Mary Boleyn: “A Great Whore, Infamous Above All”
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The English Lyrics of the Henry VIII Manuscript
The English Lyrics of the Henry VIII Manuscript by RAYMOND G. SIEMENS B. A. (Hons), The University of Waterloo, 1989 M.A., The University of Alberta, 1991 A THESIS SUBMITTED LN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES, Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA May 20, 1997 ©R.G. Siemens, 1997 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or 'by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. /7 v. Department of The University of British Columbia Vancouver, Canada Date DE-6 (2788) Abstract The Henry VIII MS (BL Additional MS 31,922)—a song book with lyrics by Henry VIII, Thomas Wyatt, William Cornish, and other literary figures of the early Henrician court—is a document that contributes greatly to a critical understanding of the connections between poetry, patronage, and power in early Renaissance society because of the prominence of its chief author, the King himself, and the manuscript's reflection of literary, social, and political elements of the early Tudor court. Acknowledging that the contents of the Henry VIII MS have been thoroughly treated as "words for music" by the musicologist John Stevens, whose Music and Poetry in the Early Tudor Court and Music at the Court of Henry VIII are the standard works in the area, my thesis builds on existing scholarship to treat the lyrics of H chiefly as "words," as literary texts. -
LEIGHTON: Notes Regarding the 1577 Portrait of Elizabeth Knollys On
19 May 2009 KNOLLYS – LEIGHTON: Notes regarding the 1577 portrait of Elizabeth Knollys on display @ Montacute, her marriage to Thomas Leighton and possible identification of a portrait of ‘an unknown french noblewoman’ as Elizabeth Leighton, nee Knollys Dates need clarification and confirmation where possible. _________________ _____________________________________________________________________ Portrait on left of Elizabeth Knollys, after George Gower: 1577. Source: Montacute1 Portrait on the right described by Philip Mould as Portrait of an unknown french noblewoman: www.historicalportraits.com: Image Library _____________________________________________________________________ The french influence noted by the firm of Philip Mould regarding the latter portrait may be a consequence of the fact that Elizabeth’s husband, Sir Thomas Leighton, served as Governor of Jersey (1570- 1 As an interesting aside, Elizabeth Knolly’s black hat was displayed at the National Maritime Museum in 2003 in an exhibition curated by David Starkey. Elizabeth also presented Elizabeth I with a ‘fayre cap of black vellat’ in 1578/9 1 1609): ‘governor of the ifles of Guernfey and Jcrfey, and con-ftable of the tower of London’. In terms of the wearing of mourning attire, Elizabeth’s brother Edward and her brother-in-law, Gerald Fitzgerald, Baron Offaley, both died in 1580. In 1582/3 her eldest brother, Sir Henry Knollys, and her great-uncle of the same name also died.2 In 1583 her nephew Robert Dudley died. Her mother-in-law, Joyce Leighton nee Sutton, died in 1586. In the context of a large extended Elizabethan family, deaths continued to occur on a frequent basis. These two portraits are quite interesting in juxtaposition. -
Bring up the Bodies
BRING UP THE BODIES BY HILARY MANTEL ADAPTED FOR THE STAGE BY MIKE POULTON DRAMATISTS PLAY SERVICE INC. BRING UP THE BODIES Copyright © 2016, Mike Poulton and Tertius Enterprises Ltd Copyright © 2014, Mike Poulton and Tertius Enterprises Ltd Bring Up the Bodies Copyright © 2012, Tertius Enterprises Ltd All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of BRING UP THE BODIES is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan-American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author’s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for BRING UP THE BODIES are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY 10016. -
Wolf Hall Ep 5 Draft 3 Amend.Fdx
WOLF HALL Episode Five "Crows" Written by Peter Straughan WOLF HALL Episode Five “Crows” INT. AUSTIN FRIARS - CROMWELL’S BEDROOM - MORNING Cromwell wakes up, looks to the woman sitting up in bed beside him - LIZ. She is making a silk braid. One end is pinned to the foot of the bed. On each raised finger of her hand she’s spinning loops of thread, so fast it’s hard to follow. Cromwell watches in silence for a moment. THOMAS CROMWELL Slow down, so I can see how you do it. Liz smiles as she works. LIZ I can’t slow down. If I stop to think how I’m doing it, I won’t be able to do it. We CLOSE on her fingers, spinning, blurring... ON CROMWELL ... as he wakes from his dreams and looks to the empty place in the bed beside him. Liz’s place. EXT. KIMBOLTON CASTLE - EARLY EVENING - WINTER 1535 Cromwell, Rafe and their armed escort arrive at the walls of Kimbolton. A sentry halloos from above. RAFE Thomas Cromwell, Secretary to the king. SENTRY (Calling) Show your colours. THOMAS CROMWELL (To Rafe) Tell him to let us in before I show his arse my boot. 2. INT. KIMBOLTON CASTLE - KATHERINE’S CHAMBER - EARLY EVENING An ill Katherine sits huddled by the fire, wrapped in ermine. She puts out a hand for Cromwell to kiss. She turns her face to the light for Cromwell to inspect. KATHERINE OF ARAGON Well, how do I look? That’s why he sent you isn’t it? To see if I really am dying? Cromwell smiles, examines her jaundiced face. -
Wolf Hall Ep 3.Fdx
WOLF HALL Episode Three "Anna Regina" Written by Peter Straughan WOLF HALL Episode Three “Anna Regina” EXT. LONDON - DAY - THE PAST NO SOUND A CHILD’S P.O.V - We are pushing through a crowd, their backs to us, all staring intently ahead to where thick smoke rises into the Spring sky. A WOMAN ahead turns and looks down at us - a motherly smile. She makes room and guides us through to the front of the crowd and the spectacle... An OLD WOMAN is burning. She’s chained to a stake, toothless mouth open in a scream, surrounded by the jeering crowd. As we watch a gust of wind lifts the flames and the woman begins to twist and blacken... REVERSE THOMAS CROMWELL as a BOY is watching, face blank. Slowly the sound begins to build - the roar of crowd and the flames, growing louder and louder... LATER Dusk. The patter of RAIN. The crowd have gone and the square is empty, quiet. Young Thomas shelters under the deserted wooden stand. Suddenly several MEN AND WOMEN appear. One keeps watch while the others kneels around the black sludge and bones that is all that is left of the old woman. Young Thomas steps out cautiously. YOUNG THOMAS They burnt an old woman. She was a Loller. The men and women ignore him. We see they are scraping up the remains, placing them in an earthenware pot. YOUNG THOMAS (CONT’D) She thinks the God on the altar is just bread. He notices what they are doing, steps forward, interested, and peers at the black sludge until he finds a piece of rib- cage. -
H-France Review Volume 16 (2016) Page 1
H-France Review Volume 16 (2016) Page 1 H-France Review Vol. 16 (September 2016), No. 180 Thierry Crépin-Leblond and Monique Chatenet, eds., Anne de France: art et pouvoir en 1500: actes du colloque organisé par Moulins, Ville d’art et d’histoire, le 30 et 31 mars 2012. Paris: Picard, 2014. 221 pp. Illustrations, plans, genealogical tables, bibliography. 69.00€ (pb). ISBN 978-2-7084-0962-0. Review by Nicola Courtright, Amherst College. Anne de France: Art et pouvoir en 1500, acts of a colloquium that took place in Moulins in March 2012, edited by Thierry Crépin-Leblond and Monique Chatenet, contains relatively brief but invaluable chapters stocked with new information and original interpretations. It is divided in two: the first half is dedicated to studies about Anne of France, daughter of Louis XI and sister of his son Charles VIII, and the other half to her patronage and that of other notable, politically active noblewomen--regents and queens--influenced by Anne circa 1500. Throughout the entire volume, the authors seek to indicate ways in which these women’s acts and patronage of art and architecture exhibit some kind of political authority. They unearth documents, explore the visual valence of objects and architecture, and examine literary texts to argue that Anne of France, Margaret of Austria, and Anne of Brittany played a significant role in the history of Europe in the late fifteenth and early sixteenth centuries. A major strength of this collection is how authors are deeply engaged with drilling down into the documents to find new material to apply to the questions they pose or offer new interpretations of little-known material. -
Anna Bolena Opera by Gaetano Donizetti
ANNA BOLENA OPERA BY GAETANO DONIZETTI Presentation by George Kurti Plohn Anna Bolena, an opera in two acts by Gaetano Donizetti, is recounting the tragedy of Anne Boleyn, the second wife of England's King Henry VIII. Along with Gioachino Rossini and Vincenzo Bellini, Donizetti was a leading composer of the bel canto opera style, meaning beauty and evenness of tone, legato phrasing, and skill in executing highly florid passages, prevalent during the first half of the nineteenth century. He was born in 1797 and died in 1848, at only 51 years of age, of syphilis for which he was institutionalized at the end of his life. Over the course of is short career, Donizetti was able to compose 70 operas. Anna Bolena is the second of four operas by Donizetti dealing with the Tudor period in English history, followed by Maria Stuarda (named for Mary, Queen of Scots), and Roberto Devereux (named for a putative lover of Queen Elizabeth I of England). The leading female characters of these three operas are often referred to as "the Three Donizetti Queens." Anna Bolena premiered in 1830 in Milan, to overwhelming success so much so that from then on, Donizetti's teacher addressed his former pupil as Maestro. The opera got a new impetus later at La Scala in 1957, thanks to a spectacular performance by 1 Maria Callas in the title role. Since then, it has been heard frequently, attracting such superstar sopranos as Joan Sutherland, Beverly Sills and Montserrat Caballe. Anna Bolena is based on the historical episode of the fall from favor and death of England’s Queen Anne Boleyn, second wife of Henry VIII. -
Patriarchal Dynamics in Politics: How Anne Boleyn's Femininity Brought Her Power and Death
John Carroll University Carroll Collected Senior Honors Projects Theses, Essays, and Senior Honors Projects Spring 2018 Patriarchal Dynamics in Politics: How Anne Boleyn’s Femininity Brought her Power and Death Rebecca Ries-Roncalli John Carroll University, [email protected] Follow this and additional works at: https://collected.jcu.edu/honorspapers Part of the European History Commons Recommended Citation Ries-Roncalli, Rebecca, "Patriarchal Dynamics in Politics: How Anne Boleyn’s Femininity Brought her Power and Death" (2018). Senior Honors Projects. 111. https://collected.jcu.edu/honorspapers/111 This Honors Paper/Project is brought to you for free and open access by the Theses, Essays, and Senior Honors Projects at Carroll Collected. It has been accepted for inclusion in Senior Honors Projects by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. Patriarchal Dynamics in Politics: How Anne Boleyn’s Femininity Brought her Power and Death Rebecca Ries-Roncalli Senior Honors Project May 2, 2018 Ries-Roncalli 1 I. Adding Dimension to an Elusive Character The figure of Anne Boleyn is one that looms large in history, controversial in her time and today. The second wife of King Henry VIII, she is most well-known for precipitating his break with the Catholic Church in order to marry her. Despite the tremendous efforts King Henry went to in order to marry Anne, a mere three years into their marriage, he sentenced her to death and immediately married another woman. Popular representations of her continue to exist, though most Anne Boleyns in modern depictions are figments of a cultural imagination.1 What is most telling about the way Anne is seen is not that there are so many opinions, but that throughout over 400 years of study, she remains an elusive character to pin down. -
CHURCH: Dates of Confirmation/Consecration
Court: Women at Court; Royal Household. p.1: Women at Court. Royal Household: p.56: Gentlemen and Grooms of the Privy Chamber; p.59: Gentlemen Ushers. p.60: Cofferer and Controller of the Household. p.61: Privy Purse and Privy Seal: selected payments. p.62: Treasurer of the Chamber: selected payments; p.63: payments, 1582. p.64: Allusions to the Queen’s family: King Henry VIII; Queen Anne Boleyn; King Edward VI; Queen Mary Tudor; Elizabeth prior to her Accession. Royal Household Orders. p.66: 1576 July (I): Remembrance of charges. p.67: 1576 July (II): Reformations to be had for diminishing expenses. p.68: 1577 April: Articles for diminishing expenses. p.69: 1583 Dec 7: Remembrances concerning household causes. p.70: 1598: Orders for the Queen’s Almoners. 1598: Orders for the Queen’s Porters. p.71: 1599: Orders for supplying French wines to the Royal Household. p.72: 1600: Thomas Wilson: ‘The Queen’s Expenses’. p.74: Marriages: indexes; miscellaneous references. p.81: Godchildren: indexes; miscellaneous references. p.92: Deaths: chronological list. p.100: Funerals. Women at Court. Ladies and Gentlewomen of the Bedchamber and the Privy Chamber. Maids of Honour, Mothers of the Maids; also relatives and friends of the Queen not otherwise included, and other women prominent in the reign. Close friends of the Queen: Katherine Astley; Dorothy Broadbelt; Lady Cobham; Anne, Lady Hunsdon; Countess of Huntingdon; Countess of Kildare; Lady Knollys; Lady Leighton; Countess of Lincoln; Lady Norris; Elizabeth and Helena, Marchionesses of Northampton; Countess of Nottingham; Blanche Parry; Katherine, Countess of Pembroke; Mary Radcliffe; Lady Scudamore; Lady Mary Sidney; Lady Stafford; Countess of Sussex; Countess of Warwick. -
Teaching the Tudors Programme
Teaching the Tudors Saturday 23 March 2019, York Programme 09.30–10.00 Registration and coffee 10.00–11.00 Henry VIII and the men who made him (Dr Tracy Borman, Historic Royal Palaces) Henry VIII is famous for being the king who married six times. But it was the men in his life, far more than the women, who shaped this notorious monarch. In this talk, based upon her major new biography, Henry VIII and the Men Who Made Him, Tracy Borman will tell the story of England’s most famous monarch through the eyes of the men who surrounded him: relations, servants, ministers, rivals, confidantes and companions. She will introduce a dazzling cast of characters: some ‘mad’ (Sir Francis Bryan, the so-called ‘Vicar of Hell’), some ‘bad’ (the grasping minister, Thomas Wolsey), but none as ‘dangerous to know’ as Henry VIII himself. It was these men who shaped Henry into the man – and monster – that he would become. And he, in turn, dictated their fates. 11.00–11.15 Coffee break 11.15–12.15 Session 1: Choice from 3 concurrent teacher workshops: Workshop A: Using Miranda Kaufmann’s Black Tudors to refresh the teaching of the Early Modern World (Kerry Apps and Josh Garry) This workshop will focus on different ways history teachers have sought to bring Miranda Kaufmann’s work into the classroom. The approaches help to illuminate the black presence in Britain but also articulate common themes of Tudor England and ideas about evidence. Workshop B: Teaching interpretations at GCSE with a focus on the Elizabethan era (Natalie Kesterton) This session will tackle common themes across examination boards to implement strategies for teaching the Elizabethans at GCSE and finding ways to secure the skills needed to tackle the interpretations questions on the GCSE paper - with some ideas to take away and some reflections on how to continue to refine our practice. -
The Love Letters of Henry VIII to Anne Boleyn Sources of the Love That Changed England Forever
Corso di Laurea Magistrale in Scienze del Linguaggio [LM5-08] Tesi di Laurea The Love Letters of Henry VIII to Anne Boleyn Sources of the Love that changed England Forever Relatore Prof.ssa Marina Buzzoni Correlatore Prof. Marco Infurna Laureando Susi Bellinello Matricola 829025 Anno Accademico 2016 / 2017 Ai miei genitori: senza di loro tutto ciò non sarebbe stato possibile. A Denis, che continua ad essere il raggio di sole che in mezzo alla pioggia crea l’arcobaleno. A Valentina che, nonostante la distanza, mi è sempre stata vicina. A tutti quelli che non hanno mai creduto che questo giorno arrivasse. Questa è la mia vittoria. 2 CONTENTS INTRODUCTION ...................................................................................................................... 7 CHAPTER I: HENRY AND ANNE: THE MOST HAPPY LOVE STORY THAT CHANGED HISTORY ............................................................................................................................... 12 I.1 Anne Boleyn: the woman who bewitched the heart of Henry VIII .............................. 12 I.1.2 Return to the English Court .................................................................................... 14 I.2 1527 - 1528: The Love Letters and the Great Matter .................................................... 17 I.3 1529: Two Queens for a Throne ................................................................................... 21 I.4 1530: Ainsi Sera, Groigne qui Groigne ........................................................................ 23 I.5 -
THE ROSES ✥ 9 10 1 2 3 4 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 36 37 38X
This content downloaded from 136.167.3.36 on Thu, 11 Jan 2018 18:42:15 UTC All use subject to http://about.jstor.org/terms 1 2 3 4 5 6 7 8 ✥ THE WARS OF THE ROSES ✥ 9 10 1 2 3 4 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 36 37 38x This content downloaded from 136.167.3.36 on Thu, 11 Jan 2018 18:42:15 UTC All use subject to http://about.jstor.org/terms 1 2 3 4 5 6 7 THE WARS OF 8 9 ✥ ✥ 10 THE ROSES 1 2 3 MICHAEL HICKS 4 5 6 7 8 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 36 YALE UNIVERSITY PRESS 37 NEW HAVEN AND LONDON 38x This content downloaded from 136.167.3.36 on Thu, 11 Jan 2018 18:42:15 UTC All use subject to http://about.jstor.org/terms 1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 Copyright © 2010 Michael Hicks 8 9 All rights reserved. This book may not be reproduced in whole or in part, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and 20 except by reviewers for the public press) without written permission from the publishers. 1 For information about this and other Yale University Press publications, please contact: 2 U.S. Office: [email protected] www.yalebooks.com 3 Europe Office: sales @yaleup.co.uk www.yaleup.co.uk 4 Set in Minion Pro by IDSUK (DataConnection) Ltd 5 Printed in Great Britain by TJ International Ltd, Padstow, Cornwall 6 Library of Congress Cataloging-in-Publication Data 7 8 Hicks, M.