Abstract:

This essay juxtaposes Catherine of Aragon's self-created reputation during the height of her influence as queen consort (1509–1525) with her representation in literary works written over fifty years after her death. I consider how Thomas Deloney's Jack of Newbury, John Fletcher and William Shakespeare's King Henry VIII, and Richard Johnson's "The Story of Ill May-Day" preserve Catherine's reputation for being Henry VIII's pious, loyal, deferential wife and an intercessor for English citizens; yet these later authors are far less faithful to Catherine's measured tone, unsubordinated syntax, and familiar diction in her writings. Catherine's fictional avatar, Queen Katherine, speaks, instead, with subordinated syntax, elaborate rhetorical figures, and aggressive language whenever she intercedes for male commoners. The resulting, somewhat contradictory, representation of Queen Katherine speaks to an implicit contract by which later authors perpetuate Catherine of Aragon's reputation for being a loyal, decorous, maternal queen consort, even as their character, Queen Katherine, engages readers and audience with sensationalist speeches that speak to rhetorical and cultural fantasies in which a queen consort moves beyond the boundaries of decorum to save vulnerable English citizens.

摘要：

这篇文章将阿拉贡的凯瑟琳在女王作为贵妃（1509–1525）的影响力达到顶峰期间的自我创造与她在死后五十多年的文学作品中的表现并列。我考虑托马斯·德洛尼（Thomas Deloney）的纽伯里杰克（Jack of Newbury），约翰·弗莱彻（John Fletcher）和威廉·莎士比亚（William Shakespeare）的国王亨利八世（Henry VIII）和理查德·约翰逊（Richard Johnson）的“五月天的故事”保留了凯瑟琳（Catherine）作为亨利八世虔诚，忠诚，自尊的妻子以及为英国公民代祷的声誉。然而，这些后来的作者对凯瑟琳语气平和，语法不逊色，并且在她的著作中熟悉的用法却不那么忠诚。凯瑟琳的虚构化身，皇后凯瑟琳（Queen Katherine）则以次要的句法，精心修饰的修辞格和激进的语言说话，每当她为男性平民求情时。凯瑟琳王后所产生的某种程度上的自相矛盾的说法暗示了一种隐含的契约，后来的作者根据该契约使阿拉贡的凯瑟琳永久保持忠诚，端庄，产妇的皇后配偶的声誉，即使他们的角色凯瑟琳皇后，