By Gabriel Heaton
This significant new examine of Elizabethan and Jacobean royal entertainments, together with kingdom apartment entertainments, tiltyard speeches, and court docket masques, is the 1st to appear intimately on the facts supplied by way of the surviving fabric texts. Drafts, royal presentation manuscripts, widely-circulating scribal copies, and revealed pamphlets are all conscientiously positioned of their cultural context, and the medium of manuscript is proven to were at the least as very important as print for those texts' circulate. From the shut collaboration among commissioning host and employed author, to the numerous interpretations imposed by way of copyists and publishers, entertainments have been written and skim inside a posh social nexus: faraway from being royal propaganda, they mirrored the unique and occasionally competing agendas of monarchs, commissioning hosts, authors, publishers, scribal intermediaries, and readers. Writing and interpreting Royal Entertainments explores this interpretative neighborhood via a variety of texts. the 1st a part of the booklet appears to be like at Elizabethan entertainments: the Woodstock leisure of 1575 (Chapter I); tiltyard speeches (Chapter II); and the special gains of revealed pamphlets and scribal copies, particularly of the 1602 Harefield leisure (Chapter III). the second one a part of the ebook is usually inquisitive about Ben Jonson's paintings for the Jacobean court docket, with chapters at the service provider Taylors' leisure (Chapter IV) and the Theobalds' leisure (Chapter V). the ultimate bankruptcy appears on the texts of courtroom masques, specifically within the mild of Jonson's realizing of the poet's increased function. The book's end takes the tale of those fabric texts past the early smooth interval and appears at how they've been gathered, acquired, and bought over the centuries.
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Additional info for Writing and Reading Royal Entertainments: From George Gascoigne to Ben Jonson
Sample text
61 It also does not bring its royal reader into the text in such a strong way. 62 To Gascoigne, however, the Queen was not just the best but the only reader, and rather than just looking for approval he used the opportunity of addressing her as a means of making her a player in the drama of his life. 63 However, rather than bringing himself into the manuscript he presented it anonymously. This was no doubt because he had chosen to use his opportunity of addressing his monarch to press on her, decorously but unmistakably, the importance of providing an heir.
K. 14 As a stock figure of chivalry, the hermit was a useful persona for courtiers like Dyer or, in later years, Sir Robert Cecil (see Chapter 5), who had little talent for martial display. Even if Dyer was not meant by Hemetes, Elizabeth was undoubtedly the object of Hemetes’s affections who was, ‘withoute disdayne to be desiered, but most deynty to be dealt with’ (fo. 9r ). After all, the allegorical suggestiveness of the tale depends on it having been told in the presence of the Queen, and in this context all worthy but unattainable women are inevitably associated with Elizabeth.
18 28 Part I: Elizabethan Entertainments royal will had to be balanced against this. A number of the more potentially disruptive entertainment texts (such as Gascoigne’s Masque of Zabeta at Kenilworth, an unsubtle encouragement of royal marriage) were in fact never performed; these are most likely cases where a commissioned writer produced something unsuitable that was vetoed by the commissioning host. 21 There was nothing performed at Woodstock in September 1575 that challenged Elizabeth, as the treatment of royal marriage demonstrates, and her response to the Tale of Hemetes and the other devices that followed in the hermit’s bower seems to have been extremely favourable.