In his first stay in the French city of Dieppe, he published three letters addressed to his former congregations in Britain, alerting them to the terrible consequences of the reestablishment of Catholicism by Queen
Mary I in England.
MARY I: D Reidy 0-10 (8f), N O'Meara 1-1, D O'Donovan & T Gallagher (1 sl), 0-2 each, C Sheahan 0-1.
It is also the case that Lucas can occasionally appear to view the mid-Tudor world through his protagonists' eyes, for example buying into a rather old-fashioned interpretation of
Mary I as the unpatriotic "Spanish Tudor" (165).
From his vantage point at the royal courts of the Tudor monarchs Henry VIII, Edward VI, and
Mary I, Ferrers possessed the uncanny ability to survive the falls of a succession of powerful patrons (Lewis 240-41).
A Portrait of Queen
Mary I after Hans Eworth shows the queen looking confidently at the artist with a steely gaze.
On the other hand, Beem sees
Mary I as having more success.
Like others, Norland continually emphasizes that drama from Henry VII's accession to
Mary I's demise was shaped by a complex blend of pressures and exemplars, and that the strength of native theatrical modes - saints' plays, civic drama, moralities, and 'folk' activities - generally required to be modified in order to reflect contemporary changes of climate in the academic, political, cultural, and religious regions.
From this stemmed St Pius V's bull excommunicating Elizabeth (and the horrifying persecution of Roman Catholics triggered by the pontifical gaffe), and ultimately the Spanish Armada, as
Mary I's widower, the King of Spain, tried to grab his late wife's realm.
Mary I's heart is buried here beneath the choir stalls and it was the venue for Queen Victoria's wedding to Prince Albert in 1840.
It also offers an 'underappreciated picture of the complexities of early modern political psychology', which took two different forms, based alternatively on
Mary I's religious persecution of Protestants--which inspired the literature of 'Foxean martyrdom'--and on 'Petrarchan courtship', with its martyred lover and unattainable mistress.
The executions during
Mary I's short reign have been for centuries part of the national conscience, an example of someone trying to 'turn back the clock' of progress.
Mary I's marriage to Philip of Spain is celebrated (July).
Mary I presented herself through the familiar and subordinate metaphor of female domestication (wife and mother to her country), while James I, predictably, entered London as the bridegroom entering the bride.
