The TV adaptation of Hilary Mantel’s third Wolf Hall novel, The Mirror and the Light, premiered on BBC One to critical acclaim, with the Guardian calling it „six hours of magic.“ Fans had eagerly awaited the conclusion after an eight-year wait since the previous book. While there were rumors of writer’s block, Mantel denied them, but the truthfulness of the speculation lingered. By bringing the character of Thomas Cromwell to life so vividly, it seemed almost impossible for her to end his story with his death.
Wolf Hall, the first book in the trilogy, was released in 2009 and was well-received by Tudor enthusiasts. The BBC had previously aired Tudor-themed shows like The Tudors and Tudor Monastery Farm, creating a cultural fascination with the era. Additionally, the hit musical Six and the movie Firebrand added new perspectives on Henry VIII and his wives, challenging traditional historical narratives.
Philippa Gregory’s novels, starting with The Other Boleyn Girl in 2001, also contributed to the Tudor craze, offering fresh perspectives on the lives of historical figures. Gregory aimed to portray the Tudor wives as agents of their own lives, challenging traditional characterizations imposed by historians and cultural perceptions.
The portrayal of the Tudors in popular culture often reflects the views held by Victorian and later historians, perpetuating myths and misrepresentations of figures like Henry VIII. Gregory emphasizes the need to reassess these historical narratives and question the glorification of tyrannical rulers like Henry VIII in educational settings, highlighting the importance of challenging established views and seeking a more nuanced understanding of history. He describes gazing out of a window in the Tower of London and witnessing Anne Boleyn, accompanied by his companions, meeting their demise. Wyatt is likened to Wilfred Owen in Henry’s court – it’s a gut-wrenching experience.“
The Victorians were unable to comprehend Henry’s lack of empathy as a mental deficiency or disorder, instead viewing it as strength or authority. They had a strange fascination with portraying cruelty as determination or decisiveness, labeling the massacre of conquered peoples as strong leadership. This mindset is reflective of a nation at the peak of its colonial activities.
Historian John Pemble noted that Froude changed the narrative entirely, depicting Henry as a savior of his people and the architect of the modern state. Anne Boleyn was not an innocent victim but a nymphomaniac who deserved her execution. Thomas More was not a saint but a cruel bigot.
The Victorian era shaped our perceptions of historical figures, offering a skewed view of women as fragile maidens. However, in the medieval period, women were politically, economically, and sexually active individuals with their own desires and consciousness. This empowerment was gradually stripped away, leading to women being excluded from guilds and professions, a trend that reversed in the 19th century.
The 1950s and 1960s saw a resurgence in Tudor retellings, focusing on Henry’s insatiable libido. The BBC series portrayed the six wives in a manner that catered to the male ego, reinforcing outdated stereotypes. This revisionism aims to liberate history from the confines of past prejudices and neuroses.
Catherine Parr, for example, was depicted as Henry’s nurse by the Victorians, despite being an autodidact who taught herself Greek and translated psalms. The modern retellings seek to break free from these limiting portrayals and explore the complexities of historical figures like Henry VIII and his wives.
Overall, the current fascination with Tudor history is driven by a desire to uncover the truth behind the myths and stereotypes perpetuated by previous generations. This includes a more nuanced understanding of Henry’s character, emotions, and relationships, shedding light on the personal struggles and complexities of this historical period. Sichern eines Erbens – was man vielleicht als die ultimative Sorge der Souveränität bezeichnen könnte – wurde als die überwältigende Sorge dargestellt, die jeden Preis wert ist.
„Der Schatten der Rosenkriege hängt immer noch über den Tudors und über ihre Untertanen, was teilweise der Grund ist, warum sie mit dem, was Heinrich tut, einverstanden sind“, sagt Gunn. „Die Proklamationen beginnen oft damit zu sagen: ‚Es ist schrecklich, nicht zu wissen, wer der nächste Führer sein wird.'“. Die Loslösung von Europa; tyrannische, unfähige Führer, die mit allem davonkommen, was sie wollen, weil nichts wichtiger ist als die Souveränität: erinnert dich das an etwas? „Als Fische können wir nicht anders, als im Wasser des aktuellen historischen Blickwinkels herumzuschwimmen“, sagt Gunn. „Wir können unsere eigenen Vorurteile nicht sehen.“
Dieser Artikel wurde am 12. November 2024 korrigiert, um zwei Fälle von Rechtschreibfehlern im Nachnamen von James Anthony Froude zu korrigieren.