魏思博臺灣大學：外國語文學研究所江昱均Chiang, Yu-ChunYu-ChunChiang2007-11-262018-05-292007-11-262018-05-292006http://ntur.lib.ntu.edu.tw//handle/246246/52697In this thesis, I will explore different representations of Katherine of Aragon in Renaissance typology, chronicles, martyrology, and drama within the contexts of key events of her life. Initially, Katherine of Aragon was typologically configured as a good and virtuous woman according to the powerful historical and biblical models of Zenobia, Vashti, and Ester. Vives, Erasmus, and Elyot all appropriated these models to lend their support to Katherine as she attempted to represent herself to Henry’s court in the divorce trial. However, later in the contexts of the Edwardian reign, Edward Hall endorsed the legitimacy of Edward VI by endorsing Henry’s divorce from Katherine. In The Vnion, Katherine was an object for Hall to illustrate Henry VIII’s wise and prosperous reign. Hall’s historical writing was apathetic to the representation of Katherine, while Raphael Holinshed’s The Chronicles was equivocal. Writing his chronicles in Elizabethan England, Holinshed not only provided negative images of a stubborn and defiant Katherine, undermining her marriage with Henry VIII, in order to endorse the legitimacy of Elizabeth I, but also depicted positive images of an articulate and virtuous Katherine, demonstrating women’s ability in politics, to confirm Elizabeth’s ability to rule. Compared to Hall and Holinshed, John Foxe, as a campaigner of Elizabethan Reformation, infused stronger Protestant propaganda into his descriptions of Katherine in the Actes and Monuments. In Foxe’s martyrological representation, the stubborn, unreasonable and angry Roman Catholic Queen Katherine impeded England’s progress toward order, while the obedient, virtuous and Protestant Queen Anne Boleyn assisted England in building the true Church of Christ. The contexts of the typological, historical and martyrological representations of Jacobean England are all accommodated in Shakespeare and Fletcher’s representation of a dramatically powerful Katherine in King Henry VIII: All is True. In the play, Katherine dominates Henry VIII’s court spatially, acts as the subjects’ spokesperson, and manipulates woman’s virtue and weakness to defy injustice and authority. Even after she is deposed, Katherine remains powerful in her own domestic court, and overshadows the new Queen Anne Boleyn. Although Katherine is dispelled from King Henry’s court, she is, through the insertion of a fictional dream vision, able to enter God’s court and retrieve her queenship. In the process of explaining representations of Katherine, this thesis will also demonstrate the possibilities and limitations of the generic modes of representation themselves. The Renaissance representations of Katherine of Aragon set up a pattern of a new kind of self-articulating woman, yet one who retains her virtues: one who may disobey secular authority yet retain her Christian virtue.Table of Contents Abstract iv Acknowledgements vi Introduction 1 Chapter 1 Typological Representations of Katherine 11 1.1 The Idea of Typology and its Application 11 1.2 Becoming a Type 12 1.3 Historical Typology: Katherine in Thomas Elyot’s The Defence of Good Women 17 1.4 Religious Typology: Katherine in the Book of Ester of the Protestant and Roman Catholic Scriptures 25 1.4.1 Does Queen Ester only possess obedience? 26 1.4.2 Is Queen Vashti nothing but a disobedient queen? 31 1.5 Dramatic Typology: Katherine in A New Enterlude of Godly Queene Hester 35 Chapter 2 Historical Representations of Katherine: Edward Hall’s The Vnion and Raphael Holinshed’s The Chronicles 43 2.1 Introduction to Edward Hall’s and Raphael Holinshed’s Historical Writings 43 2.2 Katherine of Aragon: Queen of England 48 2.3 Katherine of Aragon: Queen, Princess, or Dowager? 58 2.4 Katherine of Aragon: Deposed Queen 72 2.5 Anne Boleyn: Short-Lived Queen 79 Chapter 3 Martyrological Representations of Katherine: John Foxe’s Actes and Monuments 89 3.1 Introduction to “the Elizabethan Martyrology” 89 3.2 Queen Katherine of Aragon in the Divorce Case 92 3.3 Katherine as a Stubborn Queen 102 3.4 Katherine as an Angry Queen 105 3.5 Katherine vs. Anne: Chaos vs. Order 107 3.6 Katherine’s Fall as a Device to Prove God’s Providence 112 Chapter 4 Dramatic Representations of Katherine: William Shakespeare and John Fletcher’s King Henry VIII (All is True) 121 4.1 Introduction 121 4.1.1 Collaborative Authorship 121 4.1.2 Sources Adapted 122 4.2 Katherine, the Queen of England, in the Court of Henry VIII 127 4.2.1 A Defender of the Commoners and the Nobles 127 4.2.1.1 Katherine’s Defense for the Commoners 129 4.2.1.2 Katherine’s Defense for the Duke of Buckingham 134 4.2.2 A Poor Women, Stranger, and Foreign Queen Litigant 142 4.3 Katherine, the Princess Dowager, in the Domestic Court of Her Own 149 4.3.1 A Housewife and Deposed Queen 149 4.3.2 A Phantom in Queen Anne Boleyn’s court 157 4.4 Katherine, the Heavenly Queen, in the Court of God 167 4.4.1 A Mother, Mistress and Believer 167 4.4.2 A Non-Consanguine Model for the Future Queen Elizabeth I 173 Conclusion 178 Appendix 182 Bibliography 186 Primary Sources 186 Secondary Sources 188en-US凱瑟琳•亞拉岡再現皇后女性研究英國文藝復興文類 (類型學、編年史、殉教者列傳、歷史劇)湯瑪斯•艾略特《The Defence of Good Women》(1545)以斯帖記(1560年日內瓦聖經、1609年杜埃版舊約聖經)《A New Enterlude of Godly Queene Hester》(1561)愛德華•霍爾編年史(1550)拉斐爾•何林塞《史記》(1577年版、 1587年版)約翰•福克斯《殉道者書》(1563年版、 1570年版、1576年版、 1583年版)威廉•莎士比亞與約翰•傅萊徹《亨利八世》Katherine of AragonRepresentationsQueenshipWoman StudyEnglish RenaissanceGenres (Typology, Chronicle, Martyrology, History Play)Book of Ester (1560 Geneva Bible, 1609 Douai Old Testament)A New Enterlude of Godly Queene Hester (1561)thesis