The succession of James VI of Scotland as James Iand ruling out of other claims for the throne held for so long by Elizabeth. The changes in drama favored by James and his wife Anne.
4. Defined Succession
Henry VIII
By statute: Edward VI, Mary, Elizabeth
By will: Edward VI, Mary, Elizabeth and descendants
of his sister, Mary
Edward VI
Greys before Mary
5. Elimination
• Philip II claim for his daughter based on
descent from Edward III
• Greys
– Jane executed as proxy to prevent succession of
Mary
– Catherine’s secret marriage to Edward Seymour
was questioned
– Secret marriage of Arbella and William Seymour
also results in charges
6. Elimination
• Arbella Stuart
– Elizabeth: Prospects of marriage with Seymours
– Secret marriage to William Seymour
• Anne Stanley
– In 1579 Margaret Clifford had been accused of
opposing a proposed marriage of Elizabeth and
of sorcery in predicting her death
7. James VI of Scotland
• Had received support from Elizabeth
• Favored by both Essex and Robert Cecil
• Accession Council proclaims James VI
who is lineally and lawfully descended from the body of Margaret, daughter to
the High and Renowned Prince, Henrie the seventh King of England, France, and
Ireland, his great Grandfather, the said Lady Margaret being lawfully begotten of
the body of Elizabeth, daughter to King Edward the fourth (by which happy
conjunction both the houses of Yorke and Lancaster were united, to the joy
unspeakeable of this Kingdome, formerly rent & torne by the long dissention of
bloody and Civil Warres) the same Lady Margaret being also the eldest sister of
Henry the eight, of famous memorie King of England as aforesayd …
All officials shall assist all things that are or shalbe necessary for the preventing,
resisting, and suppressing of any disorderly assemblies, or other unlawfull Acte or
Attempt, either in word or deede, against the publique peace of the Realme, or
any way prejudiciall to the Right, Honour, State or Person, of our only undoubted
and deere Lord and Soveraigne that now is, James the first King of all the said
Kingdomes
8. James I True Law of Free Monarchies, Scotland 1598, London 1603
Kings are called gods by the prophetical King
because they sit upon God his throne in the
earth and have the count of their
administration to give unto him. Their office is
"to minister justice and judgment to the
people,” as the same David saith; "to
advance the good and punish the evil," as he
likewise saith; "to establish good laws to his
people and procure obedience to the same,”
as divers good kings of Judah did; "to
procure the peace of the people,” as the
same David saith.
9. James I Advice for a Monarch, 1599
• Advice to son
The state of monarchy is
the supremest thing upon
earth, for kings are not
only God's lieutenants
upon earth and sit upon
God's throne, but even by
God himself they are
called gods.
13. Tolerance?
I will never allow in my conscience that the blood of any man
shall be shed for the diversity of opinion in religion … No! I am
so far from any intention of persecution, as I protest to God I
reverence their Church as our Mother Church, though clogged
with many infirmities and corruptions, besides that I ever did hold
persecution as one of the infallible notes of a false church.
But
. . . I would be sorry that Catholics should so multiply as they
might be able to practise their old principles on us.
Letter to Cecil
17. Music, Shakespeare and Tudor Theater
Henslow notes the Admiral’s Men’s property
– Item, iii trumpets and a drum, and a treble viol, a
bass viol, a bandore [like a bass guitar--the name
became corrupted to "banjo"], a cithern [an early
form of the guitar]
Shakespeare calls for
– Lutes and viols
– Recorders, hautboys (oboe related), trumpets and
sackbuts
18. List of Actors
First Folio
Contributors to the Folio
Hemmings
Condell
• Principal actors were
shareholders
• Some on the list only
known from later plays
• Some started as boy
actors
19. Actors — Edward Alleyn (1566-1626)
• Title roles in Tamburlaine and Dr.
Faustus, and Barabas in The Jew
of Malta.
• Shares in the Bear Garden and
Fortune theatre
• Left £10,000 to found Dulwich
College (College of God’s Gift)
20. Actors — Richard Burbage (1568-1619)
• Son of the builder of the
Theatre
• Leads in Richard III, Hamlet,
Lear and Othello
Astronomers and Stargazers this year
Write but of four eclipses, five
appear,
Death interposing Burbage and there
staying,
Hath made a visible eclipse of
playing.
Thomas Middleton, 1619
21. Actors — Comics
William Kempe (d.~1610)
– Composer of jigs
– Love's Labour's Lost
(1594), Peter; the Nurse's servant, in Romeo and
Juliet (c.1595); Bottom in A Midsummer Night's
Dream (1595–6), Lancelot in The Merchant of
Venice (1597), Dogberry in Much Ado about
Nothing (1598), and Cob in Ben Jonson's Every
Man in his Humour (1598)
22. Actors — Comics
Robert Armin (1563-1615)
– Composer of satires
– Considered more subtle than
Kempe
– Probable roles: Amiens or Touchstone in
As You Like It (1599), Feste in Twelfth Night
(1600), the Fool in King Lear (1605); Drugger in
Jonson’s The Alchemist (1610)
23. Actor - Supporting
William Shakespeare
– King Henry in Henry IV, Parts I&2; The Ghost in
Hamlet; Gaunt in Richard II
24. Swan Theatre, 1595
Arnoldus Buchelius (Aernout van Buchel) (1565-1641),
after a drawing of Johannes de Witt (1566-1622). Utrecht
26. Theatres
• Outdoor (Globe): For classes from wealthy to
working poor
• Indoor (Blackfriars): Middle and upper class
• Masques: Monarchs, nobility, guests
27. Purpose of Masques
• Focus on contemporary issues through
classical and allegorical models
• Assertion of power of court
• Show off culture to foreign ambassadors
• [Reflect interest in the exotic]
28. Jean-Jacques Boissard, Habitus Variarum Orbis
Gentium, Thessalonian Women, 1581‘Rainbow portrait’,
Marcus Gheeraerts the Younger. ~1600
Hatfield House
29. A Predecessor - Dumbshow
Hautboys play. The dumb-show enters
Enter a King and a Queen very lovingly; the Queen embracing him, and
he her. She kneels, and makes show of protestation unto him. He takes
her up, and declines his head upon her neck: lays him down upon a
bank of flowers: she, seeing him asleep, leaves him. Anon comes in a
fellow, takes off his crown, kisses it, and pours poison in the King's ears,
and exit. The Queen returns; finds the King dead, and makes passionate
action. The Poisoner, with some two or three Mutes, comes in again,
seeming to lament with her. The dead body is carried away. The
Poisoner wooes the Queen with gifts: she seems loath and unwilling
awhile, but in the end accepts his love
Exeunt
OPHELIA What means this, my lord?
HAMLET Marry, this is miching mallecho; it means mischief.
OPHELIA Belike this show imports the argument of the play.
Hamlet Act III, Scene 2
33. Masque for the Kings of England and Denmark
Solomon and the Queen of Sheba, 1606
The entertainment and show went forward, and most of the
presenters went backward, or fell down; wine did so occupy their
upper chambers.
Now did appear, in rich dress, Hope, Faith, and Charity:
Hope did assay to speak, but wine rendered her endeavours so feeble
that she withdrew, and hoped the King would excuse her brevity:
Faith was then all alone, for I am certain she was not joined with good
works, and left the court in a staggering condition:
Charity came to the King's feet, and seemed to cover the multitude of
sins her sisters had committed . . . She then returned to Hope and
Faith, who were both sick and spewing in the lower hall.
John Harington
34. Masque of Queens, 1609
• Adapted from Chaucer House of Fame
• A mistress witch and her eleven disciples
dance, then each witch confesses her crimes
and outrages to her mistress
• They engage in"a magical dance, full of
preposterous change and gesticulation."
• Then the masque proper: the House of Fame
is displayed, with twelve virtuous Queens,
their apotheosis being "Bel-Anna.”
38. The Tempest
Masque scene conjured by Prospero for the marriage
of Ferdiannd and Miranda. Act IV, Scene 1
39. Oberon 1611
• Henry, Prince of Wales
– James vetoes performance on horseback
• First use of side wings and shutters
• Costumes cost £1412
40. Oberon, the faery prince
Costume for Prince Henry
Opening scenery
Inigo Jones, 1610
41. Love Freed from Ignorance and Folly
1611 Written by Ben Jonson and designed by Inigo Jones, with music
by Alfonso Ferrabosco.
– Last masque where Anne performs
– For French ambassador
– Cost £719; Jonson and Jones received £40 for the masque, a "dancing
master" named Confess who taught the ladies their choreography was
paid £50, and his assistant Bohan got £20. Ferrabosco received £20,
musical assistants Robert Johnson and Thomas Lupo earned £5 for
arranging the songs for lutes and violins. The five boys who played the
Sphinx, Cupid, and the Graces got £2 apiece, the twelve actors (male)
who played the she-fools got £1 each
Video
Collaboration of dancers from the Royal Ballet, with Company XIV and
the Wiltons Music Hall, first ever recreation of Ben Jonson & Inigo Jones
masque for fundraiser
Editor's Notes
"Where the bee sucks," was set by Robert Johnson, a contemporary of Shakespeare. In this performance, the singer is accompanied by recorder and lute.
Neither Catherine or Edward could produce evidence of their marriage; they said it had happened, but was it legal by constitutional and canonical standards? They could not even produce the minister, summoned by Jane Seymour during that early morning. It remained up to Elizabeth; would she believe them or not? Elizabeth turned the entire matter over to the church and, on 10 May 1562, the Archbishop of Canterbury ruled there had been no marriage between Edward and Catherine. They were officially censured for having committed fornication; there would be a fine and imprisonment, to be determined by the Queen’s mercy.
Payments to the Scottish King
James VI was always short of money to spend on personal projects or to grant gifts to friends and favourites. In 1586 a treaty was signed between Scotland and England, and parallel negotiations led to James VI being promised an annual subsidy by Elizabeth I. The Scottish king received £4000 sterling (£36,000 Scots) as his first subsidy. However, the English queen never committed herself to a fixed annual payment, although James VI received regular payments until shortly before the death of Elizabeth I.
Records show that the payments were irregular and unpredictable, and the Scottish monarch had to ‘earn’ his subsidy by being of ‘value’ to Elizabeth I in one way or another, eg in 1594 James VI received £4000 sterling when Elizabeth heard news that Huntly and the Catholic earls had received gold from the Spanish to subsidise their rebellion. It should be noted that no payment was made in 1587 when Mary, Queen of Scots, was executed.
The English called the payment a ‘gratuity’ or pension, and the Scots called it an ‘annuity’ (claiming that James VI was entitled to an income from his grandmother’s estates in England, ie Margaret Douglas, Lady Lennox).
Between 1586 and 1602 James VI received £58,500 sterling. This money would have been spent in many ways, eg paying off debts in England, buying goods in England, paying for a royal guard, financing military action against the Catholic earls and providing gifts for royal favourites. However, most of the money did not pass through the hands of government officers and detailed records were not kept.
The English subsidy contributed to the unequal relationship between James VI and Elizabeth I. So long as he hoped to succeed Elizabeth I on the English throne he had to maintain good relations between the two kingdoms.
In 1596 James VI's efforts to have himself declared heir apparent to the English throne culminated in the Treaty of Berwick, a formal alliance with England. However, so long as she lived, James VI had to ‘earn’ his regular subsidies from Elizabeth I. This money could then be used to support a royal court in Scotland made up largely of nobles and courtiers who wanted James to succeed to the English throne.
James advised his son to eat meat to be strong for traveling and during war time. He must also beware not to drink and sleep excessively. Furthermore, his wardrobe should always be clean and proper and he must never allow his hair and nails to grow long. In his writing and speech, he should use honest and plain language.
Henry VIII acquired the house in 1538, and rebuilt it for Anne of Cleves. The palace was built around three main adjoining quadrangular courtyards covering fourteen hectares and utilising an existing 15th-century moated manor house.[2] He married Catherine Howard in the palace on 28 July 1540.[3]
It subsequently became the residence, at various times, of Mary I, Elizabeth I, James I and Charles I. It was to Oatlands that Mary Tudor retreated after her supposed pregnancy. Her previous residence, Hampton Court Palace, had housed the nursery staff that was assembled for the birth of the child. The announcement of a movement to Oatlands (considerably smaller than Hampton) ended any hope of a happy outcome of the Queen's pregnancy.
James I's wife Anne of Denmark employed Inigo Jones to design an ornamental gateway from the Privy Garden to the Park. In 1646, it was a temporary home of the infant Princess Henrietta of England, daughter of Charles I of England and and later Duchess of Orleans, sister-in-law of Louis XIV, whose governess smuggled her into France in the summer of 1646.
"Where the bee sucks," was set by Robert Johnson, a contemporary of Shakespeare. In this performance, the singer is accompanied by recorder and lute.
Philips may have been a musician
John Lowin may have played Henry VIII and Falstaff in later revivals
William Ostler in Jonson plays
Nathan Field may have replaced Shakespeare as actor and he also wrote plays. He died young after a wild life.
Nicholas Tooley is believed to have been in Taming of the Shrew
Joseph Taylor joined in1619
John Shancke in Twelfth Night
Some actors such as JohnRice started as boy players
College of God's Gift at Dulwich
1:34:50
Mallecho was derived from the Spanish noun malhecho (evil deed), based on the prefix mal-(evil) plus hecho (deed).
Miching (MICH ing) is an adjective made of the present participle of the verb miche, meaning to "skulk" or "slink,"].
The short, clinging skirts were much
appreciated by male audiences and were a cause of great excitement when they first
appeared at the French court in 1548. Bernardo Buontalenti's design of a nymph's
costume (Fig. 2) for an intermezzo performed at the wedding of Virginia de Medici and
Cesare d'Este in 1589 is preserved in the Print Room of the Victoria and Albert Museum.
She wears the Renaissance version of antique dress, a more lavish and complex costume
Blackness was the first of many masques for the Stuart Court on which Jonson and Jones would collaborate. The music for Blackness was composed by Alfonso Ferrabosco.
Jones designed a raised and mobile stage for the masque, forty feet square and four feet off the floor; this was employed for many subsequent masques. The stage contained inner space for the machines that produced stage effects and the technicians who operated them. Blackness introduced effects that Jones would repeat with variation throughout his career as a stage designer: it opened with a tempestuous seascape, simulated by flowing and billowing cloths.
The plot of the masque follows the ladies arriving at the English Court to be "cleansed" of their blackness by King James; a stage direction that was impossible to fulfill on stage. As a result, The Masque of Beauty was written as a sequel to The Masque of Blackness. (The Masque of Beauty, originally intended for the following holiday season, was displaced by Hymenaei, the masque for the wedding of the Earl of Essex and Frances Howard. Beauty was finally performed in 1608.)
The opening stormy sea was populated with six blue-haired merman-like tritons. The gods Oceanus ("blue") and Niger (black) entered, mounted upon giant seahorses. The twelve daughters of Niger, played by the Queen and her ladies in waiting, entered in the company of a dozen nymphs of Oceanus as torchbearers; the ladies of the Court were dressed in silver and azure, with pearls and feathers in their hair, while the torchbearers, in green doublets with gold puffed sleeves, had their faces, hands, and hair dyed blue. The ladies rode in a great hollow seashell, which seemed to float upon and move with the waves, and was accompanied by six large sea monsters carrying more torchbearers
The masque was expensive, costing £3000, and caused consternation amongst some English observers due to the perceived impropriety of the performance.
The sets, costumes, and stage effects were designed by Inigo Jones; Blackness was the first of many masques for the Stuart Court on which Jonson and Jones would collaborate. The music for Blackness was composed by Alfonso Ferrabosco.
Jones designed a raised and mobile stage for the masque, forty feet square and four feet off the floor; this was employed for many subsequent masques. The stage contained inner space for the machines that produced stage effects and the technicians who operated them. Blackness introduced effects that Jones would repeat with variation throughout his career as a stage designer: it opened with a tempestuous seascape, simulated by flowing and billowing cloths.
The opening stormy sea was populated with six blue-haired merman-like tritons. The gods Oceanus ("blue") and Niger (black) entered, mounted upon giant seahorses. The twelve daughters of Niger, played by the Queen and her ladies in waiting, entered in the company of a dozen nymphs of Oceanus as torchbearers; the ladies of the Court were dressed in silver and azure, with pearls and feathers in their hair, while the torchbearers, in green doublets with gold puffed sleeves, had their faces, hands, and hair dyed blue. The ladies rode in a great hollow seashell, which seemed to float upon and move with the waves, and was accompanied by six large sea monsters carrying more torchbearers.[2] (With Blackness as with many subsequent masques designed by Jones, one of the aspects of the show most commented upon by witnesses was the dazzling intensity of light involved...which inevitably says something about the normal conditions of life in the Jacobean era.)
Jonson's
scene—or rather Inigo Jones's—was a vast sea stretching
to the horizon with moving and breaking waves, and over
all
' an obscure and cloudy night-piece '. The Masquers were placed in a great concave shell, like mother
of pearl, curiously made to move on those waters and rise with the
billow ; the top thereof was stuck with a chevron of lights, which,
indented to the proportion of the shell, strook a glorious beam upon
them, as they were seated one above another.
Sea-monsters swam at the sides carrying the torch-bearers,
twelve ocean-nymphs, who ' had their lights burning out
of whelks or murex shells '. The twelve masquers were
Aethiopian princesses, daughters of Niger, blackened with
tropical heat, and seeking a more temperate clime, a land
where the sun, no longer scorching,
leaves that climate of the sky To comfort of a greater Light, Who forms all beauty with his sight.
They reach an island of snowy cliffs. At this, the Moon was discovered in the upper part of the house,
triumphant in a silver throne made in figure of a pyramis ; her
garments white and silver, the dressing of her head antique and
crowned with a luminary or sphere of light, which, striking on the
clouds and heightened with silver, reflected, as natural clouds do by
the splendour of the moon. The heaven about her was vaulted
with blue silk and set with stars of silver, which had in them their
several lights burning.
twelve virtuous Queens, their apotheosis being "Bel-Anna." (In addition to Anne, the roles of the twelve were filled by the Countesses of Arundel, Bedford, Derby, Essex, Huntington, and Montgomery, the Vicountess of Cranbourne, the Ladies Anne Clifford, Elizabeth Guilford, and Anne Winter, and the Lady Windsore.)
has double doors within a large central arch,
above which sit the twelve masquers on their
pyramidal throne. The figures on the roof are
probably musicians; the two deities on either side
of the cornice are identifiedb y Jonson as «eminent
figureso f Honor and Virtue».T he facade is
adorned with statues. Those on the lower tier
represent «the most excellent poets, as Homer,
Virgil,L ucan, etc., as being the substantial supporters
of Fame», while those on the upper [tier]
are «Achilles,A eneas,C aesar, and those greath eroes
which these poets had celebrated
Jonson describes
the House of Fame created by Jones as a
machina versatilis, a kind or revolving stage, and
that, in addition to the standard representations
of huomini famosi, the allegorical figures were
derived from Ripa's Iconologia and the Hieroglyphica
of Horapollo; this means, there «appeared
Fama bona as she is described in Iconolog. di Cesare
Ripa, attired in white, with white wings, having
a collar of gold about her neck and a heart
hanging at it which Horus Apollo in his Hieroglyp•
interprets the note of good fame»
Berenice was a daughter of Herod who had an affair with Titus
Generally use symbols from Cesare Ripa’s Iconologia, a standard
handbook of symbolic images published in 15
An important consideration in the design of costumes was that they should look
effective in a candlelit hall. 'Tynsell' was widely used as it was enwrought with gold and
silver and cheaper than cloth of gold.
Zenobia of Playmyra revolted against Rome in the 3rd century and breifly ruled Egypt before being captured and taken to Rome
Zenobia Queen of the Palmy-
renes, who, after the death of her husband Odenatus, had
the Name to be reckoned among the XXX. that usurped
the Roman Empire from Galienus. She continued a long and
brave War, against several Chiefs; and was at length tri-
umphed on by Aurelian: but, ea specie, ut nihil pompabilius
P. Rom. videretur. Her Chastity was such, Ut ne virum suum
quidem sciret, nisi tentatis conceptionibus. She liv'd in a most
royal manner, and was adored to the custom of the Per-
sians. When she made Orations to her Soldiers, she had always her Cask on. A Woman of a most divine
spirit, and incredible beauty
three spirits appear in the shapes of the mythological figures of Iris (Juno’s messenger and the goddess of the rainbow), Juno (queen of the gods), and Ceres (goddess of agriculture). This trio performs a masque celebrating the lovers’ engagement. First, Iris enters and asks Ceres to appear at Juno’s wish, to celebrate “a contract of true love.” Ceres appears, and then Juno enters. Juno and Ceres together bless the couple, with Juno wishing them honor and riches, and Ceres wishing them natural prosperity and plenty.
1:26 to 1:32 on video
front curtain displaying a map of the British Isles, which was drawn to reveal a large rock or crag, lit by a moon that passed through the sky above. Perched on the crag, surrounded by satyrs and nymphs, an unusually sober and sagelike Silenus prophesied the arrival of the fairy prince, Oberon, who would bestow order and beneficent rule. The nymphs and satyrs danced joyfully at the news.
"Sidewings" are pieces of painted canvas that stand along the sides of the stage, resembling partial backdrops; they can be deployed in multiple pairs arranged for perspective effects. "Shutters" are painted backcloths split down the center, that can be slid in or out from the wings.
Anne's ladies in waiting as Daughters of the Morn, with Anne herself as the Queen of the Orient. The anti-masque correspondingly featured twelve Follies or "she-fools." The masque begins with a long conversation between Cupid and a Sphinx; the conceit is that the Sphinx has captured "Love," who must in turn be liberated from this captivity — hence the title. (Cupid's nakedness was simulated with a flesh-colored satin costume.) Cupid is freed by the priests of the Muses, who clue the god to the correct answers to the Sphinx's riddles (which are "Britain" and "King James"). The Queen and Daughters of the Morn also must be released from the Sphinx's imprisonment. Once they are released they appear in a cloud in the sky above their former prison.
