by Judith Arnopp
I first came across Marguerite while I was at university where I was struck by her unjust legacy. I spent many years researching and writing about Marguerite’s contemporary, Margaret Beaufort, who similarly fought for her son. The similarities only diverge when Margaret Beaufort triumphs and Marguerite’s hopes perish on Tewkesbury field.
Yorkist propaganda against Marguerite of Anjou begins early in her story and continues to affect our perception of her today. Polydore Vergil’s assessment of her character, taken from widespread Yorkist propaganda, echoes loudly in Shakespeare’s malevolent portrayal of the queen in his play ‘The True Tragedy of Richard Duke of York and the Good King Henry the Sixth’
‘She wolf of France but worse than the wolves of France,
whose tongue more poisons than the adder’s tooth!
How ill be-seeming is it in thy sex
To triumph like an Amazonian trull
Upon their woes who Fortune captivates!
But that thy face is vizard like, unchanging,
Made impudent with use of evil deeds,
I would assay, proud queen, to make thee blush.
To tell thee whence thy cam’st, of whom derived,
Were shame enough to shame thee, wert not shameless.’ (Act 1.4.112)
Sounds like a nice lady but my research revealed no monster but simply a queen determined to maintain her husband’s throne and to secure the inheritance of her son. But Marguerite was a foreigner, unhampered by the political restraint placed upon English women and that fact cast the first shadow over her life in England.
Marguerite came from a line of determined women; both her paternal grandmother Yolande of Aragon, and her mother, Isabelle of Lorraine were deeply involved in politics and championed the rights of their absent husbands, raised taxes and armies, administered the duchies and laid down policies. Both women impacted on Marguerite’s own experience after she became Queen of England. To Marguerite, on finding her crown at risk, there was only one thing she could do and that was fight.
During her early years as queen, Marguerite acted as a supporting, conciliatory presence behind the king, mainly confining her activities to matchmaking and obtaining positions at court for friends and servants. She used her influence to secure the surrender of Maine and Anjou and, although the pressure on her to comply is obvious to us now, the act did not endear her to her new subjects.
Her first real intercession into politics was during the Jack Cade rebellion when at her instigation Henry agreed to show leniency and issue a pardon to the rebels. The king’s preamble to the pardon illustrates Marguerite’s role in the matter.
‘Nevertheless, recalling to the reflection and consideration of our mind that among those virtues fitting and proper to the royal person and dignity, none befits him more than clemency, which is apt to bring about and put the shame of sinning in the minds of his subject people, and considering as well that it is fitting to show himself such a prince to his subjects as he wishes and desires God to be supreme and high Lord him, persuaded and moved by these and many other pious considerations, among others by the most humble and persistent supplications, prayers and requests of our most serene and beloved wife and consort the queen…we have pardoned…’
The lure of a pardon undermined Cade’s force and mention of Marguerite’s intercession allowed Henry to show leniency without appearing weak.
It is quite possible that had Henry not fallen ill, Marguerite’s supporting role would have continued but as his condition worsened and the threat from the Yorkist faction grew stronger, she had little option but to assume a more prominent position. The fluctuating health of the king meant that increasingly she governed beneath the cloak of Henry’s kingship, continuing to represent herself as subordinate to the king’s authority whilst, in fact, assuming increasing power.
During a lull in Henry’s illness Marguerite produced the king with an heir Edward, securing Lancaster’s position and dealing a blow to the ambitious Duke of York who was previously Henry’s heir. It is no coincidence that around this time propaganda against the queen increased, and York’s attempts to undermine Margaret’s authority picked up pace.
Some contemporary reports accuse the queen of sexual misconduct and her son, Edward, is described as a ‘changeling,’ a term which infers he was base born. Two days before York was removed from office on 23 February 1456 a John Helton was executed for distributing bills that alleged the prince was not the queen’s son.
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As the enmity between York and Lancaster increased, the battle for power descended into military combat obliging Marguerite to step further and further from the expected feminine role. The nobles of England and their adherents were killed in skirmishes and battles, the reins of government passing from York to Henry (or Marguerite) but it was not until the Battle of Towton that the reign of Lancaster was all but ended and the new Yorkist dynasty arose.
York was dead and Edward IV was firmly on the throne, Marguerite could have faded into gentile retirement. The House of York’s vendetta against the deposed queen could have ceased. But poetry and pamphlets continued to be issued, denigrating both Marguerite and her claim to the throne. She was blamed for the fall of the Lancastrian dynasty and stereotyped as ‘an angry woman driven by malice, spreading sorrow, disorder and confusion in her wake.’
Marguerite, still refusing to admit defeat, spent the next ten years in exile, plotting to reinstate her son Edward. Her determination strong enough that when Warwick fell out with Edward IV, she formed an alliance with her great enemy and consented to a marriage between her son and Warwick’s youngest daughter, Anne.
It was a short lived alliance that ended for Warwick at Barnet, and for Marguerite at Tewkesbury where her seventeen year old son was killed, along with her ambition for the English throne.
But Yorkist propaganda continued, using a wide range of devices to defame Marguerite, making it difficult, even now, to obtain a clear view of her. Early historians picked up the Yorkist banner and continued to dehumanise her, subverting her female instinct to nurture into an unnatural lust for murder.
By the time Shakespeare wrote his Wars of the Roses plays Marguerite’s had already come to epitomise unrelieved lust for power possessing a ‘tigers heart wrapped in a woman’s hide.’ Her strength is undermined by her female flaws and she ‘lacks the true qualities of royalty...the queen’s character is also tainted by immorality: she is an adulteress. But it is power rather than lust which dominates her character, and vengefulness which becomes its most terrible flaw.’
In Henry VI part III her feminine weaknesses are replaced by the most ignoble of male attributes; she is masculine but akin to the worst of men. Shakespeare’s Marguerite is an arch-villainess whose femininity is inverted to encompass the direst human traits; her assumption of a male role and her lust for blood and revenge reverses the natural order and creates chaos in the realm.
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In the hands of the bard, Marguerite is a marvellous authorial depiction of twisted humanity and as a playwright Shakespeare remains unchallenged but a historian he was not. Unfortunately, Shakespeare’s history plays came to be utilised not as examples of literary genius but as factual documents of history.
In the 1840’s Agnes Strickland published her Lives of the Queens of England and viewed Marguerite’s story ‘...of more powerful of interest than are to be found in the imaginary career of any heroine of romance; for the creations of fiction, however forcibly they may appeal to our imagination, fade into insignificance before the simple majesty of truth.’
Like other Victorian moralists, Strickland provides a highly romanticised picture of an unfortunate queen who unwisely meddled in the concerns of men. Marguerite becomes pitiful in her defeat but Strickland, by illustrating her utter personal defeat and regret, upholds the medieval opinion of a woman’s proper place.
‘There is something touching in the very simplicity of the Latin sentence with which the deed begins, that was wrung from the broken-hearted heroine who had, through so many storms of adversity, defended the rights of her royal consort and son. While they remained in life, she would have died a thousand deaths rather than relinquish even the most shadowy of their claims; but the dear ones were no more,
‘Ambition, pride, the rival names
of York and Lancaster,
with all their long contested claims
what were they then to her?
Passively and almost with indifference, Margaret subscribed the instrument commencing ‘Ego, Margarita dum in regno Anglia maritata etc. I, Margaret, formerly in England married, renounce all that I could pretend to in England by the conditions of my marriage, with all other things there, to Edward, now king of England.’
J. J. Bagley in his biography of Marguerite written in 1948 provides a less romantic presentation. Bagley admits that Marguerite ‘did not cause the Wars of the Roses, but her intense, bitter feeling, her refusal to compromise, and her disregard of any other factor than the inheritance of her only son were reflected in the brutal, callous nature of the prolonged struggle. For the sake of its own cause and for the welfare of the English people, the house of Lancaster might have wished for a wiser and more understanding leader, but nowhere could it have found a braver and more determined champion. Queen Margaret’s life was more than a sad story. It was a true tragedy, for the root cause of her failure lay, not in the fickle fate of battles, but in her own character and philosophy.’
In Bagley’s opinion, the Lancastrian cause could not have wished for a braver leader but perhaps one less swayed by dangerous female characteristics such as loyalty to her son and a determination to maintain a hold on his birthright.
Richard, Duke of York was equally ambitious for his sons and fought just as fiercely for what he saw as his own rights and, moreover, he fought against an anointed king.
Marguerite was trying to defend the throne of England against attack, as was her duty.
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Historical research in the twentieth and twenty-first centuries has focused on the study of women and how women have exercised power; gendered analysis has allowed historians to move away from the traditional perception of queens. Modern scholars look at the restrictions placed upon them and how those limitations impinged upon their political lives. Marguerite pushed the boundaries of her engendered position; faced with the insurmountable problem of an inefficient consort she was forced to take unpopular actions and has since been judged accordingly.
Other people have campaigned for thrones, overthrown kings and taken power from weak or incompetent rulers and (with the exception of Richard III) have not been recorded historically as unnatural monsters; the only difference is that they were men.
Marguerite posed a threat to male rule that the medieval world was unprepared to accept. A woman out of her prescribed place was deemed ‘unnatural’ and any divergence from the norm considered suspect and therefore dangerous. Rosaldo clarifies the point in his book Women, Culture and Society,
‘Societies that define woman as lacking legitimate authority have no way of acknowledging the reality of female power. This difference between rule and reality is reflected in our own society when we speak of powerful women as ‘bitches.’’
Marguerite’s determination and indefatigable resolve to win back her son’s throne was only exhausted by his death. In a man such tenacity would be heroic. She has been labelled a violent and vengeful woman but surely she was no more so than her male opponents. The unique circumstances in which she found herself made it impossible to follow prescribed gender boundaries while her opponents remained unfettered.
Hostile propaganda, perpetuated by male playwrights and Victorian moralists, remains in our consciousness today. Every day on social media I hear derogatory comments against Marguerite and her contemporary, Margaret Beaufort, but medieval history cannot be judged from a modern perspective and it does nobody any favours to perpetuate the misogyny of the past.
As was my intention in The Beaufort Chronicle which traces the life of Margaret Beaufort, my novel, Marguerite: Hell Hath No Fury is my own poor attempt to rectify the flawed perception of a brave woman.
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Judith Arnopp – Author Biography
A lifelong history enthusiast and avid reader, Judith holds a BA in English/Creative writing and a Masters in Medieval Studies. She lives on the coast of West Wales where she writes both fiction and non-fiction. She is best known for her novels set in the Medieval and Tudor period, focussing on the perspective of historical women but recently she has written a trilogy from the perspective of Henry VIII himself.
Judith is also a founder member of a re-enactment group called The Fyne Companye of Cambria which is when and why she began to experiment with sewing historical garments. She now makes clothes and accessories both for the group and others. She is not a professionally trained sewer but through trial, error and determination has learned how to make authentic looking, if not strictly historically accurate clothing. A non-fiction book about Tudor clothing, How to Dress like a Tudor, was published in 2023 by Pen and Sword.
She runs a small seaside holiday let in Aberporth and when she has time for fun, likes to garden and restore antique doll’s houses. You can find her on most social media platforms.
Her novels include:
A Song of Sixpence: the story of Elizabeth of York
The Beaufort Chronicle: the life of Lady Margaret Beaufort (three book series)
The Henrician Chronicle: comprising of:
A Matter of Conscience: Henry VIII, the Aragon Years (Book One of The Henrician Chronicle)
A Matter of Faith: Henry VIII, the Days of the Phoenix (Book Two of The Henrician Chronicle)
A Matter of Time: Henry VIII, the Dying of the Light (Book Three of The Henrician Chronicle)
The Kiss of the Concubine: a story of Anne Boleyn
The Winchester Goose: at the court of Henry VIII
Intractable Heart: the story of Katheryn Parr
Sisters of Arden: on the Pilgrimage of Grace
The Heretic Wind: the life of Mary Tudor, Queen of England
Peaceweaver
The Forest Dwellers
The Song of Heledd
The Book of Thornhold
A Daughter of Warwick: the story of Anne Neville, Queen of Richard III
Marguerite: Hell Hath No Fury!
Webpage: http://www.judithmarnopp.com
Amazon Author Page: author.to/juditharnoppbooks
Blog: www.juditharnoppnovelist.blogspot.co.uk/
Social media links
https://www.facebook.com/thetudorworldofjuditharnopp
https://www.threads.net/@tudor_juditharnopp
Illustrations via WikimediaCommons
Fig 1 - John Talbot, 1st Earl of Shrewsbury, presents the Book of Romances to Margaret of Anjou, Queen to Henry VI
Fig 2 - Portrait of Marguerite of Anjou (1430 -1482) Queen Consort of England
Fig 3 - John Gilbert - Margaret of Anjou taken prisoner after the battle of Tewkesbury (1875)
Fig 4 - Richard Burchett (1815-1875) - Sanctuary (Edward IV and Lancastrian Fugitives at Tewkesbury Abbey) - 600 - Guildhall Art Gallery
