The Valiant Welshman, the Scottish James, and the Formation of Great Britain by Megan Lloyd

Author:Megan Lloyd [Lloyd, Megan]
Language: eng
Format: epub
Tags: History, Europe, Medieval, Modern, General, Renaissance
ISBN: 9781580443548
Google: u77tDwAAQBAJ
Publisher: Walter de Gruyter GmbH & Co KG
Published: 2018-12-03T22:20:24+00:00

NOTES

1 See Highley, “The Place of Scots,” pp. 57–58 for a discussion of Scottish accents in early modern drama.

2 One accounting for Morgan’s accent may be that it was a real crowd pleaser and that Morgan was written for a specific actor, well known for his Anglo-Welsh performances. See Bartley, Teague, Shenkin and Sawney, pp. 56–57.

3 Morion pursues the fictitious Fairie Queene (C2v, D3v–D4v) and acts more like a clown than the designated “Clowne” from act four, who R. A. patterns after Shakespeare’s wise fool.

4 Bartley, Teague, Shenkin and Sawney, pp. 4–5.

5 Bartley, Teague, Shenkin and Sawney, pp. 5, 255–58.

6 Bartley, Teague, Shenkin and Sawney, pp. 48–49, 4–6.

7 Kerrigan, Archipelagic English, p. 117.

8 Hughes, Wales, pp. 35–36.

9 For more on stereotypically Welsh traits, see Glanmor Williams, Recovery, 465, Bartley, Teague, Shenkin and Sawney, pp. 48–71, and Hughes, Wales, 35–36.

10 G. Blakemore Evans quotes the title page of Q1 in his textual notes: “A Most pleasaunt and excellent conceited Comedie, of Syr Iohn Falstaffe, and the merrie Wives of Windsor. Entermixed with sundrie variable and pleasing humors, of Syr Hugh the Welch Knight, Iustice Shallow, and his wise Cousin M. Slender. With the swaggering vaine of Auncient Pistoll, and Corporall Nym.” The Riverside Shakespeare (Boston and New York: Houghton Mifflin, 1997), p. 322.

11 For instance, see act one, scene two of Thomas Middleton’s A Chaste Maid in Cheapside in English Renaissance Drama, ed. David Bevington, Lars Engle, Katharine Eisaman Maus, Eric Rasmussen (New York: W.W. Norton, 2002), 1453−1513, where a Welsh Gentlewoman exchanges Welsh expressions with a monoglot English speaker.

12 See Montgomery, Europe’s Languages and Lloyd, “Speak it in Welsh” for more on the Welsh in I Henry IV.

13 By “substantial,” I mean at least a complete line of dialogue in Welsh rather than a word of Welsh interspersed in English dialogue.

14 Stephen Orgel, Ben Jonson: The Complete Masques (New Haven: Yale University Press, 1969), p. 277.

15 Thomas Dekker, Patient Grissil, The Dramatic Works of Thomas Dekker, ed. Fredson Bowers, vol. 1 (Cambridge: Cambridge University Press, 1953), pp. 212–93. All references to Dekker’s play come from this collection.

16 Elsewhere, I have discussed the Welsh language used in Patient Grissil, see Lloyd, “Speak it in Welsh,” pp. 132–40.

17 Thomas Dekker, Northward Ho, The Dramatic Works of Thomas Dekker, ed. Fredson Bowers, vol. 2, (Cambridge: Cambridge University Press, 1955), pp. 405−90.

18 Thomas Middleton, A Chaste Maid in Cheapside, in English Renaissance Drama, ed. David Bevington et al. (New York and London: W. W. Norton, 2002) pp. 1453–1513. All subsequent quotes from the play come from this text.

19 For more on English and Welsh intermarriage, see Penry Williams, “The Political and Administrative History of Glamorgan, 1536–1642,” in Glamorgan County History, vol. 4, ed. Glanmor Williams (Cardiff: Glamorgan County History Trust Limited, 1974), p. 118, and Gareth Elwyn Jones, Modern Wales: A Concise History, 2nd ed. (Cambridge: Cambridge University Press, 1984, repr. 1994), p. 47.

20 Griffiths, “O,” p. 116.

21 Philip Schwyzer, “British History and ‘The British History’: The Same Old Story?” in British Identities and English Renaissance Literature, ed.

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