Tudor Period Quotes

What's burning down is a re-creation of a period revival house patterned after a copy of a copy of a copy of a mock Tudor big manor house. It's a hundred generations removed from anything original, but the truth is aren't we all?

Blair continued. “The old man only visits me in dreams. Dressed always in black with amber fire as his companion, he is older than the mountains. He is the fire of othium and he comes with an ancient name, Oien. He demands you take your throne and raise his armies. You will rebuild for him the glory of the second age.” Robert Reid – The Son

We romanticize the past with our period dramas and glossy film adaptations. A bit like we do with nature. Nature is violent, unpredictable and unforgiving. Eat or be eaten. That's nature. However much Attenborough or Coldplay you wrap it up in.

Without a soul the fetus was not really a 'person' to the people of the Tudor time period. There was even doubt whether a fetus could be considered 'alive' prior to the quickening.

To do one man’s bidding to please another man and get nothing for yourself but heartbreak

It may be noted, in parenthesis, that in this period the coach was introduced to England

Haute couture and getting hauter. Fire inches down the foyer wallpaper. Me, for added set dressing I started the fire. Special effects can go a long way to heighten a mood, and it's not as if this is a real house. What's burning down is a re-creation of a period revival house patterned after a copy of a copy of a copy of a mock-Tudor big manor house. It's a hundred generations removed from anything original, but the truth is aren't we all?

Paul Tudor Jones: "Don’t be a hero. Don’t have an ego. Always question yourself and your ability. Don’t ever feel that you are very good. The second you do, you are dead. My biggest hits have always come after I have had a great period and I started to think that I knew something.

Why is what I do during this golden period so effective? One, you were most likely damaged and in dire need of love and affection. Two, you are a loving, caring person yourself and thus expect the world to mirror your expectations. When it does, you connect fiercely with it and give everything of yourself to maintain and fulfil that perfect love. Three, I know exactly what to say to you. I am a master at reading your body language. I know the right things to say that will generate the strongest surge of euphoria in you.

We are living indeed in the period of the Second Coming if that phrase can be said to signify the dawning of Cosmic illumination within human consciousness, permeating life processes throughout their myriad manifestations.

Henry VII’s regime (1485–1500): From these south-western shire surveys it appears that there was not one magnate who provided a ‘political centre’ for the region during Henry’s reign: no leading peer seems to have had the requisite combination of landholding, office-holding, and associations spread throughout all the counties. Rather, it seems that two south-western meso-regional magnates might be discerned: Lords Daubeney and Willoughby (p. 341). The alliances of the two most influential Cornish families during this period, the Edgcumbes and the Arundells, with Lord Willoughby [de Broke] emphasises the peer’s importance in the governance of Devon and Cornwall… In summary, it seems that, as in Devon, the chief magnate in Cornwall was Lord Willoughby. He could not rely on the support only of those associated directly with him, but on the aid of other local figures through his secondary patrons, [John, Lord] Dinham, [Edward Courtenay, Earl of] Devon, [John] Arundell, and the Edgcumbes (p. 336). The intermediate focus of royal authority between county and centre in Henry VI’s later years and under Edward IV had been the regional governor. The conciliar governance of Richard III’s Council of the North was continued by the Tudors who reinstituted this council, and the prince’s council in Wales and the Marches, while also creating a regional council in the Midlands focussed on Henry’s mother. However, in the south-west no single magnate or council was given such regional power, which may have been because Henry’s chief magnates were his loyal household officers, his steward and chamberlain… Henry VII’s governance–as chiefly restorative rather than innovatory–might therefore be described as a renewed monarchy, which, it could be said, by revitalising political structures, finally managed to hoist the ensign of settlement above the battlefields of the Wars of the Roses (p. 344).

I have had the pleasure – and it really has been a pleasure – to cook in a large number of both real surviving period ovens and historic reconstructions. The reconstructions have been invaluable for highlighting the technical aspects of the originals that might otherwise have gone unnoticed.

the word ‘banquet’ in the Tudor period meant sweets, cakes, cheese, nuts and fruit with a glass or two of wine).

THERE are only two sources of any value for the story which charges Richard with the murder of the two princes in the Tower of London. The first in importance, The History of King Richard III, is generally ascribed to Sir Thomas More. The second is Anglica Historia by Polydore Vergil, an Italian author who was hired by Henry VII to write a history of England. The Vergil version follows that of More in most respects but departs from it in many important omissions. The histories which were published later during the Tudor period, with few exceptions, did not deviate from what More had set down,

the mind, human or vampyr, was not designed to endure long periods of absolute reality. It was why we dreamed, of course.

I will win this battle each and every time.               You have found the perfect love.               You are in the golden period.                 Understand this. Say it to yourself repeatedly. Tattoo it on your forehead.               It is not real it is an illusion.               I do this purely for my own benefit.               It is not real it is an illusion.

I do this purely for my own benefit.               It is not real it is an illusion.   The trouble is, no matter how many times you will say this and even as I warn you now you will not heed these warnings. You will embrace the golden period like a heroin addict shooting up. Boy does it feel good but at what cost?

I love to do this as it makes you feel happy and wanted. It also means that I am just about to push you off the cliff and land a hammer blow on you. I do not want you to know it is coming. Goodness me no, I want you feeling secure when I suddenly subject you to a period of silent treatment. That way I get a sensational reaction to my behaviour and I can feed deep on your over emotional behaviour.

But it is the personal synthesis of elements taken from a wide variety of historical styles and periods that most strongly links the church music with Vaughan Williams’s output as a whole. This can be observed anywhere but is perhaps best illustrated by the Mass, a work whose neo-Tudor associations have obscured awareness of a wider eclecticism. Techniques favoured by sixteenth-century English church musicians – false relations, fauxbourdon-like textures, contrasts between soloist(s) and the full choir – are indeed present, but they are combined with others – canon and points of imitation, sectional division of the text (articulated by textural contrasts), emphasis on the church modes – that were the lingua franca of the period, common to English and continental music alike. Even these Renaissance techniques are but a ‘starting-point’32 for what is clearly a highly personal essay, however.

Athelinda had long ago realized that the mind, human or vampyr, was not designed to endure long periods of absolute reality. It was why we dreamed, of course. But also, why we made up stories, read books, watched plays and films.

Much more recently in Tudor times, Diana had emerged as the queen of the witches- as recorded in Reginald Scot’s Discoverie of Witchcraft of 1584- and there is evidence that her name was in popular use in this connection in Scotland during the same period.

set out to try and work it out for myself: hunting up period recipes and trying them out; learning to manage fires and skin rabbits; standing on one foot with a dance manual in one hand, trying to make sense of where my next move should

In Tudor homes you really could not just close the bedroom door and enjoy some privacy. During this period of great Tudor mansions, bedrooms led into other rooms. Homes did not have corridors, as a rule, until the end of the seventeenth century.

The Tudor period was one in which a whistle-blowing society excelled and it could be exceptionally vicious. Nothing could long remain secret. *

The traditional English Christmas has its origins in the ninth century, when King Alfred the Great enshrined in law the importance of keeping the Church’s feasts, and commanded that there should be a holiday on Christmas Day and the twelve days that followed, for it was believed that the Magi had journeyed for twelve days to see the infant Jesus. During that period, no free man could be compelled to work. From that time, the common man has enjoyed this right to the best of his ability, while kings and nobles have indulged themselves in abundance on a lordly scale.

Other interesting snippets about cross-dressing activity exist for this period. Henry III of France (1551–1589), for instance, is reported to have dressed as an Amazon, and encouraged his male courtiers to do likewise.

Templar. Periodically kings would try to bring land that had been carelessly alienated back into the royal portfolio. Henry VIII’s policy of recycling it all in a single (or double) tranche of dispossessions led to a new religion and a new phenomenon called the middle class; it saved the Tudor monarchy from bankruptcy, even if that policy is implicated in the outbreak of civil wars in the 1640s.

They occasionally turned up in Tudor inventories and linens would often be recorded in wills as bequeathed to others. Goodman tells us how she followed a Tudor body cleansing regime for a period of three months while living in modern society. No one complained or even noticed a sweaty smell. She wore natural fibre on top of the linen underwear but took neither a shower nor a bath for the whole period. When she recorded The Monastery Farm for television, she only changed her linen smock once weekly and her hose three times over six months and she still did not pong.9 Tudor England was not a place where everyone smelled as sweetly as most people who shower daily today but its people generally managed not to stink. Of course, the past did smell differently but being clean and sweet smelling certainly did matter to many Tudors. In 1485 only a few hundred people in England could afford essential oils which arrived during the Crusades. Perfume for most people originated from natural sources such as posies of violets, lavender bags and smoke from herbs burning over a fire. Sir Thomas More is known to have had a rosemary bush planted beneath his study window so its pleasant scent wafted up towards him as he worked. Lavender was often placed in bedrooms, tucked into the straw of a bolster or hung in bunches on bed posts so that its calming nature might induce relaxation. Rue and Tansey were known as insecticides and

The growing interest in medieval-period reconstruction is vividly legible in the music, cinema listings and television schedules of the late 1960s and early 70s. Besides the BBC Tudor series mentioned earlier – which led to a spin-off cinema version, Henry VIII and his Six Wives, in 1972 – there was Anne of the Thousand Days (1969), centred on Henry’s first wife Anne Boleyn, starring Richard Burton and Geneviève Bujold; the Thomas More biopic A Man for All Seasons (1966); Peter O’Toole as Henry II in Anthony Harvey’s The Lion in Winter (1968); David Hemmings as Alfred the Great (1969); the hysterical convent of Russell’s The Devils (1971); and future singer Murray Head in a melodramatic retelling of Gawain and the Green Knight (1973). In the same period HTV West made a series of often repeated mud-and-guts episodes of Arthur of the Britons (1972–3), and visionary Italian director Pier Paolo Pasolini unveiled his earthy adapations of the Decameron (1970) and The Canterbury Tales (1971). From the time of the English Civil War, Ken Hughes cast Richard Harris in his erratic portrait of Cromwell (1970); and the twenty-three-year-old doomed genius Michael Reeves made his Witchfinder General in 1968, in which the East Anglian farmland becomes a transfigured backdrop to a tale of superstition and violent religious persecution in 1645. Period reconstruction, whether in film, television or music, has been a staple of British culture, innate to a mindset that always finds its identity in the grain of the past.

One feature of the economic revival of the early seventeenth century was the rapid exploitation of the woodlands. During the Tudor period the destruction of the woods had already begun, though mainly for military reasons: they blocked the passage of the royal armies, and afforded secure fastnesses into which the more lightly-equipped Irish troops could easily retreat. It was therefore a constant policy of the government to open up passes; and during the later Elizabethan wars this was extended to a general clearance of large areas. Fynes Moryson, who travelled extensively in Ireland at the end of Elizabeth’s reign, declared that he had ‘been deceived in the common fame that all Ireland is woody’, for in the course of a journey from Armagh to Kinsale he found, except in Offaly, no woods at all, beyond ‘some low shrubby places which they call glens’. But Moryson’s description cannot be applied to the whole country. At the beginning of the seventeenth century there were still extensive woodlands in Munster; the great wood of Glenconkeyne in Ulster was reckoned by Sir John Davies to be as big as the New Forest in Hampshire; and even beyond these areas, the country was at this time fairly heavily timbered. But the process of destruction was soon to be speeded up.

Hens did not lay during the winter (we use artificial light to stimulate them into laying all year round), and cows had a dry period from late September through to the spring,

When the Lord Keeper visited Ipswich in 1568, the town laid on a banquet (not a feast with meat and veg: the word ‘banquet’ in the Tudor period meant sweets, cakes, cheese, nuts and fruit with a glass or two of wine).