The King and Commoner tradition within English medieval and early modern literature

23 After his deposition, King Gustav IV Adolf of Sweden lived in Swiss hotel under the name `Colonel Gustafsson' until his death (De Kungliga Slotten, 2022).

24 King Edward VII would often visit a Parisian cafe in disguise to take a break from his duties (The Cafe de la Paix, A Paris Landmark, Is Closed Till Spring, 1974). He had previously travelled under the title `Baron Renfrew' (Dabney, 1990). Philippe of Belgium similarly travels to his holiday home in Brittany under the guise of his pseudonym `Monsieur Legrand' (Starbuck, 2021).

25 Walsh (1987) records how Philip II, eager to see his future wife Maria Manuela, followed her from Badajoz to Salamanca. She became aware that he was present and sought to hide her face with her fan, which was pushed away by a juggler so that it could be seen.

26 Hearst (1898) details a strange account of how Ferdinand I of Romania had `the curious experience of falling in love with his own wife.' This strange event was the result of his queen going incognito to enjoy herself which in turn caused him to become jealous of her kindness towards a young European and subsequently fall back in love with her.

27 Paul I of Russia is said to have travelled around Europe with his wife Maria Feodorovna disguised as `Comte and Comtesse du Nord' (Vidal, 2009).

28 The British expression that `The Queen thinks the world smells like fresh paint' neatly summarises the fact that monarchs rarely experience the world as it is when they are not there. Therefore, Charles XI of Sweden concealed himself in a gray coat and travelled around his land routing out corruption and injustice (Dunderdagar, 2022).

29 In Shakespeare's (1898) Measure for Measure, Vincentio, the Duke of Vienna, dresses as a friar to `visit both prince and people' (Act I. Scene III.) whilst leaving Angelo to enforce strict laws on his behalf.

30 Willem-Alexander of the Netherlands, when the Prince of Orange, took part in an ice-skating event under the name W.A. van Buren (Bloks, 2021).

31 Former Princess Mako of Japan married a commoner and thus became one herself. Previously, she had concealed her identity when supporting victims of the Tohoku earthquake (Cope, 2021).

32 Olav Lundeberg (1924) mentions `German, Danish, Russian, Belgian, Bohemian, French, Italian, English, Scotch, and Oriental literatures.'

33 For a more thorough investigation into these literary developments, refer to Mark Truesdale's (2018) The King and Commoner Tradition: Carnivalesque Politics in Medieval and Early Modern Literature.

34 Tristan passes unrecognised when arriving in Ireland (Bruce, 1999) and Iseult plans to disguise her maid as herself on her wedding night (Green, 2009).

35 Sands (1966) explains how Havelok disguises himself as a peddler and seeks refuge with a Danish nobleman.

36 Homer (1961), through the voice of the old nurse, emphasises what Keen (1961) delineates as the king's corporal and regal body: `I could not / see you until now--not till I knew / my master's very body with my hands! (Book 19, lines 550-552)' Beneker (2017) notes the importance of shared memory in the process of his identification, referring to his and Penelope's private recollections of how their bed was made.

37 Hazlitt (1864).

38 Fay Gwilliams' The disguise theme in the Middle English metrical romances: Its use, origins and influences associates this with prior oral traditions involving the disguise motif and other historical figures, such as Richard I, William du Longchamp, St. John and Edward the Confessor.

39 The Boots of Buffalo-Leather by the Brothers Grimm employs this sartorial distinction also: `Then he opened his hunting- coat, and his royal garments were visible. The soldier was alarmed, and fell on his knees' (Grimm & Grimm, 2016). Another of their fairy tales, King Thrushbeard, has the disguised eponym humorously test the heart of a princess in various ways before he makes her his wife (Grimm & Grimm, 2016).

40 Truesdale (2018).

41 As known in Latin as Giraldus Cambrensis.

42 Furrow (2013).

43 Shakespeare (1898, Act I., Scene II.). For further research into the use of disguise in the play, see Flower's (1975) Disguise and Identity in Pericles, Prince of Tyre.

44 The story The Prince and the Pauper by Mark Twain (1882) emphasises this idea that the only division between the two is their outward appearance: `The little Prince of Wales was garlanded with Tom's fluttering odds and ends, and the little Prince of Pauperdom was tricked out in the gaudy plumage of royalty ... and lo, a miracle: there did not seem to have been any change made!'

45 Shakespeare (1890, Act IV. Scene I.).

46 Harris (2018) notes the rarity of this use of disguise, arguing how it is usually understood as a `performative plot point' rather than one of `identity construction'. Mumaghan (2011) has made similar observations regarding Odysseus' claims to his position based on relations with those around him and his ability to maintain them successfully.

47 His own personal unification of knight, husband, and king are highlighted by Fowler (2014), not only his construction of his `social person' through the forging of his armour.

48 The ballad Queen Eleanors Confession (Child, 2020) tells of how Henry II, alongside the Earl Marshal, dresses as a friar and visits his wife, the sick Queen Eleanor of Aquitaine, who confesses to past infidelities, crimes and hidden truths.

49 Sutton & Visser-Fuchs (1986).

50 Bruckner (1993).

51 Peele (1593).

52 The original Peele (1593) version is incomplete and so here I use the full quotation provided by Barton (1975).

53 Whilst King Edward IV and the Tanner of Tamworth, The Loyal Forrister, Le roi et le Fermier, The Boots of Buffalo Leather, and KingMansor and the Fisherman mention the king losing his way during a hunt, a deer is specifically mentioned in The King and the Hermit, The King and the Barker, King James and the Tinker, and The King and the Miller of Mansfield.

54 Knight & Ohlgren (1997).

55 Rachel Snell (2000) also refers to the peasant's `equally misleading public mask'.

56 Here I refer to an article on the website budacastlebudapest.com, `Matthias Fountain in Buda Castle District'.

57 Titled Part I., Novella LVII. in the collection by Thomas Roscoe (1825) and The Thirty-Fifth Nouell in that of William Painter (2011).

58 Furrow (2013).

59 Truesdale (2018).

60 See Chappell (1855, pp. 54-55), Collier (1847, p. xv.), Loades (1974, pp. 141-157), and Wilke (2018).

61 Holt (1982).

62 Barton (1975).

63 Dobson & Taylor (1976).

64 Ibid.

65 John de Reeve in John the Reeve, Rauf Coilyear in The Taill of Rauf Coilyear, Adam in King Edward and the Shepherd, Wylkyn Alyn (the knave) in King Edward and the Hermit, and Robyn Hode in A Gest of Robyn Hode.

66 Joly Robyn in King Edward and the Shepherd, Jhake Flecher in King Edward and the Hermit, Peeres Pay-for-all in John the Reeve, and Wymond of the Wardrop in The Taill of Rauf Coilyear.

67 The King and the Miller of Mansfield, in Percy (1839).

68 Philips (1723).

69 Here I reference Wenzig's (1857) Der Kohler und Kaiser Maximillian II.

70 The Pleasant and Delightful History of King Henry the VIII. and the Abbot of Reading (1680).

71 Richard II, Richard III, Henry IV Parts One and Two, Henry V, Macbeth, Measure for Measure, and King Lear all include the disguise and incognito of as well as deception by various rulers. Dale's (2021) paper titled Incognitos: Shakespeare's Uses of Disguise in the Light of New Historicism and Its Legacy provides more information on this.

72 The plays Fair Em (Shakespeare [Apochyphra], 2013) and King Leir (Stem, 2003), for example, demonstrate how the king's disguise was also used in exclusively royal contexts.

73 Philips (1723).

74 The Royal Frolick (1692).

75 Scott (1828).

76 A landlord or farmer.

77 McKirdy-Walker (1994).

78 Truesdale (2018).

79 King Alfred and the Shepherd (Philips, 1723).

81. The Royal Frolick (1692).

82 McShane (2016).

83. Here I refer to a late seventeenth-century song about the opening of parliament under James II titled The Happy Return (1685).

84 Crane (1997).

85 Gathof (2014).

86 The historical novel Ivanhoe by Scott (1821), set during the Middle Ages, also employs this idea. Richard I returns to England as Le Noir Faineant, a black knight, rescuing Wilfred of Ivanhoe, also disguised, during the second-day melee of King John's tournament. He subsequently disappears and resides with a hermit.

87 Macdougall (1989).

88 Ibid.

89 Prestwich (2018).

90 Medieval Histories (2016).

91 Barton (1975).

92 Later in the play, Friar Bacon states `Edward, King Henry's son and Prince of Wales, / Thy fool disguised cannot conceal thyself' although is this spoken by someone capable of performing magic (Greene, 1594).

93 Act V, Scene I.

94 Ibid.

95 Ibid.

96 Child (1888), line 89.

97 Child (1956).

98 Wrigley (1985).

99 In this story, King Henry VIII uses the name Harry whilst wandering the streets incognito. To some extent, this is reminiscent of Shakespeare's (1890, Act IV Scene I.) Henry V, who identifies himself to Pistol as `Harry le Roy'. Albeit mistaken for a Cornish name and explained to be of Welsh origin, it is of course French for `the king'.

100 The King and the Cobbler (1769).

101 Percy (1858).

102 Ross (1997).

103 Engle & Waltz (2022).

104 Barber (2003).

105 McLynn (2007).

106 Heywood (1842, Part I., Act IV, Scene III.).

107 Heywood (1842, Part I. Act III., Scene I.).

108 Ibid.

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