scholarly journals «La Historia de Inglaterra de Rodrigo de Cuero: fuentes y elaboración»

2018 ◽  
Vol 30 ◽  
pp. 121-152
Author(s):  
Antonio Contreras Martín ◽  
Lourdes Soriano Robles
Keyword(s):  
Henry Viii ◽  
Richard Iii ◽  
Palabras Clave ◽  
Henry Vi ◽  
Henry Vii

Resumen: La Crónica de Inglaterra de Rodrigo de Cuero es una traducción de la Cronycle of Englonde with the Fruyte of Tymes realizada a instancias de Catalina de Aragón, reina de Inglaterra, en 1509. Mandada completar por ésta hasta su llegada a Inglaterra, el traductor tuvo que echar mano de las fuentes más diversas. El trabajo analiza, en primer lugar, qué fuentes empleó Rodrigo de Cuero para la elaboración de su obra; en segundo lugar, se ocupa de cómo organizó el material y confeccionó las dos versiones conservadas (manuscritos Escorial y Salamanca); y, en tercer y último lugar, se centra en el tratamiento de los reyes ingleses anteriores a Enrique VIII y Catalina de Aragón (Enrique VI, Eduardo IV, Eduardo V, Ricardo III y Enrique VII).Palabras clave: Historia de Inglaterra, Rodrigo de Cuero, Cronycle of Englonde, Catalina de Aragón, 1509, Traducciones, Historiografía.Abstract: Rodrigo de Cuero’s Historia de Inglaterra is a translation into Castilian of the Cronycle of Englonde with the Fruyte of Tymes made at the request of Catherine of Aragon, Queen of England, in 1509. Asked with the responsibility of completing the chronicle until her arrival at England, the translator had to draw on the most diverse sources. The paper analyses, firstly, what sources Rodrigo de Cuero used for the elaboration of his work; secondly, it deals with how he organized the material and made the two preserved versions (Escorial and Salamanca manuscripts); and, thirdly and last, it focuses on the treatment of the English kings before Henry VIII and Catherine of Aragon (Henry VI, Edward IV, Edward V, Richard III and Henry VII).Keywords: Historia de Inglaterra, Rodrigo de Cuero, Cronycle of Englonde, Catherine of Aragon, 1509, Translations, Historiography.

scholarly journals XXI. Account of the Ceremonial of the Marriage of the Princess Margaret, sister of King Edward the Fourth, to Charles, Duke of Burgundy, in 1468: communicated to the Archæological Institute of Great Britain and Ireland by Sir Thomas Phillipps, Bart., F.S.A., and, with his permission, by the Central Committee of the Institute to the Society of Antiquaries

Archaeologia ◽  
1846 ◽  
Vol 31 ◽  
pp. 326-338
Author(s):  
Thomas Phillipps
Keyword(s):  
Great Britain ◽  
Central Committee ◽  
Henry Viii ◽  
Richard Iii ◽  
Henry Vii ◽  
Coats Of Arms ◽  
Duke Of Burgundy

The Manuscript, from which the following description is taken, is conjectured to have belonged to one of the Wriothesleys, afterwards Garter, King of Arms, and seems to have been written at different times, during the reigns of Edward IV., Richard III., Henry VII., and Henry VIII. It is a quarto volume, of about two hundred leaves of paper, and contains miscellaneous entries on heraldic affairs, but chiefly Lists of Knights, and Coats of Arms.

Some Aspects of Heraldry and the Role of Heralds in Relation to the Ceremonies of the Late Medieval and Early Tudor Court

2002 ◽  
Vol 82 ◽  
pp. 69-91 ◽  
Author(s):  
John A Goodall
Keyword(s):  
British History ◽  
Henry Viii ◽  
Post Mortem ◽  
Foreseeable Future ◽  
Late Medieval ◽  
Henry Vi ◽  
Henry Vii

The present study arose from the need to provide the background for understanding theheraldry mentioned in the post-mortem inventories of Henry VIII, and while it seems unlikely that this commentary will appear in the foreseeable future it fills agap in the heraldic literature. The role of the ‘British History’ in English royal propaganda and state ceremonials antedated the accession of Henry VII as is evidenced by the material prepared in relation to Edward IV's supersession of Henry VI in 1461. The role of heralds and kings of arms in rationalizing the arms and beasts required for the pageants etc is examined with the ways in which it was organized for entries and other ceremonials. The period also witnessed the introduction of new decorations f ortournaments – ciphers and impresses. The appendices provide editions of some hitherto unpublished texts which were devised for these purposes.

Care

2018 ◽  
pp. 280-294
Author(s):  
Neema Parvini
Keyword(s):  
Human Nature ◽  
King Lear ◽  
Moral Order ◽  
Richard Iii ◽  
Titus Andronicus ◽  
State Of Nature ◽  
Henry Vi

This chapter assesses the extent to which harm is caused in Shakespeare’s plays when the moral order breaks down by focusing on plays in which the dramatis personae revert to the Hobbesian state of nature and unspeakable cruelty: Titus Andronicus, 3 Henry VI, Richard III, and King Lear. In such moments Shakespeare seems to invoke the image of the tiger, which he only uses fifteen times in all his works. In the constrained or tragic vison (Thomas Sowell), when there are no institutions with which to reinforce the morals that bind people together (authority, loyalty, fairness, sanctity), the worst aspects of humanity – as embodied in the tiger – are granted their fullest expression. However, in Shakespeare’s version of this vision, human nature provides the seeds of its own rebirth.

Telling the Story: Shakespeare's Histories in Performance

1990 ◽  
Vol 6 (23) ◽  
pp. 207-214
Author(s):  
Andrew Jarvis
Keyword(s):  
Large Scale ◽  
History Plays ◽  
English History ◽  
Richard Ii ◽  
Richard Iii ◽  
Henry V ◽  
Royal Shakespeare Company ◽  
Wars Of The Roses ◽  
Henry Iv ◽  
Henry Vi

The English Shakespeare Company was founded in 1986 by Michael Bogdanov and Michael Pennington with a commitment to take large-scale productions to regional venues. Henry IV, Parts One and Two and Henry V opened at the Plymouth Theatre Royal in November 1986 under the title The Henrys: they were then staged at the Old Vic and toured extensively. In December 1987 Richard II, with a two-part adaptation of the three parts of Henry VI (House of Lancaster and House of York) and Richard III, were added to the previous trilogy to create a complete cycle of history plays – The Wars of the Roses. The cycle was toured in England and abroad before playing at the Old Vic in the spring of 1989. It has since been filmed for television by Portman Productions. The only comparable treatment of the histories in the theatre took place at Stratford in 1964. when Peter Hall and John Barton staged seven plays as a sequence spanning English history from the reign of Richard II to the downfall of Richard III. Andrew Jarvis has been with the English Shakespeare Company since 1986 when he played Gadshill, Douglas, Harcourt, and the Dauphin. He has since played Exton, Hotspur, and Richard III. In 1988 he won the Manchester Evening News Award for Best Actor in a Visiting Production for his portrayal of Richard III. Prior to joining the ESC he had played many roles for the Royal Shakespeare Company. Here, he is interviewed by Stephen Phillips, lecturer in drama at the College of St Mark and St John, Plymouth, who is currently preparing a study of Shakespeare's history cycles in performance in the twentieth century.

III.—The Roof-bosses in St. George's Chapel, Windsor

Archaeologia ◽  
1953 ◽  
Vol 95 ◽  
pp. 107-121 ◽  
Author(s):  
C. J. P. Cave ◽  
H. Stanford London
Keyword(s):  
Henry Viii ◽  
The South ◽  
The North ◽  
Henry Vii

St. George's Chapel as it now stands was begun in the reign of Edward IV and finished in that of Henry VIII. It took the place of an earlier chapel. St. John Hope considered that the first part of the chapel to be vaulted was the north aisle of the choir ‘because one of the keys or bosses bears the arms of Thomas Fitzalan as Lord Maltravers, which dignity he held from 1461 until he succeeded to the earldom of Arundel in 1487, while another has the arms of William Lord Hastings who was beheaded in 1483'. But these arguments are of no weight. The Hastings boss may be posthumous like the Bray heraldry in the nave, whilst the arms on the Fitzalan boss are those of the head of the house, perhaps William, the 9th earl of Arundel (K.G. 1471, died 1487), but more probably his son Thomas, the 10th earl (K.G. 1474, died 1524). They cannot be Thomas's arms ‘as Lord Maltravers' for so long as his father was alive he must have differenced those arms in some way, and in fact at least two contemporary manuscripts show that he added to his paternal arms a silver label, then as now a common difference for the eldest son.2 Hope also says that ‘the greater part of the vault of the south aisle of the quire was put up in the time of Henry VII and probably before 1502, since one of the keys has the arms of Arthur Prince of Wales who died in April of that year'. Here, too, Hope is mistaken. The arms may just as well be those of Henry VIII as prince of Wales; he was so created on 18th February 1503, and would have taken the plain white label of the eldest son on the death of his brother.

The Rise and Fall of a Noble Dynasty: Henry VII and the Lords Willoughby de Broke

1996 ◽  
Vol 69 (170) ◽  
pp. 254-265 ◽  
Author(s):  
D. A. Luckett
Keyword(s):  
Richard Iii ◽  
The Family ◽  
Henry Vii ◽  
The Way

Abstract A study of the first two lords Willoughby de Broke. The career of Robert, the first baron, is traced from his service under Edward IV, through rebellion against Richard III and subsequent exile. His part in the Bosworth campaign of 1485 and the rewards he subsequently received from Henry VII are examined, as is his later career as a leading Crown agent in Wiltshire, Devon and Cornwall. The article then looks at how the family fared after Robert's death in 1502. The most striking aspect of this is the way in which Henry VII attempted to undermine the power of Robert's son and heir through harsh fines and other (apparently unjustified) impositions. In doing so, the article concludes, Henry was betraying his growing feelings of political insecurity by striking against an apparently innocent young man.

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