From the late sixteenth century to our own time, depictions of Queen Elizabeth I and her court have granted a prominent place to music. On film, stage and audio recordings as well as in documentary accounts, music has been woven into the pageantry of Elizabethan court life and showcased the queen’s and leading court figures’ refined taste and participation in the legendary native flowering of the arts. As with her mother, Anne Boleyn, music was incorporated into Elizabeth’s legend shortly after her death and transmitted with it to successive generations. By the years leading up to the Second World War, ‘[of ] Elizabeth’s musical capacities it [was] hardly necessary to say anything as they [had] become so familiar by frequent reference’.1 Music has most often served the image of Elizabeth as an accomplished woman, beloved ruler and example for her (common) people. It has also helped to bridge her personal and political faces, especially for eras in which gender roles were rigidly delineated and the womanly virtues did not include effective governance. In the words of one presenter to the General Federation of [American] Women’s Clubs near the end of the First World War, ‘Queen Elizabeth became [sic] less heartless when we hear her playing on the harpsichord.’2 Perhaps this is less anachronistic than it seems. Perhaps, as Butler’s book suggests, this capacity of music to sound across the divide between body politic and individual sensate body, and between public and more

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在伊丽莎白一世宫廷中操纵音乐

从 16 世纪后期到我们这个时代，对伊丽莎白一世及其宫廷的描绘为音乐赋予了显着的地位。在电影、舞台和录音以及纪录片中，音乐已经融入了伊丽莎白时代宫廷生活的壮丽之中，展示了女王和宫廷领袖的高雅品味以及对传说中的本土艺术开花的参与。与她的母亲安妮博林一样，音乐在她死后不久就被纳入了伊丽莎白的传奇，并随之传给了后代。到第二次世界大战前夕，“[关于] 伊丽莎白的音乐能力，[几乎] 无需多说，因为他们[已经] 通过频繁提及而变得如此熟悉”。1 音乐最常为伊丽莎白的形象服务作为一个有成就的女人，心爱的统治者和她（普通）人民的榜样。它还有助于弥合她的个人和政治面孔，尤其是在性别角色被严格界定且女性美德不包括有效治理的时代。用第一次世界大战结束时[美国]妇女俱乐部总联合会的一位主持人的话来说，“当我们听到伊丽莎白女王弹奏大键琴时，她变得[原文如此]不那么无情了。”2也许这不那么不合时宜比看起来。也许，正如巴特勒的书所暗示的那样，音乐的这种能力可以跨越身体政治和个人感觉身体之间的鸿沟，以及公众和更多人之间的鸿沟。特别是在性别角色被严格界定且女性美德不包括有效治理的时代。用第一次世界大战结束时[美国]妇女俱乐部总联合会的一位主持人的话来说，“当我们听到伊丽莎白女王弹奏大键琴时，她变得[原文如此]不那么无情了。”2也许这不那么不合时宜比看起来。也许，正如巴特勒的书所暗示的那样，音乐的这种能力可以跨越身体政治和个人感觉身体之间的鸿沟，以及公众和更多人之间的鸿沟。特别是在性别角色被严格界定且女性美德不包括有效治理的时代。用第一次世界大战结束时[美国]妇女俱乐部总联合会的一位主持人的话来说，“当我们听到伊丽莎白女王弹奏大键琴时，她变得[原文如此]不那么无情了。”2也许这不那么不合时宜比看起来。也许，正如巴特勒的书所暗示的那样，音乐的这种能力可以跨越身体政治和个人感觉身体之间的鸿沟，以及公众和更多人之间的鸿沟。