Terminology

Para1We have made an effort to use the terms show, pageant, and pageant book carefully, consciously, and consistently throughout this anthology. Past scholars have often been inconsistent in their use of these terms. We have kept in mind Tracey Hill’s caveat: it is inaccurate to call the Lord Mayor’s Show in its entirety a pageant (Hill 12). At the same time, we must also acknowledge that the pageant poets themselves use a variety of terms. The pageants within the pageant books are variously labelled show, triumph, invention, presentation, and pageant. For example, John Squire refers to the First Show or Presentment on the Water in The Triumphs of Peace. To further muddy the waters, pageants within a show sometimes have the same name as the pageant book. For example, the penultimate pageant in Thomas Dekker’s London’s Tempe is called London’s Tempe. Finally, contemporary references suggest that pageant day was the term generally used to refer to the day of the Lord Mayor’s oath-taking and the mayoral show.
Term Usage
show We use the term show to indicate the entire theatrical event.
pageant We use the term pageant to indicate a single staged spectacle within the show. Not all pageants have speeches, and not all speeches take place in the context of a pageant.
pageant book We use the term pageant book to indicate the printed book that bears witness to the show and the pageants therein.
pageant day We use the term pageant day to refer to the entire day. The day featured many events, including the oath-taking, a sermon, and a feast.
pageant writer We use the term pageant writer to refer to the person who compiled the book, wrote the speeches and descriptions, and arranged for printing. (Note that early modern people often used the term pageant poet. We use pageant writer because the pageant books include prose.)
artificer We use the term artificer for any person who contributed to the building of the pageants (e.g., Gerard Christmas).
livery company We use the term livery company, adhering to Hill’s suggestion that livery company is a more appropriate term than guild, given that early modern people never referred to the companies as guilds (Hill 12).

Prosopography

Janelle Jenstad

Janelle Jenstad is a Professor of English at the University of Victoria, Director of The Map of Early Modern London, and Director of Linked Early Modern Drama Online. With Jennifer Roberts-Smith and Mark Kaethler, she co-edited Shakespeare’s Language in Digital Media: Old Words, New Tools (Routledge). She has edited John Stow’s A Survey of London (1598 text) for MoEML and is currently editing The Merchant of Venice (with Stephen Wittek) and Heywood’s 2 If You Know Not Me You Know Nobody for DRE. Her articles have appeared in Digital Humanities Quarterly, Elizabethan Theatre, Early Modern Literary Studies, Shakespeare Bulletin, Renaissance and Reformation, and The Journal of Medieval and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives (MLA); Institutional Culture in Early Modern England (Brill); Shakespeare, Language, and the Stage (Arden); Performing Maternity in Early Modern England (Ashgate); New Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter); Placing Names: Enriching and Integrating Gazetteers (Indiana); Making Things and Drawing Boundaries (Minnesota); Rethinking Shakespeare Source Study: Audiences, Authors, and Digital Technologies (Routledge); and Civic Performance: Pageantry and Entertainments in Early Modern London (Routledge). For more details, see janellejenstad.com.

Mark Kaethler

Mark Kaethler is Department Chair, Arts, at Medicine Hat College; Assistant Director, Mayoral Shows, with MoEML; and Assistant Director for LEMDO. They are the author of Thomas Middleton and the Plural Politics of Jacobean Drama (De Gruyter, 2021) and a co-editor with Jennifer Roberts-Smith and Janelle Jenstad of Shakespeare’s Language in Digital Media: Old Words, New Tools (Routledge, 2018). Their work has appeared in The London Journal, Early Theatre, Literature Compass, Digital Studies/Le Champe Numérique, and Journal of the Text Encoding Initiative, as well as in several edited collections. Mark’s research interests include early modern literature’s intersections with politics; digital media and humanities; textual editing; game studies; cognitive science; and ecocriticism.

Navarra Houldin

Project manager 2022-present. Textual remediator 2021-present. Navarra Houldin completed their BA in History and Spanish at the University of Victoria in 2022. During their degree, they worked as a teaching assistant with the University of Victoriaʼs Department of Hispanic and Italian Studies. Their primary research was on gender and sexuality in early modern Europe and Latin America.

Bibliography

Hill, Tracey. Pageantry and Power. Manchester: Manchester University Press, 2010.

Orgography

LEMDO Team (LEMD1)

The LEMDO Team is based at the University of Victoria and normally comprises the project director, the lead developer, project manager, junior developers(s), remediators, encoders, and remediating editors.

MoEML Mayoral Shows (MOMS1)

The MoMS General Editors are Mark Kaethler and Janelle Jenstad. The team includes SSHRC-funded research assistants. Peer review is coordinated by the General Editors but conducted by other editors and external scholars.

University of Victoria (UVIC1)

http://www.uvic.ca/

Metadata

Authority title Terminology
Type of text About
Short title Terms
Publisher Map of Early Modern London on the Linked Early Modern Drama Online Platform
Series MoEML Mayoral Shows anthology
Source
Editorial declaration n/a
Edition Released with MoEML Mayoral Shows 1.0
Encoding description Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines
Document status published
Licence/availability Intellectual copyright is held jointly by the authors, Mark Kaethler and Janelle Jenstad. The XML file is licensed under a CC BY-NC_ND 4.0 license, which means that it is freely downloadable without permission under the following conditions: (1) credit must be given to the authors, MoMS, and LEMDO in any subsequent use of the file; (2) the content cannot be adapted or repurposed (except for quotations for the purposes of academic review and citation); and (3) commercial uses are not permitted without the knowledge and consent of MoMS, the editor, and LEMDO. This license allows for pedagogical use of the critical paratexts in the classroom.