By Scott Oldenburg
Using either canonical and underappreciated texts, Alien Albion argues that early smooth England was once a ways much less unified and xenophobic than literary critics have formerly prompt. Juxtaposing literary texts from the interval with criminal, non secular, and financial records, Scott Oldenburg uncovers how immigrants to England cast ties with their English hosts and the way these relationships have been mirrored in literature that imagined inclusive, multicultural communities.
Through discussions of civic pageantry, the performs of dramatists together with William Shakespeare, Thomas Dekker, and Thomas Middleton, the poetry of Anne Dowriche, and the prose of Thomas Deloney, Alien Albion demanding situations assumptions concerning the origins of English nationwide id and the significance of non secular, type, and native identities within the early smooth era.
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Extra resources for Alien Albion: Literature and Immigration in Early Modern England
To get at the unique character of Mary’s entry, I will begin by comparing the Fenchurch Street pageants of several early modern royal entries. Fenchurch Street was the site for the first pageant in many sixteenth-century royal entry pageant sequences. 17 When Mary I arrived at Fenchurch Street, however, she was treated to a pageant prepared by the Genoese merchants. A boy actor delivered a speech that was unfortunately not recorded in any accounts of the pageant, and it is not known whether this child was Genoese or English.
In any case, he did not disdain physical labour. 29 Nearly every sixteenth-century royal entry to London included one or two pageants put on by stranger communities (originally to help fund the lavish spectacle), but the fact that a stranger waved the banner bearing the city’s arms and that the first three pageants were performed by strangers indicates that the city’s mayor and aldermen wanted to showcase London’s immigrants; they wanted to communicate to Mary that London was made up of not only the English nobles, merchants, and artisans who lined the streets, but also merchant strangers and alien artisans.
As should be expected in such an allegory, Good Remedy is opposed in nearly every way to Ill Will and Shrewd Wit. The one thing Good Remedy, Ill Will, and Shrewd Wit agree on is the status of immigrants: none of these characters speaks respectfully to Hance, despite his professed love of Englishmen and his offer to buy each a beer. In his first appearance on stage, Hance sings a Dutch song and then speaks with Ill Will and Shrewd Wit, who ask him where he has come from and what he is doing in their presence.