In 1589, William Herbert, a frustrated functionary of Queen Elizabeth’s government in Ireland, advanced ‘A note of sutch reasons as mooued mea toe putt the statute In execution agaynst Irish habites’.
Clothing Laws as Tudor Colonialist Discourse
Margaret Rose Jaster
Early modern political discourse was no stranger to the use of angels and demons to denote the binary opposition between good and evil, Self and Other - and neither was the early modern stage. References to the divine and the demonic might be used to clarify complex political issues to the public, legitimise one's own position, or sling mud at one's opponents. This article focuses on two early Jacobean history plays, Barnabe Barnes's The Devil's Charter (1606) and Thomas Heywood's If You Know Not Me You Know Nobody (1605); it examines the use of angels and demons in the staging of issues of religious difference and political action in the confusing years following Queen Elizabeth's death in 1603, when old attitudes to traditional 'Others' had to be reconfigured in the light of the views and interests of the new monarch, King James VI and I.
, an accomplished, if somewhat unfortunate courtier, an eminent early modern writer and a Protestant English hero who was as renowned on the continent as he was in Britain. 1 He was mostly unfortunate in his attempts at gaining Queen Elizabeth's favour
Katherine Hennessey and Margaret Litvin
Karma Sami ); a new monograph on the sociocultural conditions of Egyptian Shakespeare translation (reviewed by Nahrain al-Mousawi ); an argument that Britain’s history since Queen Elizabeth is inseparable from the Muslim world (reviewed by Joseph
alliance’ between his master Sultan Mulay Ahmed al-Mansur and Queen Elizabeth of England. This alliance, he declared, would solidify their ‘perpetual friendship’ and strengthen their potential attack ‘against the King of Spain, their common foe and enemy
A Postcolonial Study of the Appropriation of Arabic/Islamic Allusions and Matters in the Bard’s Oeuvre
Mahmoud F. Al-Shetawi
The poem is paradoxical and elusive of any specific meaning. Perhaps it alludes to Queen Elizabeth and the Earl of Essex, 10 especially in view of the fact that the queen has been symbolically associated with the phoenix in King Henry VIII . At the
I with M. de St Antoine (1633), Royal Collection Trust / © Her Majesty Queen Elizabeth II 2020. Figure 2. Anthony Van Dyck, Equestrian Portrait of Charles I (c. 1637–1638), © The National Gallery, London. The Scene, Arcadia Pan
the letter of Queen Elizabeth regarding permission for trade in India, John Mildenhall was another merchant who reached India around 1600, and William Hawkins was the lieutenant general of the ship Hector sent to India by the East India Company in
either true or false (for example ‘the fox is brown’), and ‘performative’ statements, which refer to nothing beyond themselves, but rather perform the action they describe (for example ‘I name this ship the Queen Elizabeth’ or ‘Open Sesame
Economies of Mercy in The Merchant of Venice
as nostalgic reminiscences. 17 And while it may well be a stretch to surmise, as some critics have done, that Shakespeare here cryptically addressed Queen Elizabeth’s hidden sympathy with English Catholics in order to invoke her merciful intervention