Natalie Dormer as Anne Boleyn in The Tudors
Definitions Disclosure:
For the purposes of this blog series, the terms ‘romanticisation’ and ‘romantic legacy’ will refer to the continuity of focus on the relationship between Anne Boleyn and Henry VIII, and the subsequent neglect of other aspects of their lives in historical fiction and within the discourse of popular culture. For the purposes of this series, this aspect is synonymous with ‘popular view.’
It must also be recognised that ‘sexualisation’ is different to ‘romanticisation.’ Although in this blog the primary focus will be centred on the romanticisation of history, it must be understood that sexualisation of history is present. Where romanticisation refers to the continuity of focus on the romance between the pair, sexualisation refers to the overly sexualised representations of Anne Boleyn.
. . .
This, the second instalment of the series, will demonstrate that historical fiction literature encourages the consumption of a romantic popular view of Anne Boleyn, by aligning itself with an Anne that has evolved over time and in accordance with the shifting of societies feminist ideals. This shapeshifting Anne reinforces her own popularity and therefore relatability across time. The romanticised portrayal of Anne Boleyn in historical fiction is not a creation of the twenty-first century. In reality, this popular view was crafted through representations of Anne in historical fiction from the previous century. The twentieth century continually romanticised Anne in ways that aligned with the contemporary norms of behaviour, thus ensuring her appeal to generations of readers continuously.
This post, which details our journey as beginning earlier than the last instalment, demonstrates the female sensibilities of the Victorian and Edwardian eras in contemporary historical fiction of Anne, and goes further to compare it to twenty first century depictions. One might find from this comparison that the real Anne has been obscured from the audience, leaving only the ever-changing fictional Anne, crafted to appeal to new generations of readers repeatedly. Yet despite this, the character of Anne, with her changing persona, has been well received, as evidenced by her enduring presence. Thus, the popular view of Anne, established in the twentieth century through historical fiction, has been further solidified in the twenty-first century.
1900-1960
Early representations of Anne Boleyn in historical fiction, such as those late Victorian, emulate Victorian norms of female behaviour and the popular view of Anne in accordance with those norms. Pre-marital sex however, which was a taboo subject in fiction at the time, has been referenced to in relation to Anne and Henry’s relationship despite its unmentionable nature within feminine sensibilities of the time. Its connotations to Anne in spite of this feminine ideology reflects the dominant focus given to the popular view while telling the story of Anne.
Mary Hastings Bradley’s The Favour of Kings, 1912, made a “huge advance in sexual candour” when Bradley allows late Victorian Anne to ponder with the idea of pre-marital sex. At the time, “virtually no Victorian historian, male or female, mentioned it.” In one scene of the book Anne is contemplating using her virtue as her last resource to keep Henry’s attentions. Although the scene imagines the situation to be a hesitant last resort for Anne in accordance with female norms of behaviour, it still allows the idea of pre-marital sex to be a possible course of action for her. This is demonstrative of the importance the romance between them was, even as early as the late Victorian era:
“As she sat there alone in her room, her chin in her hand, her dark eyes heavy with anxieties, the thought that had slipped her some time ago, shamefaced and sly, into the back of her mind edged more and more into the open. What if he played her last card – her precious card – herself?!
“I dare not,” she whispered to herself, and then in a strangled voice, “I dare!”
Bradley’s direct remark toward Anne giving up her virtue for Henry VIII’s continued affections was scandalous, and its presence in the narrative is highly demonstrative of the strength of the popular view of Anne in those times. Romance was such a central focus to Anne’s history that pre-marital sex was obligatory to discuss. Despite acknowledging that she had “taken liberties with history” in her propagation of the popular view, Bradley maintained the norms of female behaviour in other areas of the story, allowing Anne to be consumed by her readership. It is important to note from here on in “Anne was a full-fledged heroine of the historical fiction romance and a major commercial film.” This definitive moment in Anne’s trajectory as a heroine of historical fiction is why this series explicitly defines the popular view of Anne to be something cultivated in the twentieth century, despite her presence in fiction before this time, for example in the work of Shakespeare.
2000 – Present
In Philippa Gregory's novel The Other Boleyn Girl, Anne Boleyn is depicted as a starkly different character compared to the more innocent and virtuous portrayals common in Victorian literature. Gregory's Anne is characterised by her ruthlessness, calculated ambition, and overt sexuality, presenting a complex and often unflattering portrait. Anne's representation in the novel is one of a mean-spirited and manipulative woman, driven by a relentless desire for power and status. She is willing to go to great lengths to achieve her ambitions, displaying a cold and strategic mindset. This contrasts sharply with Victorian depictions of Anne, which often highlighted her as a tragic and innocent victim of her circumstances, caught in the political machinations of the Tudor court. In Victorian literature, Anne was frequently seen as a martyr or a misunderstood heroine, a far cry from Gregory's interpretation.
Despite the mean, calculated, and sexualised portrayal of Anne Boleyn in Philippa Gregory's The Other Boleyn Girl, the depiction remains romanticised in several keyways. This romanticisation stems from the dramatization of her life, the emphasis on her personal agency, and the intense emotional and political intrigue that surrounds her relationships in the narrative.
Firstly, the novel presents Anne as a figure of immense strength and determination. Her ability to navigate the treacherous waters of the Tudor court, using her intelligence and charm to rise to a position of power, is depicted in a way that can be seen as both admirable and compelling. This portrayal taps into the romantic notion of the strong, independent woman who defies societal norms and challenges the status quo, a theme that resonates with modern audiences. Secondly, the emotional depth and complexity given to Anne's character contribute to her romanticised depiction. While she is shown as manipulative and ambitious, she is also portrayed as vulnerable and multifaceted. Her fears, desires, and inner conflicts are explored, creating a character who is deeply human and relatable.
This nuanced portrayal allows readers to empathise with Anne, seeing her not just as a ruthless schemer, but as a woman with dreams and fears, caught in a perilous quest for survival and power. Additionally, the heightened drama and intrigue surrounding Anne's relationships, particularly with King Henry VIII and her sister Mary, add to the romanticised nature of her depiction. The intense emotions, passionate encounters, and high-stakes political manoeuvring are all elements that create a sense of romance and excitement and are the key driver of the narrative Gregory creates. This dramatic portrayal captures the imagination of readers, drawing them into the tumultuous world of the Tudor court, evolved in female sensibilities, yet faithful to the romantic Anne established a century ago.
A Question of Historical Accuracy
Although twenty-first century historical fiction has been widely criticised for its lack of historical accuracy and propagation of the popular view, Jerome De Groot points out that the aim of historical fiction primarily remains as the entertainment for enthusiasts of history. Despite the presence of academic snobbery towards the romanticisation of Anne in historical fiction by historians such as David Starkey, De Groot argues that historical fiction does not need a point and thus justifies the presence of the dominating popular view.
The commercial success of Tudors in the twenty-first century can be seen to be their “mark on the publishing industry,” despite literature’s tendency for historical inaccuracy. The industry that saw an influx of Tudor material after the publication of The Other Boleyn Girl in 2001 which sold millions of copies worldwide. This subsequent wave of popularity demonstrates the unproblematic nature of the popular view in the opinion of the consumer. Furthermore, author Philippa Gregory, often the starting place for Tudor fiction enthusiasts, defends her romanticised narrative in The Other Boleyn Girl by explaining that the novel’s protagonist, Mary Boleyn, is barley represented in the historical record, and so it is fiction that allows Gregory to fill in the gaps. She reminds us that “the definition is in the title [historical fiction]. It is historical and it is fiction. It is both,” and in doing so echoes Dr Groot’s sentiments that historical fiction seldom needs a point.
The Other Boleyn Girl is demonstrative of how a narrative dominated by the popular view can be an unproblematic introduction to history. Historical fiction enthusiasts and academics, Dr Owen Emmerson, and Kate McCaffrey, supported this ideology in a conversation with me in 2023. McCaffrey claims that “sparking the conversation is all that matters” in generating a historical interest, regardless of the presence of the popular view, and Emmerson reminds us that “the history is for the historians, and the novels are for the novelists” to create. Consumption for Emmerson is just as Groot defines it, for entertainment.
In an online social forum that discusses the Tudors exclusively, Gregory is well known as a catalyst author that introduced many enthusiasts into Tudor history - myself included. This is exampled in a 2023 forum post that read, “This book started my Tudor hyper interest,” in reference to Gregory’s The Other Boleyn Girl. Subsequent comments agree with the post, with one individual stating “This book was just the beginning of an obsession for me,” while another admits, “Same here! I was hooked,” and another agreeing with “same here!”
It is clear Gregory’s writing has provided enthusiasts with an entertaining gateway into Tudor history. The Other Boleyn Girl is one of many narratives that focuses on and reinforces the popular view of Anne in the twenty-first century, whether told from Anne’s own perspective, a perspective that author Phillipa Vincent Connolly says “has been done to death,” or from less well document figures such as Mary Boleyn.
Literature has played an unmeasurably important role in the popular view of Anne Boleyn. The second part of this series has highlighted how historical fiction literature has continually romanticised Anne Boleyn, adapting her portrayal to align with evolving feminist ideals and societal norms, just as film has (as seen in part 1 of this series). The depiction of Anne as a multifaceted character—from the late Victorian era to modern times—demonstrates how historical fiction literature encourages a popular view that resonates with contemporary audiences.
From early twentieth century portrayals like Mary Hastings Bradley’s The Favour of Kings, where Anne's contemplation of pre-marital sex pushed boundaries, to Philippa Gregory’s The Other Boleyn Girl, which presents Anne as a ruthlessly ambitious and complex figure, fixated on maintaining the transfixion of King Henry VIII, the romanticised image of Anne Boleyn has persisted and evolved. These narratives, while often criticised for their lack of strict historical accuracy, have played a crucial role in maintaining Anne’s appeal and relevance across generations.
The romanticisation of Anne Boleyn in historical fiction underscores her enduring presence and relatability, reflecting broader trends in society’s perception of female strength and complexity. Despite academic critiques, this genre thrives on its ability to entertain and spark interest in historical figures, as evidenced by the commercial success of works like The Other Boleyn Girl. This popular view, crafted as demonstrated in the twentieth century and solidified in the twenty-first, ensures that Anne Boleyn remains a captivating figure in the literary imagination, continually reshaped to resonate with new generations of readers.
Disclosure: some of the interview and research material of this blog post has been re purposed from an undergraduate unpublished study of my own, dated 2023.
This series will continue with one last installment...
References:
All Things Tudor, “This book started my Tudor hyper interest,” Facebook, February 17th, 2023.
Ashlie Newcombe, Interview with Dr Owen Emmerson, and Kate McCaffery, created February 22, 2023.
Ashlie Newcombe, Interview with Phillipa Vincent-Connolly, created February 21st, 2023.
Carole Angier and Sally Cline, ed., Writing Historical Fiction; A Writers’ and Artist’ Companion (New York: 2014).
Jenna Elizabeth Barlow, Women’s Historical Fiction “After” Feminism: Discursive Reconstructions of the Tudors in Contemporary Literature (Unpublished PHD thesis, Stellenbosch University, 2014).
Jerome De Groot, Remaking History; The Past in Contemporary Historical Fictions (Oxfordshire: 015).
Mary Hastings Bradley, The Favour of Kings (New York and London: D, Appleton and Company, 1912).
Philippa Gregory, The Other Boleyn Girl (New York, Washington Square Press; 2003).
Susan Bordo, The Creation of Anne Boleyn: A New Look at England’s Most Notorious Queen (Boston: 2013).
Comments