#e1 tag

[ednyfedfychan]

“Despite her early experiences, Elizabeth used incarceration as a punishment when her ladies and relatives transgressed.”

— Amy License, Woodsmoke and Sage

[ednyfedfychan]

— Mary Hill Cole, The Half-Blood Princes: Mary I, Elizabeth I, and Their Strategies of Legitimation (The Birth of a Queen: Essays on the Quincentenary of Mary I)

[ednyfedfychan]

"In the flurry of celebrations as the Spanish Armada was preparing to leave for England in 1588, the Jesuit Pedro de Ribadeneyra published the first part of his widely read ecclesiastical history of the events that led up to the 'English schism', the Historia eclesiástica del scisma del reyno de Inglaterra. Translating and adapting Nicholas Sander’s Schismatis Anglicano (1585), a Latin text written by Elizabethan Catholic exiles, he contended that Queen Elizabeth was not only illegitimate but also born of an incestuous union – the monstrous culmination of Henry’s lust and pride in taking Anne Boleyn and setting himself up as head of the church in place of the Vicar of Christ. [...] Contrary to what may be expected, Spaniards did not always reproduce Ribadeneyra’s monstrous portrayal of Henry VIII, Anne Boleyn, and Elizabeth Tudor, even when they agreed with the Jesuit."

— Deborah R. Forteza, The English Reformation in the Spanish Imagination: Rewriting Nero, Jezebel, and the Dragon

[ednyfedfychan]

"Her daughter Elizabeth made little mention of her mother, but her access to the royal library would have put her in contact with some of Anne’s material legacy. Elizabeth could have easily spent time with Anne’s marginalia."

— Michaela Baca, 'Thys Boke Ys Myn': Evolution of Queenly Literary Authority, 1460-1603

[ednyfedfychan]

“For nearly two hundred years, there has been continuous multi-media ascription of music and musical activity to the most prominent women of sixteenth-century Britain. From Gaetano Donizetti's grand Italian operas Anna Bolena and Maria Stuarda in the 1830s through the 2007 Broadway musical extravaganza The Pirate Queen, the female monarchs of England and Scotland have appeared and re-appeared on stage, screen, and endless audio recordings as superb singers in a wide range of post Renaissance musical styles. Queens Catherine of Aragon, Anne Boleyn, Jane Seymour, and a youthful Princess Mary Tudor dance to period music in the 1970 BBC television series The Six Wives of Henry VIII. The fictitious gentlewoman Viola de Lesseps does likewise to a late-twentieth century composition meant to evoke an Elizabethan pavane in the 1998 film Shakespeare in Love. The endless fascination with Elizabeth I alone has given audiences over the past sixty years or so at least one superb opera (Benjamin Britten's Gloriana of 1953) and a ceaseless supply of films and television mini-series that incidentally depict the young princess and the mature monarch as a dancer, auditor, and participant in many musical rituals and ceremonies. A recent trend in historically-informed recordings of sixteenth-century British music has been the compilation of albums whose titles reflect the lives of women, but whose contents generally reinforce the conventions of "great composers" and the public circulation of music.”

Lynda Phyllis Austern, Women's Musical Voices in Sixteenth-Century England