Church and State, 1558–1612: The Task of the Cecils

1965 ◽  
Vol 2 ◽  
pp. 119-140
Author(s):  
Joel Hurstfield
Keyword(s):  
Church And State ◽  
Elizabeth I ◽  
James I ◽  
Secretary Of State ◽  
Queen Elizabeth I ◽  
Roman Catholics

A week before Christmas 1604, Robert Cecil, secretary of state to James I, and recently elevated in the peerage to a viscountcy, received from Matthew Hutton, Archbishop of York, a frank piece of advice. ‘Good my Lord Cranborne,’ wrote the archbishop, ‘let me put you in mynde that you wer borne and brought up in true religion. Your worthy father was a worthy instrument to banish superstition and to advaunce the Gospell. Imytate him in this service efectyally.’ There followed some unkind observations about James I’s love for the blood sports, and a further warning about the Roman Catholics, and then a concluding prayer: ‘Thus beseching God to bless your Lordship with his manyfold graces that you may as long serve his most excellent Majestie as your most wyse father did serve most worthy Queen Elizabeth, I bid you most hartely farewell.’

Jacobean Musicians at Hatfield House, 1605–1613

1974 ◽  
Vol 12 ◽  
pp. 115-136 ◽  
Author(s):  
Richard Charteris
Keyword(s):  
Life Style ◽  
Elizabeth I ◽  
Musical Life ◽  
James I ◽  
Royal Court ◽  
Secretary Of State ◽  
Regular Contact ◽  
Thomas Campion

Among the Cecil Family and Estate Papers (hereafter referred to as C. F. E. P.) at Hatfield House, are a large number of bills, accounts and letters which help to cast new light not only on the musical life of an important aristocratic family, but also on the activities of a number of musicians already known for their association with other households and with the royal court. The references in the Papers to the years 1605–1613 are gratifyingly extensive. The same cannot be said for the years on either side of this period, a fact which reflects the scarcity of the available records rather than reduced enthusiasm for music and its cultivation. Consequently, this article confines itself to the period 1605–1613 which covers the last years of the life of Robert Cecil (1563–1612). Cecil's position as Secretary of State to Elizabeth I from 1596 and after her death to James I, brought him into regular contact with the royal court; it not only earned him the title of Earl of Salisbury in 1605, but required him to adopt a life style in which musicians were an integral part. Significantly, most of the musicians who appear among the C. F. E. P. were also active at court. Those mentioned in these papers include Thomas Campion, John Coprario, Thomas Dallam, Cormack Dermode, Nicholas Lanier, George Mason and Thomas Warwick.

scholarly journals Iconicizing Kingship in Elizabethan England: Strategic Acting by Queen Elizabeth I

2012 ◽  
Vol 47 (2-3) ◽  
pp. 147-160
Author(s):  
Urszula Kizelbach
Keyword(s):  
Cultural Context ◽  
Role Play ◽  
Sir Philip Sidney ◽  
Virgin Mary ◽  
Elizabeth I ◽  
Public Performance ◽  
James I ◽  
Political Role ◽  
Renaissance England ◽  
Queen Elizabeth I

Abstract Renaissance England is often discussed in the context of theatre and theatrical acting. The fact is that Renaissance monarchs, too, viewed kingship in terms of theatrical display and public performance. Such is the nature of royalty presented by King James I in Basilicon Doron. Queen Elizabeth I was playing all her life. Faced with the problem of her femininity in the world of men, as well as her ambivalent hereditary rights as a member of the Tudor dynasty, she focused on legitimizing her reign through playing different roles - she played the fearful king, the loving queen, she even played Virgin Mary. But Elizabeth emerges as the most stunning actress when she plays herself. On her summer visit to Wanstead in 1578 she took an active part in the pageant “The lady of May”, playing herself, “Good Queen Bess”, which Sir Philip Sidney depicted in his pastoral romance The lady of May. In this way, Elizabeth became her own icon. This paper provides instances of the Queen’s political role play in a historical and socio-cultural context of the time.

The Limits of Obedience

2021 ◽  
pp. 201-223
Author(s):  
Sarah Mortimer
Keyword(s):  
Church And State ◽  
Elizabeth I ◽  
Royal Power ◽  
The People ◽  
Queen Elizabeth I ◽  
Francisco Suarez ◽  
The Relationship

The murder of Henry III in 1589 plunged France further into crisis, raising questions not only of succession but also of the limits of royal power and the legitimacy of resistance. Leading figures in the French Catholic League, along with the Spanish Jesuit Juan de Mariana, defended this act of tyrannicide. Meanwhile, the ageing English queen Elizabeth I was still childless, and anxiety about the succession was exacerbated by Catholic writers, notably Robert Parsons. In these debates, appeal was made once more to the idea of ‘the people’, but now the role of clergy, kings and magistrates in transforming a multitude into a people was examined more explicitly. In response, James VI of Scotland began to defend ‘free monarchy’ and the divine right of kings; while the jurist William Barclay defended monarchy against those he called ‘monarchomachs’—Catholic and Protestant advocates of resistance. The Venetian Interdict and James’s Oath of Allegiance brought into focus the question of where sovereignty lay and the relationship between Church and state. In this context, the Jesuit Francisco Suarez offered a series of texts which not only reaffirmed papal indirect power but were also designed to make sense of the Christian’s relationship to the civil and ecclesiastical authorities and to provide effective, authoritative counsel for Christian souls.

scholarly journals ‘Who Is’t can Read a Woman?’: Representation of Queen Elizabeth I in Cymbeline

MANUSYA ◽  
2005 ◽  
Vol 8 (4) ◽  
pp. 1-23
Author(s):  
Thanomnual Hiranyatheb
Keyword(s):  
The Political ◽  
Elizabeth I ◽  
Political Climate ◽  
Work Of Art ◽  
James I ◽  
Queen Elizabeth I ◽  
Cultural Forces ◽  
King James I ◽  
Cultural Responses ◽  
A Site

This article is an attempt to read Cymbeline (1608-1610), one of Shakespeare’s so-called ‘final plays’ or ‘romances’ as a site of cultural responses to the remaining ‘presence’ of the late Queen Elizabeth I and her cultural associations in the context of the reign of her gender-different successor, King James I. It argues that these responses can be seen in the play’s portrayal of two characters in the play, namely the Wicked Queen and to a lesser extent, Imogen, in which the figure of the late queen is played out and marginalized, and proposes that these representations are ways in which the Jacobean culture deals with and exorcises its anxieties about the late monarch’s sometimes contradictory (self-appointed) role as a militant, powerful and inscrutable ‘woman-on-top’, which disrupted ‘natural’ gender distinction in the political climate of James I’s reign, during which pacifism, transparency and patriarchalism were highly advocated, especially by the king himself and other writers. It is hoped that this article can offer a reading of the play, not by interpreting it as a complete-in-itself and truth-reflecting work of art by a literary genius according to the romantic-humanistic conception of the ‘author’ and ‘literature,’ but rather by taking into accounts political, social and cultural forces that were circulated during the time of composition and reception of the play and with which it interacted.

Introduction

2018 ◽  
Author(s):  
Rosamund Oates
Keyword(s):  
Civil Wars ◽  
Pivotal Role ◽  
Elizabeth I ◽  
Henry Viii ◽  
James I ◽  
Protestant Church ◽  
Charles I ◽  
Turbulent Times ◽  
Stuart England ◽  
The Church

Tobie Matthew (c.1544–1628) lived through the most turbulent times of the English Church. Born during the reign of Henry VIII, he saw Edward VI introduce Protestantism, and then watched as Mary I violently reversed her brother’s changes. When Elizabeth I came to the throne in 1558, Matthew rejected his family’s Catholicism to join the fledgling Protestant regime. Over the next sixty years, he helped build a Protestant Church in England under Elizabeth I, James I, and Charles I. Rising through the ranks of the Church, he was Archbishop of York in the charged decades leading up to the British Civil Wars. Here was a man who played a pivotal role in the religious politics of Tudor and Stuart England, and nurtured a powerful strain of Puritanism at the heart of the established Church....

Seeking the historical listener

Early Music ◽  
2020 ◽  
Author(s):  
Steven Plank
Keyword(s):  
William Shakespeare ◽  
Early Modern ◽  
Performance Practice ◽  
Affective Response ◽  
Source Material ◽  
Elizabeth I ◽  
Male Gaze ◽  
Queen Elizabeth I ◽  
Focus Questions ◽  
Robert Herrick

Abstract This article considers questions relating to the performance practice of listening to music in early modern contexts. The evidence of paintings by Pieter Lastman, Gerard ter Borch and Hendrik Sorgh, poetry by Robert Herrick, William Shakespeare and Edmund Waller, and accounts of performances by Francesco da Milano, Nicola Matteis and Queen Elizabeth I all help to bring into focus questions of attentiveness, affective response and analogical understanding. The source material also interestingly raises the possibility of occasionally understanding the act of listening within a frame of erotic relationship modelled on Laura Mulvey’s well-known concept of the ‘male gaze’.

New Year's Gifts to Queen Elizabeth I, 1584

Costume ◽  
1975 ◽  
Vol 9 (1) ◽  
pp. 27-31 ◽  
Author(s):  
J. L. Nevinson
Keyword(s):  
Elizabeth I ◽  
Queen Elizabeth I

Queen Elizabeth I and the Persistence of Patriarchy

1980 ◽  
Vol 4 (1) ◽  
pp. 45-56 ◽  
Author(s):  
Allison Heisch
Keyword(s):  
Elizabeth I ◽  
Queen Elizabeth I
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