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Along with many texts of this type, Anthony Munday’s earliest-surviving Jacobean Lord Mayor’s Show, the 1605 production The Triumphes of Re-united Britania , has received little critical attention to date. On those occasions when Munday’s text is discussed, it is invariably to claim that it celebrated James’s accession in the most enthusiastic and unproblematic fashion: for instance, David Bergeron has argued that the Show would have ‘aid[ed] the political idea of James’s legitimate claim to the English throne’. 1 This essay will engage in what James Knowles has called a ‘double reading of civic ritual’ in order to look afresh at the extent to which Munday’s Show would indeed have found favour with the new king. 2 Munday’s apparently slight text repays prolonged scrutiny, for it contains a complex negotiation of the implications of the accession, and of the respective glories of the monarchy and the civic oligarchy. Furthermore, it can be seen to signal the way civic attitudes towards the new king were to develop over the remainder of James’s reign. It is perhaps not a coincidence that this — Munday’s most monarchical, and in many respects least typical, Show in terms of its subject matter — is one of the most discussed by critics when they do venture off the well-trodden ground of the stage plays of the period. 3 It is also, probably for the same reason, the sole Lord Mayor’s Show selected by Arthur Kinney to sit alongside The Magnificent Entertainment in the recent Renaissance Drama anthology. These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.
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