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The Fifth Queen Crowned

by Ford Madox Ford

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"The Fifth Queen Crowned" narrates the fictionalised account of Katharine Howard's tenure at the court of Henry VIII, focusing on her rise from poverty to become the king’s fifth wife. As a period piece, it portrays the political and religious tensions of Tudor England, set against a backdrop of court intrigue, espionage, and shifting alliances. Ford Madox Ford constructs an impressionistic depiction of Katharine, emphasizing her devoutness and learning, contrasting with typical portrayals of her as flighty. The novel forms the concluding part of a trilogy, following "The Fifth Queen" and "Privy Seal," and provides a detailed, fictionalised narrative of her experience amid the dangerous scheming of the court and the complex religious landscape of the time.

Published in 1908, the work reflects early 20th-century historical fiction's interest in reinterpreting Tudor history with a focus on personal faith and political fate. Ford's approach combines detailed characterisation with a stylised, poetic style, capturing the atmosphere of a tumultuous court. The novel offers insight into the roles and perceptions of women, power, and religion during the Tudor period through a fictional lens grounded in historical context.

From the opening pages

and table of contents reflect that. The two previous books of the trilogy are The Fifth Queen and Privy Seal: His Last Venture . Inconsistent hyphenation in the original document has been preserved. THE FIFTH QUEEN CROWNED A Romance "Da habt Ihr schon das End vom Lied" To Arthur Marwood CONTENTS The Major Cord, 419 The Threatened Rift, 493 The Dwindling Melody, 541 The End of the Song, 559 THE MAJOR CHORD I 'The Bishop of Rome——' Thomas Cranmer began a hesitating speech. In the pause after the words the King himself hesitated, as if he poised between a heavy rage and a sardonic humour. He deemed, however, that the humour could the more terrify the Archbishop—and, indeed, he was so much upon the joyous side in those summer days that he had forgotten how to browbeat. 'Our holy father,' he corrected the Archbishop. 'Or I will say my holy father, since thou art a heretic——' Cranmer's eyes had always the expression of a man's who looked at approaching calamity, but at the King's words his whole face, his closed lips, his brows, the lines from his round nose, all drooped suddenly downwards. 'Your Grace will have me write a letter to the—to his—to him——' The downward lines fixed themselves, and from amongst them the panic-stricken eyes made a dumb appeal to the griffins and crowns of his dark green hangings, for they were afraid to turn to the King. Henry retained his heavy look of jocularity: he jumped at a weighty gibe— 'My Grace will have thy Grace write a letter to his Holiness.' He dropped into a heavy impassivity, rolled his eyes, fluttered his swollen fingers on the red and gilded table, and then said clearly, 'My. Thy. His.' When he was in that mood he spoke with a singular distinctness that came up from his husky and ordinary joviality like something dire and terrible—like that something that upon a clear smooth day will suggest to you suddenly the cruelty that lies always hidden in the limpid sea. 'To Cæsar—egomet, I mineself—that which is Cæsar's: to him—that is to say to his Holiness, our lord of Rome—the things which are of God! But to thee, Archbishop, I know not what belongs.' He paused and then struck his hand upon the table: 'Cold porridge is thy portion! Cold porridge!' he laughed; 'for they say: Cold porridge to the

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