{"id":25,"date":"2021-04-23T05:50:26","date_gmt":"2021-04-23T05:50:26","guid":{"rendered":"https:\/\/jamesshirley.webspace.durham.ac.uk\/?page_id=25"},"modified":"2021-05-07T21:46:53","modified_gmt":"2021-05-07T21:46:53","slug":"videos","status":"publish","type":"page","link":"https:\/\/jamesshirley.webspace.durham.ac.uk\/?page_id=25","title":{"rendered":"Videos"},"content":{"rendered":"\n<h1 class=\"wp-block-heading\">Videos<\/h1>\n\n\n\n<h2 class=\"wp-block-heading\">Death the Leveller: \u2018The Glories of Our Blood and State\u2019<\/h2>\n\n\n\n<p>\u2018The Glories of Our Blood and State\u2019 is Shirley\u2019s most famous poem. Originally part of Shirley\u2019s last dramatic entertainment,&nbsp;<em>The Contention of Ajax and Ulysses<\/em>&nbsp;(pb. 1659), the poem became famous in its own right. It is said to have seized Oliver Cromwell with great terror; many versions of the piece circulated in the seventeenth century, and it has led a rich afterlife ever since in manuscript miscellanies and print anthologies. \u2018The Glories of Our Blood and State\u2019 was also set to music, for instance, by Edward Coleman (published by John Playford in 1667).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">Death the Leveller<\/h3>\n\n\n\n<p>This quirky version is not a project production but too good to be excluded from a site dedicated to Shirley.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"James Shirley &quot;Death the Leveller - &quot;The Glories of our Blood and State&quot; Poem animation\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/45dPT-wUoiA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>\u00a9 Jim Clark (2010).<\/figcaption><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">\u2018The Glories of Our Blood and State\u2019<\/h3>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"&#039;Death the Leveller&#039; by James Shirley\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/HrxkHeb_PyM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>\u00a9 The James Shirley Project 2012<\/figcaption><\/figure>\n\n\n\n<p><strong>Credits<\/strong><\/p>\n\n\n\n<p>Speakers: Sonia Ritter, Guy Henry, Jo Shirley<br>Director: Barbara Ravelhofer<br>Recording and editing: Dan Starza Smith and Alistair Brown<br>Recorded in London, 7 September 2012<\/p>\n\n\n\n<p>Sponsored by the AHRC, and the Department of English, Durham University<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Characters in Crisis: Readings from Plays<\/h2>\n\n\n\n<p>How did Shirley\u2019s generation of playwrights stage a crisis? We examined a particular type of crisis scene with these characteristics: (a) it must be short but have sufficient scope; ideally it should be a self-contained mini-scene; (b) it should involve a female character with a substantial share of lines; (c) it should be as intimate as possible, and ideally involve two speakers only.<\/p>\n\n\n\n<p>It is actually not easy to find scenes which satisfy these criteria and lend themselves to filming. Below are examples from tragedies by Chapman and Shirley. These writers are particularly interesting for us since Shirley knew Chapman\u2019s work very well and revised the latter\u2019s tragedy&nbsp;<em>Chabot, Admiral of France&nbsp;<\/em>(1612) for a Caroline audience. These short clips will, we hope, give viewers an idea of Shirley\u2019s and Chapman\u2019s approaches to crisis.<\/p>\n\n\n\n<p>Other clips feature recordings from Shirley\u2019s last entertainment,&nbsp;<em>The Contention of Ajax and Ulysses for the Armour of Achilles<\/em>&nbsp;(pb. 1659) as well as a dialogue that has been associated with Shirley\u2019s tragedy&nbsp;<em>The Traitor<\/em>&nbsp;(1631), and a pivotal moment from Ben Jonson\u2019s<em>&nbsp;Sejanus<\/em>&nbsp;(<em>c<\/em>.1603\/4).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">\u201cSin is a coward\u201d from George Chapman,&nbsp;<em>Bussy d\u2019Ambois<\/em>&nbsp;(1604)<\/h3>\n\n\n\n<p>A scene at dawn. Tamyra has just committed adultery with Bussy d\u2019Ambois, the French king\u2019s new favourite. Her lover having just departed, her husband, the Count of Montsurry, enters and asks her to come to bed. Tamyra works hard to keep her act together. From Act III.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"&#039;Sin is a coward&#039; from George Chapman, Bussy d\u2019Ambois (1604)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/_Hzhaqu_sV0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>\u00a9 The James Shirley Project 2012<\/figcaption><\/figure>\n\n\n\n<p><strong>Credits<\/strong><\/p>\n\n\n\n<p>Speakers: Sonia Ritter, David Fuller<br>Director: Barbara Ravelhofer<br>Recording and editing: Alistair Brown<br>Recorded in Durham, 21 September 2012<\/p>\n\n\n\n<p>Sponsored by the AHRC, and the Department of English, Durham University<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">\u201cWrite!\u201d from George Chapman,&nbsp;<em>Bussy d\u2019Ambois<\/em>&nbsp;(1604)<\/h3>\n\n\n\n<p>At the opening of Act V, the Count of Montsurry has just discovered that his wife Tamyra has committed adultery. He brutally forces her to write a letter to her lover so that he may exact revenge on the latter.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"&#039;Write!&#039; from George Chapman, Bussy d\u2019Ambois (1604)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/rBn_f8YbRlU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>\u00a9 The James Shirley Project 2012<\/figcaption><\/figure>\n\n\n\n<p><strong>Credits<\/strong><br>Speakers: Sonia Ritter, Guy Henry<br>Director: Barbara Ravelhofer<br>Recording and editing: Dan Starza Smith and Alistair Brown<br>Recorded in London, 7 September 2012<\/p>\n\n\n\n<p>Sponsored by the AHRC, and the Department of English, Durham University<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">\u201cLive but a little longer\u201d from James Shirley,&nbsp;<em>The Traitor<\/em>&nbsp;(1631)<\/h3>\n\n\n\n<p>In this tragedy set in Florence, a conspiracy is afoot to murder the lecherous Duke Alessandro de\u2019 Medici. To further the plot, the character Sciarrha harangues his beautiful and virtuous sister Amidea to act as bait in a fatal rendezvous. When she seems to agree to prostituting herself to the Duke, Sciarrha (who is passionate and unstable) cannot bear the idea and stabs his sister. Their brother Florio erupts on the scene, too late \u2013 Amidea tries to reconcile the brothers in her last moments.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"&#039;Live but a little longer&#039; from James Shirley, The Traitor (1631?)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/kY4FOEpPA_8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>\u00a9 The James Shirley Project 2012<\/figcaption><\/figure>\n\n\n\n<p><strong>Credits<\/strong><br>Speakers: Sonia Ritter, Guy Henry, Jo Shirley<br>Director: Barbara Ravelhofer<br>Recording and editing: Dan Starza Smith and Alistair Brown<br>Recorded in London, 7 September 2012<\/p>\n\n\n\n<p>Sponsored by the AHRC, and the Department of English, Durham University<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">The Melbourne Manuscript \u2013 a scene from&nbsp;<em>The Traitor<\/em>&nbsp;(1631)?<\/h3>\n\n\n\n<p>The Melbourne Manuscript was retrieved from Sir John Coke\u2019s residence, Melbourne Hall, in Derbyshire and is now lodged in the British Library (MS Add. 88878). John Coke (d. 1644) was the secretary of state of Charles I. The manuscript\u2019s four pages feature a dialogue between Duke Alexander (Alessandro de\u2019 Medici) and Lorenzo (Lorenzino de\u2019 Medici), in which the Duke expresses his concern about an anonymous letter which accuses Lorenzo (rightly) of treason. Lorenzo, though, succeeds in persuading the Duke of his loyalty. Strong verbal echoes suggest that the scene pertains to Shirley\u2019s&nbsp;<em>The Traitor<\/em>&nbsp;\u2013 perhaps it was a working draft \u2013 but critics have nonetheless proposed a range of alternative authors, including John Webster, Thomas Middleton, and the Jesuit writer and translator Antony Rivers (see entries for MacDonald P. Jackson and Nigel Bawcutt in the bibliography on this website).<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"The Melbourne Manuscript \u2013 a scene from The Traitor (1631?)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/tX5LbPOV6aM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>\u00a9 The James Shirley Project 2012<\/figcaption><\/figure>\n\n\n\n<p><strong>Credits<\/strong><br>Speakers: Sonia Ritter, Guy Henry<br>Director: Barbara Ravelhofer<br>Recording and editing: Dan Starza Smith and Alistair Brown<br>Recorded in London, 7 September 2012<\/p>\n\n\n\n<p>Sponsored by the AHRC, and the Department of English, Durham University<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">\u201cH\u2019mh?\u201d from Ben Jonson,&nbsp;<em>Sejanus<\/em>&nbsp;(1603\/4)<\/h3>\n\n\n\n<p>From Act III.Sejanus, the ambitious favourite of Emperor Tiberius, tries to persuade the latter to let him marry into the imperial family. Tiberius, who knows his creature all too well, says no. Sejanus was, for many seventeenth-century English authors, the archetypal dangerous favourite; indeed he is mentioned in a prattling, offhand tone by Lorenzo in the Melbourne MS scene.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"\u2018H\u2019mh?\u2019, from Ben Jonson, Sejanus (1603\/4).\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/165iPSLojCg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>\u00a9 The James Shirley Project 2012<\/figcaption><\/figure>\n\n\n\n<p><strong>Credits<\/strong><br>Speakers: Sonia Ritter, Guy Henry<br>Director: Barbara Ravelhofer<br>Recording and editing: Dan Starza Smith and Alistair Brown<br>Recorded in London, 7 September 2012<\/p>\n\n\n\n<p>Sponsored by the AHRC, and the Department of English, Durham University<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">\u201cMy anger melts\u201d from George Chapman,&nbsp;<em>Chabot, Admiral of France<\/em>&nbsp;(revised 1638)<\/h3>\n\n\n\n<p>Licensed 1638 with revisions by Shirley. Queen Scene. Two noble French courtiers vie for the King\u2019s favour: Montmorency, Constable of France, and Chabot, Admiral of France. Due to a court intrigue, the loyal Chabot faces trial. His wife and father-in-law plead with the king, queen, and Montmorency. From Act III.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"&#039;My anger melts&#039; from George Chapman, Chabot, Admiral of France (revised 1638)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/XhYZiUoXtmM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>\u00a9 The James Shirley Project 2012<\/figcaption><\/figure>\n\n\n\n<p><strong>Credits<\/strong><br>Speakers: Sonia Ritter, Guy Henry, Jo Shirley<br>Director: Barbara Ravelhofer<br>Recording and editing: Dan Starza Smith and Alistair Brown<br>Recorded in London, 7 September 2012<br>Sponsored by the AHRC, and the Department of English, Durham University<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">\u201cHe must obey his fate\u201d from George Chapman,&nbsp;<em>Chabot, Admiral of France<\/em>&nbsp;(revised 1638)<\/h3>\n\n\n\n<p>From Act IV. The King expresses surprise that his Queen and Montmorency, who had both been the chief engines in Chabot\u2019s fall, now plead for mercy.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"&#039;He must obey his fate&#039; from George Chapman, Chabot, Admiral of France (revised 1638)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/kViICkYskwU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>\u00a9 The James Shirley Project 2012<\/figcaption><\/figure>\n\n\n\n<p><strong>Credits<\/strong><br>Speakers: Sonia Ritter, David Fuller<br>Director: Barbara Ravelhofer<br>Recording and editing: Alistair Brown<br>Recorded in Durham, 21 September 2012<\/p>\n\n\n\n<p>Sponsored by the AHRC, and the Department of English, Durham University<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">\u201cThe prunes of Islington\u201d from James Shirley,&nbsp;<em>The Lady of Pleasure<\/em>&nbsp;(1635)<\/h3>\n\n\n\n<p>This smart, racy city comedy might be called James Shirley\u2019s answer to&nbsp;<em>Sex and the City<\/em>. When the fifteen-year-old rich widow Celestina hits the high life in fashionable London, the whole town is aflutter. Celestina vies with other ladies, notably Aretina, for the finest salon and richest display of wealth. Celestina\u2019s steward advises economic prudence but his admonitions fall on deaf ears. From Act I.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"&#039;The prunes of Islington&#039; from James Shirley, The Lady of Pleasure (1635) (Version I)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/qDqiib-pROA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>\u00a9 The James Shirley Project 2012<\/figcaption><\/figure>\n\n\n\n<p><strong>Credits<\/strong><br>Speakers: Sonia Ritter, Guy Henry<br>Director: Barbara Ravelhofer<br>Recording and editing: Dan Starza Smith and Alistair Brown<br>Recorded in London, 7 September 2012<\/p>\n\n\n\n<p>Sponsored by the AHRC, and the Department of English, Durham University<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">\u201cThe prunes of Islington\u201d from James Shirley,&nbsp;<em>The Lady of Pleasure<\/em>&nbsp;(1635)<\/h3>\n\n\n\n<p>The same scene spoken by different speakers. This is a more playful take, affecting odd accents.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"&#039;The prunes of Islington&#039; from James Shirley, The Lady of Pleasure (1635) (Version II)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/1D9-ih0Q9o0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>\u00a9 The James Shirley Project 2012<\/figcaption><\/figure>\n\n\n\n<p><strong>Credits<\/strong><br>Speakers: Philip Sidney, Jo Shirley<br>Director: Barbara Ravelhofer<br>Recording and editing: Dan Starza Smith and Alistair Brown<br>Recorded in London, 21 August 2012<\/p>\n\n\n\n<p>Sponsored by the AHRC, and the Department of English, Durham University<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">\u201cDo not I walk upon the teeth of serpents\u201d from James Shirley,&nbsp;<em>The Cardinal<\/em>&nbsp;(1641)<\/h3>\n\n\n\n<p>Duchess Rosaura, a spirited young widow, has spurned the Cardinal\u2019s nephew and instead chosen the courtier Alvarez for her husband, much to the Cardinal\u2019s displeasure. Shirley gives the Duchess some of the play\u2019s strongest lines in a fiery altercation with the Cardinal.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"&#039;Do not I walk upon the teeth of serpents&#039; from James Shirley, The Cardinal (1641)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/m-An2e8qG6Y?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>\u00a9 The James Shirley Project 2012<\/figcaption><\/figure>\n\n\n\n<p><strong>Credits<\/strong><br>Speakers: Sonia Ritter, Guy Henry<br>Director: Barbara Ravelhofer<br>Recording and editing: Dan Starza Smith and Alistair Brown<br>Recorded in London, 7 September 2012<\/p>\n\n\n\n<p>Sponsored by the AHRC, and the Department of English, Durham University<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">\u201cI\u2019ll rifle first her darling chastity\u201d from James Shirley,&nbsp;<em>The Cardinal<\/em>&nbsp;(1641)<\/h3>\n\n\n\n<p>This clip combines two passages spoken \u201caside\u201d by the play\u2019s villain, the Cardinal, in Act V. Here he contemplates how he will crush his antagonist, Duchess Rosaura.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"&#039;I\u2019ll rifle first her darling chastity&#039; from James Shirley, The Cardinal (1641)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/HMYvPPGlzYs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>\u00a9 The James Shirley Project 2012<\/figcaption><\/figure>\n\n\n\n<p><strong>Credits<\/strong><br>Speaker: Guy Henry<br>Director: Barbara Ravelhofer<br>Recording and editing: Dan Starza Smith and Alistair Brown<br>Recorded in London, 7 September 2012<\/p>\n\n\n\n<p>Sponsored by the AHRC, and the Department of English, Durham University<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">\u201cI look from the forsaken deck upon the seas\u201d from James Shirley,&nbsp;<em>The Court Secret<\/em>&nbsp;(before 1642? pb. 1653)<\/h3>\n\n\n\n<p>This late romantic tragicomedy boasts pirates, princes exchanged at birth, and a fine sentimental prison scene. Mendoza urges his daughter Clara to revenge her brother\u2019s death at the hands of Don Manuel. Clara, a sensible heroine who fancies Manuel, disagrees, much to her father\u2019s dismay. From Act V.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"&#039;I look from the forsaken deck upon the seas&#039; from James Shirley, The Court Secret (pb. 1653)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/ymiZGaDQh_k?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>\u00a9 The James Shirley Project 2012<\/figcaption><\/figure>\n\n\n\n<p><strong>Credits<\/strong><br>Speakers: Sonia Ritter, David Fuller<br>Director: Barbara Ravelhofer<br>Recording and editing: Alistair Brown<br>Recorded in Durham, 21 September 2012<\/p>\n\n\n\n<p>Sponsored by the AHRC, and the Department of English, Durham University<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">\u201cStain not the name of eloquence\u201d from James Shirley,&nbsp;<em>The Contention of Ajax and Ulysses for the Armour of Achilles&nbsp;<\/em>(pb. 1659)<\/h3>\n\n\n\n<p>This entertainment was intended to hone the declamatory skills of young gentlemen. Ajax and Ulysses both claim the armour of dead Achilles; a Greek council headed by Agamemnon must decide the winner. Ulysses emerges victoriously from the contest of speeches. Unable to contain his rage and grief, Ajax kills himself. The prophet Calchas has the last lines with \u2018The Glories of Our Blood and State\u2019. 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Originally part of Shirley\u2019s last dramatic entertainment,&nbsp;The Contention of Ajax and Ulysses&nbsp;(pb. 1659), the poem became famous in its own right. It is said to have seized Oliver Cromwell with great terror; [&hellip;]<\/p>\n","protected":false},"author":521,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-25","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Videos - The James Shirley Project<\/title>\n<meta name=\"description\" content=\"Death the Leveller: \u2018The Glories of Our Blood and State\u2019 \u2018The Glories of Our Blood and State\u2019 is Shirley\u2019s most famous poem. 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