history have never had a voice. The Other Boleyn Girl, To Die For, The Virgin's Lover, Roses Have Thorns, The Other Queen and The Memoirs of Mary Queen of Scots focus on the female figure in history, giving Anne Boleyn, Elizabeth I and Mary Queen of Scots a voice and empowering them. The novels consist of different portrayals of people and events and differ greatly in historical accuracy: from a novel that sticks mainly to historical facts to a novel that is mostly fiction with some historical facts. In order to demonstrate this, this essay will examine the historical background of Anne Boleyn, Elizabeth I and Mary Queen of Scots, focusing on the main events in their lives that have been adapted many times into novels, as well as discuss the concept of the historical novel. The essay will go on to analyse the novels in question, emphasising how the three queens are portrayed, and then finishing by comparing the novels and various portrayals. The iconic queens of the 16th century, Anne Boleyn, Elizabeth I and Mary Queen of Scots were significant to history and made a distinguishable mark on the politics of their countries and are still influencing people today through their characterizations in historical novels.

The purpose of this study was firstly, to construct detailed itineraries for King Henry VII and Archbishop John Morton (c.1420 -1500) for the first fifteen years of the king’s reign and include an extensive range of contemporary material presented in chronological order.  Secondly, it seeks to undertake a re-evaluation of Morton’s career and investigate the nature of the loyalty he showed to the three kings he served: Henry VI, Edward IV and Henry VII.  Thirdly, it looks at Morton’s role in government, particularly between 1485 and 1500, using the information revealed in the database, to examine the significance of his contribution to the establishment of the early Tudor state, in terms of its personal and institutional functionality.

Tudor Dynasty: An Introduction is the perfect starter guide to exploring one of the most popular periods in English history - the Tudor Dynasty. Learn how the Wars of the Roses brought the Tudors to the throne and how iconic monarchs such as Henry VIII and Elizabeth I shaped England.
Richly illustrated with images and tables, this book offers an accessible look at the political, cultural and social dynamics of the Tudor period.
Explore now to step into the Tudor world!

In 1625 Philip Bushin, described as an aged English planter from King's Ash in Devonshire, was resident at Grangemellon, which is situated about three miles south of Athy, County Kildare. He was tried in that year for the murder of his wife Grace at Lady's Wella swampy piece of ground nearby -the alleged offence having occurred on March 23 1623. The presiding judge in the jury trial was Dominic Sarsfield, Lord Kilmallock, who found the accused guilty. Philip Bushin was consequently executed. The trial had been deferred several times and Erasmus Burrows from Giltown, his father-in-law Walter Weldon, and Bushin's son, became sureties for the accused's appearances in court. Walter Weldon of Woodstock was High Sheriff of County Kildare at this time and subsequent to Bushin's execution he made an inventory of the latter's estate, which he valued at two thousand Guineas, and took possession of same by right of office. Lord Clanmalier, Sir Terence O'Dempsey, petitioned for the estate. The High Sheriff refused and thereupon, he (Weldon) was imprisoned, fined and constrained to give up the estate.

My dissertation examines the theatrical depiction of corpses as both stage-objects for theoretical speculation and as performance phenomena of the early modern English stage. Investigating popular drama on the London stage from 1587 -1683, 1 demonstrate that the performance of the dead body by the living actor (what I term the "theatrical corpse") is informed by early modern secular and religious polemics over the materiality of the body, the efficacy of performative behavior, and emerging theories of theatrical presence. Previously, literary scholars have approached the performance of death on the stage using the insights of psychoanalysis or medical science, arguing for a rise of the subject and a growing sense of the individual via the emergence of empirical science and anatomical dissection. By contrast, my dissertation focuses on the material realities of the performance event such as staging, sets, and performance objects. In so doing, my dissertation reveals the theatrical corpse on stage-much like the early modern corpse off stage-to function as an active narrative agent beyond its death. vi CHAPTER 1 BRING OUT YOUR DEAD: REVEALING THE EARLY MODERN CORPSE IN THE GRAVE, FROM THE PULPIT, AND ON THE STAGE At the end of 3.4 Hamlet exits his mother's closet "tugging in Polonius," whom he has just inadvertently killed through the arras. Hamlet admits that he will "lug the guts" (210) and "draw" the dead man "toward an end" (214) and he seems to head toward the tiring house with the body.1 The stage direction detailing Hamlet's exit varies in description: in Quarto 1 Hamlet "exits with the dead body," in the Folio he tugs the body in-the verb "tug" connoting the struggle and effort required of the action. In both of these scenarios we are presented with the challenge-and possible awkwardness-faced by the actor playing Hamlet in getting the body of the actor playing Polonius off stage, and the unceremonious nature of the operation is highlighted in those two texts' directions. But why? Why does Shakespeare call attention to what can easily be left behind? Why does the playwright encourage his audience to direct their attention to the leaden materiality of Polonius' body? Why does Hamlet not just cover it up again with the arras and walk off? Why must he address it, saying "This councilor/ is most still, most secret, and most grave,/ Who was in life a most foolish prating knave" (21 1-13), before dragging it out? What function can Polonius' body possibly have in this scene, as it lies dead for over 180 lines of dialogue and waits patiently through a ghostly apparition?2 1 All quotes referto William Shakespeare, Hamlet, The Arden Shakespeare, ed. Thompson Ann and Neil Taylor, 3rd ed. (London: Thompson, 2006). 2 The original actor who portrayed Polonius (John Heminges) likely had experience with this sort of patience. Polonius admits in 3.2 that he was an actor himself, at one time playing Julius Caesar who was "killed i'th/ Capitol. Brutus killed me" (99-100) to which Hamlet immediately replies, "It was a brute part of him to kill so capital a calf there" (101-2). The puns on Brutus/brute Burial of the Dead, the Homily Against Idolatry, and various anti-theatrical tracts, I will examine how writers of such texts return again and again to the image of the corpse as a central problem of both representation and performance. The body itself was a major focus of theological speculation throughout Christian history, and during the sixteenth century Protestant reformers in England reconfigured the ontological terms of the relationship between the body and the soul by repudiating the Catholic Church's persistent foregrounding of the body and its images in ritual practices-including funerary and burial rites. But Protestant resistance to Catholic anthropomorphism, as I will demonstrate in this chapter, reveals a more fundamental anxiety over the potentially active materiality of the corpse. It is common for scholars such as Zimmerman to look at liturgical texts in order to articulate the anxieties over death as annihilation so prevalent in early modern literature.19 My reading of these same texts differs in that I will illuminate a distinct association of the corpse with theatricality. While early modern liturgical texts and liturgically inspired anti-theatrical texts have their own moralizing agendas they often intersect at pivotal arguments. In reading of these texts I identify the corpse as such a site of intersection, a common denominator that is depicted across liturgical and theatrical polemics. My analysis of these texts results in a re-evaluation of early modern corpses not as dead, material stage objects but as potentially transformative, active, and disruptive agents of influence. Claire Gittings, David Cressy, and Ralph Houlbrooke have demonstrated that the corpse poses distinct problems in a post-Reformation society that seeks to distance itself from Catholic ideologies of the body and worship.20 All early modern Christians, Catholic and Protestant alike, agreed that the sine qua non of their faith was the sacrificial death of Christ and his subsequent Resurrection. The body of Christ was thereby deeply enmeshed in the Christian 19 In many ways, Zimmerman follows in the steps of other literary scholars such as Michael Neill,

On the Thursday before St George’s Day (23 Apr) 1474, ‘Robert Whyteney, Esq. lord of Whyteney,’ is documented as having gifted a tract of land to a man described in the document as ‘Howell ap Richard a Badam’, or more properly Howel ap Richard ab Adam (Welsh=Howel, son of Richard the son of Adam). The document appears in the Whitney and Clifford Manuscripts at the University College of Wales, Bangor, and is catalogued as follows:-
6. 1474, 23 Apr.
1. Robert Whyteney, esq., lord of Whyteney
2. Howell ap Richard a Badam
GIFT of a messuage and 8 acres of arable land lying in Yeuanes Crofte. The said messuage lies between Yeuanes Crofte and the highway and extends from the wood of Brulley to the wood of Whyteney.
Thursday, before the Feast of St. George (April 23)

In violent times, not far removed from the Glyndwr Rebellions, and in an area where the man himself had family connections, we note the continuing Welshness of the area – Yeuan or Ieuan, meaning John, is often rendered as Evan or Jevan. We may wonder what service the Welshman had performed to be gifted this land extending from the wood of Brilley to that of Whitney.
.

The article stresses the transformations of the kingly imperial glory in 16th-century England. The Tudor era is noticeably shaped by the conflict between the crown and the papacy. This has a deep impact on the conceptions and representations of the monarch's imperiality over the period, especially under the reigns of Henry VIII and Elizabeth I. Beginning with a merely symbolic view of imperiality, the Tudors innovate by theologising the imperial glory of the crown and associating it to an evangelical, and even Reformational, ideology. The frontispieces of the English Bibles, as well as the illustrations in John Foxe's famous Actes and Monuments, present the king of England as holding the imperium, the supreme power, over the Church of England, grant him the task to reform it on a more evangelical basis and tend to assimilate him to a unique intermediary between his people and God. The article thus endeavours to underline the specifically evangelical features of Tudor imperial glory.

In order to consider the question of how the position of the English Parliament compared to that of other European assemblies, I believe that it is necessary to examine the political structure of early modern France. I will consider the powers and functions of the Tudor Parliament and those of the representative bodies of sixteenth-century France. In this, it will be my contention that in order to assess the French constitution, it is essential to include the provincial estates in that assessment as well as the Estates General. Several of the provincial estates continued to function after the Estates General went into abeyance, and they proved to be very useful to the royal government, especially in the area of finance. In my assessment of the French government, I also include the Parlement of Paris and the provincial parlements, because they were important institutions which exercised the function of registering royal legislation, including fiscal legislation, and therefore could be compared with the English Parliament. I hope to show that the two states were more similar than has been traditionally portrayed, in that they were both limited by corporate institutions and elements such as the nobility and corporate rights and privileges.

Despite the recent surge in Anne Boleyn-themed books and articles, scholars still cannot agree on the subject of Anne and witchcraft. There are two polarising schools of thought: one is that Anne had “the physical characteristics of a witch,” based on the hostile account of Nicholas Sander, and the other that she was never “branded a witch in her own lifetime.” This essay argues that neither of these two views is correct and that there is enough compelling evidence to refute them both. It is time to return to the original source material and re-evaluate this part of the narrative of Anne Boleyn’s life.

for research assistance. Finally, I wish to acknowledge the support of the American Studies and English Departments and the College of Liberal Arts at the University of Kansas. 2For rigorous analyses of Faulkner's use of regional materials to project a textual domain, see Martin Kreiswirth and Thomas L. McHaney. 3By drawing on familiar urban tropes such as gangster, brothel, crime, and bootleggers, Faulkner ap pealed to the readership attracted to novels like Dreiser's An American Tragedy, Fitzgerald's The Great Gatsby, and Dos Passos's Manhattan Transfer and the hard-boiled fiction of pulp magazines like Black Mask. Draw ing on increasingly familiar instances of retreat and alienation from the city and emotional and cultural impoverishment in the suburban home, Faulkner appealed to the readership attracted to novels like Edgar Rice Burroughs's Tarzan of the Apes and Sinclair Lewis's Babbitt. 'An unpublished presentation by James B. Carothers, which he generously shared with me, catalogues and analyzes the presence of Memphis as a "secular quest" in Faulkner's fiction. See John T. Matthews for an early perception of Popeyes connection to "the underside of urbanization and modernism invading the South from Memphis, Chicago, and the North" (263). 5A note in Sanctuary on the placement of the fictional town of Kinston, "about twenty miles west of Water Valley," describes the Mississippi Delta as "that part of the river's flood plain extending roughly from Memphis, Tenn., to Vicksburg, Miss" (Blotner and Polk 1030). 6On the emergence of black commercial and cultural life in Memphis see, for example, Annette E. and Roberta Church, G. P. Hamilton, and David M. Tucker. On black migration to Memphis from the Civil War to the civil rights era and black self-assertion as a provocation to white-on-black violence, see Kenneth W. Goings and Gerald L. Smith and Laurie Beth Green.

King Richard III is perhaps one of the most controversial English monarchs. Notwithstanding his short-term reign, from 1483 to 1485, the last Plantagenet king has caught the attention – and imagination – of innumerable authors throughout the centuries. Historians, biographers, playwrights, novelists, academic researchers – to mention but a few – have engaged in the Ricardian studies, hoping to throw some light upon this king’s life and reign. Ultimately, one can assume that they are all merely “looking for Richard”, as suggested in Al Pacino’s 1996 film, hoping to find the facts amidst the fiction, the truth within the myth, looking for the real Richard III. Paradoxically enough, this monarch is still an enigma, possibly due to what Jeremy Potter has acknowledged: “Myth-making is the creation of fiction more enduring than fact” (120). As Northrop Frye observed, the word ‘myth’ is used quite indiscriminately and therefore an adequate context for the use of this expression in this ess...

The Sun Rising as a Metaphysical poem "Metaphysical Poetry" connotes the characteristics of complexity, intellectual tone, abundance of subtle wit, fusion of intellect and emotion, colloquial argumentative tone, conceits, scholarly allusions, dramatic tone, and philosophic or reflective elements. John Donne was the most outstanding of the English Metaphysical Poets. His poetry is noted for its ingenious fusion of wit and seriousness and represents a shift from classical models toward a more personal style.

Статья посвящена анализу проекта реорганизации управления пограничными графствами между Англией и Шотландией, который был представлен монарху Томасом Уортоном. Томас Уортон-дворянин из Уэстморленда, в течение долгого времени занимал различные должности в пограничной администрации и считался одним из наиболее опытных и лояльных дворян пограничья. В своем проекте Уортон предлагал точную фиксацию правил работы пограничной администрации и концентрацию в руках монарха стратегически важных земельных владений и крепостей пограничья. Реализация проекта Уортона привела бы к увеличению влияния королевской власти в регионе.

Did Sophocles or Seneca exercise a greater influence on Renaissance drama? While the twenty-first century public might assume the Greek dramatist, in recent decades literary scholars have come to appreciate that the model of tragedy for the Renaissance was the plays of the Roman Seneca rather than those of the Athenian tragedians. In his important essay on Seneca and Shakespeare written in 1932, T.S. Eliot wrote that Senecan sensibility was ‘the most completely absorbed and transmogrified, because it was already the most diffused’ in Shakespeare's world. Tony Boyle, one of the leading rehabilitators of Seneca in recent years, has rightly said, building on the work of Robert Miola and Gordon Braden in particular, that ‘Seneca encodes Renaissance theatre’ from the time that Albertino Mussato wrote his neo-Latin tragedy Ecerinis in 1315 on into the seventeenth century. The present essay offers a complement and supplement to previous scholarship arguing that Seneca enjoyed a status ...

1553, roughly the mid-point of the Tudor Century, was no ordinary year. Three monarchs, two religions, two rebellions, the execution of a chief minister, a suspected poisoning, death sentences on a self-proclaimed king and queen, and the intervention of two of the most powerful rulers in Europe were just some of the excitements on offer. And as a backdrop, and perhaps even a cause of all this mayhem, the accession of England’s first queen. At stake was not just the survival of the Tudor dynasty, but the souls of all English men and women, and the continuing existence of England as an independent nation. Yet, when the dust had settled, the Tudor ship of state sailed serenely on, arguably even stronger than before.
This book charts the course of that remarkable year, and re-opens the story of England’s first female rulers: Jane Grey and Mary Tudor.

arly in 1603, as Queen Elizabeth I s "human infirmitie"' gave way to a serious illness, "her Majesty's bodlly trouble^"^ became a matter of intense interest to her subjects. Reports of Elizabeth's appearance, actions, and speeches during her final days fill the letters, diaries, sermons, and memoirs of those with access to the Court. I. John Harington to Mall Harington, 27 December 1602. in John Haringon, Nugae Antiquae, ed. Henry Harington, 3 vols. (1779). 11, 76. Further references to this work will made parenthetically. 2. Carlo Scaramelli to Robert Cecil, 18 March 1603, in Historical Manuscripts Cornrnission, Salisbury Manuscripts (London, I~I O) , vol. IX, part XII, 679. The following Sources describe Elizabeth's final days and w i l l be cited parenthetically in this essay. Sir Robert Carey, The Memoirs ofRobert Carey, ed. F. H. Mares (Oxford, 1972); Carey, Elizabeth's cousin and later Earl of Monmouth, probably wrote his memoirs between 1626 and 1632. John Chamberlain, T h e Letters ofjohn Chamberlain, ed. Norman Egbert McClure, 2 vols. (Philadelphia, 1939); Chamberlain, like Shakespeare's Cassius a great observer, lived in London and his letters to Dudey Carleton provide reliable information about the court. John Clapham, Elizabeth .f England: Certain Observations Concerning the Lij and Reign $Queen Elizabeth, ed. Evelyn P l u m e r Read and Conyen Read (Philadelphia, 1951); Clapham, a clerk to Elizabeth's Lord Treasurer, lee a manuscript history of the year 1603 for the education of his children. Anne Cfifford Herberr, The Diary ofthe Lady Anne Clflobrd, ed. V. Sackville-West (London, 1924); Clifford's diary for the year 1603, when she was 13 years old, is more properly considered a memoir; her mother a d aunt attended the dying Queen. John Manningham, The Diary ofjohn Manningham ofthe hfiddle Temple 1602-1603, ed. Robert Parker Sorlien (Hanover, 1976); a student at the Middle Temple, Manningham kept a diary for 1602 and part of 1603; interspersed among his extensive n o t e on sermons he heard are reports from the Queen's chaplain Henry Parry on Elizabeth's h t days. Sir Roger Wilbraham, The journal of Sir Roger Wilbraham, ed. Harold Spencer Scott (London, 1902); Roger Wilbraham, Master of Requests to Elizabeth and James, was particularly wellplaced to observe the court and its patronage system. The dispatches of the French ambassador, Christophe de Harlay, Comte de Beaumont, are translated in Thomas Birch, Memoirs of the Reign .f Queen Elizabeth, 2 vols. (1754) and those of the Venetian ambassador, Giovanni Scammelli, in Historical Manuscripts Commission, Calendar ofstate Papers, Venice, VOk. I X and x (London, 1897 and 1900); both men had well-placed court sources. 3. Robert Persons, A Discussion ofthe Answere ofM. William Barlow ([St. Omer], 1612), 216-20. In citing Persons, I have silently expanded printers' contractions and changed u to v and i to j when warranted. All references to this work will be made parenthetically. 4. John Nichols, The Progresses and Public Processions ofQueen Elizabeth (1823), Vol. 111, 612-13. Nichols' source is an inaccurate transcript ofcotton Julius EVI.fol.Iz1, and he notes that the text is "ex Penonii Jesuitae maledicta discussionue" @. 612). 5. Hugh Tootell, Dodd's Church History Of England, ed. M.A. Tierney (1737; rpt. with additions 1840), 111, 70-74. Hugh Tootell (c. 1671-1743), who wrote under the pseudonym Charles Dodd, was a Catholic priest. His history is pro-Catholic but anti-Jesuit; reproducing the Southwell manuscript allows him to castigate both Queen Elizabeth and Robert Persons.

From the beginning of the eighteenth century one peer in the House of Lords took primary responsibility for chairing committees of the whole House as well as select committees set up to review private and local bills. However, it was not until the appointment of the second Lord Walsingham in 1794 that a chairman authoritatively supervised the flow of private and local bills through Parliament. Walsingham was the first chairman to preside over virtually all committees. He was the first to set a standard according to which private legislation had to be drafted. He was also the first on his own personal authority to force amendments to bills which did not conform with the Lords' standing orders or to bills which were, as drafted, incapable of achieving their stated objectives. By 1800 he had become the arbiter on matters relating to private legislation: thus, he received agents even while their measures were pending in the Commons so that he might have the opportunity to make alterations before bills came up to the Lords.' So greatly did Walsingham enlarge his authority and the range of his responsibilities that in 1804 Pitt permitted him to name a counsel, Edward Stracey, to assist him in his' duties. Though he was born in India, Stracey's was a Norfolk family of some prominence. His father had an estate at Rackheath: in 1785 he served as sheriff of the county, and he received a baronetcy in 1818. After attending Norwich Grammar School, Christ Church and the Inner Temple, Edward Stracey was called to the bar in 1793. For the next ten years he conducted a profitable practice as a parliamentary agent, an occupation which brought him into frequent contact with Walsingham, who, as a Norfolk landowner himself, may have known the Stracey family even before Edward began his practice. Appointed as the chairman's counsel in 1804, Stracey served both Walsingham and his successor, Lord Shaftesbury,* while simultaneously reinforcing his credentials as a country gentleman. In 1810 he married Anne Brookshead, a Cheshire heiress, and in 18zg he inherited his father's estate. A Tory, a staunch Protestant, magistrate of Norfolk and Suffolk and a deputy lieutenant of Chcster, he was, after his retirement in 1833, 'beloved by his friends, respected by his dependents, and surrounded by a happy and contented peasantry for whom his care and liberality provide education in childhood, employment in health, and assistance in sickness and old age'.3 Unfortunately, assessments of his official career have not been so generous. 0. C. Williams leaves US with the portrait of a pluralist who for 44 years 0264-2824/89 $3.00

Everything you know about Anne of Cleves is wrong. Author and historian Heather R. Darsie has written a biography about Anna, Duchess of Cleves in which she delves into the political and geographical climate in the Low Countries during the sixteenth century. Many of the entities of the area were a part of the Holy Roman Empire and answered to Charles V. In this state of affairs, Henry VIII's minister Thomas Cromwell sought a Protestant alliance to counterbalance Catholic influence in Western Europe. Consequently, he made an arrangement with the Wilhelm, Duke of Cleves for Henry VIII to marry his sister, Anna. Yes, Darsie confirms she was called Anna and also that she held the title of Duchess of Cleves. Darsie discovered in a primary source during her research that Anna's birthday was June 28, 1515, not September, the date everyone believed for hundreds of years. Let's take a look at some of the other myths about Henry's fourth marriage. Myth: Hans Holbein the Younger altered the portrait of Anna to enhance her beauty Part of the negotiations for the marriage with Anna included a trip by court painter Hans Holbein the Younger to Cleves to depict Anna and her sister Amalia. Holbein was chosen for several reasons. He was one of Henry's favorites and, in addition, he was known for the realism of his portraits. It was only after the Cleves alliance became a problem and Henry had to state one of the reasons for annulling the marriage was his dislike of Anna's appearance.

is a complex figure in history. She suffered greatly during her childhood. She had a debilitating illness although she still managed to persevere. Mary was the first official queen regnant of England and this has left her open to attacks by biased historians who could not tolerate the rule of a woman. In reality, she did the best she could under the circumstances. Mary was raised to believe she would be a royal consort and was given very little training to become a sovereign. Women were not supposed to rule and once they were married, they were compelled to defer to their husbands. And England would not tolerate a foreign prince as their king. Her persecution of Protestants resulted in criticism and propaganda against her when in reality, these activities were par for the course in the sixteenth century all over Europe. There has been a great deal of new scholarship in recent years that puts Mary's life in a new perspective.

The Francis Bacon collection of manuscripts hitherto known as The Northumberland Manuscript contains 17 writings comprising letters, prose essays, religio-political treatises, dramatic devices and plays, was discovered at Northumberland House in 1867. 
In ordinary circumstances it would certainly be the most famous document in the history of literary scholarship and its extraordinary contents and significance known not only to every Bacon and Shakespeare scholar and student of English literature, but to the rest of the English-speaking world and beyond, reaching to every corner of the globe.
However, modern scholars and students of Bacon and Shakespeare assuming they even know of its existence, know little or nothing about this historical document and remain ignorant or unfamiliar with its contents. The main reason for this is it has been systematically suppressed and mispresented by Shakespeare orthodox editors, biographers and commentators for the last hundred and fifty years, not least because when its true significance is fully known to the world at large, it completely collapses the Stratfordian fiction that William Shakspere of Stratford wrote the Shakespeare works and simultaneously reveals the author concealed behind the Rosicrucian mask is the great philosopher-poet Francis Bacon. 
All the evidence makes tolerably certain that no part of the manuscript was written after 1596-7. The precise dating of the manuscript is not merely some historical curiosity. The precision of the date is of the most manifest importance for the very simple reason that c. 1596-7 William Shakespeare was not publicly known as a dramatic author. The pseudonym first appeared on the 1598 quarto edition of Love’s Labour’s Lost the same year it appeared on the title pages of the quartos of Richard II and Richard III, probably printed from the manuscripts that were originally part of the Bacon-Shakespeare Manuscript.
In addition to originally having held two of Bacon’s Shakespeare plays Richard II and Richard III, the outer cover of his collection of manuscripts contains references and links to his narrative Shakespeare poem The Rape of Lucrece and another three of his Shakespeare plays Love’s Labour’s Lost, Romeo and Juliet & The Merchant of Venice. This is moreover the only manuscript where the names Bacon and Shakespeare appear together in a contemporary document. Various forms of his name Bacon and Francis Bacon and his pseudonym Shakespeare and William Shakespeare have been scribbled across its outer cover on around twenty occasions. There are at least nine examples of Francis, Mr. Francis, Baco, Bacon and Francis Bacon and a similar number of his pseudonym Shakespeare or William Shakespeare scribbled all over its outer cover. Above the entry for his Shakespeare play Richard II appears the entry ‘By Mr. ffrauncis William Shakespeare’, and further down the page, the word ‘Your’ is twice written across his pseudonym William Shakespeare-so it reads ‘Your William Shakespeare’. As if to emphasise this entry a second occurrence of the name ‘ffrauncis’ is written upside down above the first ‘ffrauncis’ thus reading from left to right ‘ffrauncis William Shakespeare’. Below the entry for ‘Rychard the second’, and above it for ‘Rychard the third’, appears his name ‘ffrauncis’ and to the left ‘Bacon’ and to the right ‘Shakespeare’. Below at the bottom of the outer cover his pseudonym ‘William Shakespeare’ is repeated numerous times, and as if to emphasise one more time Bacon is Shakespeare, we are met with the possessive entry ‘your William Shakespeare’.
This priceless unique Bacon-Shakespeare Manuscript has since its discovery been presented as a collection of miscellaneous writings by different authors to distance Bacon from the authorship of the Shakespeare poems and plays.
On closer examination the Bacon-Shakespeare Manuscript represents a microcosm of the kind of examples of both anonymous and pseudonymous writings that characterised the modus operandi of Bacon’s whole life.  On revealing that all the writings in the Bacon-Shakespeare Manuscript were written by Bacon, including the Shakespeare plays Richard II and Richard III, it provides further confirmation that he is our secret Shakespeare.

RESUMO: Desde sua publicação em 1931, Santuário de William Faulkner tem causado numerosos e contraditórios discursos críticos. Talvez devido ao caráter paradoxal da protagonista (ou antagonista, para alguns críticos) Temple Drake, a obra foi caracterizada por muitos teóricos dos anos de 1950 a 1980 como uma alegoria entre o bem e o mal. Esses estudiosos caracterizaram Temple Drake como uma mulher cheia de truques sexuais, isto é, uma mulher que tenta seduzir os homens com quem se relaciona na obra através do seu corpo e sorriso faceiro. Nesse artigo, espaços como Old Frenchman's Place (a mansão em ruína na qual o proprietário, Goodwin, vende bebidas durante a Lei Seca no Estados Unidos), o bordel, o tribunal, entre outros, serão analisados de modo a ressaltar o caráter opressor e misógino desses espaços masculinos na obra de Faulkner. Ademais, será avaliado como esses espaços contribuem para o isolamento e silenciamento das vozes femininas, especialmente de Temple Drake.

In this article I will read Before Night Falls as Arenas\u27 queer version of Cuban literary history and his relation to it. Against the commonplace assertions that demand that Before Night Falls be primarily understood, if not exclusively, as an invective against Fidel Castro or, in the other extreme, as an ars moriendi and AIDS testimonial from a sexual dissident, I wish to revisit this text on the twentieth anniversary of its publication to underscore a missed reading that can help situate how Arenas, one of the most transgressive writers theorized in this collection as the Generation of \u2772, might also be its most conservative in his attachments to the very modernist aesthetic agencies eschewed by so many of his generational contemporaries.5 This is not to ignore, of course, the most obvious and sometimes illuminating readings of Before Night Falls that have fallen on either end of the political continuum, or somewhere in between, but rather as an opportunity to revisit Arena...

I n 1961, Henry Orion St. Onge, a graduate student in English at The Ohio State University, found himself embroiled in controversy. 1 St. Onge had attended a campus screening of Operation Abolition, a film sponsored by the House Un-American Activities Committee depicting student protestors as the unwitting dupes of communist agitators. As a response to the film's bias, St. Onge invited William Mandel, journalist and outspoken critic of the House Un-American Activities Committee, to give a talk at the university. The film had described Mandel as "a top communist propagandist," so it made sense to call on him to provide a different perspective on the film's material. 2 When the university refused to host the talk, St. Onge proceeded to invite Mandel to speak in the graduate student's own backyard, not far from the university. In part as a jest amid the controversy over Mandel's visit, St. Onge promoted the lecture under the banner of "The Thomas Tusser Society," ostensibly a student club. With roughly 200 people in attendance, the event caused a scandal in the way it appeared to defy Ohio State's stance on Mandel. 3 Finding himself and the Thomas Tusser Society scrutinized in local newspapers, letters to the university, and a special meeting of the Nebraska Constitutional Conservatives, St. Onge described the backlash as "a new era of

Many scholars have noted the influence of Seneca’s dramas on early modern playwrights, pointing to the poet’s characteristic language, style, and plot devices. However, few have looked to Seneca’s distinctive treatment of the corpse as a performative object—one that despite its lifeless state remains active in and influential to the drama; in other words, a “theatrical corpse.” In order to illustrate the early modern articulation of the theatrical corpse as an active dramatic agent this essay investigates two of Seneca’s dramas— Thyestes and Hippolytus —translated into English in the early sixteenth-century and later collected in Newton’s Seneca His Tenne Tragedies (1581). Considering the practice of translation in the early modern period, I illustrate how Jasper Heywood’s and John Studley’s translations emphasize, elaborate, and further activate Seneca’s corpses. With these translations, Seneca’s corpses were later received and transformed by playwrights such as Kyd, Shakespeare, a...

The paths that lead to literary fame often surprise those who still believe that such notoriety stems directly from the literature itself. This is the case with Reinaldo Arenas, author of a handful of the most disconcerting, amusing, and pivotal novels of Cuban literature, who, nevertheless, reached literary celebrity with Before Night Falls, an autobiography that demonstrated his darkest sides. During a long decade of editorial marginalization that coincided with his exile, Arenas published some of his most brilliant works with small and limited-distribution publishers. The autobiography, preceded by the author's suicide when he was sick from AIDS, achieved immediate and extensive circulation and with time won two of the weightiest forms of endorsement that one could hope for in North American culture: academic and cinematographic. Before Night Falls has become required reading in many North American literature courses, and the film, also titled Before Night * Translator's note: I have added the English title of translations of Arenas' and other major works. Quoted passages from Arenas' novels have been taken from the English translations done by Dolores M. Koch or Andrew Hurley. After first mention, all titles appear in English only. I have translated quotations from secondary critical sources myself unless a readily available English translation exists. This article by Enrique del Risco is published with the permission of Editorial Aduana Vieja, which owns the world rights for Guayaba Sweet: Literatura Cubana en Estados Unidos.

March-April I 4 75 T H E F o L L o w I N G document, printed and edited for the first time, comprises the undated diplomatic instructions which Edward IV presented, in late March or early April I 475, to his envoy to Scotland, Alexander Legh. Known to historians since the late eighteenth century, Legh's instructions deserve detailed consideration for three main reasons.' First, they not only enable the historian to comprehend Anglo-Scottish relations during the fourteen-seventies but they also reflect developments in fifteenth-century diplomacy. Second, they throw light on important problems which contemporaries encountered in the Marches of England and Scotland, and illuminate the established machinery which had evolved over the course of many years for the redress of grievances. Third, they prove invaluable in supplementing our knowledge of the early career of Richard, duke of Gloucester, permitting an assessment of the duke's effectiveness as waidcn of the West March towards Scotland and as admiral of the realm. The document, comprising six folios, is in the British Library Cotton MS. Vespasian Cxvi. Though undated, it is evident from internal evidence that the instructions were issued in late March or early April 1475.2 Several clues point to this conclusion. The reference to Edward IV's intended journey 'out of this land' most likely relates to his expedition to France in the summer of 1 4 7~.~ Furthermore, since the English monarch is said to have arranged a meeting of the admirals of England and Scotland for 8 May, which would necessitate planning and activity, the document may be dated at least a few weeks earlier. The parliament to which the lung makes reference sat from 23 January to I4 March 1475 and, since the session appears to have been concluded before Legh received his instructions, we may infer that the document was composed later than 14 March." Other points are relevant.

An attempt to present a holistic account of a peer from Tudor Meath, Jenico Preston, 3rd Viscount Gormanton. It uses the available evidence to offer a sketch of the ways in which Preston's personal, familial and local circumstances interacted with the greater political and military events of mid-sixteenth-century-Ireland which took place around him. It suggests that although the viscount can be seen as a typical 'Old English' failure, it is also possible to view him a successful Tudor peer who negotiated the turbulence of his era and left a stable inheritance to his successor.

In the plays and entertainments performed before the queen from 1561 to 1578, the virginity of Elizabeth was not idealized but instead marriage was celebrated as a preferable state to chastity. Robert Dudley in particular commissioned such dramatic works to assist his courtship of the queen, but the earl of Sussex, and possibly others, used masques to press on her the suit of the Archduke Charles of Austria. The iconography of chastity appeared for the first time in 1578 when Elizabeth embarked on the Anjou marriage negotiations. During the queen's visit to Norwich in the summer she was offered entertainments which implicitly criticized the matrimonial project by idealizing her virginity. For the next three years, opponents of the match followed this lead and cultivated the image of the Virgin Queen as a means of sabotaging the royal marriage plans. Thereafter Elizabeth exploited the image for her own political purposes.

hen I entered a public rest room I became painfully aware that my presence failed to arouse the old expectant feeling of complicity. Nobody paid any attention to me, and the erotic games going on proceeded undisturbed. I no longer existed. I was not young anymore. Right then and there I thought that the best thing for me was to die.-Reinaldo Arenas, Before Night Falls I. Before Night Falls Twenty Years After Reinaldo Arenas (1943-1990) opens his last major work in search of sex in a cruisy toilet. 1 In his posthumously published autobiography Antes que anochezca (1992; Before Night Falls, 1993),2 1. I thank Rita Geada and the late Roberto Valero for introducing me to Arenas and his work. The Department of Rare Books and Special Collections at Princeton University, Firestone Library, provided timely access to Arenas' papers, photographic archive, and correspondence for this article which forms part of a longer project on Arenas' "afterlives." 2. In what follows, all quotations from Reinaldo Arena's Antes que anochezca (1992) refer to Dolores Koch's translation of his autobiography Before Night Falls (1993). It is worth noting that while Arenas was finishing his autobiography, he was also rewriting El color del verano (translated as The Color of Summer: or the New Garden of Earthly Delights in 2000), which was published posthumously by Ediciones Universal in Miami in 199i. The novel is one of his most autobiographi