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Abstract

It was spring 1610, and Princess Elizabeth Stuart was busy with preparations for Samuel Daniel’s Tethys’ Festival. She wrote to her brother, Prince Henry:1

… the ballet is about to be enacted and … in an affair of such serious moment, your presence is absolutely indispensible. I entreat you, therefore, to quit, whatever it may cost you, without delay, to quit the country and all its allurements, and hasten to your sister Elizabeth.

Tethys’ Festival was performed for Prince Henry’s investiture as Prince of Wales on June 5, 1610. It featured their mother, Anne of Denmark, as Tethys, “Queen of the Ocean, and wife of Neptune.”2 She was attended by thirteen nymphs who represented the rivers of England. The thirteen-year-old Princess Elizabeth (see Figure 5.1), known as “the Lady Elizabeth,” played the nymph of the Thames. Her little brother, ten-year-old Charles, Duke of York, played Zephirus, the west wind, and was accompanied by a group of twelve “little ladies near of his stature,” who represented naiads, “attired in light robes adorned with flowers, their hair hanging down and waving, with garlands of water ornaments on their heads” (57–60).

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Notes

  1. Elizabeth Benger, Memoirs of Elizabeth Stuart, Queen of Bohemia (London: Longman, 1825): 93.

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  2. Sir Ralph Winwood, Memorials of Affairs of State in the Reigns of Queen Elizabeth and King James Spi. ed. Edmund Sawyer vol. 3 (London, 1725): 180–1.

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  3. See also E.K. Chambers, The Elizabethan Stage vol. 3 (Oxford: Clarendon Press, 1923): 282–3 and Inigo Jones: The Theatre of the Stuart Court ed. Orgel and Strong, vol. 1, 192.

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  4. Leeds Barroll, Anne of Denmark, Queen of England: A Cultural Biography (Philadelphia: University of Pennsylvania Press, 2001): 123. On maternal symbolism in Tethys’ Festival see Tomlinson, Women on Stage in Stuart Drama, 36–8.

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  5. Martin Butler, The Stuart Court Masque and Political Culture (Cambridge: Cambridge University Press, 2008): 185.

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  6. Janet Pollack, “Princess Elizabeth Stuart as Musician and Muse” Musical Voices of Early Modern Women: Many Headed Melodies ed. Thomasin LaMay (Burlington, VT: Ashgate, 2005): 399–424.

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  7. Lady Frances Erskine, Memoirs relating to the Queen of Bohemia. By one of her ladies (London, 1772): 44–6.

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  8. Stephen Orgel, “The Poetics of Spectacle” New Literary History 2 (1971): 367–89 at 367.

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  9. T. Rosa, Idaea Jacobi (London, 1608)

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  10. quoted in Carola Oman, The Winter Queen. Elizabeth of Bohemia (London: Hodder & Stoughton, 1938): 36.

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  11. William Byrd, Parthenia, or the Maydenhead of the first musicke that ever was printed for the Virginalls (London, 1613). See, for discussion, Pollack, “Princess Elizabeth Stuart as Musician and Muse.”

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  12. John Nichols, The Progresses, Processions, and Magnificent Festivities of King James the First vol. 2 (London, 1828): 464 and Oman, The Winter Queen, 63. 24 Charles Isaac Elton and A. Hamilton Thompson, William Shakespeare: His Family and Friends (London, 1904): 438.

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  13. Lois Potter, “Ophelia and Some Theatrical Successors” The Afterlife of Ophelia ed. Kaara L. Peterson and Deanne Williams (New York: Palgrave Macmillan, 2012): 153–68.

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  14. Francis Beaumont and John Fletcher, The Maid’s Tragedy in Four Jacobean Sex Tragedies ed. Martin Wiggins. Oxford World’s Classics (Oxford: Oxford University Press, 1998). All references to this play are to this edition.

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  15. Kevin Curran, Marriage, Performance and Politics at the Jacobean Court (Burlington, VT: Ashgate, 2009): 89–128 at 107.

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  16. See also Graham Parry, The Golden Age Restor’d: The Culture of the Stuart Court (Manchester: Manchester University Press, 1981): 95–107, McManus, Women on the Renaissance Stage, 136–63, and Butler, The Stuart Court Masque and Political Culture, 194–204.

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© 2014 Deanne Williams

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Williams, D. (2014). A Dancing Princess. In: Shakespeare and the Performance of Girlhood. Palgrave Shakespeare Studies. Palgrave Macmillan, London. https://doi.org/10.1057/9781137024763_6

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