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By Mark Thornton Burnett, Adrian Streete

During the last century, many sixteenth- and 17th-century occasions and personalities were introduced sooner than domestic, cinema, exhibition, competition and theatrical audiences. This assortment examines those representations, taking a look at fresh tv sequence, documentaries, pageantry, theatre and pop culture in various cultural and linguistic guises.

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A parallel farcical intrigue has Derby in trouble with his late brother’s widow over the inheritance, and with his own wife (whom Derby has tried to strangle out of jealousy). Both women join forces to bring Derby to justice and claim that he is mad. Derby needs Shakespeare to reveal the real authorship of his famous plays in order to prove his sanity, but the latter refuses, claiming a share of the glory because he revised the texts, and reminding Derby to be true to his word. 6 Somoza’s Miguel Will (1997) shows Shakespeare in trouble during the composition, rehearsal and premiere of Cardenio.

90. 6. Longley, ‘Northern Ireland’, pp. 230, 253. 7. Michel de Montaigne, An Apology for Raymond Sebond, ed. and trans. M. A. Screech (Harmondsworth: Penguin, 1987), p. 6. 8. Montaigne, Apology, p. 6. 9. Montaigne, Apology, p. 186. 10. See Margreta de Grazia, Maureen Quilligan and Peter Stallybrass, eds, Subject and Object in Renaissance Culture (Cambridge: Cambridge University Press, 1996). 11. See Hayden White, Tropics of Discourse: Essays in Cultural Criticism (Baltimore and London: The Johns Hopkins University Press, 1985).

The Pilgrimage of Grace culminates in wholesale destruction, as is revealed in a spliced montage that shows, on the one hand, the leaders in the Tower in chains, and, on the other, the butchering of peasants, including women and children, in a field. Panoramic sweeps of the camera testify not only to the scale of the discontent but also to the excess of monarchical reaction: in the bodily spectacle is encapsulated a charged indication of royal policy out of control. By pinpointing male children among the corpses, a more pervasive interest in relations between fathers and sons is demonstrated, which reflects on Henry’s own situation.

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