Treason and the State: Law, Politics and Ideology in the English Civil War. Orr, D. Alan: New York: Cambridge University Press pp.
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McEachern , Claire and Shuger , Debora eds. Mendle , Michael , Dangerous Positions: The University of Alabama Press , Roman and Protestant churches in English Protestant thought, — Cambridge: Miner , Earl ed. Religious Reading and Writing Oxford: The Essential Readings Oxford: Wiley Blackwell , , pp. Political Thought and Culture — Exeter: Academic Imprint , pp. By your favour, hold: His Majesty being taken away by the Guard, as he passed down the Stairs, the Soldiers scoffed at him, casting the smoke of their Tobacco a thing very distastful unto him and throwing their Pipes in his way The effect produced by this terseness is a stronger intimacy between the monarch and the reader-spectator:.
This day the King was removed to St. The Prince Elector Duke of Richmond, and others, made suit to see him, which he refused. This night he lay at St. But this is a loss that can only now be lamented, not repaired He considers it as too horrid a scene to be contemplated with any satisfaction, or even without the utmost pain and aversion. He himself, as well as the readers of that age, were too deeply concerned in the events and felt a pain from subjects which an historian and a reader of another age would regard as the most pathetic and most interesting, and, by consequence, the most agreeble First, as far as aesthetic is concerned, both Hyde and Hume were writing in an emerging culture of sensibility, in which sympathy and emotion were essential.
As men of the eighteenth century, they did not realize that brevity and abruptness of style could just as well signal the horror of an indescribable event. The other way of understanding their severe judgement is to connect it to political divergence. What has seldom been pointed out, though, is that the genre of tragedy profoundly affected English historiography. So far history had been predominantly written as a national epic and generally took the form of the chronicle; when history became ideologically divided and could no longer limit itself to celebrate the great deeds of heroes, the paradigm of tragedy offered news ways of writing but also of making sense of events that were not heroic.
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Besides, it was a genre that that was not the monopoly of one party and that provided the possibility of expressing diverging scenarios, something that was not conceivable in pre-civil war historiography. Regicide authors seem to be mostly interested in characterizing the death of Charles Stuart as a necessary sacrifice in a revenge tragedy, while moderate historians such as Rushworth, Baxter, and Walker — who supported Parliament in the s — succeeded in conveying the ambiguity of the event in its tragic dimension.
As for the supporters of the king, they were among the most prone to resort to the possibilities of tragedy, but it must be acknowledged that their understanding of the notion was approximate. They depicted the king as a saint, a representation usually to be found in hagiographical drama, not in classical tragedy, where the hero is fallible and divided. Similarly, they aimed at stirring the affections of their readers, but they did not intend to generate catharsis: Finally pro-Stuart histories deviate from the expected structure of tragedy: See Thomas Blount, G lossographia: On this tragic use of the scaffold, see George R.
See Paula Kewes, art. The collapse of stable government, the virtual disappearance, for a time, of effective censorship, and the emergence of competing religious and political ideologies swept forever away the univocal narrative historical writing of the earlier period. And therefore it concerns all those who apply themselves to the writing of Histories, to take special care that all things be laid down exactly, faithfully, and without deviation from the truth in the least particular.
The royalist historian and army officer, Roger Manley d. England in the s , Oxford, Wiley-Blackwell, , p. His death cannot be thought of in terms of retribution. He is, on the contrary, presented as a sheer victim. The spectacle of Charles being killed in the name of the people could move the crowd either to cheers or tears. The feeling of grief, of compassion for the dead king, soon became the greatest argument in favour of monarchy. All regicides were not Puritans and were not necessary hostile to the theatre.
Or, King Charles the First no man of blood but a martyr for his people Being a brief account of his actions from the beginnings of the late unhappy warrs, untill he was basely butchered to the odium of religion, and scorn of all nations, before his pallace at White-Hall, Jan. A Collection of Essays , William B. And what conditions offer more challenges, and hence opportunities, for greatness than suffering and execution? We have roughly the same description in D. Lamenting the King, , especially p. The idea of the Tragic , Oxford, Blackwell, The royalist historian and army o Like the royalist authors, this Parliamentarian historian speaks of sacrifice 23 and insists on the analogy between Charles and Christ: The Limits of the Aristo According to Blair Worden, those psychological causes are signif It is no wonder then that Clarendon should have distanced himself from those who blindly trusted heaven and the stars; after a very brief account of the regicide, he emphasizes instead contingency and personal causation: