Women And Tudor Tragedy

The role of women as writers, literary and dramatic characters, and real queens in early modern Europe was central to the development of Tudor ideas about gender and women's place in society. Women and Tudor Tragedy investigates the link between gender and genre, identifying the relation between cultural history and mid-Tudor drama. This book establishes a way for reading women in early modern history, drama, and poetry by fusing discussions of gender in literature with historical analysis of tyranny and martyrdom in mid-Tudor culture. It considers the disparities between the representation of women in historical, political, and religious treatises by examining the complex portrayal of women, female speeches, and the rhetoric of good counsel. The author provides a discussion of the role of women in early English tragedies and in a variety of texts by women. Throughout the book, Allyna E. Ward asks in what ways these different ways of writing the Tudor women can help scholars better understand the place of women in English culture at the end of the sixteenth century. Furthermore, Ward traces the feminization of the rhetoric of counsel that takes place with the last Tudor monarchs as a way of accommodating female rule.

The role of women as writers, literary and dramatic characters, and real queens in early modern Europe was central to the development of Tudor ideas about gender and women’s place in society. Women and Tudor Tragedy investigates the link between gender and genre, identifying the relation between cultural history and mid-Tudor drama. This book establishes a way for reading women in early modern history, drama, and poetry by fusing discussions of gender in literature with historical analysis of tyranny and martyrdom in mid-Tudor culture. It considers the disparities between the representation of women in historical, political, and religious treatises by examining the complex portrayal of women, female speeches, and the rhetoric of good counsel. The author provides a discussion of the role of women in early English tragedies and in a variety of texts by women. Throughout the book, Allyna E. Ward asks in what ways these different ways of writing the Tudor women can help scholars better understand the place of women in English culture at the end of the sixteenth century. Furthermore, Ward traces the feminization of the rhetoric of counsel that takes place with the last Tudor monarchs as a way of accommodating female rule.

Paula de Pando analyses the engagement of historical she-tragedy with Restoration politics and culture, positioning Banks’s plays at the crossroads between early modern genres and the emerging discourses of the long eighteenth century.

The Tudor era belongs to its women. No other period of English History has produced so many notable and interesting women, and into other period have they so powerfully influenced the course of political events. Mary Tudor, Elizabeth 1 and, at moments of high drama, Mary Queen of Scots dominated the political scene for more than half a century, while in the previous fifty years Henry VIII's marital escapades brought six more women to the centre of attention. In this book the women of the royal family are the central characters; the royal women set the style and between them they provide a dazzling variety of personalities as well as illustrating almost every aspect of life as it affected women in Tudor England. We know what they ate, how they dressed, the books they read and the letters they wrote. Even the greatest of them suffered the universal legal and physiological disabilities of womanhood - some survived them, some went under. Now revised and updated, Alison Plowden's beautifully written account of the women behind the scenes and at the forefront of sixteenth-century English history will be welcomed by anyone interested in exploring this popular period of history from the point of view of the women who made it.

The Queen was accused of having been a woman of "abominable carnal desires" who had craftily and traitorously misled her royal spouse into believing she was "chaste and of pure, clean, and honest living." Worse still, she had followed "daily her frail and carnal lust" and had actually "conspired, imagined, and encompassed" the final destruction of the King. This book is an analysis of a life and a multitude of circumstances that culminated in violent death; a study of how chance and personality, morality and adultery, deliberate malice and good intentions, when operating within the limits set by environment, can create a single act in time, the swift descent of the executioner's axe.

NEW YORK TIMES BESTSELLER • “Leanda de Lisle brings the story of nine days’ queen Lady Jane Grey and her forgotten sisters, the rivals of Elizabeth I, to vivid life in her fascinating biography.”—Philippa Gregory Mary, Katherine, and Jane Grey–sisters whose mere existence nearly toppled a kingdom and altered a nation’s destiny–are the captivating subjects of Leanda de Lisle’s new book. The Sisters Who Would Be Queen breathes fresh life into these three young women, who were victimized in the notoriously vicious Tudor power struggle and whose heirs would otherwise probably be ruling England today. Born into aristocracy, the Grey sisters were the great-granddaughters of Henry VII, grandnieces to Henry VIII, legitimate successors to the English throne, and rivals to Henry VIII’s daughters, Mary and Elizabeth. Lady Jane, the eldest, was thrust center stage by greedy men and uncompromising religious politics when she briefly succeeded Henry’s son, the young Edward I. Dubbed “the Nine Days Queen” after her short, tragic reign from the Tower of London, Jane has over the centuries earned a special place in the affections of the English people as a “queen with a public heart.” But as de Lisle reveals, Jane was actually more rebel than victim, more leader than pawn, and Mary and Katherine Grey found that they would have to tread carefully in order to avoid sharing their elder sister’s violent fate. Navigating the politics of the Tudor court after Jane’ s death was a precarious challenge. Katherine Grey, who sought to live a stable life, earned the trust of Mary I, only to risk her future with a love marriage that threatened Queen Elizabeth’s throne. Mary Grey, considered too petite and plain to be significant, looked for her own escape from the burden of her royal blood–an impossible task after she followed her heart and also incurred the queen’s envy, fear, and wrath. Exploding the many myths of Lady Jane Grey’s life, unearthing the details of Katherine’s and Mary’s dramatic stories, and casting new light on Elizabeth’s reign, Leanda de Lisle gives voice and resonance to the lives of the Greys and offers perspective on their place in history and on a time when a royal marriage could gain a woman a kingdom or cost her everything.

Greek Tragic Women on Shakespearean Stages argues that ancient Greek plays exerted a powerful and uncharted influence on early modern England's dramatic landscape. Drawing on original research to challenge longstanding assumptions about Greek texts' invisibility, the book shows not only that the plays were more prominent than we have believed, but that early modern readers and audiences responded powerfully to specific plays and themes. The Greek plays most popular in the period were not male-centered dramas such as Sophocles' Oedipus, but tragedies by Euripides that focused on raging bereaved mothers and sacrificial virgin daughters, especially Hecuba and Iphigenia. Because tragedy was firmly linked with its Greek origin in the period's writings, these iconic female figures acquired a privileged status as synecdoches for the tragic theater and its ability to conjure sympathetic emotions in audiences. When Hamlet reflects on the moving power of tragic performance, he turns to the most prominent of these figures: 'What's Hecuba to him, or he to Hecuba/ That he should weep for her?' Through readings of plays by Shakespeare and his contemporary dramatists, this book argues that newly visible Greek plays, identified with the origins of theatrical performance and represented by passionate female figures, challenged early modern writers to reimagine the affective possibilities of tragedy, comedy, and the emerging genre of tragicomedy.