"To say that Thomas Boleyn and his children after him set out to be courtiers is, therefore, to say a great deal; they were taking the road to power, prestige and profit. Whether it was the road of honour is a different question, and most historians have felt that Anne's father personified all that was bad about the court. P.W. Sergeant's verdict that 'it is clearly hopeless to attempt a defence of Sir Thomas' may seem totally justified in case of a man who, on his way to an earldom, slipped, or appears to have slipped, two daughters in succession into the king's bed. Friedmann's judgement, 'mean and grasping', is certainly correct."
Ives, E. 2004. The Life and Death of Anne Boleyn: 'The Most Happy'
NICK DUNNING as THOMAS BOLEYN
in THE TUDORS (2007-2010)
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NATALIE DORMER as ANNE BOLEYN
THE TUDORS (2007 - 2010)
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Amy James Kelly as Anne Boleyn
Blood, Sex and Royalty Episode 3
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- Anne Boleyn's Sleeve by Juliana Gray, "The End"
However understandable the impulse to universalise Anne Boleyn’s story might be, these attempts mostly fail to account for the very historic specificity of her narrative. How can we account for a woman who apparently had so much sexual and emotional appeal she had the power to cleave King and country from the control of the Catholic Church, yet whose downfall was so complete she became the first English queen consort to face the executioner?
The story of Anne Boleyn is about dissenting from and challenging the dominant cultural norms; her example is that of the woman who created herself and, for a brief time, through her brilliance and her beauty and her will, maintained herself in a society in which quasi-independent female empowerment and agency were relatively unknown. She continues to speak to us as an avatar of feminine power.
- Stephanie Russo, The Afterlife of Anne Boleyn: Representations of Anne Boleyn in Fiction and on the Screen
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