A Preliminary Study of the Scottish Royal Entries of Mary Stuart, James Vi, and Anne of Denmark, 1558-1603.

Abstract

The indepth study of Scottish theatre history, while intrinsically valuable, is also vital for a thorough underst and ing of English theatre history. When James VI of Scotl and became James I of Engl and in 1603, the entire tradition of Scottish theatre began to have a direct impact on the development of English theatre. This study begins to fill a gap in British theatre history by conducting a preliminary investigation of the Scottish royal entries of Mary Stuart, James VI, and Anne of Denmark, forming a basis for further research. It focuses on descriptions of the formal ceremonies of the royal entries into Edinburgh, and on underst and ing why, how, and by whom they were produced. Five events from Edinburgh are reconstructed from period textual and visual sources: the marriage celebration of Mary Stuart in 1558, Mary Stuart's entry in 1561, James VI's entry in 1579, and Anne of Denmark's entry in 1590. James's progress from Edinburgh to London in 1603 provides insights into various symbolic acts in the marriage celebration and other entries. Chronological order of discussion facilitates ease in comparison. The study examines processions, routes, buildings, arches, actors, orators, audience, costumes, properties, settings, themes and preparations. Royal entries examined in this study have several features in common as well as unique elements. Common features include theatrical costuming of participants, presentation of gifts to rulers, representation of classical characters and allegorical figures, clouds descending with children presenting keys of the city, velvet canopies held over monarch's heads by selected townspeople, financing through taxation, town council involvement as producers--planning, executing, and financing--scaffolding, and other scenic devices and decorations. Themes woven throughout royal entries expressed contemporary issues and problems, often with allegorical contexts. Edinburgh spent increasingly large sums of money for royal entries, and although they were primarily town functions, the court may have exerted influence through direct and indirect methods. Scottish royal entries were not merely a series of events loosely joined by the presence of the ruler, but complex and significant theatrical events. They were not haphazard, isolated occurrences, but costly, and carefully-planned and executed presentations. Important and influential citizens--well-educated, well-traveled, and experienced in theatrical events--planned and presented the entries, utilizing town resources. Edinburgh, with its dramatic vista of castle hill and wide high street descending to Holyrood Palace, provided a striking backdrop for colorful, complex, and costly theatrical events which form an integral part of both Scottish and English theatrical history.