By E. Sadlack
A clean biography of Mary Tudor which demanding situations traditional perspectives of her as a weeping hysteric and love-struck romantic, supplying as a substitute the portrait of a queen who drew on assets of authority to extend the facility of her place: epistolary conventions and the rhetoric of chivalry that imbued the French and English courts.
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Extra resources for The French Queen’s Letters: Mary Tudor Brandon and the Politics of Marriage in Sixteenth-Century Europe
The letter he cites most often—seven times—is Dido’s to Aeneas. 108 This letter is Dido’s revenge for Aeneas’s betrayal; by rehearsing their arguments and making herself into an object of pity, she hopes to shame him personally and publicly, to make him feel pangs of guilt for her suicide and to tarnish his reputation as a noble prince. The letter itself is strongly linked to her death. 109 Dido’s tears enshrine her body in the letter, which itself is both her lasting memorial and the instrument of Aeneas’s punishment.
123 This revel did not merely exhibit English interest in the exotic other but was also designed, as W. R. 124 Mary thus joined Henry in wedding pastime with the interests of state. It is worth noting Charles Brandon’s presence at the same events. 125 It also meant that he and Mary began to know one another well.
38 He and the other speakers refine the list, discussing the issues of grace, careful speech, learning, and behavior, but it is clear that what may seem to us today to be frivolous achievements were nonetheless vital to success at court and thus, access to political power. Sharon Michalove notes that noble children’s education “consisted of two parts—noriture and lettrure. Noriture consisted of etiquette, athletics, dancing, music, the composition of poetry, and other artistic and physical achievements.
The French Queen’s Letters: Mary Tudor Brandon and the Politics of Marriage in Sixteenth-Century Europe by E. Sadlack