Category:Burials at Southwark Cathedral
Pages in category "Burials at Southwark Cathedral"
The following 8 pages are in this category, out of 8 total. This list may not reflect recent changes (learn more).
The following 8 pages are in this category, out of 8 total. This list may not reflect recent changes (learn more).
1. Lancelot Andrewes – Lancelot Andrewes was an English bishop and scholar, who held high positions in the Church of England during the reigns of Elizabeth I and James I. During the latters reign, Andrewes served successively as Bishop of Chichester, of Ely and of Winchester, in the Church of England he is commemorated on 25 September with a Lesser Festival. Andrewes attended the Coopers free school, in Ratcliff, in the parish of Stepney, in 1571 he entered Pembroke Hall, Cambridge and graduated with a Bachelor of Arts degree, proceeding to a Master of Arts degree in 1578. In 1576 he was elected fellow of Pembroke College, Cambridge, on 11 June 1580 he was ordained a priest by William Chaderton, Bishop of Chester, as catechist at his college he read lectures on the Decalogue, which aroused great interest. Once a year he would spend a month with his parents, in this way, after a few years, he acquired most of the modern languages of Europe. Andrewes was the brother of the scholar and cleric Roger Andrewes. From 1589 to 1609 he was prebendary of Southwell and these were later compiled as The Orphan Lectures. Queen Elizabeth had not advanced him further on account of his opposition to the alienation of ecclesiastical revenues, in 1598 he declined the bishoprics of Ely and Salisbury, because of the conditions attached. On 23 November 1600, he preached at Whitehall a controversial sermon on justification, in July 1601 he was appointed dean of Westminster and gave much attention to the school there. On the accession of James I, to whom his somewhat pedantic style of preaching recommended him and he assisted at Jamess coronation, and in 1604 took part in the Hampton Court Conference. Andrewes name is the first on the list of divines appointed to compile the Authorized Version of the Bible and he headed the First Westminster Company which took charge of the first books of the Old Testament. He acted, furthermore, as a sort of general editor for the project as well, on 31 October 1605 his election as Bishop of Chichester was confirmed, he was consecrated a bishop on 3 November, installed at Chichester Cathedral on 18 November and made Lord High Almoner. Following the discovery of the Gunpowder Plot Andrewes was asked to prepare a sermon to be presented to the king in 1606, in this sermon Lancelot Andrewes justified the need to commemorate the deliverance and defined the nature of celebrations. This sermon became the foundation of celebrations which continue 400 years later, after moving to Ely, he again controverted Bellarmine in the Responsio ad Apologiam. In 1617 he accompanied James I to Scotland with a view to persuading the Scots that Episcopacy was preferable to Presbyterianism and he was made dean of the Chapel Royal and translated to Winchester, a diocese that he administered with great success. Following his death in 1626 in his Southwark palace, he was mourned alike by leaders in Church and state, Andrewes was a friend of Hugo Grotius, and one of the foremost contemporary scholars, but is chiefly remembered for his style of preaching. As a churchman he was typically Anglican, equally removed from the Puritan, a good summary of his position is found in his First Answer to Cardinal Perron, who had challenged James Is use of the title Catholic. His position in regard to the Eucharist is naturally more mature than that of the first reformers, as to the Real Presence we are agreed, our controversy is as to the mode of it
2. Sam Wanamaker – Samuel Sam Wanamaker, CBE was an American actor and director who moved to the UK after being put on the Hollywood blacklist in the early 1950s. Wanamaker was born in Chicago, Illinois, the son of tailor Maurice Wattenmacker and his parents were Ukrainian Jews from Nikolayev. He was the younger of two brothers, the elder being William, long-term cardiologist at Cedars-Sinai Medical Center, Wanamaker began his acting career in traveling shows and later worked on Broadway. In 1943, Wanamaker was part of the cast of the play Counterattack at the National Theatre, Washington, during the play, he became enamored of the ideals of Communism and joined the American Communist Party. He attended Drake University prior to serving in the U. S. Army between 1943 and 1946 during the Second World War, in 1947, he returned to civilian life and, before moving to Hollywood, quit the Communist Party. In 1951, Wanamaker made a speech welcoming the return of two of the Hollywood Ten, Wanamaker consequently decided not to return to the United States. Instead, he reestablished his career in Britain, as actor on stage and screen, director, the BBC documentary Who Do You Think You Are. His activities were also monitored by MI5. In 1957, he was appointed director of the New Shakespeare Theatre, in 1959, he joined the Shakespeare Memorial Theatre company at Stratford-upon-Avon, playing Iago to Paul Robesons Othello in Tony Richardsons production that year. In the 1960s and 1970s, he produced or directed several works at venues including the Royal Opera House, Covent Garden and he also directed stage productions, including the world premiere production of Michael Tippetts opera The Ice Break. In 1980, he directed Giuseppe Verdis opera Aida starring Luciano Pavarotti at San Francisco Opera and he was also featured as the widowed and very ruthless department store owner Simon Berrenger on the short-lived drama Berrengers in 1985. Wanamaker founded the Shakespeare Globe Trust to rebuild the Globe Theatre in London, according to Karl Meyer of The New York Times, The Shakespeare project helped Mr. Wanamaker keep his sanity and dignity intact. On his first visit to London in 1949, he had traces of the original theatre and was astonished to find only a blackened plaque on an unused brewery. He found this neglect inexplicable, and in 1970 launched the Shakespeare Globe Trust, later obtaining the building site and he siphoned his earnings as actor and director into the project, undismayed by the scepticism of his British colleagues. There is a plaque on the river-side wall of the theatre. For his work in reconstructing the Globe Theatre, Wanamaker, in July 1993, was made an honorary Commander of the Order of the British Empire and he was also honoured with the Benjamin Franklin Medal by the Royal Society of Arts in recognition of his contribution to theatre. In 1940, Wanamaker married Canadian actress Charlotte Holland, Wanamaker died of prostate cancer in London in 1993 at the age of 74, before his dream could be finalized, and prior to the grand opening of the Globe by Queen Elizabeth II on 12 June 1997. He was survived by three daughters, Abby, Zoe and Jessica, cameo Theatre in Manhattan Footstep June 7,1950 Danger Man – as Patrick Laurence in The Lonely Chair October 30,1960 The Defenders – as Dr
3. John Fletcher (playwright) – John Fletcher was a Jacobean playwright. Though his reputation has been far eclipsed since, Fletcher remains an important transitional figure between the Elizabethan popular tradition and the drama of the Restoration. Fletcher was born in December 1579 in Rye, Sussex, and he cried out at her death, So perish all the Queens enemies. Richard Fletcher died shortly after falling out of favour with the queen and he appears to have been partly rehabilitated before his death in 1596, however, he died substantially in debt. The upbringing of John Fletcher and his seven siblings was entrusted to his paternal uncle Giles Fletcher and his uncles connections ceased to be a benefit, and may even have become a liability, after the rebellion of the Earl of Essex, who had been his patron. Fletcher appears to have entered Corpus Christi College, Cambridge University in 1591 and it is not certain that he took a degree, but evidence suggests that he was preparing for a career in the church. Little is known about his time at college, but he followed the same path previously trodden by the University wits before him. In 1606, he began to appear as a playwright for the Children of the Queens Revels, at the beginning of his career, his most important association was with Francis Beaumont. The two wrote together for close to a decade, first for the children and then for the Kings Men, according to an anecdote transmitted or invented by John Aubrey, they also lived together, sharing clothes and having one wench in the house between them. This domestic arrangement, if it existed, was ended by Beaumonts marriage in 1613, and their partnership ended after Beaumont fell ill, probably of a stroke. By this time, Fletcher had moved into an association with the Kings Men. He collaborated with Shakespeare on Henry VIII, The Two Noble Kinsmen, and the lost Cardenio, a play he wrote singly around this time, The Womans Prize or the Tamer Tamed, is a sequel to The Taming of the Shrew. In 1616, after Shakespeares death, Fletcher appears to have entered into an arrangement with the Kings Men similar to Shakespeares. Fletcher wrote only for that company between the death of Shakespeare and his own death nine years later and he never lost his habit of collaboration, working with Nathan Field and later with Philip Massinger, who succeeded him as house playwright for the Kings Men. His popularity continued unabated throughout his life, during the winter of 1621 and he died in 1625, apparently of the plague. He seems to have buried in what is now Southwark Cathedral, although the precise location is not known. His mastery is most notable in two types, tragicomedy and comedy of manners. In the preface to the edition of his play, Fletcher explained the failure as due to his audiences faulty expectations
4. John Gower – John Gower was an English poet, a contemporary of William Langland and the Pearl Poet, and a personal friend of Geoffrey Chaucer. Few details are known of Gowers early life and he was probably born into a family which held properties in Kent and Suffolk. Stanley and Smith use an argument to conclude that Gower’s formative years were spent partly in Kent. Southern and Nicolas conclude that the Gower family of Kent and Suffolk cannot be related to the Yorkshire Gowers because their coats of arms are drastically different, later in life his allegiance switched to the future Henry IV, to whom later editions of the Confessio Amantis were dedicated. Much of this is based on rather than documentary evidence. The source of Gower’s income remains a mystery and he may have practised law in or around London. Macaulay lists several real estate transactions to which Gower was a party, from 1365 he received ten pounds rent for the manor of Wygebergh in Essex. From 1382 until death he received forty pounds per annum from selling Felwell in Norfolk, in 1399 Henry IV granted him a pension, in the form of an annual allowance of two pipes of Gascony wine. Carlson estimates the value of the two pipes as 3 to 4 pounds wholesale or 8 pounds retail, Gowers friendship with Chaucer is also well documented. When Chaucer was sent as a diplomat to Italy in 1378, the Introduction to the Man of Laws Tale contains an apparent reference to Gower’s tales of Canacee and Tyro Appolonius. Tyrwhitt believed that this offended Gower and led to the removal of Venus’ praise of Chaucer, twentieth century sources have more innocent reasons for the deletion. At some point during the early 1370s, he took up residence in rooms provided by the Priory of St Mary Overie, in 1398, while living here, he married, probably for the second time, his wife, Agnes Groundolf, who survived him. In his last years, and possibly as early as 1400, after his death in 1408, Gower was interred in an ostentatious tomb in the Priory church, which remains today. Macaulay provides much information and speculation about Gower, some of his conclusions are inferences drawn from the trilingual writings of Gower. Where possible he draws upon legal records and other biographers, Gowers verse is by turns religious, political, historical, and moral—though he has been narrowly defined as moral Gower ever since Chaucer graced him with the epithet. His primary mode is allegory, although he shies away from sustained abstractions in favour of the style of the raconteur. His earliest works were probably ballades in Anglo-Norman French, some of which may have later been included in his work the Cinkante Ballades, Gowers second major work, the Vox Clamantis, was written in Latin. The first book has an account of the Peasants Revolt which begins as an allegory, becomes quite specific
5. William Kempe – Roles associated with his name may include the great comic creation, Falstaff, and his contemporaries considered him the successor to the great clown of the previous generation, Richard Tarlton. Despite his fame as a performer and subsequent intent to continue his career, he appears to have died unregarded and in poverty circa 1603. Sir Thomas Kempe did indeed have a son named William, however, leicesters nephew, Philip Sidney, sent letters home by way of a man he called Will, my Lord of Lesters jesting player and it is now generally accepted this was Kempe. Sidney complained in a letter to Francis Walsingham that Will had delivered the letters to Lady Leicester rather than Sidneys wife, Frances Walsingham. After a brief return to England, Kempe accompanied two other future Lord Chamberlains Men, George Bryan and Thomas Pope, to Elsinore where he entertained Frederick II of Denmark. Kempes whereabouts in the later 1580s are not known, but that his fame as a performer was growing during this period is indicated by Thomas Nashes An Almond for a Parrot, nashe dedicated this work to Kempe, calling him vicegerent general to the ghost of Dick Tarlton. Similarly, the title-page of the quarto of A Knack to Know a Knave advertises Kempes merriments, critics have generally viewed the scene in which Kempe performs as rather flat and it is assumed that the scene provided a framework within which Kempe could improvise. Entries in the Stationers Register indicate that three jigs perhaps written by Kempe were published between 1591 and 1595, by 1592 Kempe was one of Lord Stranges Men, listed in the Privy Council authorisation for that troupe to play seven miles out of London. After his departure from the Chamberlains Men in early 1599, Kempe continued to pursue his career as a performer, later that year he published a description of the event to prove to doubters that it was true. However, his activities after this famous stunt are as obscure as his origins, the last undoubted mention of him occurs in Henslowes diary in late 1602. Parish records record the death of Kempe, a man in St. Saviour, Southwark, while this is not necessarily the comedian, the record fits his departure from the documentary record. In his time, Kempe was as famous for his stage jigs as for his acting in regular drama, the jig, a kind of rustic cousin to commedia dellarte, featured as many as five performers in a partially improvised song-and-dance routine. Jigs had plots, often bawdy, but the emphasis was on dancing, two of Kempes jigs survive in English, and two more in German. Examples of the jigs may be seen in the collection of John Dowland. A famous 17th century jig called Kemps Jig was named after Will Kempe and was published in the first book of John Playfords The English Dancing Master of 1651, the tune has received a number of modern renditions, including those by Jan Akkerman and Gryphon. As an actor, Kempe is certainly associated with two roles, Dogberry in Much Ado About Nothing and Peter in Romeo and Juliet, Falstaff is a more ambiguous case. Though Falstaff presents some features of an Elizabethan dramatic clown, his character is higher in class, Kempe appears as a character in The Return from Parnassus, or The Scourge of Simony, possibly written during his lifetime or very shortly after his death. In it he praises Shakespeare for outdoing university-educated playwrights, in the 1978 TV series Will Shakespeare Kempe is portrayed by Derek Royle as an oafish alcoholic
6. Philip Massinger – Philip Massinger was an English dramatist. His finely plotted plays, including A New Way to Pay Old Debts, The City Madam and The Roman Actor, are noted for their satire and realism, the son of Arthur Massinger or Messenger, he was baptized at St. Thomass Salisbury on 24 November 1583. He apparently belonged to an old Salisbury family, for the name occurs in the city records as early as 1415 and he is described in his matriculation entry at St. Alban Hall, Oxford, as the son of a gentleman. His father, who had also educated at St. Alban Hall, was a member of parliament. Herbert recommended Arthur in 1587 for the office of examiner in the Court of the Marches, William Herbert, 3rd Earl of Pembroke, who would come to oversee the London Stage and the royal company as King Jamess Lord Chamberlain, succeeded to the title in 1601. It has been suggested that he supported Massinger at Oxford, Massinger left Oxford without a degree in 1606. His father had died in 1603, and that may have left him without financial assistance, the lack of a degree and the want of patronage from Lord Pembroke may both be explained on the supposition that he had become Roman Catholic. During these years he worked in collaboration with other dramatists, a second document shows that Massinger and Daborne owed Henslowe £3 on 4 July 1615. The earlier note probably dates from 1613, and from this time Massinger apparently worked regularly with John Fletcher, after Philip Henslowes death in 1616 Massinger and Fletcher began to write for the Kings Men. Between 1623 and 1626 Massinger produced unaided for the Lady Elizabeths Men, then playing at the Cockpit Theatre, three pieces, The Parliament of Love, The Bondman and The Renegado. With the exception of these plays and The Great Duke of Florence, produced in 1627 by Queen Henriettas Men, the tone of the dedications of his later plays affords evidence of his continued poverty. The prologue to The Guardian refers to two plays and two years of silence, when the author feared he had lost the popular favour. It is probable that this break in his production was owing to his handling of political matters. There is little doubt that this was the piece as Believe as You List, in which time and place are changed, Antiochus being substituted for Sebastian. In the prologue, Massinger ironically apologizes for his ignorance of history, the obvious late and sad example of a wandering prince could be no other than Charles Is brother-in-law, the Elector Palatine. An allusion to the subject may be traced in The Maid of Honour. In another play by Massinger, not extant, Charles I is reported to have struck out a passage put into the mouth of Don Pedro, king of Spain. The poet seems to have adhered closely to the politics of his patron, Philip Herbert, 4th Earl of Pembroke, the servility towards the Crown displayed in Beaumont and Fletchers plays reflected the temper of the court of James I