Scholarship on transnational encounter has predominantly focused on men's cross-cultural interactions. This article breaks new ground by exploring women's roles in similar forms of linguistic and power negotiation within the context of English convents founded in Europe during the seventeenth century. Moreover, recent scholarship on English convents has so far remained silent on the question of how these women negotiated the language barriers that many of them faced. This article proposes an answer by examining the correspondence sent in the 1620s from the English Benedictine convent in Brussels. These letters reveal the changing ways in which English nuns relied on both male and female translators to communicate. In so doing, this article expands existing scholarly understanding of epistolary and literary culture by exploring the authorial strategies employed in the convent, which afforded the nuns a sense of authority over their texts. The letters were vital avenues for the women to express dissent, and raise concerns over the way their community was governed. Finally, despite being enclosed institutions, English convents in exile were not monoglot spaces but porous sites of multi-lingual encounter.

The history of religious migration and experience of exile in the early modern period has received a great deal of attention in recent years. Neglected within this scholarship, however, is sustained discussion of linguistic encounter within these often fraught transcultural and transnational interactions. This article breaks new ground by exploring the linguistic experiences of religious exiles in English convents founded in the Low Countries. Most women within English communities in exile were linguistically challenged; focusing on the creative ways these women subsequently negotiated language barriers sheds new light on female language acquisition and encounter during this period.

This essay adds to our existing understanding of what it meant to be a member of the English Catholic community during the late Elizabeth and early Stuart period by exploring Catholic musical culture in Lancashire. This was a uniquely Catholic village, which, like the majority of villages, towns and cities in early modern England, was filled with the singing of ballads. Ballads have almost exclusively been treated in scholarship as a ‘Protestant’ phenomenon and the ‘godly ballad’ associated with the very fabric of a distinctively Protestant Elizabethan and Stuart entertainment culture. By investigating the songs and ballads in two manuscript collections from the Catholic network surrounding the Blundell family this essay will show how Catholics both composed and ‘converted’ existing ballads to voice social, devotional, and political concerns. The ballads performed in Little Crosby highlight a vibrant Catholic community, where musical expression was fundamental. Performance widened the parochial religious divide, whilst enhancing Catholic integration. This essay uncovers the way Catholics used music to voice religious and exhort protest as much as prayer. Finally, by investigating the tunes and melodies preserved in the manuscripts, I demonstrate how priests serving this network used ballads as part of their missionary strategy.

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The spectacle of the scaffold and theatre of punishment has received a great deal of attention and revision in recent scholarship. This article adds to the existing body of work on the actions of the condemned and argues that sites of execution were performative spaces, which were adapted and appropriated by English Catholics. This article reveals how martyrs subverted the authority of the state through musical performance and transformed persecution space. Scaffold singing was part of a tradition of martyrological fashioning and emphasizes how the martyrs' legacy was directed by the martyrs themselves as much as their martyrologists. The influence of musical self‐fashioning is visible in multiple performance spaces: in exile, at arraignments, in prisons, and within the households of the English Catholic community. Finally, English Catholics performed the music of martyrs in their households to enhance their devotion, as the scaffold scene was recreated through music in the domestic setting. In this way, the beleaguered Catholic laity memorialized their martyrs with a politically subversive performance, and framed martyrs' final moments with song.