Commemorating Bosworth: Judith Arnopp

Avoiding the question of Richard on the anniversary of Bosworth Field.

I am often asked if I have ever thought of writing a book about Richard III. I have, of course, but I don’t think I ever will. I am fascinated by the period, the transitional events of 1485 but it is something I’ve avoided although I am a Ricardian at heart and have  been a member of the Richard III Society for … erm, well forever.

I first came across Richard when I was about sixteen and he was still widely largely regarded as a ‘crook-backed monster.’ He was brought to my attention by a television programme, a spin-off from the show, Softly Softly, starring Stratford Johns and Frank Windsor; I think it was called Second Verdict: Who Killed the Princes in the Tower? But my memory is vague now.

It was a police investigation, one of the first instances of a new perspective of Richard being aired to the general public. After watching it I wanted to know more. My imagination piqued, I read Josephine Tey’s,  A Daughter of Time, and became completely hooked on Richard. His portrait has hung on my wall for forty years now – gosh, I am getting old. I read everything I could lay hands on, fiction and non-fiction, and took my history teacher completely by surprise when I centred my GCSE project on Richard III and the mystery of the princes. I found that project a few months ago chewed by mice and the ink faded away to nothing –it was sad to find all that teenage passion turned to dust.

The ‘Richard’ of my teens was a romantic, maligned, tragic hero-figure, and necessarily very handsome but, these days my objective, adult mind acknowledges I was way off the truth. So much more research has been done and new light thrown upon the matter but I am afraid that, if I made him the protagonist of one of my novels, the childhood ideal might reassert itself. There are, in my humble opinion, a few too many novels that take a romanticised view. I am not sure he’d be flattered.

Since the discovery and reinternment of his body at Leicester interest in Richard has become a bit of a three ring circus – it seems that anyone who can hold a pen has been inspired to write about him. I wouldn’t want to join those ranks.

Richard was certainly not the monstrous figure that Shakespeare depicted but he was no saint either, and it is more than likely that he was guilty of at least some of the crimes assigned to him. He lived in harsh times, from the earliest age he was embroiled in violence. At the Battle of Wakefield, he suffered the death and posthumous humiliation of his father and elder brother. The struggle for the throne saw him exiled and, on his brother’s behalf, he entered the perils of battle when he was (to modern eyes) little more than a child. He was very religious; family orientated and, up until a certain point in time, seems to have been completely honourable. Even before he took the throne he was an immensely powerful, influential lord, the king’s right hand, a soldier, and an ambitious man. But because he was battle-hardened and politically ruthless doesn’t mean he would resort to murdering small children. Perhaps Henry VI was fair game, and the swift unauthorised execution of Hastings has, to me, an act carried out in haste, regretted at leisure.

This month marks the 530th anniversary of The Battle of Bosworth. There will be celebrations, re-enactments, and, hundreds of articles and blogs written on the subject. Richard will be dug up again, his character put through the paces once more, endless speculation and immense fun. The fascination of the struggle between York and Lancaster, the mystery of the fate of the princes and the enigmatic figure of their uncle never palls. Thanks to the furore surrounding his reinternment, (barring perhaps Henry VIII) love him or hate him, Richard III is now probably the most famous of our English kings.

These things should make him irresistible to any writer but not me. Many novelists portray him as a cruel, calculating usurper, murdering small children and kings, and making martyrs of his brother’s friends and poisoning his wife. Equally, from the other point of view, he is often a saintly, romantic, sweeter than sweet victim of capricious fate. Rarely does an author find middle ground and, until I am convinced I can write the definitive Richard, a convincing, multi-faceted human character, I will concentrate on other men.

Having said that, Richard III is not absent from my novels. I cannot resist the pull of the transition between York and Tudor and all the conflicting personalities of the period. A Song of Sixpence is narrated by Richard’s niece, Elizabeth of York, and (for the sake of the story) his nephew, Richard of York (Perkin Warbeck). The novel opens just after Bosworth. Both characters remember King Richard kindly, and (since Richard of York has not been murdered) neither regard him as a cruel man, but he clearly isn’t a saint either. After Richard III is slain in battle Elizabeth is faced with marriage to a man she has been raised to mistrust, and York/Perkin is exiled, battling to raise an army to regain his rightful throne. When the two finally meet again … well, you will have to read the book to find out.

Judith’s novels include:

A Song of Sixpence: the story of Elizabeth of York and Perkin Warbeck

Intractable Heart: the story of Katheryn Parr

The Kiss of the Concubine: a story of Anne Boleyn

The Winchester Goose: at the court of Henry VIII

The Song of Heledd

The Forest Dwellers

Peaceweaver

Coming soon: The Beaufort Chronicle, a trilogy tracing the life of Margaret Beaufort.

www.juditharnopp.com

http://author.to/juditharnoppbooks

Lara's Library: A Song of Sixpence

A Song of Sixpence: The Story of Elizabeth of York and Perkin Warbeck

by Judith Arnopp

Review by Lara

Author Judith Arnopp has so generously offered a FREE PAPERBACK COPY of A Song of Sixpence for one lucky winner. Please see below for details

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In the years after Bosworth, a small boy is ripped from his rightful place as future king of England. Years later when he reappears to take back his throne, his sister Elizabeth, now queen to the invading king, Henry Tudor, is torn between family loyalty and duty. Besieged by conflicting loyalties, Elizabeth experiences fear, oppression and unexpected love as the final struggle between the houses of York and Lancaster is played out.


Set against the court of Henry VII, A Song of Sixpence is a unique perspective on the early years of Tudor rule. Elizabeth, often viewed as meek and uninteresting, emerges as a resilient woman, proving that as much strength lies in endurance as in resilience.

Throughout history there are stories and legends that entice our imaginations. The tale of the two princes in the Tower is one of those. Another is the account of Perkin Warbeck. Even if you do not know the true facts or complete history of this time, nor the story of Perkin Warbeck, pretender to the English throne, A Song of Sixpence is an extraordinary book that will entice you to read further and set you on a road of discovery. 

This book is a wonderful journey through a most precarious and perilous chapter in the very beginnings of Tudor history. The format and characters, along with the storyline, are the result and testament of  penmanship and of great story-telling. I felt I was right there, in the presence and minds of the characters and time, more than just a voyeur looking in. In A Song of Sixpence the author does not attempt to prove that Warbeck is Richard, Duke of York, but has created a narrative based on a probability that he was.

The story begins with a chapter titled ‘The Boy’ in the autumn of 1483, London. It does not take too long for the reader to grasp what is happening, and to whom:

The Princes in the Tower

With a muffled curse, the man throws back his head but, keeping hold of his prisoner, he hurries onward down narrow, dark steps, turning one corner then another before halting abruptly. The boy hears his assailant’s breath coming short and sharp and knows he too is afraid.

The boy is Richard. His introduction begins as a prisoner in the Tower of London, taken in the night by a stranger, and then later treated as a slave: "'I hate being your servant,' he spits but he keeps his voice lowered… He owes his life to the man. His captor assures him that he is '...no one, nothing…until I say you are.'"


The author’s treatment of Richard is convincing. It makes me wonder, if he had succeeded in taking the throne, the Tudors would have ceased to exist and the lives of Elizabeth’s children would have come under threat, perhaps suffering the same fate as he. Through years of training and grooming in exile, he returns to claim his throne. One can only wonder, if this was Richard, how the trauma of his childhood, with all its losses, could ever make this broken boy into a king one day. Does he have his father’s qualities to be king? He has not yet been tested on the battlefield. Richard even doubts himself at times as the narrator suggests, when his chance to seize the throne arrives: "He had imagined that when the time came he would be brave, invincible, but now the moment is here, his overriding emotion is one of fear" and “I don’t even know how to be a king.” 

Richard is an endearing but sad figure who was accepted and celebrated in the houses and great courts throughout Europe, only to be ridiculed and humiliated before his demise at the hands of Henry Tudor. Richard at one stage laments about his role and wonders if his quest is worth the price. 

As a silent backdrop, the memories of Richard III and Elizabeth’s father, Edward IV, are interwoven between these two main characters, and adds to the validity of Warbeck’s assertion that he is the rightful king. Within the book's narrative Richard III, despite all he did to secure his own claim to the throne, is not portrayed as a monster, as most historical novels do. Although it was Richard who took the princes into the Tower, there is great disbelief in the characters that it was Richard who had killed or disposed of them. (The question of who killed the princes, if indeed they were murdered, remains one of history’s greatest mysteries.)                 

Henry VII & Elizabeth of York

The author presents Henry VII as a man whose claim to the throne was precarious. Arnopp’s Henry is wary of the successive pretenders to his reign, as he spends much time and effort in tracing the identity of each of these pretenders, especially Perkin Warbeck. This puts a considerable strain on the marriage of Elizabeth and Henry. The first Tudor king, Henry knows there are those who have a much better claim to the throne than he did.

Elizabeth had a greater claim to the throne than Henry Tudor. She knew her place, and her time as queen would come one day, even as the Battle of Bosworth was to decide the victor. "It is I, the eldest of my father’s daughters, who will be served like a pig on a platter to the triumphant king.” 

Henry Tudor eventually crowns Elizabeth Queen of England fourteen months after the birth of their first son, Arthur. Elizabeth has finally achieved her ambition to become queen. Elizabeth is often portrayed in history as a woman of no great strengths, other than her devotion to her family, and her inner relationships with her sisters and mother. Added to this, she has been contemporarily recorded as being “kept in subjection by the mother of the king” and by the king himself. Although Elizabeth is restrained in her role as queen, especially with Henry, it is only for fear for her children: "I watch him quietly. There is no point in interfering. He will not listen. He will go his own way, and if that entails the destruction of my entire family, it will not deter him."

As the tale unfolds Elizabeth is torn between her conscience and duty. She thinks to herself: "How can I trust him? How can I ever have faith in him when his duplicity is so transparent? I have an overwhelming urge to run away, but queens do not run away, and besides, there is nowhere for me to run."  Her courage shines through in her decisions to support her husband and king, and to protect her children from what she herself admits, that "her family had suffered." Elizabeth however, maintains hopes of romance with the harsh man she married: "Henry and I may have our differences but we share a deep love and joy for our children." I believe, as Arnopp states in her afterward, that "Elizabeth deserves more credit. There is as much strength in resilience as in resistance."

The relevancy, which Elizabeth faced in the Tudor times to today, in respect to being "bound to duty" and how a woman’s strength is measured, has not changed that much, even for a mere mortal woman like me. I loved Arnopp’s portrayal of Elizabeth, and although it seemed she was not a strong woman, I felt that she was. Elizabeth left a legacy: she had fulfilled her duty by filling the royal Tudor nursery with children, combining the houses of Lancaster and York, and as a result, creating the Tudor dynasty. I cried when she died in the end, even though I knew it was to be. Elizabeth of York will always be a heroine in my eyes.

Perkin Warbeck greeted by loyal subjects of 
Edward IV

Written with passion and empathy, Arnopp’s insight and extensive and faultless research shines throughout A Song of Sixpence. Arnopp has brilliantly mastered combining the story of Elizabeth of York, the eldest daughter of King Edward IV and Elizabeth Wydville, with the story of Perkin Warbeck, the most famous pretender to the throne. She cleverly uses alternating chapters between the points of view of Elizabeth and Richard (or ‘The Boy’ as the chapters are titled).  I enjoyed this refreshing format and Arnopp’s writing style. Using this layout, the author brings a voice and insight to the characters.

This is not just a novel of interpretation, but one of substance, with all that is known of Elizabeth and her new husband Henry Tudor, to the possibility of Perkin Warbeck being one of the princes taken from the Tower. A genuine page turner, A Song of Sixpence is brilliant in drawing the reader into the delicious historical detail and story, and as the author breathes life to the characters with her use of words, which are like vibrant colours on a canvas, she enables the reader to visualize the characters and ambience clearly. With empathic portrayals,  the reader experiences the intimate feelings of the characters, from their fears to their innermost thoughts and desires.

A Song of Sixpence is a stand-alone book in itself. One does not have to be an avid Tudor fan, historian, or enthusiast to enjoy this outstanding novel, which I would highly recommend to  readers of all ages and inclinations. I look forward to reading more of Arnopp’s novels and, having had the opportunity to review this masterly tome, Judith Arnopp is now on my list of favourite authors. I loved the book!

For your chance to win a FREE PAPERBACK COPY of A Song of Sixpence, simply comment below OR at this review's Facebook thread, located here. 

About the Author:

Judith Arnopp is the author of seven historical novels. The first three are set early in the historical calendar in Anglo-Saxon and Norman Britain; the latter books take place in Tudor England. She is currently working on a trilogy, The Beaufort Chronicles, which tells the story of Margaret Beaufort, mother of King Henry VII. Arnopp's books include:

Peaceweaver: Set during the run up to the Battle of Hastings

The Forest Dwellers: Set after the Battle of Hastings

The Song of Heledd: set in 7^th century Powys

The Winchester  Goose: At the Court of Henry VIII

The Kiss of the Concubine: A Story of Anne Boleyn

Intractable Heart: The Story of Katheryn Parr

A Song of Sixpence: The Story of Elizabeth of York and Perkin Warbeck

You can find out more about Judith and her work on her webpage or blog. Her books are available at Amazon.

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Lara is a new addition to The Review and currently working on a family memoir set in Ukraine and Australia. She enjoys gardening and reading Tudor history in her spare time, and lives with two crazy cats.