The White Rose of York (also called the Rose alba or rose argent), a white heraldic rose, is the symbol of the House of York and has since been adopted as a symbol of Yorkshire as a whole.

History

Traditionally the origins of the emblem are said to go back to Edmund of Langley in the fourteenth century, the first Duke of York and the founder of the House of York as a Cadet branch of the then ruling House of Plantagenet. The actual symbolism behind the rose has religious connotations as it represents the Virgin Mary, who was often called the Mystical Rose of Heaven.

During the civil wars of the fifteenth century, the White Rose was the symbol of Yorkist forces opposed to the rival House of Lancaster, whose symbol was the Red Rose of Lancaster. Yorkshire Day is held on this date each year.

Symbol

The Yorkist rose is used in the seal of the City of York, Pennsylvania, which is known as the White Rose City.

York's minor league baseball team that played in different leagues for several decades was called the York White Roses.

See also

Wars of the Roses

Red Rose of Lancaster

Tudor Rose

White boar

References

External links

The White Rose on History of York

Category:Wars of the Roses Category:Norman and Medieval England Category:Roses Category:Symbols

Name	William Shakespeare
Caption	The Chandos portrait, artist and authenticity unconfirmed. National Portrait Gallery, London.
Birthdate	Baptised 26 April 1564 (birth date unknown)
Birthplace	Stratford-upon-Avon, Warwickshire, England
Deathdate	23 April 1616 (aged 52)
Deathplace	Stratford-upon-Avon, Warwickshire, England
Spouse
Children	Susanna HallHamnet ShakespeareJudith Quiney
Relations	John Shakespeare (father)Mary Shakespeare (mother)
Occupation	Playwright, poet, actor
Signature	William Shakepeare Signature.svg
Movement	English Renaissance theatre}}

William Shakespeare (baptised 26 April 1564; died 23 April 1616) He is often called England's national poet and the "Bard of Avon".

Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his physical appearance, sexuality, religious beliefs, and whether the works attributed to him were written by others. In the 20th century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are constantly studied, performed and reinterpreted in diverse cultural and political contexts throughout the world.

Life

Early life

William Shakespeare was the son of John Shakespeare, a successful glover and alderman originally from Snitterfield, and Mary Arden, the daughter of an affluent landowning farmer. He was born in Stratford-upon-Avon and baptised there on 26 April 1564. His actual birthdate remains unknown, but is traditionally observed on 23 April, St George's Day. This date, which can be traced back to an 18th-century scholar's mistake, has proved appealing to biographers, since Shakespeare died 23 April 1616. He was the third child of eight and the eldest surviving son.

Although no attendance records for the period survive, most biographers agree that Shakespeare was probably educated at the King's New School in Stratford, a free school chartered in 1553, about a quarter-mile from his home. Grammar schools varied in quality during the Elizabethan era, but the curriculum was dictated by law throughout England, and the school would have provided an intensive education in Latin grammar and the classics.

, in Stratford-upon-Avon.]] At the age of 18, Shakespeare married the 26-year-old Anne Hathaway. The consistory court of the Diocese of Worcester issued a marriage licence 27 November 1582. The next day two of Hathaway's neighbours posted bonds guaranteeing that no lawful claims impeded the marriage. The ceremony may have been arranged in some haste, since the Worcester chancellor allowed the marriage banns to be read once instead of the usual three times, and six months after the marriage Anne gave birth to a daughter, Susanna, baptised 26 May 1583. Twins, son Hamnet and daughter Judith, followed almost two years later and were baptised 2 February 1585. Hamnet died of unknown causes at the age of 11 and was buried 11 August 1596.

After the birth of the twins, Shakespeare left few historical traces until he is mentioned as part of the London theatre scene in 1592, and scholars refer to the years between 1585 and 1592 as Shakespeare's "lost years". Biographers attempting to account for this period have reported many stories. Nicholas Rowe, Shakespeare’s first biographer, recounted a Stratford legend that Shakespeare fled the town for London to escape prosecution for deer poaching in the estate of local squire Thomas Lucy. Shakespeare is also supposed to taken his revenge on Lucy by writing a scurrilous ballad about him. Another 18th-century story has Shakespeare starting his theatrical career minding the horses of theatre patrons in London. John Aubrey reported that Shakespeare had been a country schoolmaster. Some 20th-century scholars have suggested that Shakespeare may have been employed as a schoolmaster by Alexander Hoghton of Lancashire, a Catholic landowner who named a certain "William Shakeshafte" in his will. No evidence substantiates such stories other than collected after his death, and Shakeshafte was a common name in the Lancashire area.

London and theatrical career

{| class="toccolours" style="float: right; margin-left: 1em; margin-right: 1em; font-size: 85%; background:#c6dbf7; color:black; width:23em; max-width: 25%;" cellspacing="5" | style="text-align: left;" | "All the world's a stage,

and all the men and women merely players:

they have their exits and their entrances;

and one man in his time plays many parts..." |- | style="text-align: left;" | As You Like It, Act II, Scene 7, 139–42. |} It is not known exactly when Shakespeare began writing, but contemporary allusions and records of performances show that several of his plays were on the London stage by 1592. He was well enough known in London by then to be attacked in print by the playwright Robert Greene in his Groats-Worth of Wit:

...there is an upstart Crow, beautified with our feathers, that with his Tiger's heart wrapped in a Player's hide, supposes he is as well able to bombast out a blank verse as the best of you: and being an absolute Johannes factotum, is in his own conceit the only Shake-scene in a country.

Scholars differ on the exact meaning of these words, but most agree that Greene is accusing Shakespeare of reaching above his rank in trying to match university-educated writers such as Christopher Marlowe, Thomas Nashe and Greene himself (the "university wits"). The italicised phrase parodying the line "Oh, tiger's heart wrapped in a woman's hide" from Shakespeare's Henry VI, Part 3, along with the pun "Shake-scene", identifies Shakespeare as Greene's target. Here Johannes Factotum—"Jack of all trades"— means a second-rate tinkerer with the work of others, rather than the more common "universal genius".

Greene's attack is the earliest surviving mention of Shakespeare’s career in the theatre. Biographers suggest that his career may have begun any time from the mid-1580s to just before Greene's remarks. From 1594, Shakespeare's plays were performed only by the Lord Chamberlain's Men, a company owned by a group of players, including Shakespeare, that soon became the leading playing company in London. After the death of Queen Elizabeth in 1603, the company was awarded a royal patent by the new king, James I, and changed its name to the King's Men.

In 1599, a partnership of company members built their own theatre on the south bank of the River Thames, which they called the Globe. In 1608, the partnership also took over the Blackfriars indoor theatre. Records of Shakespeare's property purchases and investments indicate that the company made him a wealthy man. In 1597, he bought the second-largest house in Stratford, New Place, and in 1605, he invested in a share of the parish tithes in Stratford.

Some of Shakespeare's plays were published in quarto editions from 1594. By 1598, his name had become a selling point and began to appear on the title pages. Shakespeare continued to act in his own and other plays after his success as a playwright. The 1616 edition of Ben Jonson's Works names him on the cast lists for Every Man in His Humour (1598) and Sejanus His Fall (1603). The absence of his name from the 1605 cast list for Jonson’s Volpone is taken by some scholars as a sign that his acting career was nearing its end. The First Folio of 1623, however, lists Shakespeare as one of "the Principal Actors in all these Plays", some of which were first staged after Volpone, although we cannot know for certain which roles he played. In 1610, John Davies of Hereford wrote that "good Will" played "kingly" roles. In 1709, Rowe passed down a tradition that Shakespeare played the ghost of Hamlet's father. Later traditions maintain that he also played Adam in As You Like It and the Chorus in Henry V, though scholars doubt the sources of the information.

Shakespeare divided his time between London and Stratford during his career. In 1596, the year before he bought New Place as his family home in Stratford, Shakespeare was living in the parish of St. Helen's, Bishopsgate, north of the River Thames. He moved across the river to Southwark by 1599, the year his company constructed the Globe Theatre there. By 1604, he had moved north of the river again, to an area north of St Paul's Cathedral with many fine houses. There he rented rooms from a French Huguenot called Christopher Mountjoy, a maker of ladies' wigs and other headgear.

Later years and death

Rowe was the first biographer to pass down the tradition that Shakespeare retired to Stratford some years before his death; but retirement from all work was uncommon at that time, and Shakespeare continued to visit London. In March 1613 he bought a gatehouse in the former Blackfriars priory; and from November 1614 he was in London for several weeks with his son-in-law, John Hall.

in Stratford-upon-Avon.]] After 1606–1607, Shakespeare wrote fewer plays, and none are attributed to him after 1613. His last three plays were collaborations, probably with John Fletcher, who succeeded him as the house playwright for the King’s Men.

Shakespeare died on 23 April 1616 and was survived by his wife and two daughters. Susanna had married a physician, John Hall, in 1607, and Judith had married Thomas Quiney, a vintner, two months before Shakespeare’s death.

In his will, Shakespeare left the bulk of his large estate to his elder daughter Susanna. The terms instructed that she pass it down intact to "the first son of her body". The Quineys had three children, all of whom died without marrying. The Halls had one child, Elizabeth, who married twice but died without children in 1670, ending Shakespeare’s direct line. Shakespeare's will scarcely mentions his wife, Anne, who was probably entitled to one third of his estate automatically. He did make a point, however, of leaving her "my second best bed", a bequest that has led to much speculation. Some scholars see the bequest as an insult to Anne, whereas others believe that the second-best bed would have been the matrimonial bed and therefore rich in significance.

Shakespeare was buried in the chancel of the Holy Trinity Church two days after his death. The epitaph carved into the stone slab covering his grave includes a curse against moving his bones, which was carefully avoided during restoration of the church in 2008:

::Good frend for Iesvs sake forbeare, ::To digg the dvst encloased heare. ::Bleste be ye man yt spares thes stones, ::And cvrst be he yt moves my bones.

Modern spelling: ::"Good friend, for Jesus' sake forbear," ::"To dig the dust enclosed here." ::"Blessed be the man that spares these stones," ::"And cursed be he who moves my bones." In 1623, in conjunction with the publication of the First Folio, the Droeshout engraving was published. Some attributions, such as Titus Andronicus and the early history plays, remain controversial, while The Two Noble Kinsmen and the lost Cardenio have well-attested contemporary documentation. Textual evidence also supports the view that several of the plays were revised by other writers after their original composition.

The first recorded works of Shakespeare are Richard III and the three parts of Henry VI, written in the early 1590s during a vogue for historical drama. Shakespeare's plays are difficult to date, however, and studies of the texts suggest that Titus Andronicus, The Comedy of Errors, The Taming of the Shrew and The Two Gentlemen of Verona may also belong to Shakespeare’s earliest period. His first histories, which draw heavily on the 1587 edition of Raphael Holinshed's Chronicles of England, Scotland, and Ireland, dramatise the destructive results of weak or corrupt rule and have been interpreted as a justification for the origins of the Tudor dynasty. The early plays were influenced by the works of other Elizabethan dramatists, especially Thomas Kyd and Christopher Marlowe, by the traditions of medieval drama, and by the plays of Seneca. The Comedy of Errors was also based on classical models, but no source for The Taming of the Shrew has been found, though it is related to a separate play of the same name and may have derived from a folk story. Like The Two Gentlemen of Verona, in which two friends appear to approve of rape, the Shrew's story of the taming of a woman's independent spirit by a man sometimes troubles modern critics and directors.

, c. 1786. Tate Britain.]] Shakespeare's early classical and Italianate comedies, containing tight double plots and precise comic sequences, give way in the mid-1590s to the romantic atmosphere of his greatest comedies. A Midsummer Night's Dream is a witty mixture of romance, fairy magic, and comic lowlife scenes. Shakespeare's next comedy, the equally romantic Merchant of Venice, contains a portrayal of the vengeful Jewish moneylender Shylock, which reflects Elizabethan views but may appear derogatory to modern audiences. The wit and wordplay of Much Ado About Nothing, the charming rural setting of As You Like It, and the lively merrymaking of Twelfth Night complete Shakespeare's sequence of great comedies. After the lyrical Richard II, written almost entirely in verse, Shakespeare introduced prose comedy into the histories of the late 1590s, Henry IV, parts 1 and 2, and Henry V. His characters become more complex and tender as he switches deftly between comic and serious scenes, prose and poetry, and achieves the narrative variety of his mature work. This period begins and ends with two tragedies: Romeo and Juliet, the famous romantic tragedy of sexually charged adolescence, love, and death; and Julius Caesar—based on Sir Thomas North's 1579 translation of Plutarch's Parallel Lives—which introduced a new kind of drama. According to Shakespearean scholar James Shapiro, in Julius Caesar "the various strands of politics, character, inwardness, contemporary events, even Shakespeare's own reflections on the act of writing, began to infuse each other".

, 1780–5. Kunsthaus Zürich.]] In the early 17th century, Shakespeare wrote the so-called "problem plays" Measure for Measure, Troilus and Cressida, and All's Well That Ends Well and a number of his best known tragedies. Many critics believe that Shakespeare's greatest tragedies represent the peak of his art. The titular hero of one of Shakespeare's most famous tragedies, Hamlet, has probably been discussed more than any other Shakespearean character, especially for his famous soliloquy "To be or not to be; that is the question". Unlike the introverted Hamlet, whose fatal flaw is hesitation, the heroes of the tragedies that followed, Othello and King Lear, are undone by hasty errors of judgement. The plots of Shakespeare's tragedies often hinge on such fatal errors or flaws, which overturn order and destroy the hero and those he loves. In Othello, the villain Iago stokes Othello's sexual jealousy to the point where he murders the innocent wife who loves him. In King Lear, the old king commits the tragic error of giving up his powers, initiating the events which lead to the murder of his daughter and the torture and blinding of the Earl of Gloucester. According to the critic Frank Kermode, "the play offers neither its good characters nor its audience any relief from its cruelty". In Macbeth, the shortest and most compressed of Shakespeare's tragedies, uncontrollable ambition incites Macbeth and his wife, Lady Macbeth, to murder the rightful king and usurp the throne, until their own guilt destroys them in turn. In this play, Shakespeare adds a supernatural element to the tragic structure. His last major tragedies, Antony and Cleopatra and Coriolanus, contain some of Shakespeare's finest poetry and were considered his most successful tragedies by the poet and critic T. S. Eliot.

In his final period, Shakespeare turned to romance or tragicomedy and completed three more major plays: Cymbeline, The Winter's Tale and The Tempest, as well as the collaboration, Pericles, Prince of Tyre. Less bleak than the tragedies, these four plays are graver in tone than the comedies of the 1590s, but they end with reconciliation and the forgiveness of potentially tragic errors. Some commentators have seen this change in mood as evidence of a more serene view of life on Shakespeare's part, but it may merely reflect the theatrical fashion of the day. Shakespeare collaborated on two further surviving plays, Henry VIII and The Two Noble Kinsmen, probably with John Fletcher.

Performances

It is not clear for which companies Shakespeare wrote his early plays. The title page of the 1594 edition of Titus Andronicus reveals that the play had been acted by three different troupes. After the plagues of 1592–3, Shakespeare's plays were performed by his own company at The Theatre and the Curtain in Shoreditch, north of the Thames. Londoners flocked there to see the first part of Henry IV, Leonard Digges recording, "Let but Falstaff come, Hal, Poins, the rest...and you scarce shall have a room". When the company found themselves in dispute with their landlord, they pulled The Theatre down and used the timbers to construct the Globe Theatre, the first playhouse built by actors for actors, on the south bank of the Thames at Southwark. The Globe opened in autumn 1599, with Julius Caesar one of the first plays staged. Most of Shakespeare's greatest post-1599 plays were written for the Globe, including Hamlet, Othello and King Lear.

, London.]] After the Lord Chamberlain's Men were renamed the King's Men in 1603, they entered a special relationship with the new King James. Although the performance records are patchy, the King's Men performed seven of Shakespeare's plays at court between 1 November 1604 and 31 October 1605, including two performances of The Merchant of Venice. After 1608, they performed at the indoor Blackfriars Theatre during the winter and the Globe during the summer. The indoor setting, combined with the Jacobean fashion for lavishly staged masques, allowed Shakespeare to introduce more elaborate stage devices. In Cymbeline, for example, Jupiter descends "in thunder and lightning, sitting upon an eagle: he throws a thunderbolt. The ghosts fall on their knees."

The actors in Shakespeare's company included the famous Richard Burbage, William Kempe, Henry Condell and John Heminges. Burbage played the leading role in the first performances of many of Shakespeare's plays, including Richard III, Hamlet, Othello, and King Lear. The popular comic actor Will Kempe played the servant Peter in Romeo and Juliet and Dogberry in Much Ado About Nothing, among other characters. He was replaced around the turn of the 16th century by Robert Armin, who played roles such as Touchstone in As You Like It and the fool in King Lear. In 1613, Sir Henry Wotton recorded that Henry VIII "was set forth with many extraordinary circumstances of pomp and ceremony". On 29 June, however, a cannon set fire to the thatch of the Globe and burned the theatre to the ground, an event which pinpoints the date of a Shakespeare play with rare precision. Many of the plays had already appeared in quarto versions—flimsy books made from sheets of paper folded twice to make four leaves. No evidence suggests that Shakespeare approved these editions, which the First Folio describes as "stol'n and surreptitious copies". Alfred Pollard termed some of them "bad quartos" because of their adapted, paraphrased or garbled texts, which may in places have been reconstructed from memory. Where several versions of a play survive, each differs from the other. The differences may stem from copying or printing errors, from notes by actors or audience members, or from Shakespeare's own papers. In some cases, for example Hamlet, Troilus and Cressida and Othello, Shakespeare could have revised the texts between the quarto and folio editions. In the case of King Lear, however, while most modern additions do conflate them, the 1623 folio version is so different from the 1608 quarto, that the Oxford Shakespeare prints them both, arguing that they cannot be conflated without confusion.

Poems

In 1593 and 1594, when the theatres were closed because of plague, Shakespeare published two narrative poems on erotic themes, Venus and Adonis and The Rape of Lucrece. He dedicated them to Henry Wriothesley, Earl of Southampton. In Venus and Adonis, an innocent Adonis rejects the sexual advances of Venus; while in The Rape of Lucrece, the virtuous wife Lucrece is raped by the lustful Tarquin. Influenced by Ovid's Metamorphoses, the poems show the guilt and moral confusion that result from uncontrolled lust. Both proved popular and were often reprinted during Shakespeare's lifetime. A third narrative poem, A Lover's Complaint, in which a young woman laments her seduction by a persuasive suitor, was printed in the first edition of the Sonnets in 1609. Most scholars now accept that Shakespeare wrote A Lover's Complaint. Critics consider that its fine qualities are marred by leaden effects. The Phoenix and the Turtle, printed in Robert Chester's 1601 Love's Martyr, mourns the deaths of the legendary phoenix and his lover, the faithful turtle dove. In 1599, two early drafts of sonnets 138 and 144 appeared in The Passionate Pilgrim, published under Shakespeare's name but without his permission.

Sonnets

Published in 1609, the Sonnets were the last of Shakespeare's non-dramatic works to be printed. Scholars are not certain when each of the 154 sonnets was composed, but evidence suggests that Shakespeare wrote sonnets throughout his career for a private readership. Even before the two unauthorised sonnets appeared in The Passionate Pilgrim in 1599, Francis Meres had referred in 1598 to Shakespeare's "sugred Sonnets among his private friends". Few analysts believe that the published collection follows Shakespeare's intended sequence. He seems to have planned two contrasting series: one about uncontrollable lust for a married woman of dark complexion (the "dark lady"), and one about conflicted love for a fair young man (the "fair youth"). It remains unclear if these figures represent real individuals, or if the authorial "I" who addresses them represents Shakespeare himself, though Wordsworth believed that with the sonnets "Shakespeare unlocked his heart". The 1609 edition was dedicated to a "Mr. W.H.", credited as "the only begetter" of the poems. {| class="toccolours" style="float: right; margin-left: 1em; margin-right: 1em; font-size: 85%; background:#c6dbf7; color:black; width:23em; max-width: 25%;" cellspacing="5" | style="text-align: left;" | "Shall I compare thee to a summer's day?

Thou art more lovely and more temperate..." |- | style="text-align: left;" | Lines from Shakespeare's Sonnet 18. |} It is not known whether this was written by Shakespeare himself or by the publisher, Thomas Thorpe, whose initials appear at the foot of the dedication page; nor is it known who Mr. W.H. was, despite numerous theories, or whether Shakespeare even authorised the publication. Critics praise the Sonnets as a profound meditation on the nature of love, sexual passion, procreation, death, and time.

Style

Shakespeare's first plays were written in the conventional style of the day. He wrote them in a stylised language that does not always spring naturally from the needs of the characters or the drama. The poetry depends on extended, sometimes elaborate metaphors and conceits, and the language is often rhetorical—written for actors to declaim rather than speak. The grand speeches in Titus Andronicus, in the view of some critics, often hold up the action, for example; and the verse in The Two Gentlemen of Verona has been described as stilted.

Soon, however, Shakespeare began to adapt the traditional styles to his own purposes. The opening soliloquy of Richard III has its roots in the self-declaration of Vice in medieval drama. At the same time, Richard’s vivid self-awareness looks forward to the soliloquies of Shakespeare's mature plays. By the time of Romeo and Juliet, Richard II, and A Midsummer Night's Dream in the mid-1590s, Shakespeare had begun to write a more natural poetry. He increasingly tuned his metaphors and images to the needs of the drama itself.

by William Blake, 1795, Tate Britain, is an illustration of two similes in Macbeth: "And pity, like a naked new-born babe, / Striding the blast, or heaven's cherubim, hors'd / Upon the sightless couriers of the air".]] Shakespeare's standard poetic form was blank verse, composed in iambic pentameter. In practice, this meant that his verse was usually unrhymed and consisted of ten syllables to a line, spoken with a stress on every second syllable. The blank verse of his early plays is quite different from that of his later ones. It is often beautiful, but its sentences tend to start, pause, and finish at the end of lines, with the risk of monotony. Once Shakespeare mastered traditional blank verse, he began to interrupt and vary its flow. This technique releases the new power and flexibility of the poetry in plays such as Julius Caesar and Hamlet. Shakespeare uses it, for example, to convey the turmoil in Hamlet's mind:

:Sir, in my heart there was a kind of fighting :That would not let me sleep. Methought I lay :Worse than the mutines in the bilboes. Rashly— :And prais'd be rashness for it—let us know :Our indiscretion sometimes serves us well...

:Hamlet, Act 5, Scene 2, 4–8 In the last phase of his career, Shakespeare adopted many techniques to achieve these effects. These included run-on lines, irregular pauses and stops, and extreme variations in sentence structure and length. In Macbeth, for example, the language darts from one unrelated metaphor or simile to another: "was the hope drunk/ Wherein you dressed yourself?" (1.7.35–38); "...pity, like a naked new-born babe/ Striding the blast, or heaven's cherubim, hors'd/ Upon the sightless couriers of the air..." (1.7.21–25). The listener is challenged to complete the sense.

Shakespeare combined poetic genius with a practical sense of the theatre. Like all playwrights of the time, he dramatised stories from sources such as Plutarch and Holinshed. He reshaped each plot to create several centres of interest and to show as many sides of a narrative to the audience as possible. This strength of design ensures that a Shakespeare play can survive translation, cutting and wide interpretation without loss to its core drama. As Shakespeare’s mastery grew, he gave his characters clearer and more varied motivations and distinctive patterns of speech. He preserved aspects of his earlier style in the later plays, however. In Shakespeare's late romances, he deliberately returned to a more artificial style, which emphasised the illusion of theatre.

Influence

, 1793–94. Folger Shakespeare Library, Washington.]]

Shakespeare's work has made a lasting impression on later theatre and literature. In particular, he expanded the dramatic potential of characterisation, plot, language, and genre. Until Romeo and Juliet, for example, romance had not been viewed as a worthy topic for tragedy. Soliloquies had been used mainly to convey information about characters or events; but Shakespeare used them to explore characters' minds. His work heavily influenced later poetry. The Romantic poets attempted to revive Shakespearean verse drama, though with little success. Critic George Steiner described all English verse dramas from Coleridge to Tennyson as "feeble variations on Shakespearean themes."

Shakespeare influenced novelists such as Thomas Hardy, William Faulkner, and Charles Dickens. The American novelist Herman Melville's soliloquies owe much to Shakespeare; his Captain Ahab in Moby-Dick is a classic tragic hero, inspired by King Lear. Scholars have identified 20,000 pieces of music linked to Shakespeare's works. These include two operas by Giuseppe Verdi, Otello and Falstaff, whose critical standing compares with that of the source plays. Shakespeare has also inspired many painters, including the Romantics and the Pre-Raphaelites. The Swiss Romantic artist Henry Fuseli, a friend of William Blake, even translated Macbeth into German. The psychoanalyst Sigmund Freud drew on Shakespearean psychology, in particular that of Hamlet, for his theories of human nature.

In Shakespeare's day, English grammar, spelling and pronunciation were less standardised than they are now, and his use of language helped shape modern English. Samuel Johnson quoted him more often than any other author in his A Dictionary of the English Language, the first serious work of its type. Expressions such as "with bated breath" (Merchant of Venice) and "a foregone conclusion" (Othello) have found their way into everyday English speech.

Critical reputation

{| class="toccolours" style="float: right; margin-left: 1em; margin-right: 2em; font-size: 85%; background:#c6dbf7; color:black; width:30em; max-width: 25%;" cellspacing="0" | style="text-align: left;" | "He was not of an age, but for all time." |- | style="text-align: right;" | Ben Jonson |} Shakespeare was not revered in his lifetime, but he received his share of praise. In 1598, the cleric and author Francis Meres singled him out from a group of English writers as "the most excellent" in both comedy and tragedy. And the authors of the Parnassus plays at St John's College, Cambridge, numbered him with Chaucer, Gower and Spenser. In the First Folio, Ben Jonson called Shakespeare the "Soul of the age, the applause, delight, the wonder of our stage", though he had remarked elsewhere that "Shakespeare wanted art". , typical of many created in the 19th and early 20th century.]] Between the Restoration of the monarchy in 1660 and the end of the 17th century, classical ideas were in vogue. As a result, critics of the time mostly rated Shakespeare below John Fletcher and Ben Jonson. Thomas Rymer, for example, condemned Shakespeare for mixing the comic with the tragic. Nevertheless, poet and critic John Dryden rated Shakespeare highly, saying of Jonson, "I admire him, but I love Shakespeare". For several decades, Rymer's view held sway; but during the 18th century, critics began to respond to Shakespeare on his own terms and acclaim what they termed his natural genius. A series of scholarly editions of his work, notably those of Samuel Johnson in 1765 and Edmond Malone in 1790, added to his growing reputation. By 1800, he was firmly enshrined as the national poet. In the 18th and 19th centuries, his reputation also spread abroad. Among those who championed him were the writers Voltaire, Goethe, Stendhal and Victor Hugo. In the 19th century, critical admiration for Shakespeare's genius often bordered on adulation. "That King Shakespeare," the essayist Thomas Carlyle wrote in 1840, "does not he shine, in crowned sovereignty, over us all, as the noblest, gentlest, yet strongest of rallying signs; indestructible". The Victorians produced his plays as lavish spectacles on a grand scale. The playwright and critic George Bernard Shaw mocked the cult of Shakespeare worship as "bardolatry". He claimed that the new naturalism of Ibsen's plays had made Shakespeare obsolete.

The modernist revolution in the arts during the early 20th century, far from discarding Shakespeare, eagerly enlisted his work in the service of the avant-garde. The Expressionists in Germany and the Futurists in Moscow mounted productions of his plays. Marxist playwright and director Bertolt Brecht devised an epic theatre under the influence of Shakespeare. The poet and critic T. S. Eliot argued against Shaw that Shakespeare's "primitiveness" in fact made him truly modern. Eliot, along with G. Wilson Knight and the school of New Criticism, led a movement towards a closer reading of Shakespeare's imagery. In the 1950s, a wave of new critical approaches replaced modernism and paved the way for "post-modern" studies of Shakespeare. By the eighties, Shakespeare studies were open to movements such as structuralism, feminism, New Historicism, African American studies, and queer studies.

Speculation about Shakespeare

Authorship

Around 150 years after Shakespeare's death, doubts began to be expressed about the authorship of the works attributed to him. Proposed alternative candidates include Francis Bacon, Christopher Marlowe, and Edward de Vere, 17th Earl of Oxford. Several "group theories" have also been proposed. Only a small minority of academics believe there is reason to question the traditional attribution, but interest in the subject, particularly the Oxfordian theory of Shakespeare authorship, continues into the 21st century. Shakespeare's mother, Mary Arden, certainly came from a pious Catholic family. The strongest evidence might be a Catholic statement of faith signed by John Shakespeare, found in 1757 in the rafters of his former house in Henley Street. The document is now lost, however, and scholars differ as to its authenticity. In 1591 the authorities reported that John Shakespeare had missed church "for fear of process for debt", a common Catholic excuse. In 1606 the name of William's daughter Susanna appears on a list of those who failed to attend Easter communion in Stratford.

Sexuality

Few details of Shakespeare's sexuality are known. At 18, he married the 26-year-old Anne Hathaway, who was pregnant. Susanna, the first of their three children, was born six months later on 26 May 1583. However, over the centuries readers have pointed to Shakespeare's sonnets as evidence of his love for a young man. Others read the same passages as the expression of intense friendship rather than sexual love. At the same time, the 26 so-called "Dark Lady" sonnets, addressed to a married woman, are taken as evidence of heterosexual liaisons.

Portraiture

There is no written description of Shakespeare's physical appearance and no evidence that he ever commissioned a portrait, so the Droeshout engraving, which Ben Jonson approved of as a good likeness, Two plays not included in the First Folio, The Two Noble Kinsmen and Pericles, Prince of Tyre, are now accepted as part of the canon, with scholars agreed that Shakespeare made a major contribution to their composition. These plays and the associated Two Noble Kinsmen are marked with an asterisk (*) below. In 1896, Frederick S. Boas coined the term "problem plays" to describe four plays: All's Well That Ends Well, Measure for Measure, Troilus and Cressida and Hamlet. "Dramas as singular in theme and temper cannot be strictly called comedies or tragedies", he wrote. "We may therefore borrow a convenient phrase from the theatre of today and class them together as Shakespeare's problem plays." The term, much debated and sometimes applied to other plays, remains in use, though Hamlet is definitively classed as a tragedy. The other problem plays are marked below with a double dagger (‡).

Plays thought to be only partly written by Shakespeare are marked with a dagger (†) below. Other works occasionally attributed to him are listed as apocrypha.

Works

; Comedies

All's Well That Ends Well ‡

As You Like It

The Comedy of Errors

Love's Labour's Lost

Measure for Measure ‡

The Merchant of Venice

The Merry Wives of Windsor

A Midsummer Night's Dream

Much Ado About Nothing

Pericles, Prince of Tyre *†

The Taming of the Shrew

The Tempest *

Twelfth Night

The Two Gentlemen of Verona

The Two Noble Kinsmen *†

The Winter's Tale *

; Histories

King John

Richard II

Henry IV, Part 1

Henry IV, Part 2

Henry V

Henry VI, Part 1 †

Henry VI, Part 2

Henry VI, Part 3

Richard III

Henry VIII †

; Tragedies

Romeo and Juliet

Coriolanus

Titus Andronicus †

Timon of Athens †

Julius Caesar

Macbeth †

Hamlet

Troilus and Cressida ‡

King Lear

Othello

Antony and Cleopatra

Cymbeline *

; Poems

Shakespeare's sonnets

Venus and Adonis

The Rape of Lucrece

The Passionate Pilgrim

}}

References

Bibliography

. . . . . . . . . . . . . . . . . . . . . .

Cercignani, Fausto, Shakespeare's Works and Elizabethan Pronunciation, Oxford, University Press (Clarendon Press), 1981.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

External links

Open Source Shakespeare complete works, with search engine and concordance

Open Shakespeare complete works, search engine, stats and more all as open content/open source

Internet Shakespeare Editions

First Four Folios at Miami University Library, digital collection

Shakespeare's Will from The National Archives

==Related information==

Category:English dramatists and playwrights Category:English poets Category:English Renaissance dramatists Category:People from Stratford-upon-Avon Category:People illustrated on sterling banknotes Category:People of the Tudor period Category:Sonneteers Category:1564 births Category:1616 deaths Category:16th-century actors Category:16th-century English people Category:17th-century English people

Name	Henry VIII
Caption	King Henry VIII after Hans Holbein the Younger, Walker Art Gallery, Liverpool
Succession	King of England
Moretext	(more...)
Reign	21 April 1509 – 28 January 1547 ()
Coronation	24 June 1509 (aged 17)
Predecessor	Henry VII
Successor	Edward VI
Spouses	Catherine of AragonAnne BoleynJane SeymourAnne of ClevesCatherine HowardCatherine Parr
Issue	Mary I of EnglandHenry FitzRoyElizabeth I of EnglandEdward VI of England
Issue-link	#Marriages and issue
Issue-pipe	Among others
House	House of Tudor
Father	Henry VII of England
Mother	Elizabeth of York
Birth date	June 28, 1491
Birth place	Greenwich Palace, Greenwich
Death date	January 28, 1547
Death place	Palace of Whitehall, London
Place of burial	St. George's Chapel, Windsor Castle
Signature	HenryVIIISig.svg
Religion	Christian (Anglican, previously Roman Catholic)

Henry VIII (28 June 1491 – 28 January 1547) was King of England from 21 April 1509 until his death. He was Lord and later King of Ireland and claimant to the Kingdom of France. Henry was the second monarch of the House of Tudor, succeeding his father, Henry VII.

Besides his six marriages, Henry VIII is known for his role in the separation of the Church of England from the Catholic Church. Henry's struggles with Rome led to the separation of the Church of England from papal authority, the Dissolution of the Monasteries, and establishing himself as the Supreme Head of the Church of England. Yet he remained a believer in core Catholic theological teachings, even after his excommunication from the Catholic Church. Henry oversaw the legal union of England and Wales with the Laws in Wales Acts 1535–1542.

Henry was an attractive and charismatic man in his prime, educated and accomplished. He was an author and a composer. He ruled with absolute power. His desire to provide England with a male heir—which stemmed partly from personal vanity and partly because he believed a daughter would be unable to consolidate the Tudor Dynasty and the fragile peace that existed following the Wars of the Roses—led to the two things that Henry is remembered for: his wives, and the English Reformation that made England a mostly Protestant nation. In later life he became morbidly obese and his health suffered; his public image is frequently depicted as one of a lustful, egotistical, harsh and insecure king.

Early years: 1491–1509

Born at Greenwich Palace, Henry VIII was the third child of Henry VII and Elizabeth of York. Of the young Henry's six siblings, only three — Arthur, Prince of Wales; Margaret; and Mary — survived infancy. In 1493, at the age of two, Henry was appointed Constable of Dover Castle and Lord Warden of the Cinque Ports. In 1494, he was made Duke of York. He was subsequently appointed Earl Marshal of England and Lord Lieutenant of Ireland. Henry was given a first-rate education from leading tutors, becoming fluent in Latin, French, and Spanish. As it was expected that the throne would pass to Prince Arthur, Henry's older brother, Henry was prepared for a clerical career. Elizabeth of York, his mother, died when Henry was aged 11.

Death of Prince Arthur

around the time of his marriage c. 1501]] as a young widow, by Henry VII's court painter, Michael Sittow, in c. 1502.]] In 1502, Arthur died at the age of 15, after only 20 weeks of marriage to Catherine of Aragon. Arthur's death thrust all his duties upon his younger brother, the 10-year-old Henry, who then became Prince of Wales. Henry VII renewed his efforts to seal a marital alliance between England and Spain, by offering his second son in marriage to Prince Arthur's widow, Catherine of Aragon, youngest surviving child of King Ferdinand II of Aragon and Queen Isabella I of Castile. For the new Prince of Wales to marry his brother's widow, a dispensation from the Pope was normally required to overrule the impediment of affinity because, as told in the Book of Leviticus, "If a brother is to marry the wife of a brother they will remain childless." Catherine swore that her marriage to Prince Arthur had not been consummated. Still, both the English and Spanish parties agreed that an additional papal dispensation of affinity would be prudent to remove all doubt regarding the legitimacy of the marriage.

The impatience of Catherine's mother, Queen Isabella I, induced Pope Julius II to grant dispensation in the form of a Papal bull. So, 14 months after her young husband's death, Catherine was betrothed to his even younger brother, Henry. Yet by 1505, Henry VII lost interest in a Spanish alliance and the younger Henry declared that his betrothal had been arranged without his consent.

Continued diplomatic manoeuvring over the fate of the proposed marriage lingered until the death of Henry VII in 1509. Only 17 years old, Henry married Catherine on 11 June 1509 and, on 24 June 1509, the two were crowned at Westminster Abbey.

Early reign: 1509–1525

Two days after his coronation he arrested his father's two most unpopular ministers, Sir Richard Empson and Edmund Dudley. They were charged with high treason and were executed in 1510. This was to become Henry's primary tactic for dealing with those who stood in his way, but failed to draw Henry's attention away from France. The Scots were defeated at the Battle of Flodden on 9 September 1513. Among the dead was the Scottish King, which ended Scotland's brief involvement in the war.

On 18 February 1516, Queen Catherine bore Henry his first child to survive infancy, Princess Mary. (A son, Henry, Duke of Cornwall, had been born in 1511 but lived only a few weeks.)

Power and authority

Government and finances under Henry

of Henry VIII]]Financially, the reign of Henry was a near-disaster. Although he inherited a prosperous economy (augmented by seizures of church lands), Henry's heavy spending and high taxes damaged the economy. For example, Henry expanded the Royal Navy from 5 to 53 ships. He loved palaces; he began with a dozen and died with fifty-five, in which he hung 2,000 tapestries. By comparison, his neighbour and nephew James V of Scotland had five palaces and 200 tapestries. He took pride in showing off his collection of weapons, which included exotic archery equipment, 2,250 pieces of land ordinance and 6,500 handguns.

(right) and Pope Leo X (center), circa 1520.]] Henry began his reign with heavy reliance on advisors and ended with complete control. From 1514 to 1529, Thomas Wolsey (1473–1530), a Catholic cardinal, served as lord chancellor and practically controlled domestic and foreign policy for the young king. He negotiated the truce with France that was signaled by the dramatic display of amity on the Field of the Cloth of Gold (1520). He switched England back and forth as an ally of France and the Holy Roman Empire. Wolsey centralised the national government and extended the jurisdiction of the conciliar courts, particularly the Star Chamber. His use of forced loans to pay for foreign wars angered the rich, who were annoyed as well by his enormous wealth and ostentatious living. Wolsey disappointed the king when he failed to secure a quick divorce from Queen Catherine. The treasury was empty after years of extravagance; the peers and people were dissatisfied and Henry needed an entirely new approach; Wolsey had to be replaced. After 16 years at the top he lost power in 1529 and in 1530 was arrested on false charges of treason and died in custody. Wolsey's fall was a warning to the Pope and to the clergy of England of what might be expected for failure to comply with the king's wishes. Henry then took full control of his government, although at court numerous complex factions continued to try to ruin and destroy each other.

Elton (1962) argues there was a major Tudor revolution in government. While crediting Henry with intelligence and shrewdness, Elton finds that much of the positive action, especially the break with Rome, was the work of Thomas Cromwell and not the king. Elton sees Henry as competent, but too lazy to take direct control of affairs for any extended period; that is, the king was an opportunist who relied on others for most of his ideas and to do most of the work. Henry's marital adventures are part of Elton's chain of evidence; a man who marries six wives, Elton notes, is not someone who fully controls his own fate. Elton shows that Thomas Cromwell had conceived of a commonwealth of England that included popular participation through Parliament and that this was generally expressed in the preambles to legislation. Parliamentary consent did not mean that the king had yielded any of his authority; Henry VIII was a paternalistic ruler who did not hesitate to use his power. Popular "consent" was a means to augment rather than limit royal power.

Reformation

Henry never formally repudiated the doctrines of the Catholic Church, but he declared himself supreme head of the church in England in 1534. This, combined with subsequent actions, eventually resulted in a separated church, the Church of England. Henry and his advisors felt the pope was acting in the role of an Italian prince involved in secular affairs, which obscured his religious role. They said Rome treated England as a minor stepchild, allowing it one cardinal out of fifty, and no possibility of that cardinal becoming pope. For reasons of state it was increasingly intolerable to Henry that major decisions in England were settled by Italians. The divorce issue exemplified the problem but was not itself the cause of the problem.

Henry's reformation of the English church involved more complex motives and methods than his desire for a new wife and an heir. Henry asserted that his first marriage had never been valid, but the divorce issue was only one factor in Henry's desire to reform the church. In 1532–37, he instituted a number of statutes — the act of appeal (Statute in Restraint of Appeals, 1533), the various Acts of Succession (1533, 1534, and 1536), the first Act of Supremacy (1534), and others — that dealt with the relationship between the king and the pope and the structure of the Church of England. During these years, Henry suppressed monasteries and pilgrimage shrines in his attempt to reform the church. The king was always the dominant force in the making of religious policy; his policy, which he pursued skillfully and consistently, is best characterised as a search for the middle way.

Questions over what was the true faith were resolved with the adoption of the orthodox "Act of Six Articles" (1539) and a careful holding of the balance between extreme factions after 1540. Even so, the era saw movement away from religious orthodoxy, the more so as the pillars of the old beliefs, especially Thomas More and John Fisher, had been unable to accept the change and had been executed in 1535 for refusing to renounce papal authority. Critical for the Henrician reformation was the new political theology of obedience to the prince that was enthusiastically adopted by the Church of England in the 1530s. It reflected Martin Luther's new interpretation of the fourth commandment ("Honor thy father and mother") and was mediated to an English audience by William Tyndale. The founding of royal authority on the Ten Commandments, and thus on the word of God, was a particularly attractive feature of this doctrine, which became a defining feature of Henrician religion. Rival tendencies within the Church of England sought to exploit it in the pursuit of their particular agendas. Reformers strove to preserve its connections with the broader framework of Lutheran theology, with the emphasis on faith alone and the word of God, while conservatives emphasised good works, ceremonies, and charity. The Reformers linked royal supremacy and the word of God to persuade Henry to publish the Great Bible in 1539, an English translation that was a formidable prop for his new-found dignity.

Response to the reforms was mixed. The reforms, which closed down monasteries that were the only support of the impoverished, alienated most of the population outside of London and helped provoke the great northern rising of 1536–1537, known as the Pilgrimage of Grace. It was the only real threat to Henry's security on the throne in all his reign. Some 30,000 rebels in nine groups were led by the charismatic Robert Aske, together with most of the northern nobility. Aske went to London to negotiate terms; once there he was arrested, charged with treason and executed. About 200 rebels were executed and the disturbances ended. Elsewhere the changes were accepted and welcomed, and those who clung to Catholic rites kept quiet or moved in secrecy. They would reemerge in the reign of Henry's daughter Mary (1553–1558).

Dissolving the monasteries

England possessed numerous religious houses that owned large tracts of land worked by tenants. Henry dissolved them (1536–1541) and transferred a fifth of England's landed wealth to new hands. The program was designed primarily to create a landed gentry beholden to the crown, which would use the lands much more efficiently.

Henry made radical changes in traditional religious practices. He ordered the clergy to preach against superstitious images, relics, miracles, and pilgrimages, and to remove most candles. The catechism of 1545, called the King's Primer, left out the saints. Latin rituals gave way to English. Shrines to saints were destroyed — including the popular one of St. Thomas of Canterbury — and relics were ridiculed as worthless old bones.

Mistresses

Contrary to popular belief, Henry may not have had very many affairs outside marriage. Apart from women he later married, the identities of only two mistresses are completely undisputed: Elizabeth Blount and Mary Boleyn. However, it is unlikely that they were the only two; Alison Weir has argued that, aside from the affairs listed below, there were numerous other short-term and secret liaisons, most of them conducted in the king's river-side mansion of Jordan House.

Elizabeth "Bessie" Blount gave birth in June 1519 to Henry's illegitimate son, Henry FitzRoy. The young boy was made Duke of Richmond in June 1525 in what some thought was one step on the path to legitimizing him. In 1533, FitzRoy married Mary Howard, Anne Boleyn's first cousin, but died three years later without any children. At the time of FitzRoy's death (July 1536), Parliament was enacting the Second Succession Act, which could have allowed Henry's illegitimate son to become king.

Mary Boleyn was Henry's mistress before her sister, Anne, became his second wife. She is thought to have been Catherine's lady-in-waiting at some point between 1519 and 1526. There has been speculation that Mary's two children, Catherine and Henry, were fathered by Henry, but this has never been proved and the King never acknowledged them as he did Henry FitzRoy.

In 1510 it was reported that Henry was conducting an affair with one of the sisters of Edward Stafford, 3rd Duke of Buckingham, either Elizabeth or Anne Hastings, Countess of Huntingdon. Her brother, the Duke of Buckingham, became enraged and Lord George Hastings, her husband, sent her to a convent. Eustace Chapuys wrote, "the husband of that lady went away, carried her off and placed her in a convent sixty miles from here, that no one may see her.".

Biographer Antonia Fraser has claimed that Henry had an affair with Mary Shelton in 1535, in opposition to the traditional belief that Margaret ("Madge") Shelton was Henry's lover.

King's Great Matter: 1525–1533

Henry became impatient with Catherine's inability to produce the heir he desired. All of Catherine's children died in infancy except their daughter Mary. Henry wanted a male heir to consolidate the power of the Tudor dynasty.

In 1525, as Henry grew more impatient, he became enamoured of a charismatic young woman in the Queen's entourage, Anne Boleyn. Anne at first resisted his attempts to seduce her, and refused to become his mistress as her sister Mary Boleyn had. She said "I beseech your highness most earnestly to desist, and to this my answer in good part. I would rather lose my life than my honesty." This refusal made Henry even more attracted, and he pursued her relentlessly.

Eventually, Anne saw her opportunity in Henry's infatuation and determined she would only yield to his embraces as his acknowledged queen. It soon became the King's absorbing desire to annul his marriage to Catherine.

Henry appealed directly to the Holy See, independently from Cardinal Thomas Wolsey, from whom he kept his plans for Anne secret. Instead, Henry's secretary, William Knight, was sent to Pope Clement VII to sue for the annulment. The grounds were that the bull of Pope Julius II was obtained by false pretences, because Catherine's brief marriage to the sickly Arthur had been consummated. Henry petitioned, in the event of annulment, a dispensation to marry again to any woman even in the first degree of affinity, whether the affinity was contracted by lawful or unlawful connection. This clearly had reference to Anne. The pope forbade Henry to proceed to a new marriage before a decision was given in Rome, not in England. Wolsey bore the blame. Convinced that he was treacherous, Anne Boleyn maintained pressure until Wolsey was dismissed from public office in 1529. After being dismissed, the cardinal begged her to help him return to power, but she refused. He then began a plot to have Anne forced into exile and began communication with Queen Catherine and the Pope to that end. When this was discovered, Henry ordered Wolsey's arrest and had it not been for his death from illness in 1530, he might have been executed for treason. His replacement, Sir Thomas More, initially cooperated with the king's new policy, denouncing Wolsey in Parliament and proclaiming the opinion of the theologians at Oxford and Cambridge that the marriage of Henry to Catherine had been unlawful. As Henry began to deny the authority of the Pope, More's qualms grew.

A year later, Queen Catherine was banished from court and her rooms were given to Anne. With Wolsey gone, Anne had considerable power over political matters. She was an unusually educated and intellectual woman for her time, and was keenly absorbed and engaged with the ideas of the Protestant Reformers. When Archbishop of Canterbury William Warham died, Anne had the Boleyn family's chaplain, Thomas Cranmer, appointed to the vacant position. Through the intervention of the King of France, this was conceded by Rome, the pallium being granted to him by Clement.

Breaking the power of Rome in England proceeded slowly. In 1532, a lawyer who was a supporter of Anne, Thomas Cromwell, brought before Parliament a number of acts including the Supplication against the Ordinaries and the Submission of the Clergy, which recognised Royal Supremacy over the church. Following these acts, Thomas More resigned as Chancellor, leaving Cromwell as Henry's chief minister.

Second marriage

, Henry's second queen; a later copy of an original painted in about 1534]] In the winter of 1532 Henry attended a meeting with Francis I of France at Calais in which he enlisted the support of the French king for his new marriage. Immediately upon returning to Dover in England, Henry and Anne went through a secret wedding service. She soon became pregnant and there was a second wedding service in London on 25 January 1533. On 23 May 1533, Cranmer, sitting in judgment at a special court convened at Dunstable Priory to rule on the validity of the king's marriage to Catherine of Aragon, declared the marriage of Henry and Catherine null and void. Five days later, on 28 May 1533, Cranmer declared the marriage of Henry and Anne to be valid.

Catherine was formally stripped of her title as queen, and Anne was crowned queen consort on 1 June 1533. The queen gave birth to a daughter slightly prematurely on 7 September 1533. The child was christened Elizabeth, in honour of Henry's mother, Elizabeth of York. Rejecting the decisions of the Pope, Parliament validated the marriage of Henry and Anne with the First Succession Act (Act of Succession 1533). Catherine's daughter, Mary, was declared illegitimate, and Anne's issue were declared next in the line of succession. Most notable in this declaration was a clause repudiating "any foreign authority, prince or potentate". All adults in the Kingdom were required to acknowledge the Act's provisions by oath; those who refused were subject to imprisonment for life. Any publisher or printer of any literature alleging that the marriage was invalid was automatically guilty of high treason and could be punished by death.

Separation from Rome: 1533–1540

Meanwhile, Parliament had forbidden all appeals to Rome and exacted the penalties of praemunire against all who introduced papal bulls into England. Parliament prohibited the Church from making any regulations (canons) without the king's consent. It was only then that Pope Clement at last took the step of launching sentences of excommunication against Henry and Thomas Cranmer, declaring at the same time the archbishop's decree of annulment to be invalid and the marriage with Anne null and papal nuncio was withdrawn from England and diplomatic relations with Rome were broken off.

In defiance of the Pope the Church of England was now under Henry’s control, not Rome's. Protestant Reformers still faced persecution, particularly over objections to Henry's annulment. Many fled abroad where they met further difficulties, including the influential William Tyndale, who was eventually burned at King Henry's behest. Theological and practical reforms would follow only under Henry's successors (see end of section).

Personal troubles

The king and queen were not pleased with married life. The royal couple enjoyed periods of calm and affection, but Anne refused to play the submissive role expected of her. The vivacity and opinionated intellect that had made her so attractive as an illicit lover made her too independent for the largely ceremonial role of a royal wife, given that Henry expected absolute obedience from those who interacted with him in an official capacity at court. It made her many enemies. For his part, Henry disliked Anne’s constant irritability and violent temper. After a false pregnancy or miscarriage in 1534, he saw her failure to give him a son as a betrayal. As early as Christmas 1534, Henry was discussing with Cranmer and Cromwell the chances of leaving Anne without having to return to Catherine.

, the site of many royal executions.]]

Opposition to Henry's religious policies was quickly suppressed in England. A number of dissenting monks were tortured and executed. The most prominent resisters included John Fisher, Bishop of Rochester, and Sir Thomas More, Henry's former Lord Chancellor, both of whom refused to take the oath to the King and were subsequently convicted of high treason and beheaded at Tower Hill, just outside the Tower of London.

These suppressions, including the Dissolution of the Lesser Monasteries Act of 1536, in turn contributed to further resistance among the English people, most notably in the Pilgrimage of Grace, a large uprising in northern England in October, 1536. Henry VIII promised the rebels he would pardon them and thanked them for raising the issues to his attention, then invited the rebel leader, Robert Aske to a royal banquet. At the banquet, Henry asked Aske to write down what had happened so he could have a better idea of the problems he would "change." Aske did what the King asked, although what he had written was later used against him as a confession. The King's word could not be questioned (as he was held as God's chosen, and second only to God himself) so Aske told the rebels they had been successful and they could disperse and go home. However, because Henry saw the rebels as traitors, he did not feel obliged to keep his promises. The rebels realised that the King was not keeping his promises and rebelled again later that year, but their strength was less in the second attempt and the King ordered the rebellion crushed. The leaders, including Aske, were arrested and executed for treason.

Execution of Anne Boleyn

became Henry's third wife.]] On 8 January 1536 news reached the king and the queen that Catherine of Aragon had died. Upon hearing the news of her death, Henry and Anne reportedly decked themselves in bright yellow clothing, yellow being the colour of mourning in Spain at the time. Henry called for public displays of joy regarding Catherine's death. The queen was pregnant again, and she was aware of the consequences if she failed to give birth to a son. Her life could be in danger, as with both wives dead, Henry would be free to remarry and no one could claim that the union was illegal. Later that month, the King was unhorsed in a tournament and was badly injured. It seemed for a time that the King's life was in danger. When news of this accident reached the queen she was sent into shock and miscarried a male child that was about 15 weeks old, on the day of Catherine’s funeral, 29 January 1536. For most observers, this personal loss was the beginning of the end of the royal marriage.

Given the King's desperate desire for a son, the sequence of Anne's pregnancies has attracted much interest. Author Mike Ashley speculated that Anne had two stillborn children after Elizabeth's birth and before the birth of the male child she miscarried in 1536. Most sources attest only to the birth of Elizabeth in September 1533, a possible miscarriage in the summer of 1534, and the miscarriage of a male child, of almost four months gestation, in January 1536. As Anne recovered from her final miscarriage, Henry declared that his marriage had been the product of witchcraft. The King's new mistress, Jane Seymour, was quickly moved into new quarters. This was followed by Anne's brother, George Boleyn, being refused a prestigious court honour, the Order of the Garter, which was instead given to Jane Seymour's brother.

Five men, including Anne's own brother, were arrested on charges of incest and treason, accused of having sexual relationships with the queen. On 2 May 1536 Anne was arrested and taken to the Tower of London. She was accused of adultery, incest and high treason. Although the evidence against them was unconvincing, the accused were found guilty and condemned to death by the peers. George Boleyn and the other accused men were executed on 17 May 1536. At 8 a.m. on 19 May 1536, the queen was executed on Tower Green. She knelt upright, in the French style of executions. The execution was swift and consisted of a single stroke.

Birth of a prince

One day after Anne's execution in 1536 Henry became engaged to Jane Seymour, one of the Queen's ladies-in-waiting to whom the king had been showing favour for some time. They were married 10 days later. At about the same time as this, his third marriage, Henry granted his assent to the Laws in Wales Act 1535, which legally annexed Wales, uniting England and Wales into one unified nation. This was followed by the Second Succession Act (Act of Succession 1536), which declared Henry's children by Queen Jane to be next in the line of succession and declared both the Lady Mary and the Lady Elizabeth illegitimate, thus excluding them from the throne. The king was granted the power to further determine the line of succession in his will. In 1537, Jane gave birth to a son, Prince Edward, the future Edward VI. The birth was difficult and the queen died at Hampton Court Palace on 24 October 1537 from an infection. After Jane's death, the entire court mourned with Henry for an extended period. Henry considered Jane to be his "true" wife, being the only one who had given him the male heir he so desperately sought. He was later to be buried next to her at his death.

Final years: 1540–1547

, Henry's sixth and last wife.]] in 1547.]]

In 1540, Henry sanctioned the destruction of shrines to saints. At this time, Henry desired to marry once again to ensure the succession. Thomas Cromwell, created Earl of Essex, suggested Anne, the sister of the Protestant Duke of Cleves, who was seen as an important ally in case of a Roman Catholic attack on England. Hans Holbein the Younger was dispatched to Cleves to paint a portrait of Anne for the king. Although it has been said that he painted her in a more flattering light, it is unlikely that the portrait was highly inaccurate, since Holbein remained in favour at court. After regarding Holbein's portrayal, and urged by the complimentary description of Anne given by his courtiers, Henry agreed to wed Anne. On Anne's arrival in England, Henry is said to have found her utterly unattractive, privately calling her a "Flanders Mare".

by Hans Holbein the Younger, 1539.]] Henry wished to annul the marriage so he could marry another. The Duke of Cleves had become engaged in a dispute with the Holy Roman Emperor, with whom Henry had no desire to quarrel. Queen Anne was intelligent enough not to impede Henry's quest for an annulment. Upon the question of marital sex, she testified that her marriage had never been consummated. Henry was said to have come into the room each night and merely kissed his new bride on the forehead before retiring. All impediments to an annulment were thus removed.

The marriage was subsequently dissolved and Anne received the title of "The King's Sister", and was granted Hever Castle, the former residence of the Boleyn family. Cromwell, meanwhile, fell out of favour for his role in arranging the marriage and was subsequently attainted and beheaded. The office of Vicegerent in Spirituals, which had been specifically created for him, was not filled.

On 28 July 1540 (the same day Cromwell was executed), Henry married the young Catherine Howard, Anne Boleyn's first cousin and a lady-in-waiting of Anne's. He was absolutely delighted with his new queen. Soon after her marriage, however, Queen Catherine had an affair with the courtier Thomas Culpeper. She employed Francis Dereham, who was previously informally engaged to her and had an affair with her prior to her marriage, as her secretary. Thomas Cranmer, who was opposed to the powerful Roman Catholic Howard family, brought evidence of Queen Catherine's activities to the king's notice. Though Henry originally refused to believe the allegations, he allowed Cranmer to conduct an investigation, which resulted in Queen Catherine's implication. When questioned, the queen could have admitted a prior contract to marry Dereham, which would have made her subsequent marriage to Henry invalid, but she instead claimed that Dereham had forced her to enter into an adulterous relationship. Dereham, meanwhile, exposed Queen Catherine's relationship with Thomas Culpeper. As was the case with Anne Boleyn, Catherine Howard could not technically have been guilty of adultery, as the marriage was officially null and void from the beginning. Again, this point was ignored, and Catherine was executed on 13 February 1542. She was aged between 17 and 22 when she died (opinions differ as to her year of birth). That same year, England's remaining monasteries were all dissolved, and their property transferred to the Crown. Abbots and priors lost their seats in the House of Lords; only archbishops and bishops came to comprise the ecclesiastical element of the body. The Lords Spiritual, as members of the clergy with seats in the House of Lords were known, were for the first time outnumbered by the Lords Temporal.

Henry married his last wife, the wealthy widow Catherine Parr, in 1543. She argued with Henry over religion; she was a reformer, but Henry remained a conservative. This behaviour nearly proved her undoing, but she saved herself by a show of submissiveness. She helped reconcile Henry with his first two daughters, the Lady Mary and the Lady Elizabeth. In 1544, an Act of Parliament put the daughters back in the line of succession after Edward, Prince of Wales, though they were still deemed illegitimate. The same act allowed Henry to determine further succession to the throne in his will.

A wave of political executions that commenced with Edmund de la Pole, Duke of Suffolk in 1513 ended with Henry Earl of Surrey in January, 1547. Although some sources claim that, according to Holinshed, the number of executions in this reign amounted to 72,000, the figure referred to "great thieves, petty thieves, and rogues," and the source is not Holinshed but the English clergyman William Harrison. This inflated figure came from Gerolamo Cardano who in turn got it from the Roman Catholic Bishop of Lisieux.

Death and succession

Late in life, Henry became obese (with a waist measurement of 54 inches/137 cm) and had to be moved about with the help of mechanical inventions. He was covered with painful, pus-filled boils and possibly suffered from gout. His obesity and other medical problems can be traced from a jousting accident in 1536 in which he suffered a leg wound. The accident actually re-opened and aggravated a previous leg wound he had sustained years earlier, to the extent that his doctors found it difficult (if not impossible) to treat it. The wound festered for the remainder of his life and became ulcerated, thus preventing him from maintaining the same level of physical activity and daily exercise that he had previously enjoyed. The jousting accident is believed to have caused in Henry mood swings, which may have had a dramatic effect on his personality and temperament. Concurrently, Henry developed a binge-eating habit, consisting of a diet of mainly fatty red meats and few vegetables. It is believed that this habit was used as a coping mechanism for stress. Henry's obesity undoubtedly hastened his death at the age of 55, which occurred on 28 January 1547 in the Palace of Whitehall, on what would have been his father's 90th birthday. He expired soon after allegedly uttering these last words: "Monks! Monks! Monks!"

The theory that Henry suffered from syphilis has been disregarded by most serious historians. Syphilis was a well-known disease in Henry's time, and although his contemporary Francis I of France was treated for it, the notes left from Henry's physicians do not indicate that the English king was. A more recent and credible theory suggests that Henry's medical symptoms, and those of his older sister Margaret Tudor, are characteristic of untreated Type II diabetes. According to research published in March 2011, his wives' pattern of pregnancies and his mental deterioration suggests that the king may have been Kell positive and suffered from McLeod syndrome.

.]] Henry VIII was buried in St George's Chapel in Windsor Castle, next to his wife Jane Seymour. Over a hundred years later Charles I was buried in the same vault.

Within a little more than a decade after his death, all three of his royal heirs sat on the English throne, but none of the three left any descendants. Under the Act of Succession 1543, Henry's only surviving legitimate son, Edward, inherited the Crown, becoming Edward VI. Since Edward was only nine years old at the time, he could not exercise actual power. Henry's will designated 16 executors to serve on a council of regency until Edward reached the age of 18. The executors chose Edward Seymour, 1st Earl of Hertford, Jane Seymour's elder brother, to be Lord Protector of the Realm. In default of heirs to Edward, the throne was to pass to Henry VIII's daughter by Catherine of Aragon, the Princess Mary, and her heirs. If Mary's issue failed, the crown was to go to Henry's daughter by Anne Boleyn, Princess Elizabeth, and her heirs. Finally, if Elizabeth's line became extinct, the crown was to be inherited by the descendants of Henry VIII's deceased younger sister, Mary. The descendants of Henry's sister Margaret Tudor—the royal family of Scotland—were therefore excluded from succession according to this act. This final provision failed when James VI of Scotland subsequently became James I of England upon Elizabeth's death.

Public image and memory

Henry worked hard to present an image of unchallengeable authority and irresistible power. He executed at will, beheading more English notables than any monarch before or since. The roll of heads included two wives, one cardinal, twenty peers, four leading public servants, and six of the king's close attendants and friends, not to mention various heads of monasteries. In addition Cardinal Wolsey died in prison.

A big, strong man (over six feet tall and broad in proportion), he excelled at jousting and hunting. More than pastimes, they were political devices that served multiple goals, from enhancing his athletic royal image to impressing foreign emissaries and rulers, to conveying Henry's ability to suppress any rebellion. Thus he arranged a jousting tournament at Greenwich in 1517, where he wore gilded armour, gilded horse trappings, and outfits of velvet, satin and cloth of gold dripping with pearls and jewels. It suitably impressed foreign ambassadors, one of whom wrote home that, "The wealth and civilisation of the world are here, and those who call the English barbarians appear to me to render themselves such." Henry finally retired from the lists in 1536 after a heavy fall from his horse left him unconscious for two hours, but he continued to sponsor two lavish tournaments a year. He then started adding weight and lost that trim athletic look that had made him so handsome; Henry's courtiers began dressing in heavily padded clothes to emulate—and flatter—their increasingly stout monarch. Towards the end of his reign his health rapidly declined due to unhealthy eating.

Henry was an intellectual. The first well-educated English king, he was thoroughly at home in his well-stocked library; he personally annotated many books and wrote and published his own book. He is also said to have written Helas madam. He founded Christ Church Cathedral School, Oxford, in 1546. To promote the public support for the reformation of the church, Henry had numerous pamphlets and lectures prepared. For example, Richard Sampson's Oratio (1534) was a legalistic argument for absolute obedience to the temporal power as vested in divine law and Christian love ("obey my commandments"). Sampson cited historical precedents (now known to be spurious) to support his claim that the English church had always been independent from Rome. At the popular level theater and minstrel troupes funded by the crown traveled around the land to promote the new religious practices and ridicule the old. In the polemical plays they presented, the pope and Catholic priests and monks were mocked as foreign devils, while the glorious king was hailed as a brave and heroic defender of the true faith.

Henry VIII was an avid gambler and dice player. He was an accomplished musician, author, and poet; his best known piece of music is "Pastime with Good Company" ("The Kynges Ballade"). He is often reputed to have written "Greensleeves" but probably did not. The King was involved in the original construction and improvement of several significant buildings, including Nonsuch Palace, King's College Chapel, Cambridge and Westminster Abbey in London. Many of the existing buildings Henry improved were properties confiscated from Wolsey, such as Christ Church, Oxford, Hampton Court Palace, the Palace of Whitehall, and Trinity College, Cambridge.

The only surviving piece of clothing worn by Henry VIII is a cap of maintenance awarded to the Mayor of Waterford, along with a bearing sword, in 1536. It currently resides in the Waterford Museum of Treasures. A suit of Henry's armour is on display in the Tower of London. In the centuries since his death, Henry has inspired or been mentioned in numerous artistic and cultural works.

Royal finances

Henry inherited a vast fortune from his father Henry VII who had, in contrast to his son, been frugal and careful with money. This fortune was estimated to £1,250,000 (£375 million by today's standards). Much of this wealth was spent by Henry on maintaining his court and household, including many of the building works he undertook on royal palaces. Tudor monarchs had to fund all the expenses of government out of their own income. This income came from the Crown lands that Henry owned as well as from customs duties like tonnage and poundage, granted by parliament to the king for life. During Henry's reign the revenues of the Crown remained constant (around £100,000), but were eroded by inflation and rising prices brought about by war. Indeed it was war and Henry's dynastic ambitions in Europe that meant that the surplus he had inherited from his father was exhausted by the mid-1520s. Whereas Henry VII had not involved Parliament in his affairs very much, Henry VIII had to turn to Parliament during his reign for money, in particular for grants of subsidies to fund his wars. The Dissolution of the Monasteries provided a means to replenish the treasury and as a result the Crown took possession of monastic lands worth £120,000 (£36 million) a year. But Henry had to debase the coinage in 1526 and 1539 in order to solve his financial problems, and despite his ministers efforts to reduce costs and waste at court, Henry died in debt.

Legacy

Though mainly motivated by dynastic and personal concerns, and despite never really abandoning the fundamentals of the Catholic Church, Henry ensured that the greatest act of his reign would be one of the most radical and decisive of any English monarch. His break with Rome in 1533–34 was an act with enormous consequences for the subsequent course of English history beyond the Tudor dynasty. Not only in making possible the transformation of England into a powerful (albeit very distinctive) nation; but in the seizing of economic and political power from the Church by the aristocracy, chiefly through the acquisition of monastic lands and assets – a short-term strategy with long-term social consequences. Henry's decision to entrust the regency of his son Edward's minor years to a decidedly reform-oriented regency council, dominated by Edward Seymour, most likely for the simple tactical reason that Seymour seemed likely to provide the strongest leadership for the kingdom, ensured that the English Reformation would be consolidated and even furthered during his son's reign. Such ironies marked other aspects of his legacy.

of Henry VIII, minted c. 1540. The reverse depicts the quartered arms of England and France.]] He fostered humanist learning and yet was responsible for the deaths of several outstanding English humanists. Obsessed with securing the succession to the throne, he left as his only heirs a young son (who died before his 16th birthday) and two daughters adhering to different religions. The power of the state was magnified. Henry worked with some success to make England once again a major player on the European scene but depleted his treasury in the course of doing so, a legacy that has remained an issue for English monarchs ever since.

Scarisbrick (1968) concludes that Henry was a formidable, captivating man who "wore regality with a splendid conviction." But unpredictably his overpowering charm could turn into anger and shouting, for he was high-strung and unstable; hypochondriac and possessed of a strong streak of cruelty. Smith (1971) considered him an egotistical border-line neurotic given to great fits of temper and deep and dangerous suspicions, with a mechanical and conventional, but deeply held piety, having at best "a mediocre intellect" to hold these contradictory forces in harness.

English navy

Together with Alfred the Great and Charles II, Henry is traditionally cited as one of the founders of the Royal Navy. His reign featured some naval warfare and, more significantly, large royal investment in shipbuilding (including a few spectacular great ships such as Mary Rose), dockyards (such as HMNB Portsmouth) and naval innovations (such as the use of cannon on board ship – although archers were still deployed on medieval-style forecastles and bowcastles as the ship's primary armament on large ships, or co-armament where cannon were used). However, in some ways this is a misconception since Henry did not bequeath to his immediate successors a navy in the sense of a formalised organisation with structures, ranks, and formalised munitioning structures but only in the sense of a set of ships. Elizabeth I still had to cobble together a set of privately owned ships to fight off the Spanish Armada (which consisted of about 130 warships and converted merchant ships) and in the former, formal sense the modern British navy, the Royal Navy, is largely a product of the Anglo-Dutch naval rivalry of the 17th century. Still, Henry's reign marked the birth of English naval power and was a key factor in England's later victory over the Spanish Armada.

Henry's break with Rome incurred the threat of a large-scale French or Spanish invasion. To guard against this he strengthened existing coastal defence fortresses such as Dover Castle and, at Dover, Moat Bulwark and Archcliffe Fort, which he personally visited for a few months to supervise. He built a chain of new 'castles' (in fact, large bastioned and garrisoned gun batteries) along Britain's southern and eastern coasts from East Anglia to Cornwall, largely built of material gained from the demolition of the monasteries. These were known as Henry VIII's Device Forts.

Style and arms

Many changes were made to the royal style during his reign. Henry originally used the style "Henry the Eighth, by the Grace of God, King of England, France and Lord of Ireland". In 1521, pursuant to a grant from Pope Leo X rewarding a book by Henry, the Defence of the Seven Sacraments, attacking Martin Luther, the royal style became "Henry the Eighth, by the Grace of God, King of England and France, Defender of the Faith and Lord of Ireland". Following Henry's excommunication, Pope Paul III rescinded the grant of the title "Defender of the Faith", but an Act of Parliament declared that it remained valid; and it continues in royal usage to the present day.

In 1535, Henry added the "supremacy phrase" to the royal style, which became "Henry the Eighth, by the Grace of God, King of England and France, Defender of the Faith, Lord of Ireland and of the Church of England in Earth Supreme Head". In 1536, the phrase "of the Church of England" changed to "of the Church of England and also of Ireland".

as the Duke of York.]] In 1541, Henry had the Irish Parliament change the title "Lord of Ireland" to "King of Ireland" with the Crown of Ireland Act 1542, after being advised that many Irish people regarded the Pope as the true head of their country, with the Lord acting as a mere representative. The reason the Irish regarded the Pope as their overlord was that Ireland had originally been given to the King Henry II of England by Pope Adrian IV in the 12th century as a feudal territory under papal overlordship. The meeting of Irish Parliament that proclaimed Henry VIII as King of Ireland was the first meeting attended by the Gaelic Irish chieftains as well as the Anglo-Irish aristocrats. The style "Henry the Eighth, by the Grace of God, King of England, France and Ireland, Defender of the Faith and of the Church of England and also of Ireland in Earth Supreme Head" remained in use until the end of Henry's reign.

Henry's motto was "Coeur Loyal" ("true heart") and he had this embroidered on his clothes in the form of a heart symbol and with the word "loyal". His emblem was the Tudor rose and the Beaufort portcullis.

As Duke of York, Henry used the arms of his father (i.e. those of the kingdom), differenced by a label of three points ermine. As king, Henry's arms were the same as those used by his predecessors since Henry IV: Quarterly, Azure three fleurs-de-lys Or (for France) and Gules three lions passant guardant in pale Or (for England).

500th anniversary of coronation — celebrations

An exhibition called Henry VIII: Man and Monarch, curated by David Starkey, was held at the British Library in 2009. In 2009, Henry's 500th year anniversary of his coronation was celebrated in his few favourite palaces along the Thames River.

Ancestry

Marriages and issue

List of Popes during the life of Henry VIII

Depictions in literature and popular culture

See also

Cestui que

Inventory of Henry VIII of England

Sebastian Giustinian

The Rough Wooing

References

Sources

The New World by Winston Churchill (1966).

The Reformation Parliament, 1529–1536 by Stanford E. Lehmberg (1970).

Henry VIII and his Court by Neville Williams (1971).

The Life and Times of Henry VIII by Robert Lacey (1972).

The Six Wives of Henry VIII by Alison Weir (1991) ISBN 0802136834.

English Reformations by Christopher Haigh (1993).

Europe: A history by Norman Davies (1998) ISBN 978-0060974688.

Europe and England in the Sixteenth Century by T. A. Morris (1998).

New Worlds, Lost Worlds by Susan Brigden (2000).

Henry VIII: The King and His Court by Alison Weir (2001).

British Kings & Queens by Mike Ashley (2002) ISBN 0-7867-1104-3.

Henry VIII: The King and His Court by Alison Weir (2002) ISBN 034543708X.

Six Wives: The Queens of Henry VIII by David Starkey (2003) ISBN 0060005505.

The Kings and Queens of England by Ian Crofton (2006).

Bibliography

Biographical

Bowle, John. Henry VIII: A Study of Power in Action Little, Brown, 1964.

Erickson, Carolly. Mistress Anne: The Exceptional Life of Anne Boleyn. (1984) 464 pp. popular biography

Cressy, David. "Spectacle and Power: Apollo and Solomon at the Court of Henry VIII." History Today 1982 32(oct): 16–22. Issn: 0018-2753 Fulltext: Ebsco Traces the transition of Henry from Renaissance monarch (the youthful Apollo) to Reformation patriarch (the aging Solomon) using the graphics and visual images displayed in his court, festivals, and kingdom.

Gardner, James. "Henry VIII" in Cambridge Modern History vol 2 (1903), a brief political history online edition

Graves, Michael. Henry VIII (2003) 217pp, topical coverage

Ives, E. W. "Henry VIII (1491–1547)", in The Oxford Dictionary of National Biography (2004), online at OUP, a good starting point

Pollard, A.F. Henry VIII (1905) 470 pp; the first modern biography, accurate and still valuable value online edition

Rex, Richard. Henry VIII and the English Reformation. (1993). 205 pp.

Ridley, Jasper. Henry VIII. (1985). 473 pp. popular biography

Scarisbrick, J. J. Henry VIII (1968) 592pp, a favourable scholarly biography

Smith, Lacey Baldwin. Henry VIII: The Mask of Royalty (1971), a leading scholar writes a psycho-biography online edition

Starkey, David. Six Wives: the Queens of Henry VIII (2003) excerpt and text search

Starkey, David. The Reign of Henry VIII: Personalities and Politics (1986). 174pp

Starkey, David, and Susan Doran. Henry VIII: Man and Monarch (2009) 288pp

Weir, Alison. Henry VIII, King and Court (2001). 640pp a flattering portrait excerpt and text search

Weir, Alison. The Children of Henry VIII. (1996). 400 pp.

Scholarly studies

Bernard, G. W. The King's Reformation: Henry VIII and the Remaking of the English Church. (2005). 712 pp. excerpts and text search

Bernard, G. W. "The Making of Religious Policy, 1533–1546: Henry VIII and the Search for the Middle Way." Historical Journal 1998 41(2): 321–349. Issn: 0018-246x Fulltext: in Jstor

Bernard, G. W. War, Taxation, and Rebellion in Early Tudor England: Henry VIII, Wolsey, and the Amicable Grant of 1525. (1986). 164 pp

Elton, G. R. The Tudor Revolution in Government: Administrative Changes in the Reign of Henry VIII (1953; revised 1962), major interpretation online edition

* Coleman, Christoper, and David Starkey, eds. Revolution Reassessed: Revision in the History of Tudor Government and Administration (1986), evaluates Elton thesis

Elton, G. R. Reform and Reformation: England, 1509–1558 (1977), hostile to Henry

Fielder, Martha Anne. "Iconographic Themes in Portraits of Henry VIII." PhD dissertation Texas Christian U. 1985. 232 pp. DAI 1985 46(6): 1424-A. DA8517256 Fulltext: ProQuest Dissertations & Theses

Fox, Alistair, and John Guy, eds. Reassessing the Henrician Age: Humanism, Politics and Reform 1500–1550 (1986), 242pp; advanced essays by scholars

Head, David M. "Henry VIII's Scottish Policy: a Reassessment." Scottish Historical Review 1982 61(1): 1–24. Issn: 0036-9241 Argues that if Henry intended to take over Scotland then his 1542 victory at Solway Moss was the opportune moment, for the French were unable to intervene, the Scottish nobility was in disarray, and the infant Mary was in line for Scotland's throne. Instead, Henry adopted a policy similar to that in Ireland, since he could not afford outright conquest or the luxury of diplomacy.

Lindsey, Karen. Divorced, Beheaded, Survived: A Feminist Reinterpretation of the Wives of Henry VIII (1995) online edition

Loades, David. Henry VIII: Court, Church and Conflict (2007) 248pp; by a leading scholar excerpt and text search

MacCulloch, Diarmaid, ed. The Reign of Henry VIII: Politics, Policy, and Piety. (1995). 313 pp. essays by scholars

Marshall, Peter. "(Re)defining the English Reformation," Journal of British Studies July 2009, Vol. 48 Issue 3, pp 564–85,

Mackie, J. D. The Earlier Tudors, 1485–1558 (1952), a political survey of the era online edition

Moorhouse, Geoffrey. Great Harry's Navy: How Henry VIII Gave England Seapower (2007)

Moorhouse, Geoffrey. The Last Divine Office: Henry VIII and the Dissolution of the Monasteries (2009)

Slavin, Arthur J., ed. Henry VIII and the English Reformation (1968), readings by historians. online edition

Smith, H. Maynard. Henry VIII and the Reformation (1948) online edition

Wagner, John A. ''Bosworth Field to Bloody Mary: An Encyclopedia of the Early Tudors (2003). ISBN 1-57356-540-7.

Walker, Greg. Writing under Tyranny: English Literature and the Henrician Reformation. (2005). 556 pp.

Historiography and memory

Head, David M. "'If a Lion Knew His Own Strength': the Image of Henry VIII and His Historians." International Social Science Review 1997 72(3–4): 94–109. Issn: 0278-2308 Fulltext: Ebsco

Hoak, Dale. "Politics, Religion and the English Reformation, 1533–1547: Some Problems and Issues." History Compass 2005 3 (Britain and Ireland): 7 pp Issn: 1478-0542 Fulltext: Blackwell Synergy

Ives, Eric. "Will the Real Henry VIII Please Stand Up?" History Today 2006 56(2): 28–36. Issn: 0018-2753 Fulltext: Ebsco

Rankin, Mark. 'Imagining Henry VIII: Cultural Memory and the Tudor King, 1535–1625'. PhD Dissrertation, Ohio State. U. Dissertation Abstracts International 2007 68(5): 1987-A. DA3264565, 403p.

Primary sources

Williams, C. M. A. H. English Historical Documents, 1485–1558 (1996) online sources

External links

Tudor bio

Jokinen, A. (2004). Henry VIII (1491–1547).

Eakins, L. E. (2004). "The Six Wives of Henry VIII".

Public Broadcasting Service. (2003). "The Six Wives of Henry VIII".

Vallieres, S. (1999). "Tudor Succession Problems"

Ask About Ireland: Waterford Museum of Treasures Collection: Cap of Maintenance

Luminarium: King Henry VIII Life, works, essays, study resources

Henry VIII Podcast Show

Henry VIII and his wives

Buehler, Edward. (2004). "Tudor Portraits: Henry VIII".

Castelli, Jorge H. (2004). "Henry VIII".

Stevens, Garry. (2003). "Henry VIII: Intrigue in the Tudor Court"

Perrott, Terry. (2004). "Sir John Perrott".

Illustrated history of Henry VIII.

Martin Luther to Henry VIII, 1 September 1525

Henry VIII to Martin Luther. August, 1526

Henry VIII to Frederic, John, and George, Dukes of Saxony. January. 20, 1523 re: Luther.

"Henry VIII Revealed", Walker Art Gallery, Liverpool, 2003. – A discussion of the Holbein's 1536 portrait of Henry VIII and related portraits

Henry VIII.: The Family Tree of the Tudors and the Stuarts in Pictures

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:Also see Weiße Rose (opera) and Sophie Scholl – Die letzten Tage

The White Rose () was a non-violent/intellectual resistance group in Nazi Germany, consisting of students from the University of Munich and their philosophy professor. The group became known for an anonymous leaflet campaign, lasting from June 1942 until February 1943, that called for active opposition to dictator Adolf Hitler's regime.

The six core members of the group were arrested by the Gestapo (German secret police) and they were executed by decapitation in 1943. The text of their sixth leaflet was smuggled by Helmuth James Graf von Moltke out of Germany through Scandinavia to the United Kingdom, and in July 1943 copies of it were dropped over Germany by Allied planes, retitled "The Manifesto of the Students of Munich."

Another member, Hans Conrad Leipelt, who helped distribute Leaflet 6 in Hamburg, was executed on January 29, 1945 for his participation.

Today, the members of the White Rose are honored in Germany amongst its greatest heroes, since they opposed the Third Reich in the face of death.

Members

Members and actions

, his sister Sophie Scholl, and Christoph Probst.]] The core of the White Rose comprised students from the University of Munich — Hans Scholl, Sophie Scholl, Alex Schmorell, Willi Graf, Christoph Probst, Traute Lafrenz, Katharina Schueddekopf, Lieselotte (Lilo) Berndl, Jurgen Wittenstein, Marie-Luise Jahn and Falk Harnack. Most were in their early twenties. A professor of philosophy and musicology, Kurt Huber, was also associated with their cause. Additionally, Wilhelm Geyer, Manfred Eickemeyer, Josef Soehngen, and Harald Dohrn participated in their debates. Geyer taught Alexander Schmorell how to make the tin templates used in the graffiti campaign. Eugen Grimminger of Stuttgart funded their operations. Grimminger's secretary Tilly Hahn contributed her own funds to the cause, and acted as go-between between Grimminger and the group in Munich. She frequently carried supplies such as envelopes, paper, and an additional duplicating machine from Stuttgart to Munich.

Between June 1942 and February 1943, the group prepared and distributed six leaflets, in which they called for the active opposition of the German people to Nazi oppression and tyranny. Huber wrote the final leaflet. A draft of a seventh leaflet, designed by Christoph Probst, was found in the possession of Hans Scholl at the time of his arrest by the Gestapo. While Sophie Scholl hid incriminating evidence on her person before being taken into custody, Hans did not do the same with Probst's leaflet draft or cigarette coupons given to him by Geyer, an act that cost Probst his life and nearly undid Geyer.

Influences and vision

The White Rose was influenced by the German Youth Movement, of which Christoph Probst was a member. Hans Scholl was a member of the Hitler Youth until 1937, and Sophie was a member of the Bund Deutscher Mädel. Membership of both groups was compulsory for young Germans, although many - such as Willi Graf, Otl Aicher, and Heinz Brenner - refused to join. The ideas of Deutsche Jungenschaft vom 1.11.1929 (dj 1.11.) had strong influence on Hans Scholl and his colleagues. d.j.1.11 was a youth group of the German Youth Movement, founded by Eberhard Koebel in 1929. Willi Graf was a member of Neudeutschland, a Catholic youth association, and the Grauer Orden.

The group was motivated by ethical and moral considerations. They came from various religious backgrounds. Willi and Katharina were devout Catholics. The Scholls, Lilo, and Falk were just as devoutly Lutheran. Traute adhered to the concepts of anthroposophy, while Eugen Grimminger considered himself Buddhist. Christoph Probst was baptized a Catholic shortly before his execution. His father Hermann was nominally a Catholic, but for some time he was into Eastern thought and wisdom. That is the reason why his son Christoph was not baptized as a baby.

Some had witnessed atrocities of the war on the battlefield and against the civilian population in the East. Willi Graf saw the Warsaw and Lodz Ghettos, and could not get the images of brutality out of his mind. By February 1943, the young friends sensed the reversal of fortune that the Wehrmacht suffered at Stalingrad would eventually lead to Germany's defeat. They rejected fascism and militarism and believed in a federated Europe that adhered to principles of tolerance and justice.

Origin

In 1941 Hans Scholl read a copy of a sermon by an outspoken critic of the Nazi regime, Bishop August von Galen, decrying the euthanasia policies (extended that same year to the concentration camps) which the Nazis maintained would protect the European gene pool. Horrified by the Nazi policies, Sophie obtained permission to reprint the sermon and distribute it at the University of Munich as the group's first leaflet prior to their formal organization.

In February 2006, however, Dr. Jud Newborn authored an essay entitled, "Solving Mysteries: The Secret of 'The White Rose'," originally intended as an Afterword to his co-authored book, In this essay he argues that Hans Scholl's response to the Gestapo was intentionally misleading in order to protect Josef Soenghen, the anti-Nazi bookseller who had provided the White Rose members with a safe meeting place for the exchange of information and to receive occasional financial contributions. Soenghen kept a stash of banned books hidden in his store. Dr. Newborn also looked into the content of B. Traven's The White Rose, arguing that the novel, banned by the Nazis in 1933, provided evidence of origin of the group's name.

In the same essay, Newborn also revealed information about Hans Scholl's 1937/1938 arrest and trial for participation in a youth movement banned the end of 1936—one he had joined in 1934, when he and other Ulm Hitler Youth members considered membership in this group and the Hitler Youth to be compatible. Hans Scholl was also accused of transgressing Paragraph 175, the anti-homosexuality law, because of a same-sex teen relationship dating back to 1934-5, when Hans was only 16 years old. Newborn built this argument partially on the work of Eckard Holler, a sociologist specializing in the German Youth Movement, as well as on the Gestapo interrogation transcripts from the 1937/38 arrest, and with reference to historian George Mosse's discussion of the homoerotic aspects of the German "bündisch" Youth Movement. As Mosse indicated, idealized romantic attachments among male youths was not uncommon in Germany, especially among members of the "bündisch" associations. Newborn argued that this experience led both Hans and Sophie to identify with the victims of the Nazi state, providing an explanation for why Hans and Sophie Scholl made the transformation from avid Hitler Youth leaders to passionate opponents of National Socialism.

Alexander Schmorell, who penned the words the White Rose, has become most famous for having spoken. Most of the more practical material —calls to arms and statistics of murder— came from Alex's pen. Hans Scholl wrote in a characteristically high style, exhorting the German people to action on the grounds of philosophy and reason.

At the end of July 1942, some of the male students in the group were deployed to the Eastern Front for military service (acting as medics) during the academic break. In late autumn, the men returned, and the White Rose resumed its resistance activities. In January 1943, using a hand-operated duplicating machine, the group is thought to have produced between 6,000 and 9,000 copies of their fifth leaflet, "Appeal to all Germans!", which was distributed via courier runs to many cities (where they were mailed). Copies appeared in Stuttgart, Cologne, Vienna, Freiburg, Chemnitz, Hamburg, Innsbruck, and Berlin. The fifth leaflet was composed by Hans Scholl with improvements by Huber. These leaflets warned that Hitler was leading Germany into the abyss; with the gathering might of the Allies, defeat was now certain. The reader was urged to "Support the resistance movement!" in the struggle for "Freedom of speech, freedom of religion, and protection of the individual citizen from the arbitrary action of criminal dictator-states". These were the principles that would form "the foundations of the new Europe".

The leaflets caused a sensation, and the Gestapo began an intensive search for the publishers.

On the nights of the 3rd, 8th, and 15 February 1943, the slogans "Freedom" and "Down with Hitler" appeared on the walls of the University and other buildings in Munich. Alexander Schmorell, Hans Scholl and Willi Graf had painted them with tar-based paint (similar graffiti that appeared in the surrounding area at this time was painted by imitators).

The shattering German defeat at Stalingrad at the beginning of February provided the occasion for the group's sixth leaflet, written by Huber. Headed "Fellow students!", it announced that the "day of reckoning" had come for "the most contemptible tyrant our people has ever endured"."The dead of Stalingrad adjure us!"

Leaflet No. 6 was copied by the Allies and dropped from aircraft. When Hans was executed, he said "Let freedom live" as the blade fell.

The second White Rose trial took place on 19 April 1943. Only eleven had been indicted before this trial. At the last minute, the prosecutor added Traute Lafrenz (who was considered so dangerous that she was to have had a trial all to herself), Gisela Schertling, and Katharina Schueddekopf. None had an attorney. One was assigned after the women appeared in court with their friends.

Professor Huber had counted on the good services of his friend, Attorney Justizrat Roder, a high-ranking Nazi. Roder had not bothered to visit Huber before the trial and had not read Huber's leaflet. Another attorney had carried out all the pre-trial paperwork. When Roder realized how damning the evidence was against Huber, he resigned. The junior attorney took over.

Grimminger initially was to receive the death sentence for funding their operations. His attorney successfully used the female wiles of Tilly Hahn to convince Freisler that Grimminger had not known what the money was really being used for. Grimminger therefore escaped with a sentence of ten years in a penitentiary.

The third White Rose trial was to have taken place on 20 April 1943 (Hitler's birthday), because Freisler anticipated death sentences for Wilhelm Geyer, Harald Dohrn, Josef Soehngen, and Manfred Eickemeyer. He did not want too many death sentences at a single trial, and had scheduled those four for the next day. However, the evidence against them was lost, and the trial was postponed until 13 July 1943.

At that trial, Gisela Schertling —who had betrayed most of the friends, even fringe members like Gerhard Feuerle— redeemed herself by recanting her testimony against all of them. Since Freisler did not preside over the third trial, the judge acquitted all but Soehngen (who got only six months in prison) for lack of evidence.

Alexander Schmorell and Kurt Huber were beheaded on 13 July 1943, and Willi Graf on 12 October 1943. Friends and colleagues of the White Rose, who had helped in the preparation and distribution of leaflets and in collecting money for the widow and young children of Probst, were sentenced to prison terms ranging from six months to ten years.

Prior to their deaths, several members of the White Rose believed that their execution would stir university students and other anti-war citizens into activism against Hitler and the war.

After her release for the sentence handed down on April 19, Traute Lafrenz was rearrested. She spent the last year of the war in prison. Trials kept being postponed and moved to different locations because of Allied air raids. Her trial was finally set for April 1945, after which she probably would have been executed. Three days before the trial, however, the Allies liberated the town where she was held prisoner, thereby saving her life.

The White Rose had the last word. Their last leaflet was smuggled to the Allies, who edited it, and air-dropped millions of copies over Germany. The members of the White Rose, especially Sophie, became icons of the new post-war Germany.

Commemoration

in Munich with the dome of the Bavarian State Chancellery in the background]]

The square where the central hall of Munich University is located has been named "Geschwister-Scholl-Platz" after Hans and Sophie Scholl; the square opposite to it is "Professor-Huber-Platz". Two large fountains are in front of the university, one on either side of Ludwigstraße. The fountain in front of the university is dedicated to Hans and Sophie Scholl. The other, across the street, is dedicated to Professor Huber. Many schools, streets, and other places across Germany are named in memory of the members of the White Rose.

One of Germany's leading literary prizes is called the "Geschwister Scholl" prize (the "Scholl Siblings" prize.)

The White Rose has also received artistic treatments, including the acclaimed opera Weiße Rose by Udo Zimmermann and In memoriam: die weisse Rose by Hans Werner Henze.

With the fall of Nazi Germany, the White Rose came to represent opposition to tyranny in the German psyche and was lauded for acting without interest in personal power or self-aggrandizement. Their story became so well-known that the composer Carl Orff claimed (falsely by some accounts) to his Allied interrogators that he was a founding member of the White Rose and was released. He was personally acquainted with Huber, but there is no evidence that Orff was ever involved in the movement.

In the media

The following, although not exhaustive, provides a chronological account of some of the more notable treatments of the White Rose in media, book and artistic form.

Beginning in the 1970s, three film accounts of the White Rose resistance were produced. The first was a film financed by the Bavarian state government entitled 'Das Versprechen' (The Promise) and released in the 1970s. The film is not well known outside Germany, and to some extent even within the country. It was particularly notable in that unlike most films, it showed the White Rose from its inception and how it progressed. In 1982, Percy Adlon's Fünf letzte Tage (The Last Five Days) presented Lena Stolze as Sophie in her last days from the point of view of her cellmate Else Gebel. In the same year, Stolze repeated the role in Michael Verhoeven's Die Weiße Rose (The White Rose).

A book, Sophie Scholl and the White Rose, was published in English in February 2006. An account by Annette Dumbach and Dr. Jud Newborn tells the story behind the film Sophie Scholl: The Final Days, focusing on the White Rose movement while setting the group's resistance in the broader context of German culture and politics and other forms of resistance during the Nazi era.

As mentioned earlier, Udo Zimmermann composed a chamber opera about the White Rose Weiße Rose (opera) in 1986. Premiering in Hamburg, it went on to earn acclaim and a series of international performances.

Lillian Garrett-Groag's play, The White Rose, premiered at the Old Globe Theatre in 1991. Several plays have also been written by teachers in the USA for performance by students.

In Fatherland, an alternate history novel by Robert Harris, there is passing reference to the White Rose still remaining active in supposedly Nazi-ruled Germany in 1964.

In an extended German national TV competition held in the autumn of 2003 to choose "the ten greatest Germans of all time" (ZDF TV), Germans under the age of 40 placed Hans and Sophie Scholl in fourth place, selecting them over Bach, Goethe, Gutenberg, Willy Brandt, Bismarck, and Albert Einstein. Not long before, women readers of the mass-circulation magazine "Brigitte" had voted Sophie Scholl as "the greatest woman of the twentieth century".

In 2003, a group of students at the University of Texas in Austin, Texas established The White Rose Society dedicated to Holocaust remembrance and genocide awareness. Every April, the White Rose Society hands out 10,000 white roses on campus, representing the approximate number of people killed in a single day at Auschwitz. The date corresponds with Yom Hashoah, Holocaust Memorial Day. The group organizes performances of The Rose of Treason, a play about the White Rose, and has rights to show the movie Sophie Scholl – Die letzten Tage (Sophie Scholl: The Final Days). The White Rose Society is affiliated with and the Anti-Defamation League.

In February 2005, a movie about Sophie Scholl's last days, Sophie Scholl – Die letzten Tage (Sophie Scholl: The Final Days), featuring actress Julia Jentsch as Sophie, was released. Drawing on interviews with survivors and transcripts that had remained hidden in East German archives until 1990, it was nominated for an Academy Award for Best Foreign Language Film in January 2006. An English language film, The White Rose (film), was in development for a time in 2005/06, to be directed by Angelica Huston and starring Christina Ricci as Sophie Scholl, but has since been abandoned, as it no longer appears on the Internet Movie Database site. Another American film project about the White Rose continues to be under development by co-author Jud Newborn of the 2006 book Sophie Scholl and the White Rose.

Last words of Sophie Scholl: …your heads will fall as well. There is, however, some dispute over whether Sophie or Hans actually said this; other sources claim that Sophie's final words were God, you are my refuge into eternity. The film Sophie Scholl, The Last Days shows her last words as being The sun still shines (however, these are probably fictitious).

Last words of Hans Scholl: Es lebe die Freiheit! (Long live freedom!).

Now my death will be easy and joyful. These were the words of Christoph Probst after a Catholic priest conditionally (sub conditione) baptized him and had heard his first Confession.

Notes

Further reading

DeVita, James "The Silenced" HarperCollins, 2006. Young adult novel inspired by Sophie Scholl and The White Rose.

DeVita, James "The Rose of Treason", Anchorage Press Plays. Young adult play of the story of The Wite Rose.

Dumbach, Annette & Newborn, Jud. "Sophie Scholl & The White Rose". First published as "Shattering the German Night", 1986; this expanded, updated edition Oneworld Publications, 2006. ISBN 978-1851685363

Leaflet I (Text / Original as PDF)

Leaflet II (Text / Original as PDF)

Leaflet III (Text / Original as PDF)

Leaflet IV (Text / Original as PDF)

Leaflet V (Text / Original as PDF)

Leaflet VI (Text / Original as PDF)

McDonough Frank, Sophie Scholl: The Real Story of the Woman Who Defied Hitler, History Press, 2009.

Sachs, Ruth Hanna. White Rose History, Volume I: Coming Together (January 31, 1933 – April 30, 1942). Lehi, Utah: Exclamation! Publishers, 2002.

Sachs, Ruth Hanna. White Rose History, Volume II: Journey to Freedom (May 1, 1942 – October 12, 1943). Lehi, Utah: Exclamation! Publishers, 2005.

Sachs, Ruth Hanna. White Rose History, Volume III: Fighters to the Very End (October 13, 1943 – May 8, 1945).

Sachs, Ruth Hanna. White Rose History: The Ultimate CD-ROM (1933–1945).

Scholl, Inge. The White Rose: Munich, 1942-1943. Middletown, CT: Wesleyan University Press, 1983.

Primary Source Materials in English Translation:

*Alexander Schmorell: Gestapo Interrogation Transcripts. RGWA I361K-I-8808. ISBN 0-9767183-8-3

*Gestapo Interrogation Transcripts: Graf & Schmorell (NJ 1704). ISBN 0-9710541-3-4

*Gestapo Interrogation Transcripts: Scholls & Probst (ZC 13267). ISBN 0-9710541-5-0

*The Bündische Trials (Scholl / Reden): 1937–1938. ISBN 0-9710541-2-6

*Third White Rose Trial: July 13, 1943 (Eickemeyer, Söhngen, Dohrn, and Geyer). ISBN 0-9710541-8-5

External links

Category:People condemned by Nazi courts Category:Political repression in Nazi Germany Category:History of Munich Category:German Resistance