New York Times bestselling author Jane Feather conspires with history to tell this dazzling story about two very real, very wily queens - and one impassioned young woman whose life they change forever. At Queen Elizabeth's palace, intrigue abounds. And when a naive girl with a gift for keen observation enters the court, she can hardly imagine the role she will play in bringing England - indeed, the whole of Europe - to the brink of war. Nor can she foresee her own journey to the brink of ecstasy and beyond... When she becomes a junior lady of Queen Elizabeth's bedchamber, Rosamund is instructed by her cousin, the brilliant and devious secretary of state Sir Francis Walsingham, to record everything she observes. Her promised reward: a chance at a good marriage. And then Rosamund meets Will Creighton - a persuasive courtier, poet, and would-be playwright who is the embodiment of an unsuitable match. The unsanctioned relationship draws the wrath of Elizabeth, and Rosamund is sent in disgrace to a remote castle that holds Elizabeth's cousin Mary Stuart, the imprisoned Queen of Scots. Here, Walsingham expects Rosamund to uncover proof of a plot against Elizabeth. But surely, nothing good can come of putting an artless girl in such close proximity to so many seductive players and deceptive games. Unless, of course, Rosamund can discover an affinity for passion and intrigue herself... For more of Jane Feather's signature romance check out the Blackwater Brides Trilogy - where three dashing brothers embark on a most im-proper quest - or follow the adventures to three intrepid young ladies as they become embroiled in the political intrigue of Regency-era London and fall irreversibly in love in the Cavendish Square Trilogy.
Release on 2013-04-28 | by Mr Terence G Schoone-Jongen
William Shakespeare's Early Career and the Acting Companies, 1577–1594
Author: Mr Terence G Schoone-Jongen
Pubpsher: Ashgate Publishing, Ltd.
Category: Literary Criticism
Focusing on a period (c.1577-1594) that is often neglected in Elizabethan theater histories, this study considers Shakespeare's involvement with the various London acting companies before his membership in the Lord Chamberlain's Men in 1594. Locating Shakespeare in the confusing records of the early London theater scene has long been one of the many unresolved problems in Shakespeare studies and is a key issue in theatre history, Shakespeare biography, and historiography. The aim in this book is to explain, analyze, and assess the competing claims about Shakespeare's pre-1594 acting company affiliations. Schoone-Jongen does not demonstrate that one particular claim is correct but provides a possible framework for Shakespeare's activities in the 1570s and 1580s, an overview of both London and provincial playing, and then offers a detailed analysis of the historical plausibility and probability of the warring claims made by biographers, ranging from the earliest sixteenth-century references to contemporary arguments. Full chapters are devoted to four specific acting companies, their activities, and a summary and critique of the arguments for Shakespeare's involvement in them (The Queen's Men, Strange's Men, Pembroke's Men, and Sussex's Men), a further chapter is dedicated to the proposition Shakespeare's first theatrical involvement was in a recusant Lancashire household, and a final chapter focuses on arguments for Shakespeare's membership in a half dozen other companies (most prominently Leicester's Men). Shakespeare's Companies simultaneously opens up twenty years of theatrical activity to inquiry and investigation while providing a critique of Shakespearean biographers and their historical methodologies.
The Masters of the Revels and Elizabeth I's Court Theatre places the Revels Office and Elizabeth I's court theatre in a pre-modern, patronage and gift-exchange driven-world of centralized power in which hospitality, liberality, and conspicuous display were fundamental aspects of social life. W.R. Streitberger reconsiders the relationship between the biographies of the Masters and the conduct of their duties, rethinking the organization and development of the Office, re-examining its productions, and exploring its impact on the development of the commercial theatre. The nascent capitalist economy that developed alongside and interpenetrated the gift-driven system that was in place during Elizabeth's reign became the vehicle through which the Revels Office along with the commercial theatre was transformed. Beginning in the early 1570s and stretching over a period of twenty years, this change was brought about by a small group of influential Privy Councillors. When this project began in the early 1570s the Queen's revels were principally in-house productions, devised by the Master of the Revels and funded by the Crown. When the project was completed in the late 1590s, the Revels Office had been made responsible for plays only and put on a budget so small that it was incapable of producing them. That job was left to the companies performing at court. Between 1594 and 1600, the revels consisted almost entirely of plays brought in by professional companies in the commercial theatres in London. These companies were patronized by the queen's relatives and friends and their theatres were protected by the Privy Council. Between 1594 and 1600, for example, all the plays in the revels were supplied by the Admiral's and Chamberlain's Players which included writers such as Shakespeare, and legendary actors such as Edward Alleyn, Richard Burbage, and Will Kempe. The queen's revels essentially became a commercial enterprise, paid for by the ordinary Londoners who came to see these companies perform in selected London theatres which were protected by the Council.
Release on 2016-05-06 | by Holger Schott Syme,Andrew Griffin
Material Practices and Conditions of Playing
Author: Holger Schott Syme,Andrew Griffin
Category: Literary Criticism
Locating the Queen's Men presents new and groundbreaking essays on early modern England's most prominent acting company, from their establishment in 1583 into the 1590s. Offering a far more detailed critical engagement with the plays than is available elsewhere, this volume situates the company in the theatrical and economic context of their time. The essays gathered here focus on four different aspects: playing spaces, repertory, play-types, and performance style, beginning with essays devoted to touring conditions, performances in university towns, London inns and theatres, and the patronage system under Queen Elizabeth. Repertory studies, unique to this volume, consider the elements of the company's distinctive style, and how this style may have influenced, for example, Shakespeare's Henry V. Contributors explore two distinct genres, the morality and the history play, especially focussing on the use of stock characters and on male/female relationships. Revising standard accounts of late Elizabeth theatre history, this collection shows that the Queen's Men, often understood as the last rear-guard of the old theatre, were a vital force that enjoyed continued success in the provinces and in London, representative of the abiding appeal of an older, more ostentatiously theatrical form of drama.
New York Times bestselling author Jane Feather again delights with her new book in this entrancing Georgian trilogy featuring three noble brothers who are offered a preposterous opportunity to restore their family’s mortgaged lands. An eccentric uncle promises a lavish inheritance, but only if each marries—thus redeeming—a fallen woman. And if even one brother fails to fulfill the old man’s decree, none will gain the windfall. Lady Serena Grantley was born to the nobility, but fortune's whim placed her in control of her gamester stepfather, who uses her beauty to lure young men to his gambling tables. Serena even dismissed her first love, the Honorable Sebastian Sullivan, at her stepfather's command. But when he attempts to force her into a liaison with a dissolute earl, Serena resolves to do his bidding no more. Sebastian is the only man who ever captured her heart, and it is to him she turns. . . . Torn between family loyalty and the woman he loves, Sebastian faces a devilish dilemma. His uncle is ailing, and time is running short. Desperate to find a solution, Sebastian conceives a dangerous plan—a wager that could bring him and Serena happiness at last . . . or separate them forever.
This engaging book provides in-depth discussion of the various influences that an audience in 1606 would have brought to interpreting ‘King Lear’. How did people think about the world, about God, about sin, about kings, about civilized conduct? Learn about the social hierarchy, gender relationships, parenting and family dynamics, court corruption, class tensions, the literary profile of the time, the concept of tragedy – and all the subversions, transgressions, and oppositions that made the play an unsettling picture of a disintegrating world in free fall.
Grandmaster Damian Lemos presents a repertoire for White in the Queen’s Gambit, one of the most famous chess openings. The Queen’s Gambit enjoys a long and illustrious past. It has been played by virtually all the strongest grandmasters in the history of chess, and today it remains a popular choice for players of all levels. White’s opening moves in the Queen’s Gambit are built on sound strategic principles, and it can lead to positions rich in both tactical and positional play. It’s a perfect opening to use in order to develop your chess understanding. It’s a perfect opening to use in order to develop your chess understanding. There are many defences that Black can employ against the Queen’s Gambit and it’s easy to become confused by the countless options for both White and Black. Lemos tackles this problem by providing a concise, easy-to-learn and practical repertoire that is suitable for players of all levels. Using illustrative games, Lemos examines the typical tactics and strategies for both sides, and highlights the key move order issues. This book tells you everything you need to know about playing the Queen’s Gambit. * A complete repertoire with 1 d4 d5 2 c4 * Over 50 games with grandmaster analysis * Written by a Queen’s Gambit expert