Trinkspiele online dating
The will be examined as a portrayal of these rivalries, especially through its chosen framework of the Ovidian myth of Diana and Actaeon.
This will highlight the extraordinariness of the play, as an inverted prince’s mirror, and as a testament to the rightful hierarchies within the world of the court.
Focusing on the social ambitions of Johannes Polyander van Kerckhoven, Lord of Heenvliet, and by using the popular myth of Actaeon and Diana, the clash between court and city, between princely aristocrats and republican burghers is played out. While unsightly and unstudied, the manuscripts are remarkable reading material, addressing and ridiculing the inner circles of the three rivalling courts in The Hague: those of Frederik Hendrik and Amalia von Solms, of prince Willem and his wife Mary (Henriette) Stuart, and, in particular, of Elizabeth of Bohemia.
The manuscripts contain a draft version and a fair copy of an intriguing play about the Hague court society, titled Princesse of (Hohen)Zollern, Marchioness of Bergen op Zoom’; a preface by Auliscope, the author, to the general reader; a number of French and German laudatory poems to the author and his text; a historical explanation of the events of 1643 (intended to ‘make sense’ of the play); a list of characters and, finally, the play proper: a French ‘comédie’ in verse, in five acts.
is a text initially targeted at an in-crowd, those who are very closely connected to or even living inside the court; those with intimate knowledge of oddities of both the Prince of Orange, his family, and his highest ranking servants.
Heenvliet and his (second) wife, Catherine Stanhope, were central figures in Mary Stuart’s ‘English’ court at the Noordeinde.It is a biting, sometimes malevolent, satire aimed at – as we shall see – another audience, whose members took pleasure not just in the events that were played out, or read about, but rather in the amusing circumstance that they themselves could be personifying people closely connected to them – and in doing so, ridiculing them; as if these people were, in fact, making fools of themselves.What is happening on the stage, the anonymous author tells the readers in his preface, is the real thing; this what happens in the Orange court.In 1650, for example, Mary famously refused to be present at the baptism of her newborn son after some intense quarreling with Amalia over his name (Charles or William – Amalia won) and over the order of the baptism train.Such ceremonial events were opportunities were rivalry could be expressed, particularly in their theatrical staging.
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Theatricality has become a key concept through which scholars try to understand the formal and informal ways power was put into ceremonial play in the early modern world of the court – and beyond.