The Creation of Anne Boleyn (60 page)

and Chapuys, [>]–[>], [>], [>]–[>], [>]

conspires against Anne, [>], [>], [>]–[>], [>], [>]–[>], [>]–[>], [>]–[>], [>], [>], [>], [>]–[>], [>], [>], [>], [>]

and dissolution of monasteries, [>]–[>], [>], [>]

and Elizabeth, [>]

fall of, [>]

fictional treatments of, [>], [>]–[>], [>], [>]–[>], [>]

and Henry’s divorce, [>], [>]

as Henry’s right hand, [>], [>], [>]

as manipulative, [>]

Mantel on, [>], [>], [>], [>]

as pragmatic politician, [>]

and redefinition of treason, [>], [>]–[>]

and religious reform, [>]

Wolsey and, [>]–[>]

Crosbie, Annette, [>], [>]

Crowe, Russell, [>]

Daneau, Lambert, [>]

D’Aulnoy, Madame: and fairy tales, [>]

and gender issues, [>]–[>]

The Novels of Elizabeth, Queen of England,
[>], [>]–[>]

Davis, Bette, [>], [>], [>]

de Carles, Lancelot, [>], [>], [>]–[>], [>]

on Anne, [>], [>]

on Anne’s execution, [>]

de Lisle, Leanda: on
The Tudors,
[>]

de Vere, Edward: as Shakespeare, [>]

death: Anne’s preparations for, [>]–[>], [>], [>]

Dostoevsky on, [>]–[>]

Hillman on, [>]

Montaigne on, [>]

Thomas on, [>], [>]

Defence of Good Women
(Elyot), [>]

Denby, David, [>]

Desperate Housewives
(TV series), [>], [>]

Diana (Princess of Wales): on Anne, [>]–[>]

Dickens, Charles:
A Child’s History of England,
[>]–[>]

Dijkstra, Bram:
Idols of Perversity,
[>]

Divorce of Catherine of Aragon, The
(Froude), [>], [>], [>], [>], [>]–[>], [>], [>]

Dixon, William Hepworth:
History of Two Queens,
[>]

Donizetti, Gaetano:
Anna Bolena,
[>], [>]

Doomed Queen Anne
(Meyer), [>]

Dormer, Jane, [>]

Dormer, Natalie, [>], [>], [>], [>], [>], [>], [>], [>]

dramatic interpretation of Anne, [>]–[>], [>]–[>], [>], [>], [>], [>]

Dostoevsky, Fyodor, [>]–[>]

on death, [>]–[>]

The Idiot,
[>]–[>]

Douglas, Susan: “Where Have You Gone, Roseanne Barr?,” [>]

Drew, Reginald:
Anne Boleyn,
[>], [>]

Dudley, John, [>], [>], [>]–[>]

Dunlop, Scott, [>]

Dunn, Jane: on Anne’s trial, [>]

Eakins, Lara, [>]–[>]

Education of a Christian Prince, The
(Erasmus), [>]

Education of a Christian Woman
(Vives), [>]–[>], [>]

Edward (prince), [>]

as king, [>], [>]–[>]

Eleanor of Aquitaine, [>], [>]

Elizabeth
(film), [>], [>]

Elizabeth II (queen), [>]

Elizabeth (princess), [>], [>], [>], [>]

Anne pregnant with, [>]–[>]

Anne’s treatment of, [>]–[>], [>]

birth of, [>]–[>], [>]

Chapuys on, [>]

Cromwell and, [>]

excluded from succession, [>], [>]

Ives on, [>]

portrayal of, [>], [>], [>]

as queen, [>], [>], [>], [>], [>], [>]

Starkey on, [>]–[>]

Wyatt on, [>]

Elizabeth’s Women
(Borman), [>]–[>], [>]–[>]

Ellis, Henry: on Anne’s last letter to Henry, [>]–[>]

Elyot, Sir Thomas:
Defence of Good Women,
[>]

Emmerich, Roland, [>]

England: relations with Spain, [>]–[>], [>], [>], [>]–[>], [>], [>], [>]

English History for Students
(Gardiner), [>]

English Reformation.
See also
humanism; religious reform

Anne’s role in, [>]–[>], [>], [>], [>], [>], [>], [>]–[>], [>]–[>], [>], [>]

Catholic resistance to, [>]–[>], [>], [>]–[>]

entitlement: Henry’s sense of, [>]–[>], [>]–[>]

Erasmus, Desiderius:
The Education of a Christian Prince,
[>]

The Praise of Folly,
[>]

Erickson, Carolly:
The Favored Queen,
[>]–[>]

Exeter, Marchioness of, [>]

Extracts from the Life of the Virtuous Christian and Renowned Queen Anne Boleigne
(Wyatt), [>], [>]–[>], [>], [>]

Facebook: Tudor-themed pages on, [>]–[>], [>], [>], [>], [>]–[>], [>], [>]

fairy tales: D’Aulnoy and, [>]

Falieri, Ludovico: on Katherine, [>]

Farmer, Lydia Hoyt:
The Girl’s Book of Famous Queens,
[>]

Fatal Attraction
(film), [>]–[>]

Father of the Bride
(film), [>], [>]

Father’s Little Dividend
(film), [>]

Favor of Kings, The
(Bradley), [>]–[>]

Favored Queen, The
(Erickson), [>]–[>]

Felmingham, Ralph, [>]

femininity: Tudor ideals of, [>]–[>]

feminism.
See
gender issues

femme fatale archetype, [>], [>], [>]–[>], [>].
See also
gender issues

Ferdinand II (king), [>]–[>]

fiction: distinguished from history, [>]–[>], [>]–[>], [>]–[>], [>]–[>], [>]–[>]

treatments of Anne in, [>], [>], [>], [>], [>], [>]–[>], [>]–[>], [>]–[>], [>], [>]–[>], [>]–[>], [>]–[>], [>]–[>]

treatments of Cromwell in, [>], [>]–[>], [>], [>]–[>], [>]

treatments of Jane in, [>]–[>]

treatments of Mary Boleyn in, [>]–[>], [>]–[>], [>]–[>]

Field of the Cloth of Gold, [>]

films and television: Anne portrayed in, [>], [>]–[>], [>], [>], [>], [>], [>], [>]–[>], [>]–[>], [>]–[>], [>]–[>], [>]–[>], [>]–[>], [>]

gender issues in, [>]–[>], [>], [>]

More portrayed in, [>]–[>]

Fire with Fire
(Wolf), [>]

First Blast of the Trumpet Against the Monstrous Regiment of Women, The
(Knox), [>]–[>]

Fish, Simon:
Supplication for the Beggars,
[>], [>], [>]

Fisher, John (bishop), [>], [>], [>], [>], [>]

execution of, [>]

Fitzroy, Henry, [>]

Flirting with Danger
(Phillips), [>]

Flynn, Errol, [>]

Foxe, John:
Book of Martyrs,
[>], [>]–[>], [>], [>], [>]

Francis I (king), [>]–[>], [>], [>], [>]–[>], [>], [>], [>], [>], [>]

on Henry, [>]

meets with Henry, [>]–[>]

sex life, [>], [>], [>], [>]

Fraser, Antonia, [>]

Friedmann, Paul:
Anne Boleyn: A Chapter of English History 1527–1536,
[>], [>], [>], [>], [>], [>], [>], [>]

Froude, James:
The Divorce of Catherine of Aragon,
[>], [>], [>], [>], [>]–[>], [>], [>]

Gardiner, Samuel:
English History for Students,
[>]

Gardiner, Stephen, [>]

Gavin, Nell:
Threads,
[>]

gender issues.
See also
femme fatale archetype

Anne and, [>]–[>], [>], [>]–[>]

Beauvoir on, [>]

D’Aulnoy and, [>]–[>]

in films & television, [>]–[>], [>], [>]

Gregory and, [>]–[>], [>]–[>]

historians’ reactions to, [>]–[>], [>]

Marguerite de Navarre and, [>]–[>]

Miller-Tomlinson on, [>]

in modern consumer culture, [>]–[>], [>]–[>], [>], [>]–[>]

prudishness and, [>]–[>]

rise of, [>]–[>]

in social history, [>]

Starkey and, [>], [>], [>], [>], [>]

George, Margaret:
The Autobiography of Henry VIII,
[>]

on distinction between history and fiction, [>]

on
The Other Boleyn Girl,
[>]

Gerard, Gilbert: on
The Tudors,
[>]

Girl’s Book of Famous Queens, The
(Farmer), [>]

Goldsmith, Oliver:
The History of England,
[>]–[>]

Goodman, Irene: on Anne, [>]

Grandage, Michael, [>]

Greenblatt, Robert, [>], [>]

Gregory, Philippa: claims to historical accuracy, [>]–[>], [>]–[>]

on the “convincing lie,” [>]

and gender issues, [>]–[>], [>]–[>]

on Mary Boleyn, [>]–[>]

The Other Boleyn Girl,
[>], [>]–[>], [>], [>], [>]

Grey, Jane, [>]

executed, [>], [>], [>]

Grueninger, Natalie, [>]–[>], [>], [>]

Guerre Est Finie, La
(film), [>]

Guy, John, [>]

on
The Tudors,
[>]

Hackett, Francis:
Henry VIII,
[>], [>]–[>], [>]–[>]

on Henry’s character, [>]

Queen Anne Boleyn,
[>], [>]–[>], [>], [>]

Halliwell-Phillipps, James: on Henry’s correspondence with Anne, [>]–[>]

Hannaert, John, [>]

Harrison, Rex, [>]

Henry II (king), [>]

Henry VII (king): Henry contrasted with, [>]

treatment of Henry, [>]

Henry VIII (king): affair with Mary Boleyn, [>]–[>], [>]–[>], [>], [>], [>], [>], [>]

alleged genetic disorder, [>]–[>]

on Anne, [>]

Anne damages his image, [>], [>], [>]–[>], [>]–[>], [>], [>]

Anne’s last letter to, [>]–[>], [>]

and Anne’s trial, [>]–[>]

appearance, [>]–[>]

attempts to erase Anne’s memory, [>]–[>], [>], [>], [>], [>], [>]

attitudes toward women, [>], [>]–[>], [>]–[>]

Bana’s dramatic interpretation of, [>]–[>]

betrothed to Jane, [>], [>]

Blount as his mistress, [>], [>], [>], [>], [>], [>]

as “borderline” personality, [>]–[>], [>]–[>], [>]

Chapuys and, [>], [>]

character & personality of, [>], [>], [>], [>]–[>], [>]–[>], [>]–[>], [>], [>]–[>], [>]

and chivalry, [>]–[>], [>]–[>]

contrasted with his father, [>]

correspondence with Anne, [>], [>]–[>], [>]–[>], [>]–[>], [>]–[>], [>]–[>], [>], [>]

as courtier, [>], [>], [>], [>], [>], [>]

courts Jane, [>], [>], [>]–[>], [>], [>]

Cromwell as his right hand, [>], [>]

declining relationship with Anne, [>]–[>], [>], [>]–[>], [>]–[>], [>], [>]–[>], [>]–[>], [>]–[>]

and dissolution of monasteries, [>]–[>], [>], [>]

divorces Katherine, [>]–[>], [>], [>], [>]–[>], [>], [>], [>], [>], [>], [>], [>], [>]

dramatic portrayals of, [>], [>], [>], [>]–[>], [>], [>], [>]–[>], [>]–[>], [>], [>]–[>], [>]–[>]

father’s treatment of, [>]

fictional treatments of, [>]

Francis I on, [>]

as head of the church, [>], [>], [>], [>]

his “great matter,” [>], [>], [>], [>], [>], [>], [>]

and humanism, [>]–[>], [>]

infatuation with Anne, [>]–[>], [>]–[>], [>]–[>], [>], [>], [>]–[>]

insists on Anne’s status, [>]

Jane seduces, [>], [>]

on Katherine, [>]

as manipulative, [>]–[>]

marries Anne, [>], [>]–[>], [>], [>]

meets with Francis I, [>]–[>]

More on, [>], [>]–[>]

More’s relationship with, [>]

motivations for executing Anne, [>]–[>], [>]–[>], [>], [>]–[>]

need for male heir, [>], [>]–[>], [>], [>], [>], [>], [>], [>], [>], [>], [>]

paintings of, [>]–[>]

physical decline, [>], [>], [>], [>]–[>]

as pragmatic politician, [>]–[>], [>]–[>]

psychological crisis & transformation, [>]–[>], [>]–[>], [>]

public reputation of, [>]–[>]

purposeful use of language, [>]–[>], [>]–[>]

Raleigh on, [>]–[>]

religious beliefs & policies, [>]–[>], [>], [>], [>]–[>], [>]–[>], [>]

Rhys Meyers’s dramatic interpretation of, [>]–[>], [>]

sense of entitlement, [>]–[>], [>]–[>]

sex life, [>]–[>], [>], [>]–[>], [>]–[>], [>]

sexual relationship with Anne, [>]–[>], [>]–[>], [>], [>], [>]–[>], [>]–[>], [>]

and Seymour family, [>], [>]

Swift on, [>]