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The Tower of London is holding an event of interest to Ricardians. Between December 27 and 31, you will be able to enter King Richard III’s court as it celebrates Christmas 1484.

Court intrigue and plotting takes place amidst the pageantry, glorious costumes, and revels, all under the eye of the traditional Lord of Misrule.

Events begin at 11 A.M. with the King’s Arrival, then progress to ‘Court and Conspiracy’  at 11:30 and 14:30, and ‘The Hunt’ at 1:30 and 15:30.

It is nice to see  Richard’s reign getting some recognition, although we do not yet know  how fair a view the entertainment will take. It is too easy (or should that be lazy?) for someone au fait only with Shakespeare or bad documentaries to imagine that such a short time was spent in nothing but warfare and misery, with the Tower a sinister symbol (which it was generally not, being a royal palace, not just a place of imprisonment). Richard liked a good party!

Margaret Beaufort and the Princes in the Tower — Matt’s History Blog

Historical opinion often moves in circles on certain topics. Sometimes it’s a slow process and sometimes it happens quickly. The White Queen series stirred up the latent and under-examined but long-standing theory linking Margaret Beaufort to the disappearance and murder of the Princes in the Tower. In short order, the increased attention drew an onslaught […]

via Margaret Beaufort and the Princes in the Tower — Matt’s History Blog

More about Richard and that urn….

The Princes

Regarding the continuing intense interest in those mysterious bones in the Westminster urn, here is a link to a very interesting and informative blog article about them. Thank you Barbara Gaskell Denvil.

To be, or not to be, the Bard?

William Shakespeare’s contribution to the image of Richard III, as of many other historical figures, has been less than helpful in terms of accuracy. However, just as Shakespeare’s original plays misrepresented his sources and the true course of  events, not every performance of one of the plays is as he left them.

His version of Richard III was, of course, adapted to be more hostile by the relatively melodramatic Poet Laureate Colley Cibber. Garrick seems to have restored the original content somewhat although the horror film The Tower of London was a further diversion

Then there is uncertainty over which plays Shakespeare either wholly wrote, co-wrote with the likes of Fletcher, adapted or delegated; the late Eric Sams providing us with an alternative canonical list. Some of the others may be the responsibility of contemporaries such as Marlowe (d.1593). The Bard’s acknowledged British “history” plays appear to be centred wholly upon monarchs but those in question focus on Thomas of Woodstock, Thomas Cromwell and others.

Beyond this come the known forgeries of the tabula rasa variety. The principal exponent was the eighteenth century London youth William Ireland, who momentarily fooled even his own father and part of the theatrical world to the point that his Rowena and Vortigern was performed.

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