The Union of the Two Noble and Illustre Families of Lancaster and York
From Edward Hall, The Vnion of the two noble and illustre famelies of Lancastre and Yorke
Para1During his sickness, as authors write, King Henry IV caused his crown to be, set on
the pillow at his bed’s head, and suddenly his pang so sore troubled him that he lay
as though all his vital spirits had been from him departed. Such chamberlains as had
the cure and charge of his body, thinking him to be departed and dead, covered his
face with a linen cloth. The prince his son, being thereof advertised, entered into
the chamber and took away the crown and departed. The father, being suddenly revived
out of his trance, quickly perceived the lack of his crown, and having knowledge that
the prince his son had possessed it, caused him to repair to his presence, requiring
of him for what cause he had so misused himself. The prince with a good audacity answered,
“Sir, to mine and all men’s judgments you seemed dead in this world, wherefore I as
your next and apparent heir took that as mine own and not as yours”. “Well, fair son”,
said the King (with a great sigh), “what right I had to it and how I enjoyed it, God
knoweth”. “Well”, quoth the prince, “If you die king, I will have the garland and
trust to keep it with the sword against all mine enemies as you have done”. “Well”,
said the King, “I commit all to God, and remember you to do well”, and with that turned
himself in his bed and shortly after departed to God.
Para2This King, this man, was he which (according to the old proverb) declared and showed
that honors ought to change manners. For incontinent after that he was stalled in
the siege royal, and had received the crown and scepter of the famous and fortunate
region, determined with himself to put on the shape of a new man, and to use another
sort of living, turning insolence and wildness into gravity and soberness, and wavering
vice into constant virtue. And to the extent that he would so continue without going
back, and not thereunto be allured by his familiar companions, with whom he had passed
his young age in wanton pastime and riotous misorder (insomuch that for imprisonment of one of his
wanton mates and unthrifty playferes he struck the Chief Justice with his fist on
the face, for which offence he was not only committed to straight prison, but also
of his father put out of the privy council and banished the court, and his brother
Thomas Duke of Clarence elected president of the King’s council to his great displeasure
and open reproach), he therefore banished and separated from him all his old flatterers
and familiar companions (not unrewarded nor yet unpreferred), inhibiting them upon
a great pain not once to approach either to his speech or presence, nor yet to lodge
or sojourn within ten miles of his court or mansion. And in their places he elected
and chose men of gravity, men of wit, and men of high policy, by whose wise counsel
and prudent instruction he might at all times rule to his honor and govern to his
profit.
Para3Wherefore on a day when the King was present in the parliament, Henry Chichele, Archbishop
of Canterbury thereto newly preferred, which beforetime had been a monk of the Carthusians,
a man which had professed willful poverty in religion, and yet coming abroad much
desired honor, and a man much regarding God’s law, but more loving his own lucre.
After low obeisance made to the King he said after this manner in effect: “When I
consider, our most entirely beloved and no less dread sovereign lord and natural prince,
the loving mind, the daily labor and continual study which you incessantly employ
both for the advancement of the honor of your realm and also profit of your people,
I cannot nor ought not […] keep silence. […] [B]y lineal deceit, by progeny of blood and by very inheritance, not only the duchy
of Normandy and Aquitaine with the counties of Anjou and Maine and the country of
Gascony are to you as true and indubitate heir of the same lawfully devolved and lineally
descended from the high and most noble prince of famous memory, King Edward the Third,
your great-grandfather, but also the whole realm of France with all his prerogatives
and pre-eminences, to you as heir to your great grandfather is of right belonging
and appertaining. […] Wherefore regard well, my sovereign Lord, your just and true title to the realm of
France, by God’s law and man’s law to you devoluted as very heir to Queen Isabel,
your great grandmother, daughter to King Philip the Fair and sister and heir to four
kings deceasing without any issue. […] Therefore for God’s sake lose not your patrimony, disinherit not your heirs, dishonor
not your self, diminish not your title, which your noble progenitors so highly have
esteemed. Wherefore advance forth your banner, fight for your right, conquer your
inheritance, spare not sword, blood or fire; your war is just, your cause is good,
and your claim true; and therefore courageously set forward your war against your
enemies […] ” When the Archbishop had finished his prepared purpose, Ralph, Earl of Westmoreland,
a man of no less gravity than experience, and of no more experience than stomach,
which was then high Warden of the marches toward Scotland, and therefore thinking
that if the King should pass over into France with his whole puissance, that his power
should be too weak to withstand the strength of Scotland if they should invade during
the King’s absence. Wherefore he rose up, and making his obeisance to the King, said,
“Surely, sir, as my Lord Canterbury hath clerkly declared, the conquest of France
is very honorable, and when it is gotten and obtained, very profitable and pleasant.
But saving Your Grace’s reformation, I say and affirm that to conquer Scotland is
more necessary, more apparent easy, and more profitable to this realm than is the
gain of France […] Wherefore my counsel is, first to invade Scotland, and by God’s grace to conquer
and join that region to your empire, and to restore the renowned monarchy of Britain
to her old estate and pre-eminence, and so beautified with realms and furnished with
people, to enter into France for the recovering of your righteous title and true inheritance,
in observing the old, ancient proverb used by our forefathers, which sayeth, “He that
will France win, must with Scotland first begin””.
Para4“No”, quoth the Duke of Exeter, uncle to the King […] “he that will Scotland win, let him with France first begin. […] Then if France be the nourisher of Scotland, if the French pensions be the sustainers
of the Scottish nobility, if the education of Scots in France be the cause of practice
and policy in Scotland, then pluck away France and the courage of the nobles of Scotland
shall be soon daunted and appalled. […] Behold the conditions of the councillors and the desire of the movers: what persons
were they which coveted their poor neighbors rather than rich foreigners? Men more
meet for a carpet than a camp, men of a weak stomach, desiring rather to wake in a
pleasant garden than pass the seas in a tempestuous storm. What should I say? […] If you get France, you get two, and if you get Scotland, you get but one”.
Para5Here I overpass how some writers say that the Dauphin, thinking King Henry to be given
still to such plays and light follies as he exercised and used before the time that
he was exalted to the crown, sent to him a tun of tennis balls to play with, as who
said that he could better skill of tennis than of war, and was more expert in light
games than martial policy. Whether he [King Henry] were moved with this unwise present,
or espying that the Frenchmen dallied and vainly delayed his purpose and demand, was
moved and pricked forward, I cannot judge, but sure it is that after the return of
his ambassadors, he, being of a haughty courage and bold stomach, living now in the
pleasantest time of his age, much desiring to enlarge and dilate his empire and dominion,
determined fully to make war in France, conceiving a good trust and a perfect hope
in this point which he had before experimented, which is that victory for the most
part followeth where right leadeth, advanced forward by justice and set forth by equity.
Para6At a time prefixed, the Archbishop of Bruges made an eloquent and long oration, dissuading
war, and praising peace, offering to the King of England a great sum of money with
diverse base and poor countries, with the Lady Katherine in marriage, so that he would
dissolve his army and dismiss his soldiers which he had gathered and made ready. […] The bishop of Bruges, being inflamed with anger that his purpose took none effect,
desiring license and pardon of the King that he might speak, which one attained he
very rashly and unreverently said, “Thinkest thou to put down and destroy wrongfully
the most Christian king, our most redoubted sovereign lord and most excellentest prince
of all Christianity, of blood and preeminence? Oh, King, saving thine honor, thinkest
thou that he hath offered or cause to be offered to the lands goods, or other possessions
with his own daughter for feare of thee or thy English nation, or thy friends, or
well willers, or fautors. No, no? But of truth, he, moved with pity, as a lover of
peace, to the intent that innocent blood should not be dispersed abroad and that Christian
people should not be afflicted with battle and destroyed with mortal war, hath made
to thee this reasonable offers and this godly motion, putting his whole affiance in
God most puissant according to right and reason, trusting in his quarrel to be aided
and supported by his benevolent subjects and favorable well-willers. And since we
be subjects and servants, we require thee to cause us safely and surely without damage
to be conducted out of thy realm and dominions, and that thou wilt write thine answer
wholly as thou hast given it, under thy seal and sign manual”.
Para7The King of England […] coldly and soberly answered the bishop, saying, “My lord, I little esteem your French
brags, and less set by your power and strength. I now perfectly my right to your region,
and except you will deny the apparent truth, so do you, and if you neither do nor
will, yet God and the world knoweth it […] But this I say unto you, that before one year pass, I trust to make the highest crown
of your country stoop and the proudest miter to kneel down; and say this to the usurper
your master, that I within three months will enter into France, not as into his land,
but as into mine own true and lawful patrimony, intending to conquer it, not with
bragging words, flattering orations, or colored persuasions, but with puissance of
men and dint of sword, by the side of God in whom is my whole trust and confidence.
And as concerning my answer to be written, subscribed, and sealed, I assure you that
I would not speak that sentence the which I would not write and subscribe, nor subscribe
that line to the which I would refuse to put my seal. Therefore, your safe conduct
shall be to you delivered with mine answer, and then you may depart surely and safely,
I warrant you, into your country, where I trust sooner to visit you than you shall
have cause to salute me or bid me welcome”.
Para8When the wind was prosperous and pleasant for the navy to set forward, they weighed
up the anchors and hoisted up their sails and set forward with fifteen hundred ships
on the vigil of the Assumption of Our Lady, and took land at Caux, commonly called
Kyd Caux (where the river of Seine runs into the sea) without resistance or bloodshedding.
Para9The French King being at Rouen, hearing that the King of England was past the water
of Somme, was not a little discontent, and assembled his council to the number of
thirty-five to consult what should be done […] And so Mountjoy, King-at-Arms, was sent to the King of England to defy him as the
enemy of France, and to tell him that he should shortly have battle. King Henry soberly
answered, “Sir, mine intent and desire is none other but to do as it pleaseth Almighty
God and as it becometh me, for surely I will not seek your master at this time, but
if he or his seek me I will willingly fight with him.”
Para10When the lords of France heard the King of England’s answer, it was incontinent proclaimed
that all men of war should resort to the Constable of France to fight with the King
of England and his puissance. Whereupon all men accustomed to bear armes and desirous
to win honor through the realm of France drew toward the field. The Dauphin sore desired
to be at that battle, but he was prohibited by the King his father.
Para11The Constable of France, the Marshall, the Admiral, the Lord Rambures, Master of the
Crossbows and diverse lords and knights pitched their banners near to the banner royal
of the Constable in the county of Saint Paul within the territory of Agincourt, which
way the Englishmen must needs pass toward Calais. The Frenchmen made great fires about
their banners […] and all that night made great cheer and were very merry. The Englishmen that night
sounded their trumpets and diverse instruments musical with great melody, and yet
their were both hungry, weary, sore travailed and much vexed with cold diseases.
Para12When these battles were thus ordered, it was a glorious sight to behold them, and
surely they were esteemed to be in number six times as many or more than was the whole
company of the Englishmen with wagoners, pages and all. Thus the Frenchmen were every
man under his banner only waiting for the bloody blast of the terrible trumpet […] during which season the Constable of France said openly to the captains in effect
as followeth: “Friends and companions in arms, I cannot but both rejoice and lament
the chances and fortunes of these two armies which I openly see and behold with mine
eyes here present. I rejoice for the victory which I see at hand for our part, and
I lament and sorrow for the misery and calamity which I perceive to approach to the
other side. For we cannot but be victors and triumphant conquerors, for who saw ever
so flourishing an army within any Christian region, or such a multitude of valiant
persons in one company? Is not here the flower of the French nation on barded hourses
with sharp spears and deadly weapons? Are not here the bold Britons with fiery handguns
and sharp swords? See you not present the practiced [Picards], with strong and weighty
crossbows? Beside these, we have the fierce Brabants and strong Almains with long
pikes and cutting slaughmesses. And on the other side is a small handful of poor Englishmen
which are entered into this region in hope of some gain or desire of profit, which
by reason that their victual is consumed and spent are by daily famine sore weakened,
consumed, and almost without spirits. […] For you must understand that if you keep an Englishman one month from his warm bed,
fat beef and stale drink and let him that season taste cold and suffer hunger, you
shall see his courage abated, his body wax lean and bare, and ever desirous to return
into his own country”.
Para13King Henry, also like a leader and not like one led, like a sovereign and not like
a soldier, ordered his men for his most advantage like an expert captain and a courageous
warrior. And first he sent privily twenty archers into a low meadow which was near
to the forward of his enemies, but separate with a great ditch, and were there commanded
to keep themselves close till they had a token to them given to shoot at their adversaries.
Beside this, King Henry the Fifth appointed a vanguard, of the which he made captain
Edward, Duke of York, which of a haughty courage had of the King required and obtained
that office, and with him were the Lords Beaumont, Willoughby and Fanhope, and this
battle was all archers. The middle ward was governed by the King himself with his
brother the Duke of Gloucester, and the Earls Marshall, Oxford and Suffolk, in the
which were all the strong billmen. The Duke of Exeter, uncle to the King, led the
rearward, which was mixed both with archers and billmen. The horsemen like wings went
on every side of the battle. When the King had thus ordered his battle, […] he caused stakes bound with iron, sharp at both ends, of the length of five or six
foot to be pitched before the archers, and on every side the footmen like an hedge,
to the intent that if the barde horses ran rashly upon them, they might shortly be
gored and destroyed.
Para14The Frenchmen […] “little or nothing regarding the small number of the English nation, were of such
haughty courage and proud stomachs that they took no thought for the battle, as who
say they were victors and overcomers before any stroke was stricken, and laughed at
the English men, and for very pride though themselves lifted into heaven, jesting
and boasting that they had the Englishmen enclosed in a strait, and had overcome them
and taken them without any resistance. The captains determined how to divide the spoil,
the soldiers played for the Englishmen at dice, the noblemen devised a chariot how
they might triumphantly convey King Henry, being captive, to the city of Paris” […] I may not forget how the Frenchmen, being in this pleasant pastime, sent a herald
to King Henry to inquire what ransom he would offer, and how he answered that within
two or three hours he hoped that it should so happen that the Frenchmen should come
rather with the Englishmen how to be redeemed, than the Englishmen should take thought
how to pay any ransom or money for their deliverance, ascertaining them for himself
that his dead carrion should rather be their prey than his living body should pay
any ransom.
Para15In the morning, Mountjoy, King-at-Arms, and four heralds came to King Henry to know
the number of prisoners and to desire burial for them which were slain. Before he
could make any answer to the heralds, he, remembering that it is more honorable to
be praised of his enemies than to be extoled of his friends, and he that praiseth
himself lacketh loving neighbors, wherefore he demanded of them why they made to him
that request, considering that he knew not certainly whether the praise and the victory
were meet to be attributed to him or to their nation. “Oh, Lord”, quoth Mountjoy,
King-at-Arms, “think you us officers of arms to be rude and bestial persons? […] we say, determine, and affirm that the victory is yours, the honor is yours, and
yours is the glory, advising you, as you have manfully gotten it, so politically to
use it”. “Well”, said the King, “seeing this is your determination, I willingly accept
the same, desiring you to know the name of the castle near adjoining”. When they had
answered that it was called Agincourt, he said that this conflict should be called
the Battle of Agincourt, “which victory hath not been obtained by us nor our power,
but only by the sufferance of God, for injury and untruth that we have received at
the hands of your prince and his nation”.
Para16But surely by the relation of the heralds and declaration of other notable persons
worthy of credit […] there were slain on the French part above ten thousand persons, whereof were princes
and nobles bearing banners one hundred twenty six, and all the remnant, saving sixteen
hundred, were knights esquires and gentlemen, so of noblemen and gentlemen were slain
eight thousand four hundred, of the which five hundred were dubbed knights the night
before the battle.
Para17 […] Of Englishmen at this battle were slain Edward, Duke of York, the Earl of Suffolk,
Sir Richard Chichele and Davy Gam, Esquire, and of all other not above twenty-five,
if you will give credit to such as write miracles. But other writers, whom I sooner
believe, affirm that there was slain above five or six hundred persons, which is not
unlikely considering that the battle was earnestly and furiously fought by the space
of three long hours, wherefore it is not incredible nor impossible but more Englishmen
than five and twenty were slain and destroyed.
Para18The next day all such as were appointed repaired toward the pavilion ordained for
the consultation. Where the King, like a prince of great stomach and no less good
behavior, received humbly the French queen and her daughter and them honorably embraced
and familiarly kissed. […] After the King’s requests made and his demands declared, the French queen and her
company took leave lovingly of the King of England and returned to Pontoise to certify
her husband of her demands and claims. […] The next day after they assembled again, and the French part brought with them the
lady Katherine, only to the intent that the King of England, seeing and beholding
so fair a lady and so minion a damsel, should so be inflamed and rapt in love that
he, to obtain so beautiful an espouse, should the sooner agree to a gentle peace and
loving composition.
Para19And after he had reposed himself, King Henry went to visit the king of France, the
queen and the lady Katherine, whom he found in Saint Peter’s Church. […] and on the third day of June next following they were with all solemnity espoused
and married in the same church. At which marriage the Englishmen made such triumphs,
pomps and pageants as though the king of all the world had been present. La, so much
(as three French writers affirm) that the nobles of France more marveled at the honor
and glory of the Englishmen than they disdained or maligned at their own fortune.
Para20And when these solemn ceremonies were honorably finished and the marriage consummated,
the two kings and their council assembled together diverse days, wherein the former
league and treaty was in diverse points altered and brought to a certainty by the
device of the King of England and his brethren. When this great matter was finished,
the kings swore for their part to observe this agreement and league in all points.
Likewise swore the duke of Burgundy and a great number of princes and nobles which
were present, and that the sooner because they marveled before at his noble acts done
by King Henry of whom they had knowledge only by report, and now they more marveled
when they saw and beheld the honor, estate, and wisdom of his person.
Prosopography
Andrew Griffin
Andrew Griffin is an associate professor in the department of English and an affiliate
professor in the department of Theater and Dance at the University of California,
Santa Barbara. He is general editor (text) of Queen’s Men Editions. He studies early
modern drama and early modern historiography while serving as the lead editor at the
EMC Imprint. He has co-edited with Helen Ostovich and Holger Schott Syme Locating the Queen’s Men (2009) and has co-edited The Making of a Broadside Ballad (2016) with Patricia Fumerton and Carl Stahmer. His monograph, Untimely Deaths in Renaissance Drama: Biography, History, Catastrophe, was published with the University of Toronto Press in 2019. He is editor of the
anonymous The Chronicle History of King Leir (Queen’s Men Editions, 2011). He can be contacted at griffin@english.ucsb.edu.
Anonymous
Edward Hall
Helen Ostovich
Helen Ostovich, professor emerita of English at McMaster University, is the founder
and general editor of Queen’s Men Editions. She is a general editor of The Revels Plays (Manchester University Press); Series
Editor of Studies in Performance and Early Modern Drama (Ashgate, now Routledge),
and series co-editor of Late Tudor and Stuart Drama (MIP); play-editor of several
works by Ben Jonson, in Four Comedies: Ben Jonson (1997); Every Man Out of his Humour (Revels 2001); and The Magnetic Lady (Cambridge 2012). She has also edited the Norton Shakespeare 3 The Merry Wives of Windsor Q1602 and F1623 (2015); The Late Lancashire Witches and A Jovial Crew for Richard Brome Online, revised for a 4-volume set from OUP 2021; The Ball, for the Oxford Complete Works of James Shirley (2021); The Merry Wives of Windsor for Internet Shakespeare Editions, and The Dutch Courtesan (with Erin Julian) for the Complete Works of John Marston, OUP 2022. She has published
many articles and book chapters on Jonson, Shakespeare, and others, and several book
collections, most recently Magical Transformations of the Early Modern English Stage with Lisa Hopkins (2014), and the equivalent to book website, Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context containing scripts, glossary, almost fifty conference papers edited and updated to
essays; video; link to Queenʼs Mens Ediitons and YouTube: http://threeladiesoflondon.mcmaster.ca/contexts/index.htm, 2015. Recently, she was guest editor of Strangers and Aliens in London ca 1605,
Special Issue on Marston, Early Theatre 23.1 (June 2020). She can be contacted at ostovich@mcmaster.ca.
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.
Joey Takeda
Joey Takeda is LEMDO’s Consulting Programmer and Designer, a role he
assumed in 2020 after three years as the Lead Developer on
LEMDO.
Karen Sawyer Marsalek
Karen Sawyer Marsalek (Famous Victories of Henry V, early modern text) is an associate professor of English at St. Olaf College. She
has edited, directed and performed in several early English plays. Her publications
include essays on
trueresurrections in medieval drama and The Winter’s Tale,
falseresurrections in the Chester Antichrist and 1 Henry IV, and theatrical properties of skulls and severed heads. Her current research is on remains and revenants in the King’s Men’s repertory. She can be contacted at marsalek@stolaf.edu.
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.
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.
Mathew Martin
Dr. Mathew R. Martin is Full Professor at Brock University, Canada, and
Director of Brock’s PhD in Interdisciplinary Humanities. He is the
author of Between Theatre and Philosophy (2001)
and Tragedy and Trauma in the Plays of Christopher
Marlowe (2015) and co-editor, with his colleague James
Allard, of Staging Pain, 1500-1800: Violence and Trauma
in British Theatre (2009). For Broadview Press he has edited
Christopher Marlowe’s Edward the Second (2010),
Jew of Malta (2012), Doctor Faustus: The B-Text (2013), and Tamburlaine the Great Part One and Part Two (2014). For
Revels Editions he has edited George Peele’s David and
Bathsheba (2018) and Marlowe’s The Massacre
at Paris (forthcoming). He has published two articles of
textual criticism on the printed texts of Marlowe’s plays:
Inferior Readings: The Transmigration of(Early Theatre 17.2 [December 2014]), and (on the political inflections of the shifts in punctuation in the early editions of the play)Materialin Tamburlaine the Great
Accidents Happen: Roger Barnes’s 1612 Edition of Marlowe’s Edward the Second(Early Theatre 16.1 [June 2013]). His latest editing project is a Broadview edition of Robert Greene’s Selimus. He is also writing two books: one on psychoanalysis and literary theory and one on the language of non-violence in Elizabethan drama in the late 1580s and 1590s.
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.
Peter Cockett
Peter Cockett is an associate professor in the Theatre and Film Studies at McMaster
University. He is the general editor (performance), and technical co-ordinating editor
of Queen’s Men Editions. He was the stage director for the Shakespeare and the Queen’s Men project (SQM),
directing King Leir, The Famous Victories of Henry V, and Friar Bacon and Friar Bungay (2006) and he is the performance editor for our editions of those plays. The process
behind those productions is documented in depth on his website Performing the Queen’s Men. Also featured on this site are his PAR productions of Clyomon and Clamydes (2009) and Three Ladies of London (2014). For the PLS, the University of Toronto’s Medieval and Renaissance Players,
he has directed the Digby Mary Magdalene (2003) and the double bill of George Peele’s The Old Wives Tale and the Chester Antichrist (2004). He also directed An Experiment in Elizabethan Comedy (2005) for the SQM project and Inside Out: The Persistence of Allegory (2008) in collaboration with Alan Dessen. Peter is a professional actor and director
with numerous stage and screen credits. He can be contacted at cockett@mcmaster.ca.
Scott Matthews
Tracey El Hajj
Junior Programmer 2019–2020. Research Associate 2020–2021. Tracey received her PhD
from the Department of English at the University of Victoria in the field of Science
and Technology Studies. Her research focuses on the algorhythmics of networked communications. She was a 2019–2020 President’s Fellow in Research-Enriched
Teaching at UVic, where she taught an advanced course on
Artificial Intelligence and Everyday Life.Tracey was also a member of the Map of Early Modern London team, between 2018 and 2021. Between 2020 and 2021, she was a fellow in residence at the Praxis Studio for Comparative Media Studies, where she investigated the relationships between artificial intelligence, creativity, health, and justice. As of July 2021, Tracey has moved into the alt-ac world for a term position, while also teaching in the English Department at the University of Victoria.
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.
QME Editorial Board (QMEB1)
The QME Editorial Board consists of Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text), with the support of an Advisory Board.
Queenʼs Men Editions (QME1)
The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter
Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text).
University of Victoria (UVIC1)
https://www.uvic.ca/Metadata
Authority title | The Union of the Two Noble and Illustre Families of Lancaster and York |
Type of text | Primary Source |
Short title | FV: Hall |
Publisher | University of Victoria on the Linked Early Modern Drama Online Platform |
Series | Queenʼs Men Editions |
Source |
Born-digital, peer-reviewed document written by Mathew Martin. First published in the QME 1.0 anthology on the ISE platform. Converted to TEI-XML
and remediated by the LEMDO Team for republication in the QME 2.0 anthology on the LEMDO platform.
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Editorial declaration | Edited according to the ISE Editorial Guidelines |
Edition | Released with Queenʼs Men Editions 2.0 |
Sponsor(s) |
Queenʼs Men EditionsThe Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter
Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text).
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Encoding description | Encoded in TEI P5 according to the LEMDO Customization and Encoding Guidelines |
Document status | published, peer-reviewed |
Licence/availability | Intellectual copyright in this edition is held by the editor, Mathew Martin. The critical paratexts, including this Union of the Two Noble and Illustre Families of Lancaster and York, are licensed under a CC BY-NC_ND 4.0 license, which means that they are freely downloadable without permission under the following conditions: (1) credit must be given to the editor, QME, and LEMDO in any subsequent use of the files and/or data; (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 QME, the editor, and LEMDO. This license allows for pedagogical use of the critical paratexts in the classroom. Production photographs and videos on this site may not be downloaded. They appear freely on this site with the permission of the actors and the ACTRA union. They may be used within the context of university courses, within the classroom, and for reference within research contexts, including conferences, when credit is given to the producing company and to the actors. Commercial use of videos and photographs is forbidden. |