Pub Date : 2023-09-22DOI: 10.1080/0268117x.2023.2258840
Laura Charles
When the 2nd Duke of Newcastle-upon-Tyne, Henry Cavendish died in 1691, he left behind one of the wealthiest estates in England. Having no male heir, he chose to leave his fortune to his favourite daughter Margaret. This decision was not well received by other family members, leading to a lengthy conflict culminating in court proceedings that attempted to contest the will. Utilising both judicial sources as well as personal correspondence, this paper examines the role and influence of the women within the Cavendish family in this process. It explores the methods by which they were able to participate both in and outside of court, and how they utilised both practical and emotional tactics to achieve their aims. This paper argues that the idealised roles of wife, mother and widow offered women a role of influence, lending credibility to their testimonies as well as enabling them to effectively manage family discord.
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Pub Date : 2023-09-18DOI: 10.1080/0268117x.2023.2250735
J. P. Vander Motten
ABSTRACTThe present article brings to light new information about Thomas Peadle, a representative of the younger generation of a late 16th- and early 17th-century family of strolling entertainers, whose career has been very imperfectly documented. Archival materials relating to his marriage in Amsterdam in 1639, his presence at Delft in 1640, and his appearance at The Hague in 1641 suggest that Peadle took his troupe on a tour of The Low Countries in the 1630s and early 1640s. Further evidence of his theatrical activities on the continent is contained in an agreement for co-operation concluded at Paris on 22 October 1649 between Peadle and Thomas Cosby, a fellow rope dancer, on the one hand, and Florent Marchand, a French ‘water-spouter’, on the other. They continued their joint performances in England, where their co-operation ended in 1650, culminating in the English partners’ ruthless exposure of Marchand’s ‘trade secrets’.KEYWORDS: Thomas PeadleThomas Cosbyrope dancersFlorent Marchandcross-Channel artistic exchanges Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 Cohn, Shakespeare in Germany, lxxxii – lxxxiii, lxxxviii; Meissner, Die englischen Comoedianten, 40–43; Herz, Englische Schauspieler, 36, 52–53; Bentley, Jacobean and Caroline Stage, 521–23; Harry R. Hoppe, ‘English Actors at Ghent’, 309; and Bachrach, ‘Leiden en de “Strolling Players”’, 33–4. Philip Butterworth has mistakenly assumed that ‘[t]he earliest records that concern the Peadle family’ are dated April 1609: see Magic, 30–31.2 Murray, English Dramatic Companies, 342, 346.3 Bawcutt, Control and Censorship, 309–10. On Cecily Peadle’s ‘performative legitimacy’ as leader of the troupe, see Mueller, ‘Touring, Women’, 60–61.4 Eccles, ‘Elizabethan Actors’, 300.5 Murray, 253–54.6 Gemeente Amsterdam. Stadsarchief [City Archives]. Huwelijksintekeningen van de Kerk, inv. 452, page 258. Thomas’s year of birth, 1612, made him the elder brother of Cornelius, baptized on 8 August 1617, and Anne, baptized on 31 January 1621: see Bentley, 522–23.7 Cecily Peadle, possibly the company manager in August 1631, was left unmentioned in the December 1639 Coventry record.8 Bentley, 522, has stated that Peadle ‘had been appearing with his father’s troupe for some time [my italics] before his name got into the Coventry records’, i.e. before 24 December 1639.9 Archief Delft. Doopboeken Nieuwe Kerk, folio 43 v.10 Vander Motten and Roscam Abbing, ‘Seventeenth-Century English Rope Dancers in the Low Countries’, 13 and passim; and Vander Motten and Roscam Abbing, ‘Seventeenth-Century English Rope Dancers in the Netherlands’.11 Gemeentearchief Den Haag. Oud Archief. Registers van minuten, 201, dd. 27 April 1641. I owe thanks to Ms Saskia Noot, The Hague City Archives, for having supplied me with a scan of this document.12 Harry R. Hoppe has pointed out that ‘[t]he outbreak of the Thirty Years War in 1620 probably drove many troupes that customarily toured Germany in
摘要本文揭示了托马斯·皮德尔(Thomas Peadle)的新信息，他是16世纪末和17世纪初一个流浪艺人家庭年轻一代的代表，他的职业生涯一直没有得到完整的记录。有关皮德尔1639年在阿姆斯特丹结婚，1640年出现在代尔夫特，1641年出现在海牙的档案资料表明，皮德尔在1630年代和1640年代初带着他的剧团到低地国家巡回演出。1649年10月22日，皮德尔和托马斯·科斯比(绳子舞者)以及法国“水龙”弗洛伦特·马尔尚(Florent Marchand)在巴黎达成了一项合作协议，进一步证明了他在欧洲大陆的戏剧活动。他们继续在英国合作演出，直到1650年他们的合作结束，最终英国合伙人无情地揭露了马尔尚的“商业秘密”。关键词:Thomas PeadleThomas Cosbyrope舞蹈家florent marchand跨海峡艺术交流披露声明作者未报告潜在利益冲突。注1科恩，莎士比亚在德国，lxxxii - lxxxiii, lxxxviii;《英语喜剧演员》迈斯纳，40-43页;赫兹，英国Schauspieler, 36, 52-53;宾利，雅各宾和卡罗琳舞台，521-23;Harry R. Hoppe，《根特的英国演员》，309;巴赫拉赫的《Leiden en de“漫步的玩家”》，33-4页。菲利普·巴特沃斯错误地认为“有关皮德尔家族的最早记录”的日期是1609年4月:见Magic, 30-31.2 Murray, English Dramatic Companies, 342, 346.3 Bawcutt, Control and Censorship, 309-10。关于Cecily Peadle作为剧团领袖的“表演合法性”，见Mueller，“巡回演出，女性”，60-61.4 Eccles，“伊丽莎白时期的演员”，300.5 Murray, 253-54.6 Gemeente Amsterdam。城市档案馆。Huwelijksintekeningen van de Kerk，第452页，第258页。托马斯出生于1612年，是科尼利厄斯的哥哥，科尼利厄斯于1617年8月8日受洗，安妮于1621年1月31日受洗:见本特利，522-23.7塞西莉·皮德尔，可能是1631年8月的公司经理，在1639年12月的考文垂记录中没有提及522岁的本特利说，皮德尔“在他的名字被考文垂记录在案之前，已经和他父亲的剧团一起演出了一段时间”，也就是在1639.9年12月24日之前。杜波肯·纽维·克尔克，第43页，第10页Vander Motten和Roscam Abbing，“低地国家的17世纪英国绳舞者”，13和passim;范德·莫顿和罗斯康·阿宾的《17世纪荷兰的英国绳索舞者》海牙会议主席。乌得琴Archief。2001年，1641年4月27日。我要感谢海牙市档案馆的Saskia Noot女士，她为我提供了这份文件的扫描件Harry R. Hoppe曾指出:“1620年三十年战争的爆发可能迫使许多惯常在德国巡回演出的剧团进入低地国家;16世纪40年代，英国的内战一定把其他人赶到了欧洲大陆。”见《英国表演公司》，29页。17世纪30年代，在阿姆斯特丹(1636年12月)、哈勒姆(1639年10月)、海牙(1632年1月和1639年10月)、吕沃登(1635年7月)、莱顿(1638年5月)和乌得勒支(1633年12月和1634年1月)，出现了罗伯特·雷诺兹、爱德华·普德西、约翰·巴特勒、约翰·佩恩和罗伯特·阿彻等演员。见里瓦尔德，“英国演员”，157-78.13。17世纪巴黎中心的国王公证人住所:见j<s:1>加登，“La communaut<e:1> des Notaires”14法语原文是:“don ' ils s ' exercise et meslent [moulent] journelement”。Alan Howe指出，“se mesler de quelque chose”这个表达可能意味着“利用某人的专业或职业”和“照顾某事”。如果单独提到“se mêler”，这个动词可能意味着皮德尔和考斯比是严格的管理角色，他们自己不一定会出现在舞台上。但是动词' s '锻炼者'的添加无疑表明他们'积极参与他们的作品':见'英国演员在巴黎'，132.15国家档案馆，巴黎。分钟和曲目。MC / ET /我/ 124。协会，1649年10月22日我感谢valsamrie De Wulf女士提供了本文件的扫描件。我提供了一个近乎完整的翻译，只省略了两三个公式化的结尾短语(用三个点表示)。为了便于理解，我将难以解读的文本分成句子，并添加了标点符号(原文中完全没有)，澄清了方括号之间的一些段落，省略了一两个同义词，并将地名的拼写现代化并大写。巴黎的教区和街道名称是斜体字，但仍未翻译。我还在圆括号中指出了两三个难以辨认的字。 16范德·莫顿和罗斯坎·阿宾，《17世纪荷兰的英国绳索舞者》，106.17见阿斯顿，《威廉·文森特》;巴特，《威廉·文森特，别名魔咒》;范德尔·莫顿，《小丑约翰内斯·迈克尔·菲罗》关于17世纪晚期的一个例子，见范德·莫顿的《雅各布·霍尔》这些罚款的一部分通常是要用于演出所在城镇或城市的穷人的福利，但在这种情况下却没有Highfill, Burnim, and Langhans, A Biographical Dictionary, 1.21 A Register of English Theatrical Documents, 573.22 Bawcutt, Control and Censorship, 293.23 Hotson, 21-23;米勒斯和休谟的《新光》(New Light)关于斯毕德和安德鲁的信息来自艾伦·豪的《英国演员在巴黎》;Howe, Jurgens, and Chauleur, 1993 - 200.25 Howe，“英国演员在巴黎”，137;在有关这一主题的著作中，他的名字普遍被拼错为Floram而不是Florent，后者是1649年公证书中记录的形式在一封日期为1640年3月11日的信中，笛卡尔怀疑曼弗雷德“doit avoir un trou sous le menton……et c ' est par l<e:1> qu ' il fait passer ces liquurs '[他的下巴下必须有一个洞，他通过这个洞来传递这些酒]:见表兄弟，编辑，Oeuvres de Descartes, 211.28所罗门，公共福利，39 - 40,60 - 66,80;Mazauric，《智慧与哲学》，第3.29章《论述总集》;《另一本哲学论文集》。30法语原版曾发表在《四世纪》(巴黎，1641年)上，我无法查阅。英文译本是载于377-400号《关于薪金、薪金、薪金、薪金和薪金的确认》的案文的精简本。关于(不完整的)再版，见:Mauret主编，Le Beuveur d 'Eau.31《权力》，实验哲学，72-76页。关于Henry Power，见Johns, ODNB，访问于2023年6月17日的OED:“I, 1a: Brazi
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