LEMDO Peer Review Anthology: Civitatis Amor, Modern

Civitatis Amor, Modern

CIVITATIS AMOR.

The City’s Love.

An entertainment by water, at Chelsea, and Whitehall.

At the joyful receiving of that illustrious hope of Great Britain, the High and Mighty Charles, To be created Prince of Wales, Duke of Cornwall, Earl of Chester, et cetera.

Together with the Ample Order and Solemnity of his highness creation, as it was celebrated in his majesty’s palace of Whitehall on Monday, the fourth of November. 1616.

As also the Ceremonies of that Ancient and Honourable Order of the Knights of the Bath; And all the Triumphs shown in honour of his Royal Creation.

LONDON, Printed by Nicholas Okes for Thomas Archer, and are to be sold at his shop in Popes-head-Palace. 1616.

The Ample Order and Solemnity of Prince Charles his Creation

His majesty

, as well to show the bounty of his affection towards his royal son as to settle in the hearts of his loving subjects a lively impression of his kingly care, for continuance of the happy and peaceable government of his land in his issue and posterity, having determined to invest his princely highness with those titles and solemnities which the former princes of his realm have usually been adorned, it seemed fittest — both in regard of his highness’ years, showing the rare proofs of promising heroical virtues, and also that it would be a gladness most grateful and acceptable to the Commonwealth —

to have the solemnities thereof royally performed. To the effecting of which, the Lord Mayor

and Aldermen of the City of London, with the several companies honourably furnished and appointed and marshalled in fair and comely order (both by the care and industry of Mr.

Nicholas Leate, citizen and merchant of London, and one of the chief captains for the City, as also by the well observed and deserving pains of Master Thomas Sparro, Water-Bayly

, made for that day marshall for the water triumphs) were ready attending, with a great train and costly entertainment, to receive his highness at Chelsea, their barges richly decked with banners, streamers, and ensigns, and sundry sorts of loud sounding

instruments aptly placed amongst them. And for his grace’s first entertainment, which was near Chelsea, a personage figuring London sitting upon a sea-unicorn, with six tritons sounding before her, accompanied both with Neptune and the two Rivers Thamesis and Dee, at his first appearing, speaks as followeth.

The City’s Love

The Entertainment by Water at Chelsea and Whitehall

At Chelsea A personage figuring London, sitting upon a sea-unicorn, with six tritons sounding before

her, accompanied thither with Neptune, and the two Rivers Thamesis and Dee. At the first appearing of the Prince, London speaks as followeth:

Sp1London

Neptune!

Since thou hast been at all this

pains,

Not only with thy Tritons to supply me

But art thy self come from thy utmost mains

To feast upon that joy that’s now so nigh

me,

To make our loves the better understood,

Silence thy watery subject, this small flood.

Neptune gives action toward Thamesis, and speaks:

Sp2Neptune

the timely ebbs and flows,

That make thee famous to all those

That must observe thy precious tides

That issue from our wealthy sides:

Not a murmur, not a sound,

That may this lady’s voice

confound.

And Tritons, who by our commanding pow’r

Attend upon the glory of this hour,

To do it service, and the City grace,

Be silent, ’til we wave our silver mace.

Sp3London

And you our honoured sons, whose loyalty,

Service, and zeal, shall be expressed of me,

Let not your loving over-greedy noise,

Beguile

you of the sweetness of your joys.

My wish has took effect, for ne’er was known

A greater joy, and a more silent one.

Then turning to the Prince, London

thus speaks:

Sp4

Treasure of hope and jewel of mankind,

Richer no kingdom’s peace did ever see,

Adorned in titles, but much more in mind.

The loves of many thousands speak in me,

Who, from that blessing of our peaceful store

Thy royal father, hast received most free,

Honours that wooed thy virtues long before,

And ere thy time were capable of thee.

Thou, whose most early goodness fixed in youth

Does promise comfort to the length of time,

As we on earth measure heaven’s works by truth,

And things which natural reason cannot climb.

So, when we look into the virtuous aim

Of thy divine addiction

, we may deem

By rules of grace, and principles of fame,

What worth will be, now in so high esteem.

And so betimes pursued; which thought upon,

Never more cause this land had to rejoice,

But chiefly I, the City, that has known

More of this good than any, and more choice.

What a fair glorious peace for many years,

Has sung her sweet calms to the hearts of men.

Enriched our homes, extinguished foreign fears,

And at this hour begins her hymns again.

Live long, and happy, glory of our days,

And thy sweet time marked with all fair presages,

Since heaven is pleased in thy blessed life to raise,

The hope of these, and joy of after ages.

Sound, Tritons, lift our loves up with his fame,

Proclaimed as far as honour has a name.

Sp5Neptune

Sound—On—

The Entertainment at Whitehall

This personage figuring London (with the six tritons sounding before Neptune and the two rivers

) being arrived at Whitehall, where attend the prince’s landing; the figures of two sacred deities, Hope and Peace, thus speaks:

Sp6London

Hope!

Now behold the fullness of thy good,

Which thy sick comforts have expected long,

And thou, sweet Peace, the harmony of this flood,

Look up and see the glory of thy song.

Hope leaning her breast upon a silver anchor, attended with four virgins all in white, having silver oars in their hands, thus answers:

Sp7Hope

Fair and most famous City, thou hast waked me

From the sad slumber of disconsolate fear,

Which at the music of thy voice forsaked me,

And now begin to see my comforts clear.

Now has my anchor her firm hold again,

And in my blest and calm security,

The expectations of all faithful men,

Have their full fruits being satisfied in me.

This is the place that I’ll cast anchor in,

This, honour’s haven, the king’s royal court;

Here will I fasten all my joys again,

Where all deservers and deserts resort:

And may I never change this happy shore,

’Til all be changed never to alter more.

Then Peace sitting on a dolphin, with her sacred choir

, sings this song following:

Sp8The Song of Peace

Welcome, oh welcome spring of Joy and Peace,

Born to be honoured, and to give increase

To those that wait upon thy graces;

Behold the many thousand faces

That make this amorous flood

Look like a moving wood

Usurping all her crystal spaces.

’Mongst which the City’s love is first,

Whose expectations sacred thirst,

Nothing truly could allay

But such a prince, and such a day.

Welcome, oh welcome, all fair joys attend thee,

Glory of life, to safety we commend thee.

Tho. Middleton.

Prince Charles his Creation

The days triumph ended to the great honour of the City and content of his highness, who out of the goodness of his love, gave the Lord Mayor and Aldermen many thanks.

Monday following, the lords and peers of the realm being all assembled at Whitehall, his highness then proceeded in this manner to his creation.

First went the trumpets; then the heralds and officers of arms in their rich coats; next followed the knights of the Bath

, being six and twenty in number, apparelled in long robes of purple satin, lined with white taffeta

; then Sir William Segar Knight, alias Garter Principal King of Arms, bearing the Letters Patents

; the Earl of Sussex, the purple robes

; the train borne by the Earl of Huntington; the sword by the Earl of Rutland; the ring by the Earl of Derby; the rod by the Earl of Shrewsbury; the cap and coronet by the Duke of Lenox; Lord Steward, his princely highness supported by the Earls of Suffolk and Nottingham, came bare-headed, and so entered the great hall, where the king was set in his royal throne, and the whole state of the realm in their order.

The

prince made low obeisance to his majesty three times, and after the third time, when he was come near to the king, he kneeled down on a rich pillow or cushion, whilest sir Ralph Winwood, principal secretary, read his letters patents. Then his majesty, at the reading of the words of investment, put the robes upon him, and girded on the sword, invested him with the rod and ring, and set the cap and coronet on his head.

With

which ceremony the creation being accomplished, the king arose, and went up to dinner; but the prince, with his lords, dined in the hall, and was served with great state and magnificence, accompanied at his table with diverse great lords, as the Earl of Suffolk (lord treasurer)

the Earl of Arundell (lord marshall), the Earl of Nottingham (lord admiral), the Duke of Lennox (lord steward), the Earl of Pembroke

(lord chamberlain), the Earls of Shrewsbury, Derby, Rutland, and Sussex; the prince sitting in a chair at the upper end, and the rest in distance about four yards from him, one over against another, in their degrees; all which were those that were employed in several offices of honour about his royal creation.

another table in the same room, on the left hand of the prince, sat the Knights of the Bath, all on one side, and had likewise great service and attendance. About the middest

of dinner, Sir William Segar (knight, alias Garter Principal King of Arms)

with the rest of the king’s heralds and pursuivants of arms

, approached the prince’s table, and with a loud and audible voice, proclaimed the king’s style

, in Latin, French, and English three

; and the prince’s in like manner, twice: then the trumpets sounding, the second course came in; and dinner done, that day’s solemnity ceased.

At night, to crown it with more heroical honour, forty worthy gentlemen of the noble societies of inns of court, being ten of each house, every one appointed in way of honourable combat to break three staves

, three swords, and exchange ten blows apiece — whose names (for their worthiness) I

commend to fame —

began thus each to encounter other. And not to wrong the sacred antiquity of any of the houses, their names are here set down in the same order as they were presented to his majesty; viz

: Of the

Middle Temple: Master Strowd, Master Izord.

Gray’s Inn: Master Courthop, Master Calton.

Lincoln’s Inn: Master Skinner, Master Windham.

Inner Temple: Master Crow, Master Vernon.

Middle Temple: Master Argent, Master Glascocke.

Gray’s Inn: Master Wadding, Master St-John.

Lincoln’s Inn: Master Griffin, Master Fletcher.

Inner Temple: Master Parsons, Master Brocke.

Middle Temple: Master Bentley senior, Master Peere.

Gray’s Inn: Master Selwyn, Master Paston.

Lincoln’s Inn: Master Selwyn, Master Clinch.

Inner Temple: Master Chetwood, Master Smalman.

Middle Temple: Master Bentley junior, Master Bridges.

Gray’s Inn: Master Covert, Master Fulkes.

Lincoln’s Inn: Master Jones, Master Googe.

Inner Temple: Master Wilde, Master Chave.

Middle Temple: Master Wansted, Master Goodyeere.

Gray’s Inn: Master Burton, Master Bennet.

Lincoln’s Inne: Master Hitchcocke, Master Nevill.

Inner Temple: Master Littleton, Master Trever.

On Wednesday the sixth day of November, to give greater lustre and honour to this triumph and solemnity, in the presence of the king, queen, prince, and lords, fourteen right honourable and noble personages, whose names hereafter follow, graced this day’s magnificence, with running at the ring

; viz:

The Duke of Lennox, lord steward.

Earl of Pembroke, lord chamberlain.

Earl of Rutland.

Earl of Dorset.

Earl of Montgomery.

Vicount Villiers.

Lord Clifford.

Lord Walden.

Lord Mordant.

Sir Thomas Howard.

Sir Robert Rich.

Sir Gilbert Gerrard.

Sir William Cavendish.

Sir Henry Rich.

Having thus briefly described the manner of his highness’ creation with the honourable service shown to the solemnity, both by the lords and gentlemen of the inns of court, I should have set a period, but that the knights of the Bath, being a principal part and ornament of this sacred triumph, I cannot pass them over without some remembrance; therefore, thus much out of the note of directions from some of the principal officers of arms, and some observation of credit concerning the order and ceremonies of the knighthood.

The lords and other

that were to receive the honourable order of the Bath, repaired on Saturday the second of November to the Parliament House at Westminster, and there in the afternoon heard evening prayer, observing no other ceremony at that time, but only the heralds going before them in their ordinary habits from thence to King Henry the Seventh’s Chapel at Westminster, there to begin their warfare, as if they would employ their service for God especially. From whence, after service ended, they returned into the chamber they were to sup in: their supper was prepared all at one table, and all sat upon one side of the same, every man having an escutcheon

of his arms placed over his head, and certain of the king’s officers being appointed to attend them. In this manner having taken their repast

, several beds were made ready for their lodging in another room hard by, after the same manner, all on one side; their beds were pallets, with coverings, testers, or canopies of red say

, but they used no curtains.

The knights in the meanwhile were withdrawn into the bathing chamber which was the next room to that which they supped in; where, for each of them was provided a several bathing tub, which was lined both within and without, with white linen, and covered with red say: wherein, after they have said their prayers, and commended themselves to God, they bath themselves, that thereby they might be put in mind, to be pure in body and soul from thenceforth; and after the bath, they betook themselves to their rest.

Early the next morning they were awakened with music, and at their uprising

, invested in their hermit’s habits, which was a gown of gray cloth girded close, and a hood of the same, and a linen coif

underneath, and an hankercher

hanging at his girdle, cloth stockings soled with leather, but no shoes; and thus apparelled, their esquires governors, with the heralds wearing the coates of arms, and sundry sorts of wind instruments before them. They proceed from their lodging, the meanest in order foremost, as the night before, untill they came to the chapel, where after service ended, their oath was ministred unto them by the Earl of Arundell (lord marshall), and the Earl of Pembroke (lord chamberlain), in a solemn and ceremonious manner, all of them standing forth before their stalls, and at their coming out making low reverence towards the altar, by which the commissioner’s sat, then were they brought up by the heralds by two at once, the chiefest first, and so the rest, ’til all successively had received their oath, which in effect was this: that above all things they should seek the honour of God, and maintenance of true religion, love their sovereign, serve their country, help maidens, widows, and orphans, and (to the utmost of their power) cause equity and justice to be observed.

This day, whilest they were yet in the chapel, wine and sweet meats were brought them, and they departed to their chamber to be disrobed of their hermit’s weeds, and were revested

in robes of crimson taffeta, implying they should be martial men, the robes lined with white sarcenet

, in token of sincerity, having white hats on their heads, with white feathers, white boots on their legs, and white gloves tied unto the strings of their mantles

: all which performed, they mount on horseback, the saddle of black leather, the arson

white, stirrup leathers black, gilt, the pectoral of black leather, with a cross paty

of silver thereon, and without a crupper, the bridle likewise black, with a cross paty on the forehead or frontlet: each knight between his two esquiers well apparrelled, his footman attending, and his page riding before him, carrying his sword with the hilts upward, in a white leather belt without buckles or studs, and his spurs hanging thereon.

this order ranked: every man according to his degree, the best or chiefest first; they rode fair and softly towards the court, the trumpets sounding, and the heralds all the way riding before them being come to the king’s hall, the marshall meets them, who is to have their horses, or else 100. s. in money for his fee: then conducted by the heralds, and others appointed for that purpose, his majesty sitting under his cloth of estate, gave to them their knighthood in this manner:

First, the principal lord that is to receive the Order comes, led by his two esquires, and his page before him, bearing his sword and spurs, and kneeleth down before his majesty; the lord chamberlain takes the sword of the page, and delivers it to the king, who puts the belt over the neck of the knight, aslope his breast, placing the sword under his left arm: the second nobleman of the chief about the king, puts on his spurs, the right spur first; and so is the ceremony performed. In this sort, Lord Maltrever’s son and heir to the Earl of Arundell (lord marshall), which was the principal of this number — being first created — the rest were all consequently knighted alike. And when the solemnity thereof was fully finished, they all returned in order as they came, saving some small difference, in that the youngest or meanest knight went now foremost, and their pages behind them.

Coming back to the Parliament House, their dinner was ready prepared in the same room and after the fashion as their supper was the night before; but being set, they were not to taste of any thing that stood before them, but with a modest carriage, and graceful abstinence to refrain: diverse kinds of sweet music sounding the while; and after a convenient time of sitting, to arise, and withdraw themselves, leaving the table so furnished to their esquires and pages.

About five of the clock in the afternoon, they rode again to court, to hear service in the king’s chapel, keeping the same order they did at their return from thence in the morning: every knight riding between his two esquires, and his page following him.

their entrance into the chapel, the heralds conducting them, they make a solemn reverence; the youngest knight beginning, the rest orderly ensuing, and so one after another take their standing before their stalls, where all being placed, the eldest knight maketh a second reverence, which is followed to the youngest, and then all ascend into their stalls, and take their accustomed places.

Service

then beginneth, and is very solemnly celebrated with singing of diverse anthems to the organs; and when the time of their offertory is come, the youngest knights are summoned forth of their stalls by the heralds, doing reverence first within their stalls, and again after they are descended, which is likewise imitated by all the rest; and being all thus come forth, standing before their stalls as at first, the two eldest knights with their swords in their hands, are brought up by the heralds to the altar, where they offer their swords, and the dean receives them, of whom they presently redeem them with an angel in gold, and then come down to their former places, whilst two other are led up in like manner. The ceremony performed and service ended, they depart again in such order as they came, with accustomed reverence; at the chapel door as they came forth, they were encountered by the king’s master cook, who stood there with his white apron and sleeves, and a chopping knife in his hand, and challenged their spurs, which were likewise redeemed with a noble in money, threatning them nevertheless, that if they proved not true and loyal to the king his lord and master, it must be his office to hew them from their heels.

On Monday morning they all met together nigh at the court, where in a private room appointed for them, they were clothed in long robes of purple satin, with hoods of the same, all lined and edged about with white taffeta: and thus appareled, they gave their attendance upon the prince at his creation, and dined that day in his presence at a side board, as is already declared.

The Names of such Lords, and Gentlemen, as were made Knights of the Bath, in honour of his Highnesse Creation.

James Lord Maltrever, son and heir to the Earl of Arundell.

Algernon Lord Percy, son and heir to the Earl of Northumberland.

James Lord Wriothesley, son to the Earl of Southhampton.

Edward Lord Clinton, son to the Earl of Lincoln.

Edward Lord Beauchamp, grandchild to the Earl of Hartfordshire.

George

Lord Barkley.

John

Lord Mordant.

Sir Alexander Erskin, son to the Viscount Fenton.

Sir Henry Howard, second son to the Earl of Arundell.

Sir Robert Howard, fourth son to the Earl of Suffolk.

Sir Edward Sackville, brother to the Earl of Dorset.

Sir William Howard, fifth son to the Earl of Suffolk.

Sir Edward Howard, sixth son to the Earl of Suffolk.

Sir Montague Bartue, eldest son to the Lord Willoughby of Ersby.

Sir William Stourton, son to the Lord Stourton.

Sir Henry Parker, son to the Lord Mounteagle.

Sir Dudley North, eldest son to the Lord North.

Sir Spencer Compton, son and heir to Lord Compton.

Sir William Spencer, son to the Lord Spencer.

Sir William Seymor, brother to the Lord Beauchamp.

Sir Rowland St. John, third son to the Lord St. John.

Sir John Cavendish, second son to the Lord Cavendish.

Sir Thomas Neville, grandchild to the Lord Abergavenny.

Sir John Roper, grandchild to the Lord Tenham.

Sir John North, brother to the Lord North.

Sir Henry Carey, son to Sir Robert Carey.

And for an honourable conclusion of the king’s royal grace and bounty shown to this solemnity, his majesty created Thomas Lord Elesmere, Lord Chancellor of England, Vicount Brackley; The Lord Knolles, Vicount Wallingford; Sir Phillip Stanhope, Lord Stanhope of Shelford in Nottinghamshire

; these being created on Thursday the seventh of November, the Lord Chancellor Vicount Brackley, being led out of the Council Chamber into the Privy Gallery, by the Earl of Montgomery and Vicount Villiers, the Vicount Wallingford, by the Earl of Suffolk Lord Treasurer and the Vicount Lisle, the Lord Stanhope, by the Lord Danvers and the Lord Carew, et cetera.

FINIS.

Annotations

Water-Bayly

Water Bailiff

Mr.

Master

loud sounding

Two words. Sounding instruments played loudly.

His majesty

Helpful to read as: To his majesty, … it seemed fittest

i.e., King James. The syntax is inverted in this sentence and His majesty is in the dative case.

London. / Neptune!

In Q1, London is on a separate line. This edition re-lineates all instances of these separations between character names and their first lines to turn character names into speech prefixes.

this

these

retained this from Q1 which is normal early modern grammar.

mains

main sea or high sea (see OED, 3rd ed. main sea)

addiction

predilection, inclination (OED, 3rd ed. 2. n.)

two rivers

i.e., Thamesis and Dee

(lord treasurer)

In previous editions, this and subsequent titles are separated by commas and semi-colons. This edition opts for a more modern bracket.

middest

middle

Middle … Izord

Punctuation in the lists change throughout editorial history. Q1 uses commas to separate the names. Nichols stylizes the list into three columns, one for each name. Dyce, Bullen, and Bergeron use dashes to separate the names. This edition standardizes on a modern colon to separate place names from person names.

other

others (plural)

escutcheon

A shield … bearing a coat of arms (OED, 3rd ed. 1.a. n. )

repast

A quantity of food and drink … for a meal or feast (OED, 3rd ed. 2.a. n. .)

say

A light fabric. (OED, 3rd ed. 1.a. n. .)

In this instance the fabric is red which is worth noting because say is commonly green in colour.(OED, 3rd ed. 1.a. n..)

coif

A close-fitting cap (OED, 3rd ed. n.)

handkercher

Alternative spelling of handerchief (OED, 3rd ed. n..)

sarcenet

Soft silky material small weave from fine thread. Expensive fabric. (OED, 3rd ed. 1.a..)

taffeta

A fine, crisp, and usually lustrous fabric made of silk (OED, 3rd ed. 1..)

viz.

abbreviation of videlicet (adv.) That is to say; … used to introduce (OED, 3rd ed.

paty

Chiefly Heraldry. Of a cross: (formerly) having splayed ends (obsolete); (subsequently) having limbs which are almost triangular, being very narrow where they meet and widening out towards the extremities, so that the whole resembles a square. (OED, 3rd ed. pattée. adj.

Tho. Middleton.

Dyce and Bullen (who quotes Dyce) speculate, on the basis of Middleton’s name appearing at the end of this section, that the following section was not written by Middleton The Works of Thomas Middleton, vol. 5 p. 257 Civitatis Amor, vol. 7 p. 277.

nigh

draw near to (OED, 3rd ed. 1.a. transitive.)

Beguile

to charm (OED, 3rd ed. 4. verb.)

allay

to calm, appease (OED, 3rd ed. 1.5.a. transitive.)

purple robes

Purple is a significant colour because of sumptuary laws that only allowed certain social classes to wear certain colours; in Elizabethan sumptuary laws, purple was reserved for earls, knights of the garter, and people above that rank (Baldwin 228). Although the sumptuary laws were repealed in 1603 (Baldwin 248), they had a residual hold on peopleʼs social understandings.

pursuivants of arms

a junior heraldic officer attendant on a herald or nobleman (OED, 3rd ed. 1.a. n.)

staves

the flexible wooden part of a longbow or similar weapon … i.e., staff (OED, 3rd ed. 1.1. n.)

uprising

getting out of bed

revested

to clothe, apparel, attire (literal and figurative) Also: to dress again, reclothe, esp. ritually or ceremonially. (OED, 3rd ed. 1.1.b. v.)

mantles

cloaks

arson

a saddle-bow; … either two curved wooden or metal pieces fixed to the front and rear of a saddle to give the rider greater stability. (Obsolete). (OED, 3rd ed. 1. n.)

style

To name or address with honorific titles; to honour with a title. (Obsolete). (OED, 3rd ed. 2. v.) The proclamation of the king’s many titles and of the prince’s new titles (Prince of Wales, Duke of Cornwall, Earl of Chester, etc.)

before

in front of

moving wood

Possibly an allusion to Birnam wood in 5.5 of Macbeth. Shakespeare and Middleton collaborated on Macbeth and it was written for King James, the father of Charles. Civitatis Amor is a celebration for Charles that acknowledges his father as his creator.

lady’s voice

London’s voice. Neptune tells Thamesis to be quiet so everyone can hear London.

Neptune. / Sound—On—

Neptune. / Sound! On!

Neptune orders the Tritons to resume their sounding (i.e., noise or music) and then to move forward. The dashes after the two imperative verbs are a seventeenth-century typographical convention indicating that an action occurs.

The typography of this line is unusual; it is set neither as a stage direction nor as a speech. This edition, following Dyce, Bullen, and Bergeron, chooses to treat the line as a speech prefix and speech. See General Introduction for a detailed analysis of this textual crux.

At this point, Neptune waves his mace. In Sp2, Neptune has commanded the Tritons to Be silent, ’til we wave our silver mace.

knights of the Bath

These men were made knights on the occasion of Charles’ installation. It was customary during the reigns of Henry IV to Charles II to create a certain number of knights during royal occasions of great brilliance (Encyclopedia Brittanica).

running at the ring

The action of riding on horseback, typically at a quick pace, and esp. in a race or tournament; racing; jousting.(OED, 3rd ed. 1.i.2.a. n.)

Letters Patents

an open letter or document…issued by a monarch or government to record a contract, authorize or command an action, or confer a privilege, right, office, title, or peroperty. (OED, 3rd ed. 1.1.a. n.)

the first-person pronoun carries over from The Order and Solemnity, written by Samuel Daniel. Presumably, the I is Daniel’s authorial voice coming through.

Collations

Adopted reading (Dyce, Bullen):

— both … Commonwealth —

Q1, Nichols, Bergeron:

, both … commonwealth,

Adopted reading (Dyce):

Lord Mayor

Nichols:

Lord Maior

Q1:

L. Maior

Adopted reading (Q1, Nichols):

Neptune!

Dyce, Bullen, Bergeron:

Neptune,

Adopted reading (Bergeron, Q1):

thanks. / On

Dyce, Bullen:

thanks. On

Dyce and Bullen eliminate paragraph break.

Nichols:

thankes, on

Nichols not only eliminates the paragraph break but makes this one continuous sentence.

Adopted reading (Nichols):

Pembroke

Q1:

Penbrooke

Adopted reading (Bergeron):

choir

originally quire. Choir and quire as homophones could be a pun.

Q1, Dyce, Bullen:

quire

Nichols:

Quire

Adopted reading (Q1):

three

This edition retains original wording. Previous editions likely changed three to thrice to rhyme with near-by twice

Nichols, Dyce, Bullen, Bergeron:

thrice

Adopted reading (Q1, Nichols):

Hope!

retains original punctuation. Exclamation mark is significant because London (an already known character) greets and introduces the new character, Hope, to the audience.

Dyce, Bullen, Bergeron:

Hope,

Adopted reading (Dyce, Bullen):

— whose … fame —

Q1, Bergeron:

, whose … fame,

Nichols:

(whose … fame)

Adopted reading (Nichols):

speaks: / NEPTUNE.

Q1:

Adopted reading (Nichols):

NEPTUNE

Q1:

Adopted reading (Galliford):

Then turning to the Prince, London thus speaks:

The pronouns of London change throughout civic pageantry. This edition does not gender London.

Bergeron:

Then turning to the Prince, thus speaks.

Dyce, Bullen:

Then turning to the Prince, she thus speaks:

Q1:

Then turning to the Prince, thus speakes.

Adopted reading (Bergeron):

The City’s Love … At Chelsea

Dyce, Bullen:

[The City’s Love … At Chelsea]

Nichols:

Nichols omits this entire section. Dyce places it in brackets but notes that this section is superfluous: Nichols omits it. Bullen calls this section an un-necessary repetition. Bergeron retains the content from Q1 but modernizes the spelling and punctuation.

Q1:

The Citties Loue … At Chelsey

Adopted reading (Nichols):

order. / The

Q1:

order; the

Adopted reading (Nichols):

head. / With

Q1:

head. With

Adopted reading (Q1, Bergeron):

creation. / At

Nichols, Dyce, Bullen:

creation. At

Adopted reading (Q1, Bergeron):

thereon. / In

Nichols, Dyce, Bullen:

thereon. In

Adopted reading (Q1):

him. / At

Nichols, Dyce, Bullen, Bergeron:

him. At

Adopted reading (Bergeron):

places. / Service

Nichols, Dyce, Bullen:

places. Service

Q1:

places. / Seruice

Adopted reading (Nichols):

George

Q1:

Adopted reading (Nichols, Dyce, Bullen):

John

Q1, Bergeron:

Adopted reading (Q1):

continues to the end.

Nichols:

Nichols’ edition ends here.

Adopted reading (Dyce, Bullen, Bergeron):

Neptune. / Sound—On—

Nichols:

Neptune, sound on.—

Nichols treats the crux as the last line of London’s speech, while Dyce makes Neptune the speaker and sound on the speech. Bullen and Bergeron follow Dyce.

Adopted reading (Galliford):

(knight, alias Garter principal King of Arms)

Bergeron:

knight, alias Garter principal King of Arms,

Dyce, Bullen:

knight, alias garter principal of arms

Nichols:

Knight, alias Garter Principall King of Armes,

Q1:

Knight, alias Garter, Principall King of Armes,

Characters

Speaking Characters

London, the embodiment of the City

Neptune, the embodiment of the sea

Hope, the embodiment of the virtue

Peace, the embodiment of the virtue

Peace’s Choir

Non-Speaking Characters

Thamesis, the river Thames

Dee, the river Dee

Four virgins, all dressed in white

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.

Kate LeBere

Project Manager, 2020–2021. Assistant Project Manager, 2019–2020. Textual Remediator and Encoder, 2019–2021. Kate LeBere completed her BA (Hons.) in History and English at the University of Victoria in 2020. During her degree she published papers in The Corvette (2018), The Albatross (2019), and PLVS VLTRA (2020) and presented at the English Undergraduate Conference (2019), Qualicum History Conference (2020), and the Digital Humanities Summer Institute’s Project Management in the Humanities Conference (2021). While her primary research focus was sixteenth and seventeenth century England, she completed her honours thesis on Soviet ballet during the Russian Cultural Revolution. She is currently a student at the University of British Columbia’s iSchool, working on her masters in library and information science.

Mahayla Galliford

Assistant project manager, 2024-present; research assistant, encoder, and remediator, 2021-present. Mahayla Galliford (she/her) graduated with a BA (Hons) English from the University of Victoria in 2024. Mahayla’s undergraduate research explored early modern stage directions and civic water pageantry. She continues her studies through the UVic English master’s program and focuses on editing and encoding girls’ manuscript writing in collaboration with LEMDO.

Martin Holmes

Martin Holmes has worked as a developer in the UVicʼs Humanities Computing and Media Centre for over two decades, and has been involved with dozens of Digital Humanities projects. He has served on the TEI Technical Council and as Managing Editor of the Journal of the TEI. He took over from Joey Takeda as lead developer on LEMDO in 2020. He is a collaborator on the SSHRC Partnership Grant led by Janelle Jenstad.

Navarra Houldin

Project manager 2022–present. Textual remediator 2021–present. Navarra Houldin (they/them) 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.

Nicholas Okes

Thomas Middleton

Bibliography

Baldwin, Frances Elizabeth. Sumptuary Legislation and Personal Regulation in England. Baltimore: Johns Hopkins Press, 1926.

Bullen, A.H., ed. Civitatis Amor. Vol. 7. New York: AMS Press Inc., 1964.

Dyce, Alexander, ed. The Works of Thomas Middleton. Vol. 5. London: Edward Lumley, 1840.

Middleton, Thomas. Civitatis Amor. Ed. David Bergeron. Thomas Middleton: The Collected Works. Gen. ed. Gary Taylor and John Lavagnino. Oxford: Oxford University Press, 2007. 1202–1208.

Middleton, Thomas. Civitatis Amor. London: Nicholas Okes, 1616. STC 17878. DEEP 647.

Nichols, John,ed. The Progresses, Processions, and Magnificent Festivities, of King James the First: His Royal Consort, Family, and Court; Collected from Original Manuscripts, Scarce Pamphlets, Corporation Records, Parochial Registers, &c., &c. … Illustrated with Notes, Historical, Topographical, Biographical and Bibliographical. J.B. Nichols, 1828.

OED: The Oxford English Dictionary. 3rd ed. Oxford: Oxford University Press, 2022.

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.

University of Victoria (UVIC1)

https://www.uvic.ca/

Witnesses

Bullen, A.H., ed. Civitatis Amor. Vol. 7. New York: AMS Press Inc., 1964.

Dyce, Alexander, ed. The Works of Thomas Middleton. Vol. 5. London: Edward Lumley, 1840.

Middleton, Thomas. Civitatis Amor. Ed. David Bergeron. Thomas Middleton: The Collected Works. Gen. ed. Gary Taylor and John Lavagnino. Oxford: Oxford University Press, 2007. 1202–1208.

Middleton, Thomas. Civitatis Amor. London: Nicholas Okes, 1616. STC 17878. DEEP 647.

This edition, edited by Mahayla Galliford.

Metadata

Authority title	Civitatis Amor, Modern
Type of text	Primary Source Text
Publisher	University of Victoria on the Linked Early Modern Drama Online Platform
Series	Digital Renaissance Editions
Source	Modern text established by Mahayla Galliford.
Editorial declaration	This edition was edited according to the DRE Editorial Guidelines.
Edition	Released with LEMDO Editions for Peer Review 0.1.4
Sponsor(s)	LEMDO Website LEMDO’s own website, published at lemdo.uvic.ca, is generated using the same technology that builds all the anthologies.
Encoding description	Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines
Document status	draft
Funder(s)	Social Sciences and Humanities Research Council of Canada
License/availability	Intellectual copyright in this edition is held by the editor, Mahayla Galliford. The XML file of the modern text is licensed for reuse under a CC BY-NC-SA 4.0 license, which means that it is freely downloadable without permission under the following conditions: (1) credit must be given to the editor, DRE, and LEMDO in any subsequent use of the files and/or data; (2) derivatives (e.g., adapted scripts for performance) must be shared under the same CC BY-NC-SA 4.0 license; and (3) commercial uses are not permitted without the knowledge and consent of the editor, DRE, and LEMDO.

Civitatis Amor, Modern

The Ample Order and Solemnity of Prince Charles his Creation

The City’s Love

The Entertainment by Water at Chelsea and Whitehall

The Entertainment at Whitehall

Prince Charles his Creation

Annotations

Collations

Characters

Speaking Characters

London, the embodiment of the City

Neptune, the embodiment of the sea

Hope, the embodiment of the virtue

Peace, the embodiment of the virtue

Peace’s Choir

Non-Speaking Characters

Thamesis, the river Thames

Dee, the river Dee

Four virgins, all dressed in white

Prosopography

Janelle Jenstad

Kate LeBere

Mahayla Galliford

Martin Holmes

Navarra Houldin

Nicholas Okes

Thomas Middleton

Bibliography

Orgography

LEMDO Team (LEMD1)

University of Victoria (UVIC1)

Witnesses

Metadata

LEMDO Website