Tea at Trianon: Shakespeare and the Franciscan Order

John Wilson Croker on Marie-Antoinette

"We have followed the history of Marie Antoinette with the greatest diligence and scrupulosity. We have lived in those times. We have talked with some of her friends and some of her enemies; we have read, certainly not all, but hundreds of the libels written against her; and we have, in short, examined her life with– if we may be allowed to say so of ourselves– something of the accuracy of contemporaries, the diligence of inquirers, and the impartiality of historians, all combined; and we feel it our duty to declare, in as a solemn a manner as literature admits of, our well-matured opinion that every reproach against the morals of the queen was a gross calumny– that she was, as we have said, one of the purest of human beings."

~from History of the Guillotine by John Wilson Croker, 1844

Edmund Burke on Marie-Antoinette

"It is now sixteen or seventeen years since I saw the queen of France, then dauphiness, at Versailles; and surely there never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she had just begun to move in, glittering like a morning star full of life and splendor and joy. Oh, what a revolution....Little did I dream that I should have lived to see such disasters fall upon her, in a nation of gallant men, in a nation of men of honor and of cavaliers! I thought ten thousand swords must have leaped from their scabbards, to avenge even a look which threatened her with insult. But the age of chivalry is gone; that of sophisters, economists, and calculators has succeeded...."

~Edmund Burke, October 1790

Tuesday, July 22, 2014

Shakespeare and the Franciscan Order

From Homiletic and Pastoral Review:

Despite Elizabethan persecution of Roman Catholics, the dramatic genius—who, according to Harold Bloom, invented the human personality—gave several pivotal roles to characters from an order that had virtually disappeared from England several generations earlier during Henry VIII’s first dissolution of the monasteries. These characters, while not leading protagonists, were much more than bit parts. Shakespeare took a political risk in overtly portraying them in their traditional garb onstage, where the royal censor, the Master of the Revels, might well have objected, demanded their removal, and even prosecuted the playwright’s company. What reasons, dramaturgical, political, or religious, might have led Shakespeare to take such a risk to his livelihood and person? (Read more.)

(Via Stephanie Mann.) Share