How to critique a Novel or Short Story
As the recipient of many critiques and assessments of my work I have sometimes been dismayed by a critiquer’s comments about my novels and short stories. On the other hand, on occasions, a critiquer has been too full of praise instead of suggesting improvements. The best critiques have been a balance between the positive and the negative.
I belong to three online critique groups and Watford Writers, which meets every Monday at Café Cha Cha in Cassiobury Park at 7.30 p.m. Watford Writers hosts manuscript evenings at which members may read their work, whether it is non fiction, short stories, extracts from novels or poetry.
Members of the online critique groups post chapters of their novels and receive critiques in return for critiquing other members’ critiques. In each group members choose four or more partners whose chapters they critique once a month or more. Over the years most members have offered constructive comments. Those who have been negative or who have ‘flamed’ have been a small minority who the moderators have dealt with – occasionally excluding the offender from the group.
Watford Writers are a friendly group whose feedback I find invaluable. No matter how often I read my work silently or out loud from the computer screen or from the printed page I always miss things which need to be improved. Reading my work aloud to an audience helps me to identify problems for myself and to receive good advice from other writers.
In return for other authors’ generous help I always try to offer the best possible advice and bear the following in mind.
To begin with, I concentrate on the positive and ask myself what I like about the author’s work.
I then consider various issues, which I hope will be helpful, and sometimes remind the recipient that the suggestions in any critique only reflects one person’s opinion, and that the recipient is free to accept or reject them.
I ask myself if I enjoyed the story and, in the case of novels, ask myself if I want to read on and find out what happens next. My next question is who would want to read it and does it stand a good chance of being published?
Important considerations are as follow.
Does the first line make the reader want to continue? Do the opening paragraphs grip the readers’ attention? Will the conclusion make the readers sigh with satisfaction and be sorry they have finished the novel?
I then consider and comment on the nuts and bolts of the writing, not forgetting to praise a few particularly well-turned phrases and ask myself the following questions.
Is there sufficient conflict to make the work interesting?
Do the major and minor characters spring to life? Are they believable and do they act in accordance with their personalities with sufficient emotional depth?
Is the plot believable and do the theme/s grip me and make me want to find out what happens next?
Are the settings believable? Has the author checked the world in which the characters move?
If the novel is historical has the author researched it carefully and are the characters of their time?
Is there enough dialogue to move the story forward and is it well written or either awkward or stilted? If the author uses dialect is it believable?
Has the author jumped from one character’s viewpoint to another’s? If so does this make it difficult for the reader to identify with the characters?
Overall is the manuscript well written and is it properly formatted.
In my critique I make everything I like clear and also answer the above questions to the best of my ability.
Most of my critique partners tell me they appreciate my critiques so, thank goodness, I must be doing something right.
****
Forthcoming releases from MuseItUp Publishing
Tangled Love set in England in Queen Anne’s reign 27.01.2012
Sunday’s Child set in the Regency era June.2012
www.rosemarymorris.co.uk
http://rosemarymorris.blogspot.com
Saturday, 3 September 2011
Sunday, 19 June 2011
Retro Centre Samuel Pepys
Retro Centre and Samuel Pepys
I always enjoy visiting St Albans. Yesterday I visited a treasure house of items from times past at a Retro Centre, which I will visit again, and I shall attend the Retro Fair next weekend.
The Retro Centre is divided into sections where different sellers arrange their wares. China, glass, curios, soft furnishings, clothes and a treasure house of books.
As I went round I yearned to own a country cottage with oak beams which I could decorate with colourful china, lace edged throws, embroidered tablecloths, traycloths, framed tapestries and embroidered or tapestry cushions. Having admired, picked up and put down various items I found the book section after I rummaged through clothes and admired costume jewellery.
This is the year when I’m supposed to be saving money but I couldn’t resist three books by one of my favourite historians, Arthur Bryant, Samuel Pepys The Man in The Making, Samuel Pepys The Years of Peril and Samuel Pepys The Saviour of The Navy.
I have collected a number of Arthur Bryant’s books and always enjoy his style. Samuel Pepys, The Man in the Making begins: - “North of Cambridge lie the Fens. The sea from which they arose laps at their northern boundaries, and north and east great rivers lazily wind across them, drawing black cattle to drink among the sedges at their brink. This land would be one of silence were it not for the innumerable company of larks, of bittern, coot and moorhen, of sedge warblers and reed sparrow, which ever provides it with a faint and not discordant music. In summer it is still, as the monk William of Huntingdon remembered it, a land of clouds and orchards and golden corn. Yet it is so only by right of battle waged ceaselessly by its invading armies of water. Whenever civilization has receded – when Roman legion fell back or monastery bell was silenced-the waters have taken back their own. Salt tides have swept in with winter gales through forsaken walls, and the rivers have flowed out, cold and remorseless, over the fields and houses of man.
“.…On this land came the Pepys’s. For centuries they had grazed and ploughed, haggled at markets over country wares and peered at the Fen skies…”
Although Samuel Pepys was first published in 1933 it has not dated and is full of fascinating information, and I the preface very interesting.
“…Samuel Pepys was the creator of three remarkable, and still surviving things. The first, in the order of their making, was his Diary. The second was the civil administration of the Admiralty-the rule –and order that still give permanence to the material form, fighting traditions and transmitted knowledge of the Royal Navy. …Lord Barham testified that there was not a department of the Admiralty that was not governed by he rules Samuel Pepys had laid down in the 17th century. It was Pepys who made the scabbard for the sword that Nelson, and the heirs of Nelson used.
“Pepys third creative achievement sprang from the second. He has bee described as the father of the Civil Service. Here, too, his orders hold. The rules he laid down and the administrative principles he elucidated have become part of the continuing life of his country…”
I am writing a light-hearted novel set in the Restoration period when Charles Second came to England after his exile which followed his father’s execution. I always try to ensure that my novels are as well-researched as possible and Arthur Bryant’s trilogy about Pepys will be invaluable.
Forthcoming release. Tangled Love 27.01.2012 Muse It Up Publisher.
www.rosemarymorris.co.uk
http://rosemarymorris.blogspot.com
I always enjoy visiting St Albans. Yesterday I visited a treasure house of items from times past at a Retro Centre, which I will visit again, and I shall attend the Retro Fair next weekend.
The Retro Centre is divided into sections where different sellers arrange their wares. China, glass, curios, soft furnishings, clothes and a treasure house of books.
As I went round I yearned to own a country cottage with oak beams which I could decorate with colourful china, lace edged throws, embroidered tablecloths, traycloths, framed tapestries and embroidered or tapestry cushions. Having admired, picked up and put down various items I found the book section after I rummaged through clothes and admired costume jewellery.
This is the year when I’m supposed to be saving money but I couldn’t resist three books by one of my favourite historians, Arthur Bryant, Samuel Pepys The Man in The Making, Samuel Pepys The Years of Peril and Samuel Pepys The Saviour of The Navy.
I have collected a number of Arthur Bryant’s books and always enjoy his style. Samuel Pepys, The Man in the Making begins: - “North of Cambridge lie the Fens. The sea from which they arose laps at their northern boundaries, and north and east great rivers lazily wind across them, drawing black cattle to drink among the sedges at their brink. This land would be one of silence were it not for the innumerable company of larks, of bittern, coot and moorhen, of sedge warblers and reed sparrow, which ever provides it with a faint and not discordant music. In summer it is still, as the monk William of Huntingdon remembered it, a land of clouds and orchards and golden corn. Yet it is so only by right of battle waged ceaselessly by its invading armies of water. Whenever civilization has receded – when Roman legion fell back or monastery bell was silenced-the waters have taken back their own. Salt tides have swept in with winter gales through forsaken walls, and the rivers have flowed out, cold and remorseless, over the fields and houses of man.
“.…On this land came the Pepys’s. For centuries they had grazed and ploughed, haggled at markets over country wares and peered at the Fen skies…”
Although Samuel Pepys was first published in 1933 it has not dated and is full of fascinating information, and I the preface very interesting.
“…Samuel Pepys was the creator of three remarkable, and still surviving things. The first, in the order of their making, was his Diary. The second was the civil administration of the Admiralty-the rule –and order that still give permanence to the material form, fighting traditions and transmitted knowledge of the Royal Navy. …Lord Barham testified that there was not a department of the Admiralty that was not governed by he rules Samuel Pepys had laid down in the 17th century. It was Pepys who made the scabbard for the sword that Nelson, and the heirs of Nelson used.
“Pepys third creative achievement sprang from the second. He has bee described as the father of the Civil Service. Here, too, his orders hold. The rules he laid down and the administrative principles he elucidated have become part of the continuing life of his country…”
I am writing a light-hearted novel set in the Restoration period when Charles Second came to England after his exile which followed his father’s execution. I always try to ensure that my novels are as well-researched as possible and Arthur Bryant’s trilogy about Pepys will be invaluable.
Forthcoming release. Tangled Love 27.01.2012 Muse It Up Publisher.
www.rosemarymorris.co.uk
http://rosemarymorris.blogspot.com
Sunday, 12 June 2011
Recommended Reads
Trencarrow Secret by Anita Davison
For readers who like a twist in the tale which takes them by surprise, I recommend Trencarrow Secret by Anita Davison.
I had the privilege of reading this novel by an accomplished author prior to publication and thoroughly enjoyed it
You can find out more about Anita and her novels at Anita’s beautifully designed blog:http://thedisorganisedauthor.blogspot.com
Isabel Hart is afraid of two things, the maze at Trencarrow where she got lost as a young child, and the lake where her brother David saved her from drowning in a boating accident.
With her twenty-first birthday and the announcement of her engagement imminent, Isabel decides it is time for her to face her demons and ventures into the maze. There she sees something which will alter her perceptions of herself and her family forever.
Isabel’s widowed aunt joins the house party, where her cousin confides she is in love with an enigmatic young man who surely cannot be what he pretends, for he is too dashing for homely Laura.
When Henry, Viscount Strachan and his mother arrive, ostensibly to use her ball as an arena for finding a wife, Isabel is determined not to like him.
As more secrets are revealed, Isabel begins to doubt she has chosen the right man, although her future fiancé has more vested in this marriage than Isabel realizes and has no intention of letting her go easily.
Will Isabel be able to put her preconceptions of marriage behind her and take charge of her own life, or is she destined to be controlled by others forever?
For readers who like a twist in the tale which takes them by surprise, I recommend Trencarrow Secret by Anita Davison.
I had the privilege of reading this novel by an accomplished author prior to publication and thoroughly enjoyed it
You can find out more about Anita and her novels at Anita’s beautifully designed blog:http://thedisorganisedauthor.blogspot.com
Isabel Hart is afraid of two things, the maze at Trencarrow where she got lost as a young child, and the lake where her brother David saved her from drowning in a boating accident.
With her twenty-first birthday and the announcement of her engagement imminent, Isabel decides it is time for her to face her demons and ventures into the maze. There she sees something which will alter her perceptions of herself and her family forever.
Isabel’s widowed aunt joins the house party, where her cousin confides she is in love with an enigmatic young man who surely cannot be what he pretends, for he is too dashing for homely Laura.
When Henry, Viscount Strachan and his mother arrive, ostensibly to use her ball as an arena for finding a wife, Isabel is determined not to like him.
As more secrets are revealed, Isabel begins to doubt she has chosen the right man, although her future fiancé has more vested in this marriage than Isabel realizes and has no intention of letting her go easily.
Will Isabel be able to put her preconceptions of marriage behind her and take charge of her own life, or is she destined to be controlled by others forever?
Saturday, 13 February 2010
Show Don't Tell - Be A Stylish Writer
Show Don’t Tell
One way to make your work fascinating is to use the active rather than the passive voice.
Passive
Passive designates a form of the verb by which the verbal action is attributed to the person or thing to whom it is actually directed: i.e. the logical object is the grammatical subject. E.g. He was seen by us. Passive. The opposite of active. Active: We saw him.
In a grammatically active construction, the subject is performing the action.
eg Jack ate the chocolate. (Jack is the subject, he’s performing the action, the chocolate is the object.)
Exposition
At the beginning of a play the dramatist is often committed to giving a certain amount of essential information about the plot and events which are to come. He may also have to give information about what has ‘already happened’. All this comes under the heading of exposition. A skilful dramatist is able to introduce material without holding up the action of the play and with recourse to the obvious devices of narrative.
Exposition is also a subject which other fiction writers need to consider. A writer might do well to remember that in Writing Circles, was, were, had, feel, felt and feeling are often considered to be passive words which tell instead of showing. A writer should also remember that modern editors and publishers tend to shy away from exposition.
***
I could have begun my published novel, Tangled Hearts, like this:
Richelda Shaw was in her nursery when Elsie, her mother’s maid, told her that her father had summoned her. After she had delivered the message, Elsie had followed her to the great hall where her father was waiting.
This tells my reader what happened but is not interesting.
Instead, I began.
“Richelda Shaw stood silent in her nursery while thunder pealed outside the ancient manor house and an even fiercer storm raged deep within. She pressed her hands to her ears and, eyes closed, remained as motionless as the marble statues in the orangery.
‘Nine years old and you’ve not yet learned to be neat!’ Elsie, her mother’s personal maid, pulled Richelda’s hands from her ears. ‘Come, your father’s waiting for you.’
Richelda’s hands trembled. What was wrong? Until now Father’s short visits from France meant gifts and laughter. This one made Mother cry while the servants spoke in hushed tones.
Followed by Elsie, Richelda hurried down the broad oak stairs. For a moment, she paused to admire the lilies of the valley in a Delft bowl. Only yesterday, she picked the flowers to welcome Father home. After she had arranged them with tender care, she placed them on a chest, which stood beneath a pair of crossed broadswords on the wall above.
Elsie opened the massive door of the great hall where Father stood to one side of the enormous hearth.
This shows the heroine acting in a way consistent with her situation, instead of telling the reader about it.
However, as for ‘telling’ being wrong, it is not. Was, were, had, feel, felt and feeling are part of the English language and if I showed every single event in a novel it would be too long for publication.
It is how I use was, were, had, feel, felt and feeling which matters, not whether or not I use them.
I need the skill to decide when telling is too much and when I should stop telling and start showing.
Characterisation
In Tangled Hearts, I could have written the following to tell my reader that Chesney, the hero, is handsome:-
“Chesney had the classical features of Adonis. He was tall, had perfect proportions and was in good health.”
Instead I wrote:-
“…‘Who is that Adonis?’ A high-pitched female voice interrupted Chesney’s thoughts.
Chesney looked round and saw a powdered and patched lady with rouged cheeks staring at him.
‘I don’t know, I think he’s a newcomer to town,’ her companion, a younger lady said in an equally strident tone.
Unaffected by their comments he laughed. Since his youth women remarked on his height and his perfect proportions. He did not consider himself vain, but unlike some members of his gentlemen’s club, who took little exercise and overate, he fenced, hunted and rode to keep his body fit.
The older lady inclined her head, the younger one winked before they went about their business.”
Of course introspection is a form of telling but it is effective and reveals the character.
In Tangled Hearts it was not enough to tell my reader that Chesney is brave. I needed to show him in action.
“Chesney rushed to the cottage. ‘Keep back, Richelda,’ he shouted, ‘the thatch will ignite like tinder.’
Taking no heed of his instructions, she ran after him and followed him down the short corridor to the kitchen where smoke poured from beneath the door. ‘I think Elsie is in there,’ Richelda screamed above the roar of the fire.
Every trace of an indolent nobleman vanished. Chesney snatched off his periwig, wrenched off his coat and swathed it round his head.
‘Go outside! Your clothes will burn like kindling.’ He disappeared into the kitchen.”
***
I believe that I must strive to grab my reader’s attention from the first line to the last, and that passive writing – or telling – weakens the prose.
When I revise my work I use the search and find facility on the computer to highlight the words which tell and decide whether or not I can improve the text.
To be a writer not only do I need to be an artist, I also need to craft my work. Words are the tools which I use to write a page turner for my readers.
Flashbacks
Chesney lived in France with his father etc., is exposition in conversation. “Do you know I lived in France at the court of James II in St Germaine etc.,” is description.
A flashback reveals something that occurred in the past as though it occurs in the present.
Even if the reader needs to know about my character’s past I am cautious as to how I reveal it.
Frequently, flashbacks are often badly written and they jerk the reader from the present to the past.
The knack is to slip in essential facts without disrupting the story - memory of something that happened in the past, the reply to a question, a letter or an entry in a diary
Tangled Hearts is set in England in 1702 at the beginning of Queen Anne’s reign. In order to avoid flashbacks full of historical detail to I began with Author’s Notes.
“When the outwardly Protestant Charles II died in 1685, he left a country torn by religious controversy but no legitimate children. The throne passed to his Catholic brother James.
It was an anxious time for the people, whose fears increased when James II, became so unpopular that he was forced into exile. In 1688, James’s Protestant daughter, Mary, and her husband, William of Orange, became the new king and queen of England.
Some English Protestants, who had sworn allegiance to James II, refused to take a new oath of allegiance to William and Mary and joined him in France.
When James’s younger daughter, Anne, inherited the throne in 1702, many Protestant exiles returned to England. Others declared themselves Jacobites and supporters of James II son, James III, by his second wife, Mary of Modena, and stayed abroad. They believed James III should be king.”
In my rough draft of Tangled Hearts the scene in the manor house when my heroine, Richelda, is a child, (quoted above) was a flashback. When I revised the novel I realised it was too long so I scrapped it and began with a prologue that contained the essential information.
Conclusion
Words are a writer’s tools. Avoid dull narrative, boring flashbacks and unnecessary exposition. Write stylishly. Words should sparkle and grip the reader.
One way to make your work fascinating is to use the active rather than the passive voice.
Passive
Passive designates a form of the verb by which the verbal action is attributed to the person or thing to whom it is actually directed: i.e. the logical object is the grammatical subject. E.g. He was seen by us. Passive. The opposite of active. Active: We saw him.
In a grammatically active construction, the subject is performing the action.
eg Jack ate the chocolate. (Jack is the subject, he’s performing the action, the chocolate is the object.)
Exposition
At the beginning of a play the dramatist is often committed to giving a certain amount of essential information about the plot and events which are to come. He may also have to give information about what has ‘already happened’. All this comes under the heading of exposition. A skilful dramatist is able to introduce material without holding up the action of the play and with recourse to the obvious devices of narrative.
Exposition is also a subject which other fiction writers need to consider. A writer might do well to remember that in Writing Circles, was, were, had, feel, felt and feeling are often considered to be passive words which tell instead of showing. A writer should also remember that modern editors and publishers tend to shy away from exposition.
***
I could have begun my published novel, Tangled Hearts, like this:
Richelda Shaw was in her nursery when Elsie, her mother’s maid, told her that her father had summoned her. After she had delivered the message, Elsie had followed her to the great hall where her father was waiting.
This tells my reader what happened but is not interesting.
Instead, I began.
“Richelda Shaw stood silent in her nursery while thunder pealed outside the ancient manor house and an even fiercer storm raged deep within. She pressed her hands to her ears and, eyes closed, remained as motionless as the marble statues in the orangery.
‘Nine years old and you’ve not yet learned to be neat!’ Elsie, her mother’s personal maid, pulled Richelda’s hands from her ears. ‘Come, your father’s waiting for you.’
Richelda’s hands trembled. What was wrong? Until now Father’s short visits from France meant gifts and laughter. This one made Mother cry while the servants spoke in hushed tones.
Followed by Elsie, Richelda hurried down the broad oak stairs. For a moment, she paused to admire the lilies of the valley in a Delft bowl. Only yesterday, she picked the flowers to welcome Father home. After she had arranged them with tender care, she placed them on a chest, which stood beneath a pair of crossed broadswords on the wall above.
Elsie opened the massive door of the great hall where Father stood to one side of the enormous hearth.
This shows the heroine acting in a way consistent with her situation, instead of telling the reader about it.
However, as for ‘telling’ being wrong, it is not. Was, were, had, feel, felt and feeling are part of the English language and if I showed every single event in a novel it would be too long for publication.
It is how I use was, were, had, feel, felt and feeling which matters, not whether or not I use them.
I need the skill to decide when telling is too much and when I should stop telling and start showing.
Characterisation
In Tangled Hearts, I could have written the following to tell my reader that Chesney, the hero, is handsome:-
“Chesney had the classical features of Adonis. He was tall, had perfect proportions and was in good health.”
Instead I wrote:-
“…‘Who is that Adonis?’ A high-pitched female voice interrupted Chesney’s thoughts.
Chesney looked round and saw a powdered and patched lady with rouged cheeks staring at him.
‘I don’t know, I think he’s a newcomer to town,’ her companion, a younger lady said in an equally strident tone.
Unaffected by their comments he laughed. Since his youth women remarked on his height and his perfect proportions. He did not consider himself vain, but unlike some members of his gentlemen’s club, who took little exercise and overate, he fenced, hunted and rode to keep his body fit.
The older lady inclined her head, the younger one winked before they went about their business.”
Of course introspection is a form of telling but it is effective and reveals the character.
In Tangled Hearts it was not enough to tell my reader that Chesney is brave. I needed to show him in action.
“Chesney rushed to the cottage. ‘Keep back, Richelda,’ he shouted, ‘the thatch will ignite like tinder.’
Taking no heed of his instructions, she ran after him and followed him down the short corridor to the kitchen where smoke poured from beneath the door. ‘I think Elsie is in there,’ Richelda screamed above the roar of the fire.
Every trace of an indolent nobleman vanished. Chesney snatched off his periwig, wrenched off his coat and swathed it round his head.
‘Go outside! Your clothes will burn like kindling.’ He disappeared into the kitchen.”
***
I believe that I must strive to grab my reader’s attention from the first line to the last, and that passive writing – or telling – weakens the prose.
When I revise my work I use the search and find facility on the computer to highlight the words which tell and decide whether or not I can improve the text.
To be a writer not only do I need to be an artist, I also need to craft my work. Words are the tools which I use to write a page turner for my readers.
Flashbacks
Chesney lived in France with his father etc., is exposition in conversation. “Do you know I lived in France at the court of James II in St Germaine etc.,” is description.
A flashback reveals something that occurred in the past as though it occurs in the present.
Even if the reader needs to know about my character’s past I am cautious as to how I reveal it.
Frequently, flashbacks are often badly written and they jerk the reader from the present to the past.
The knack is to slip in essential facts without disrupting the story - memory of something that happened in the past, the reply to a question, a letter or an entry in a diary
Tangled Hearts is set in England in 1702 at the beginning of Queen Anne’s reign. In order to avoid flashbacks full of historical detail to I began with Author’s Notes.
“When the outwardly Protestant Charles II died in 1685, he left a country torn by religious controversy but no legitimate children. The throne passed to his Catholic brother James.
It was an anxious time for the people, whose fears increased when James II, became so unpopular that he was forced into exile. In 1688, James’s Protestant daughter, Mary, and her husband, William of Orange, became the new king and queen of England.
Some English Protestants, who had sworn allegiance to James II, refused to take a new oath of allegiance to William and Mary and joined him in France.
When James’s younger daughter, Anne, inherited the throne in 1702, many Protestant exiles returned to England. Others declared themselves Jacobites and supporters of James II son, James III, by his second wife, Mary of Modena, and stayed abroad. They believed James III should be king.”
In my rough draft of Tangled Hearts the scene in the manor house when my heroine, Richelda, is a child, (quoted above) was a flashback. When I revised the novel I realised it was too long so I scrapped it and began with a prologue that contained the essential information.
Conclusion
Words are a writer’s tools. Avoid dull narrative, boring flashbacks and unnecessary exposition. Write stylishly. Words should sparkle and grip the reader.
Wednesday, 13 May 2009
Murder Most Foul - A classical Tale from Ancient India
Murder Most Foul
When the sun retired on cool evenings, purple shadows crept across the fields and villagers sat in stout, mud-brick houses either gossiping or telling stories. The elders sat closest to slow burning fires of cow-dung cakes dried during summer’s ferocity, and whenever they mentioned King Chitraketu’s name, they praised him.
Yet the king found his life more barren than a desert because he had not received a son from any of his wives. Whether he resided in his capital city Mathura, in the Indian province of Surasena, or whether he travelled by horse, elephant, camel or chariot he lamented.
Whenever he saw a man with a son, he asked himself. Which sinful action in my present life or my past lives prevents me from having an heir?
He put this question to ambiguous brahmin priests who replied. “Do your subjects complain there is any lack in the kingdom. Aren’t there enough grains and pulses, vegetables and fruits, nuts and spices, herbs and cloth?
The king sighed, listening to rain drumming on roofs where people sunned themselves during spring’s pregnant promise or slept during summer’s ripening heat.
The priests assured their pious king there would be no lack. Even the grass Mother Bhumi produced for cows and oxen made dung to nourish her and provided fuel for cooking and warmth.
When his spies confirmed his subjects were contented, he again asked himself. Why don’t I have a son? In my kingdom even racketeers can’t find black market goods because my people lack nothing.
Despite his country’s and his personal prosperity, Chitraketu grew thin. To have a son, he would gladly renounce his education, his health and his treasury filled with chests of gold and precious stones
His golden skin paled, his long black hair lost its shine and his moustache drooped mournfully at the edges of his unsmiling mouth.
The more wives he accepted the more he suffered from anxiety and the less he ate. Brahmin cooks made his favourite preparations, wafer thin unleavened breads, fluffy rice, tit-bits of vegetables fried in chick pea flour batter served with spiced sauces or yoghurt, and rice simmered in condensed milk with honey and almonds. Obsessed by his desire to hear his son’s laughter within the marble walls of his palace, he only ate enough to keep himself alive.
He never gave up hope. He accepted wife after wife and provided each one with a soft bed to lie on, silk clothes, gold girdles, earrings, nose rings and bracelets. Each queen consort sported in water gardens, crops were harvested, and although the still autumn air over-heated the blood he never dived into swimming baths of clear water to splash, tease or play with his consorts.
Until the day when Sage Angira, master of mystic knowledge, visited Chitraketu, each queen, famous for her good qualities and beauty, witnessed his self-pity, heard his lamentations and prayed to become mother of the heir apparent.
The king bowed his head, pressed his palms together as though he was praying and gestured to his gold throne set on a dais. “Please sit there, Sage Angira.”
In silence, the courtiers watched the ascetic go up the short flight of steps and sit down.
Sage Angira’s skin rippled over a spine disdaining to lean against the cushion furnishing the back of the throne.
Everyone, including the king, knew how indifferent sages were to comfort. At night their arms, with which they pillowed their heads, satisfied them as much as pillows as soft as swansdown.
Sage Angira did not bend his head topped with lustrous, black hair partly arranged in a bun and partly falling to his waist, around which was tied his only garment, a pleated, ankle-length, saffron cloth. In silence the holy man scrutinised his host, who circled a slipper-shaped brass dish containing a lighted ghee wick before him.
Following the custom, Chitraketu worshipped God’s representative. To the accompaniment of a tinkling bell and chanted hymns he continued the ceremony by offering incense, flowers, clean cloth and water to the sage and concluded it by blowing a conch shell.
He then sat cross-legged on the floor and Sage Angira the yogi, the master of all five senses addressed him. “My dear king, words are insufficient for me to express my appreciation of your hospitality and humility.”
The king stared at the ground while waiting for his visitor to continue.
“Are you in good health? Is your mind troubled? I hope that just as the earth receives showers, Lord Krishna’s delegates, the demi-gods and goddesses, shower you with blessings. In other words, I hope there is neither anything lacking nor any problems in your kingdom.
Chitraketu knew the sage used conventional phrases while piercing the fleshy veil of the body with omniscient eyes.
“My dear king, are you in complete control of your mind? Are you in control of your family, the courtiers, provincial governors, merchants who, with your permission, deal in silks and wool, spices and jewels? Can you control tax collectors, farmers and labourers?
Feeling the weight of his jewel-embedded, gold crown Chitraketu bent his head, stared at the sage’s feet and listened attentively.
“Have you no reply to make? Has someone let you down or have you failed to achieve something? Your pale face reveals you are distraught.”
The king took a deep breath. “My dear sage, you are a great personality, who neither rejoices over happiness nor laments over distress because you understand each condition is temporary. Nevertheless, you understand someone like me who alternates between cheerfulness and misery.”
He broke off, then, with tears spilling from the corners of his eyes, he continued. “A traveller is dissatisfied when his host puts flower garlands round his neck and gives him fragrant sandalwood pulp to cool his body. He wants food and drink. A king is discontented without an heir. An heir to light his funeral pyre and save his ancestors from hell by offering them sweetly perfumed flowers and flower garlands.”
Instead of replying, Sage Angira first offered Lord Krishna, The Supreme Personality of God, sweet rice and then gave it to Kritayouti, King Chitraketu’s senior wife. After she ate it, he said. “My dear king, your queen will present you with a son who will cause laughter and tears.”
The royal parents assumed Sage Angira’s words meant their son would play childish pranks and sometimes be disobedient.
After the sage left, rain impregnated the earth, the seeds within her swelled and the queen received a son into her womb.
As the days of her pregnancy passed Chitraketu observed Kritadyouti progress from moon-sickle slenderness to harvest moon fullness.
On the evening of the prince’s birth, the queen looked out of the latticed windows at the night sky, admired spangled points of light dispersing velvet darkness and said. “My dear husband, I rejoice because our son’s spark of life vanquished your melancholy, which was as black as the sky during a lunar eclipse.”
As soon as Chitraketu announced the heir’s birth, the townsfolk rejoiced. In the palace the prince’s male relatives bathed and dressed themselves in silk tunics worn over trousers fitting tightly at the ankles. They adorned themselves with elaborately wound turbans, ropes of pearls, diamonds and other precious stones, gold belts, earrings and arm clasps. When they were satisfied with their appearance, the king, the uncles, great-uncles, first, second and third cousins and other relatives assembled before going to see the child.
After everyone admired the prince, a brahmin astrologer named him Harshasoka. Delighted, Chritraketu rewarded all his brahmin subjects with gifts of gold, land on which villages provided incomes, horses, elephants, mountains of grain and thousands of cows.
Every morning, as happy as a beggar finding a fortune, the king loved Harshasoka more than he did on the previous day and his love for Kritayouti increased until his interest in his other wives dwindled.
The queens observed their husband’s devotion to Kritayouti and yearning to receive children from him did not sleep well.
All of them hoped to regain the king’s attention. They wore the finest silk, satin and velvet clothes. Some accentuated their shapely figures with saris, others either wore long tunics over trousers gathered into cuffs at the ankle or figure hugging blouses and swirling skirts.
But the beautiful wives were not puppets to dance at the end of a string. They were well-educated women qualified to raise heroic sons and give their husband advice about the government of nations.
Immersed in her personal happiness, Kritayouti neglected her duty to her co-wives. She neither behaved as a mother or a loving elder sister and had no time for them. They felt like insignificant servants within their husband’s palaces. Frustrated, because they neither had sons nor felt protected by a husband qualified by his character to have many wives, they complained to each other.
“Oh! A woman with no son whose husband and senior wife ignore her should live in the forest instead of being humiliated by neglect,” exclaimed the blonde daughter of a northern prince.
“Our husband accepts the services of Kritayouti’s maidservants and thanks them politely but doesn’t speak a word to us,” stormed the raven-haired daughter of a desert prince.
Anger and envy burned in her charcoal black eyes and was reflected in the eyes and expressions of all the consorts.
*
Kritayouti wondered why Harshasoka slept for so long. She went to the nursery, bent over his intricately carved sandalwood cradle and decided to let him sleep for a little longer. An hour later, uneasy because Harshasoka still slept she commanded the nurse. “Bring the prince to me.”
The woman padded into the nursery, approached the cot, saw the pallor of Harshasoka’s face and screamed. “I’m cursed.”
The queen ran in and saw her dead son. But she did not suspect her rock-hearted co-queens of conspiring to poison the prince.
The murderers entered the nursery, wailed louder than anyone else and made no attempt to comfort their husband or Kritayouti.
The fire of lamentation grew in Chitraketu’s heart, raged and consumed everything else. His hair was disordered and his tunic twisted. When he fainted the physician remarked. “His breath comes unevenly.”
In the presence of his ministers and priests, the king regained consciousness and repeatedly tried to speak.
Seeing her protector in such a condition Kritayouti sat next to him and wept. The flowers tucked into her hair fell to the ground and black eye make up smudged her face. Soaked by the waterfall of her tears red kum-kum powder decorating her breasts stained her thin silk blouse.
Kritayouti clutched a bar of the cradle. “Why has this happened to me? My husband never harmed anyone. Why did God take our son? I’ve never hurt anyone. I’m a virtuous woman, a merciful queen, and a kind mistress. Why did this happen to me?”
Forgetting the laws of karma applied to millions of her past lives, lives during which every good and bad action led to a favourable or unfavourable reaction in her present and future lives, she only saw and thought of her dead son.
Seeing Kritayouti shared his grief, Chitraketu moved closer to her. “Harshasoka, my son, my dear little prince, why have you gone away? Please don’t go with Yamaraja the demi-god who presides over death. Hear me and return to me.”
When he paused to wipe his eyes on the sleeve of his tunic, his queen continued. “Dearest of children, your friends want you to play with them, wake up and let me feed you, you must be very hungry. I beg you to open your eyes and smile at me. Please speak to me.”
With open mouth Chitraketu sobbed and everyone in the court wept.
*
Sage Angira understood the king was drowning in a death-like ocean of lamentation and came to court with the sage of sages, Narada Muni.
When he saw the king lying on the floor as though he was dead he abandoned the formalities he employed on his previous visit. “My dear king, do you believe you and the dead body in the cot have anything to do with each other? Why do you and your queen think he is your son? Was he your son before he entered the queen’s womb? Is he your son now the body he lived in is dead? Do you have any relationship with the dead body you are mourning? Will it be your son tomorrow, next week, next year?”
His words shocked the king, the queen and the courtiers. They stopped weeping and remained silent.
Sage Angira continued. “Seaweed clumps together on the ocean’s surface, rising and falling until waves toss it apart forever. People meet during the waves of time and no matter how much they grieve they are separated by the laws of nature.”
King Chitraketu propped himself up on his left elbow and wiped his eyes with the back of his right hand. “Sage Angira, please save me. I’m a man more ignorant than a village dog scavenging for scraps. Please give me scraps of real knowledge.”
“Your majesty, material life is an illusion. It is a dream because it is temporary. When I last visited you, I could have spoken of spiritual matters, but you were preoccupied with thoughts of your unborn heir. So, I gave you a son and warned you he would cause happiness and distress.”
The king sat up, did not, could not look at the dead body while remembering he had not paid much attention to Sage Angira’s warning. He’d been happy on the child’s Naming Day and given no consideration to the literal translation of Harshasoka, jubilation and lamentation.
He crossed his legs, straightened his back, folded his palms together and thought. This lifeless body is my enemy. It causes me so much anguish.
Narada, an eternally handsome, celibate young sage, stood up. With compassion he first looked at the king then addressed the inert body in the cradle. “Dear soul, may you receive good fortune.
“Enter this inert body. See your parents, your relatives and friends who are in mourning.”
The queen consorts looked uneasily at each other. What would happen to them? Too frightened to whisper of their crime to each other the murderesses clustered together and stood with clasped hands and downcast eyes.
Narada continued. “Dear soul, you departed prematurely from your last body. Now permission is granted for you to return to it. In due course of time, you may inherit your father’s throne.”
Colour filled the infant’s cheek and the faint smell of decaying flesh dispersed. Harshasoka stretched, yawned and sat up. He regarded everyone and asked. “Who is my father? What kind of father is he? My soul has transmigrated to many bodies. Should I look for a plant, insect, fish, bird, animal, human or spirit father?”
Chitraketu and Kritayouti embraced the child.
“Ah!” said the soul through the vehicle of the body with which he no longer identified himself. “You think you are my parents. You don’t understand you’re swept along by the river of existence in which souls sometimes surface as kinsfolk, friends or enemies.”
Chitraketu and Kritayouti glanced at each other and accepted their son was dead to them although his indestructible soul would transmigrate to another body.
End
When the sun retired on cool evenings, purple shadows crept across the fields and villagers sat in stout, mud-brick houses either gossiping or telling stories. The elders sat closest to slow burning fires of cow-dung cakes dried during summer’s ferocity, and whenever they mentioned King Chitraketu’s name, they praised him.
Yet the king found his life more barren than a desert because he had not received a son from any of his wives. Whether he resided in his capital city Mathura, in the Indian province of Surasena, or whether he travelled by horse, elephant, camel or chariot he lamented.
Whenever he saw a man with a son, he asked himself. Which sinful action in my present life or my past lives prevents me from having an heir?
He put this question to ambiguous brahmin priests who replied. “Do your subjects complain there is any lack in the kingdom. Aren’t there enough grains and pulses, vegetables and fruits, nuts and spices, herbs and cloth?
The king sighed, listening to rain drumming on roofs where people sunned themselves during spring’s pregnant promise or slept during summer’s ripening heat.
The priests assured their pious king there would be no lack. Even the grass Mother Bhumi produced for cows and oxen made dung to nourish her and provided fuel for cooking and warmth.
When his spies confirmed his subjects were contented, he again asked himself. Why don’t I have a son? In my kingdom even racketeers can’t find black market goods because my people lack nothing.
Despite his country’s and his personal prosperity, Chitraketu grew thin. To have a son, he would gladly renounce his education, his health and his treasury filled with chests of gold and precious stones
His golden skin paled, his long black hair lost its shine and his moustache drooped mournfully at the edges of his unsmiling mouth.
The more wives he accepted the more he suffered from anxiety and the less he ate. Brahmin cooks made his favourite preparations, wafer thin unleavened breads, fluffy rice, tit-bits of vegetables fried in chick pea flour batter served with spiced sauces or yoghurt, and rice simmered in condensed milk with honey and almonds. Obsessed by his desire to hear his son’s laughter within the marble walls of his palace, he only ate enough to keep himself alive.
He never gave up hope. He accepted wife after wife and provided each one with a soft bed to lie on, silk clothes, gold girdles, earrings, nose rings and bracelets. Each queen consort sported in water gardens, crops were harvested, and although the still autumn air over-heated the blood he never dived into swimming baths of clear water to splash, tease or play with his consorts.
Until the day when Sage Angira, master of mystic knowledge, visited Chitraketu, each queen, famous for her good qualities and beauty, witnessed his self-pity, heard his lamentations and prayed to become mother of the heir apparent.
The king bowed his head, pressed his palms together as though he was praying and gestured to his gold throne set on a dais. “Please sit there, Sage Angira.”
In silence, the courtiers watched the ascetic go up the short flight of steps and sit down.
Sage Angira’s skin rippled over a spine disdaining to lean against the cushion furnishing the back of the throne.
Everyone, including the king, knew how indifferent sages were to comfort. At night their arms, with which they pillowed their heads, satisfied them as much as pillows as soft as swansdown.
Sage Angira did not bend his head topped with lustrous, black hair partly arranged in a bun and partly falling to his waist, around which was tied his only garment, a pleated, ankle-length, saffron cloth. In silence the holy man scrutinised his host, who circled a slipper-shaped brass dish containing a lighted ghee wick before him.
Following the custom, Chitraketu worshipped God’s representative. To the accompaniment of a tinkling bell and chanted hymns he continued the ceremony by offering incense, flowers, clean cloth and water to the sage and concluded it by blowing a conch shell.
He then sat cross-legged on the floor and Sage Angira the yogi, the master of all five senses addressed him. “My dear king, words are insufficient for me to express my appreciation of your hospitality and humility.”
The king stared at the ground while waiting for his visitor to continue.
“Are you in good health? Is your mind troubled? I hope that just as the earth receives showers, Lord Krishna’s delegates, the demi-gods and goddesses, shower you with blessings. In other words, I hope there is neither anything lacking nor any problems in your kingdom.
Chitraketu knew the sage used conventional phrases while piercing the fleshy veil of the body with omniscient eyes.
“My dear king, are you in complete control of your mind? Are you in control of your family, the courtiers, provincial governors, merchants who, with your permission, deal in silks and wool, spices and jewels? Can you control tax collectors, farmers and labourers?
Feeling the weight of his jewel-embedded, gold crown Chitraketu bent his head, stared at the sage’s feet and listened attentively.
“Have you no reply to make? Has someone let you down or have you failed to achieve something? Your pale face reveals you are distraught.”
The king took a deep breath. “My dear sage, you are a great personality, who neither rejoices over happiness nor laments over distress because you understand each condition is temporary. Nevertheless, you understand someone like me who alternates between cheerfulness and misery.”
He broke off, then, with tears spilling from the corners of his eyes, he continued. “A traveller is dissatisfied when his host puts flower garlands round his neck and gives him fragrant sandalwood pulp to cool his body. He wants food and drink. A king is discontented without an heir. An heir to light his funeral pyre and save his ancestors from hell by offering them sweetly perfumed flowers and flower garlands.”
Instead of replying, Sage Angira first offered Lord Krishna, The Supreme Personality of God, sweet rice and then gave it to Kritayouti, King Chitraketu’s senior wife. After she ate it, he said. “My dear king, your queen will present you with a son who will cause laughter and tears.”
The royal parents assumed Sage Angira’s words meant their son would play childish pranks and sometimes be disobedient.
After the sage left, rain impregnated the earth, the seeds within her swelled and the queen received a son into her womb.
As the days of her pregnancy passed Chitraketu observed Kritadyouti progress from moon-sickle slenderness to harvest moon fullness.
On the evening of the prince’s birth, the queen looked out of the latticed windows at the night sky, admired spangled points of light dispersing velvet darkness and said. “My dear husband, I rejoice because our son’s spark of life vanquished your melancholy, which was as black as the sky during a lunar eclipse.”
As soon as Chitraketu announced the heir’s birth, the townsfolk rejoiced. In the palace the prince’s male relatives bathed and dressed themselves in silk tunics worn over trousers fitting tightly at the ankles. They adorned themselves with elaborately wound turbans, ropes of pearls, diamonds and other precious stones, gold belts, earrings and arm clasps. When they were satisfied with their appearance, the king, the uncles, great-uncles, first, second and third cousins and other relatives assembled before going to see the child.
After everyone admired the prince, a brahmin astrologer named him Harshasoka. Delighted, Chritraketu rewarded all his brahmin subjects with gifts of gold, land on which villages provided incomes, horses, elephants, mountains of grain and thousands of cows.
Every morning, as happy as a beggar finding a fortune, the king loved Harshasoka more than he did on the previous day and his love for Kritayouti increased until his interest in his other wives dwindled.
The queens observed their husband’s devotion to Kritayouti and yearning to receive children from him did not sleep well.
All of them hoped to regain the king’s attention. They wore the finest silk, satin and velvet clothes. Some accentuated their shapely figures with saris, others either wore long tunics over trousers gathered into cuffs at the ankle or figure hugging blouses and swirling skirts.
But the beautiful wives were not puppets to dance at the end of a string. They were well-educated women qualified to raise heroic sons and give their husband advice about the government of nations.
Immersed in her personal happiness, Kritayouti neglected her duty to her co-wives. She neither behaved as a mother or a loving elder sister and had no time for them. They felt like insignificant servants within their husband’s palaces. Frustrated, because they neither had sons nor felt protected by a husband qualified by his character to have many wives, they complained to each other.
“Oh! A woman with no son whose husband and senior wife ignore her should live in the forest instead of being humiliated by neglect,” exclaimed the blonde daughter of a northern prince.
“Our husband accepts the services of Kritayouti’s maidservants and thanks them politely but doesn’t speak a word to us,” stormed the raven-haired daughter of a desert prince.
Anger and envy burned in her charcoal black eyes and was reflected in the eyes and expressions of all the consorts.
*
Kritayouti wondered why Harshasoka slept for so long. She went to the nursery, bent over his intricately carved sandalwood cradle and decided to let him sleep for a little longer. An hour later, uneasy because Harshasoka still slept she commanded the nurse. “Bring the prince to me.”
The woman padded into the nursery, approached the cot, saw the pallor of Harshasoka’s face and screamed. “I’m cursed.”
The queen ran in and saw her dead son. But she did not suspect her rock-hearted co-queens of conspiring to poison the prince.
The murderers entered the nursery, wailed louder than anyone else and made no attempt to comfort their husband or Kritayouti.
The fire of lamentation grew in Chitraketu’s heart, raged and consumed everything else. His hair was disordered and his tunic twisted. When he fainted the physician remarked. “His breath comes unevenly.”
In the presence of his ministers and priests, the king regained consciousness and repeatedly tried to speak.
Seeing her protector in such a condition Kritayouti sat next to him and wept. The flowers tucked into her hair fell to the ground and black eye make up smudged her face. Soaked by the waterfall of her tears red kum-kum powder decorating her breasts stained her thin silk blouse.
Kritayouti clutched a bar of the cradle. “Why has this happened to me? My husband never harmed anyone. Why did God take our son? I’ve never hurt anyone. I’m a virtuous woman, a merciful queen, and a kind mistress. Why did this happen to me?”
Forgetting the laws of karma applied to millions of her past lives, lives during which every good and bad action led to a favourable or unfavourable reaction in her present and future lives, she only saw and thought of her dead son.
Seeing Kritayouti shared his grief, Chitraketu moved closer to her. “Harshasoka, my son, my dear little prince, why have you gone away? Please don’t go with Yamaraja the demi-god who presides over death. Hear me and return to me.”
When he paused to wipe his eyes on the sleeve of his tunic, his queen continued. “Dearest of children, your friends want you to play with them, wake up and let me feed you, you must be very hungry. I beg you to open your eyes and smile at me. Please speak to me.”
With open mouth Chitraketu sobbed and everyone in the court wept.
*
Sage Angira understood the king was drowning in a death-like ocean of lamentation and came to court with the sage of sages, Narada Muni.
When he saw the king lying on the floor as though he was dead he abandoned the formalities he employed on his previous visit. “My dear king, do you believe you and the dead body in the cot have anything to do with each other? Why do you and your queen think he is your son? Was he your son before he entered the queen’s womb? Is he your son now the body he lived in is dead? Do you have any relationship with the dead body you are mourning? Will it be your son tomorrow, next week, next year?”
His words shocked the king, the queen and the courtiers. They stopped weeping and remained silent.
Sage Angira continued. “Seaweed clumps together on the ocean’s surface, rising and falling until waves toss it apart forever. People meet during the waves of time and no matter how much they grieve they are separated by the laws of nature.”
King Chitraketu propped himself up on his left elbow and wiped his eyes with the back of his right hand. “Sage Angira, please save me. I’m a man more ignorant than a village dog scavenging for scraps. Please give me scraps of real knowledge.”
“Your majesty, material life is an illusion. It is a dream because it is temporary. When I last visited you, I could have spoken of spiritual matters, but you were preoccupied with thoughts of your unborn heir. So, I gave you a son and warned you he would cause happiness and distress.”
The king sat up, did not, could not look at the dead body while remembering he had not paid much attention to Sage Angira’s warning. He’d been happy on the child’s Naming Day and given no consideration to the literal translation of Harshasoka, jubilation and lamentation.
He crossed his legs, straightened his back, folded his palms together and thought. This lifeless body is my enemy. It causes me so much anguish.
Narada, an eternally handsome, celibate young sage, stood up. With compassion he first looked at the king then addressed the inert body in the cradle. “Dear soul, may you receive good fortune.
“Enter this inert body. See your parents, your relatives and friends who are in mourning.”
The queen consorts looked uneasily at each other. What would happen to them? Too frightened to whisper of their crime to each other the murderesses clustered together and stood with clasped hands and downcast eyes.
Narada continued. “Dear soul, you departed prematurely from your last body. Now permission is granted for you to return to it. In due course of time, you may inherit your father’s throne.”
Colour filled the infant’s cheek and the faint smell of decaying flesh dispersed. Harshasoka stretched, yawned and sat up. He regarded everyone and asked. “Who is my father? What kind of father is he? My soul has transmigrated to many bodies. Should I look for a plant, insect, fish, bird, animal, human or spirit father?”
Chitraketu and Kritayouti embraced the child.
“Ah!” said the soul through the vehicle of the body with which he no longer identified himself. “You think you are my parents. You don’t understand you’re swept along by the river of existence in which souls sometimes surface as kinsfolk, friends or enemies.”
Chitraketu and Kritayouti glanced at each other and accepted their son was dead to them although his indestructible soul would transmigrate to another body.
End
Monday, 3 November 2008
Queen Anne - Part Three
Queen Anne Part Three
Princess Anne’s relationship with Sarah Jennings, the future Duchess of Marlborough would last into her middle age.
Sarah, a year younger than Anne’s fifteen year old stepmother, was the daughter of a landed gentleman and the young sister of Frances Jennings, a maid of honour, appointed to serve Anne’s mother.
At the age of twelve, Sarah, who would play such a crucial role in the Cinderella princess’s life, was appointed as one of her attendants. Years later Sara wrote: We had used to play together when she was a child and she even ten expressed a particular fondness for me. This inclination increased with our years. I was often at Court and the Princess always distinguished me by the pleasure she took to honour me, preferably to others, with her conversation and confidence. In all her parties for amusement, I was sure by her choice to be one.
Kneller’s portrait of the teenage Sarah reveals a pretty girl with an oval face, broad forehead, fair hairs and confident blue eyes. Yet no portrait could reveal her vivacity and charm.
It is not surprising that the motherless, Cinderella princess living in the shadow of her older, cleverer sister, Mary, and the daughters of her governess, Lady Frances Villiers, became deeply attached to Sarah.
Anne was pretty with plump features, re-brown hair and her mother’s elegant hands of which she was very proud. However, she was shy, easily ignored and all too aware of her short-comings – her poor education did nothing to boost her confidence. As Sarah said years later: Your Majesty has had the misfortune to be misinformed in general things even from twelve years old.
Undoubtedly, there was no reason to provide Anne and her sister with a better education because it was not unlikely that the Queen would provide an heir to the throne. In her day few women could read and write – perhaps as few as one in a hundred. For Anne it is likely that little more than dancing, drawing, French and music were required to prepare her for life at court. Her general education was neglected but not her religious education which was rigorous and founded her life long belief in the teachings of the Anglican faith.
Anne and Mary lived apart from the court at White hall and their indulgent Roman Catholic father and step-father. Expected to be virtuous, the sisters could not have been totally unaware of the licentiousness of their uncle’s court and that both their uncle, the king, and her father had acknowledged illegitimate children. Indeed, their governess, Lady Frances Villiers, wife of Colonel Villiers, the nephew of the ill-fated Duke of Buckingham, a favourite of James I and his son, Charles I, was the daughter of the king’s notorious mistress, Barbara Castlemaine.
Lax though King Charles II’s moral were he took some interest in Anne who would be one of the best guitar players at court. She also had a pleasing voice and he ordered the actress, Mrs Barry, to give Anne and Mary elocution lessons. These stood Anne in good stead when, as Queen, she addressed Parliament and no doubt when she and Mary took part in some of the masques and plays popular at Court.
However, ‘Cinderella’ and Mary grew up in the company of clerics and women, secluded from Whitehall with little to entertain them. One can imagine the boring conversations, stifling closets (small rooms) and endless card games. Sarah declared: I wished myself out of Court as much as I had desired to come into it before I knew what it was.
In spite of the boredom and whatever storms lay ahead, Anne dearly loved her sister. So much so that when Mary married her Dutch cousin, William of Orange, in 1677 and Anne lay sick of smallpox, her father, who visited her every day, ordered that she should not be told her sister had departed for the Continent. The charade went as far as messages purported to be from Mary asking about her health being delivered to Anne.
While Anne’s tutor fretted in case her fanatical Roman Catholic nurse influenced her while Anne was ill, as soon as she recovered, Anne had to cope with the death of her governess. Fortunately, she still had Sarah’s companionship and enjoyed the vast grounds of Richmond Palace, leased by the king for his nieces. However, this tranquillity would soon be disturbed by the so called ‘Popish Plot’. And it is not unreasonable to suppose that her mind would be occupied with thoughts of who she would marry.
www.rosemarymorris.co.uk
Tangled Hearts set in Queen Anne's reign available from bookshops, Amazon, The Book Depository and elsewhere
Princess Anne’s relationship with Sarah Jennings, the future Duchess of Marlborough would last into her middle age.
Sarah, a year younger than Anne’s fifteen year old stepmother, was the daughter of a landed gentleman and the young sister of Frances Jennings, a maid of honour, appointed to serve Anne’s mother.
At the age of twelve, Sarah, who would play such a crucial role in the Cinderella princess’s life, was appointed as one of her attendants. Years later Sara wrote: We had used to play together when she was a child and she even ten expressed a particular fondness for me. This inclination increased with our years. I was often at Court and the Princess always distinguished me by the pleasure she took to honour me, preferably to others, with her conversation and confidence. In all her parties for amusement, I was sure by her choice to be one.
Kneller’s portrait of the teenage Sarah reveals a pretty girl with an oval face, broad forehead, fair hairs and confident blue eyes. Yet no portrait could reveal her vivacity and charm.
It is not surprising that the motherless, Cinderella princess living in the shadow of her older, cleverer sister, Mary, and the daughters of her governess, Lady Frances Villiers, became deeply attached to Sarah.
Anne was pretty with plump features, re-brown hair and her mother’s elegant hands of which she was very proud. However, she was shy, easily ignored and all too aware of her short-comings – her poor education did nothing to boost her confidence. As Sarah said years later: Your Majesty has had the misfortune to be misinformed in general things even from twelve years old.
Undoubtedly, there was no reason to provide Anne and her sister with a better education because it was not unlikely that the Queen would provide an heir to the throne. In her day few women could read and write – perhaps as few as one in a hundred. For Anne it is likely that little more than dancing, drawing, French and music were required to prepare her for life at court. Her general education was neglected but not her religious education which was rigorous and founded her life long belief in the teachings of the Anglican faith.
Anne and Mary lived apart from the court at White hall and their indulgent Roman Catholic father and step-father. Expected to be virtuous, the sisters could not have been totally unaware of the licentiousness of their uncle’s court and that both their uncle, the king, and her father had acknowledged illegitimate children. Indeed, their governess, Lady Frances Villiers, wife of Colonel Villiers, the nephew of the ill-fated Duke of Buckingham, a favourite of James I and his son, Charles I, was the daughter of the king’s notorious mistress, Barbara Castlemaine.
Lax though King Charles II’s moral were he took some interest in Anne who would be one of the best guitar players at court. She also had a pleasing voice and he ordered the actress, Mrs Barry, to give Anne and Mary elocution lessons. These stood Anne in good stead when, as Queen, she addressed Parliament and no doubt when she and Mary took part in some of the masques and plays popular at Court.
However, ‘Cinderella’ and Mary grew up in the company of clerics and women, secluded from Whitehall with little to entertain them. One can imagine the boring conversations, stifling closets (small rooms) and endless card games. Sarah declared: I wished myself out of Court as much as I had desired to come into it before I knew what it was.
In spite of the boredom and whatever storms lay ahead, Anne dearly loved her sister. So much so that when Mary married her Dutch cousin, William of Orange, in 1677 and Anne lay sick of smallpox, her father, who visited her every day, ordered that she should not be told her sister had departed for the Continent. The charade went as far as messages purported to be from Mary asking about her health being delivered to Anne.
While Anne’s tutor fretted in case her fanatical Roman Catholic nurse influenced her while Anne was ill, as soon as she recovered, Anne had to cope with the death of her governess. Fortunately, she still had Sarah’s companionship and enjoyed the vast grounds of Richmond Palace, leased by the king for his nieces. However, this tranquillity would soon be disturbed by the so called ‘Popish Plot’. And it is not unreasonable to suppose that her mind would be occupied with thoughts of who she would marry.
www.rosemarymorris.co.uk
Tangled Hearts set in Queen Anne's reign available from bookshops, Amazon, The Book Depository and elsewhere
Queen Anne - Part Two
Queen Anne – Part 2
Princess Anne’s mother died and her father, James, Duke of York, had taken the unpopular step of becoming a Roman Catholic. Her uncle, the childless King Charles II, knew politics demanded his heirs, Anne and her elder sister, Mary, be raised in the Protestant faith. He appointed Lady Frances Villiers, a committed Anglican, as their governess and leased Richmond palace to Frances and her husband.
The princesses benefited from country air and were privileged to live by the Thames in those days when, due to bad roads, the river was of great importance.
Anne’s indulgent father visited his daughters regularly, showered them with gifts and often stayed for several nights at Richmond Palace. Yet all was not well with the family. In 1673, due to the Test Act, which excluded anyone who did not take communion in the Anglican Church from public office, James was forced to resign as Lord High Admiral and to give up all his other official positions. In that age of fervent religious allegiances, I wonder what effect religious controversy and on Anne, a stubborn child.
What did Anne think when her father married fifteen year old Mary? History relates that James was captivated by his bride. Looking at a copy of her portrait, I’m not surprised. She was tall with a good figure, jet black hair, a fair skin and large eyes that her contemporaries at court described as ‘full of sweetness and light’. The proud bridegroom introduced his new wife to his daughters as a ‘playmate’ but Anne formed a bond, not with her stepmother, whose children would be raised in the Roman Catholic faith, but with vivacious Sarah Churchill, who would have such a profound influence on Anne’s life.
Motherless Anne, a Protestant ‘Cinderella’ of her times, has all the ingredients of a fictional heroine, but what would she make of her life? After all, she belonged to the tragic Stuart family.
It is in ‘Cinderella’s life and times that I have set my novel Tangled Hearts and am setting my new novel, Tangled Lives.
Rosemary Morris
www.rosemarymorris.co.uk
www.rosemarymorris.blogspot.com
Tangled Hearts set in Queen Anne's England received five star reviews and is available from bookshops, Amazon, The Book Depository and elsewhere.
Princess Anne’s mother died and her father, James, Duke of York, had taken the unpopular step of becoming a Roman Catholic. Her uncle, the childless King Charles II, knew politics demanded his heirs, Anne and her elder sister, Mary, be raised in the Protestant faith. He appointed Lady Frances Villiers, a committed Anglican, as their governess and leased Richmond palace to Frances and her husband.
The princesses benefited from country air and were privileged to live by the Thames in those days when, due to bad roads, the river was of great importance.
Anne’s indulgent father visited his daughters regularly, showered them with gifts and often stayed for several nights at Richmond Palace. Yet all was not well with the family. In 1673, due to the Test Act, which excluded anyone who did not take communion in the Anglican Church from public office, James was forced to resign as Lord High Admiral and to give up all his other official positions. In that age of fervent religious allegiances, I wonder what effect religious controversy and on Anne, a stubborn child.
What did Anne think when her father married fifteen year old Mary? History relates that James was captivated by his bride. Looking at a copy of her portrait, I’m not surprised. She was tall with a good figure, jet black hair, a fair skin and large eyes that her contemporaries at court described as ‘full of sweetness and light’. The proud bridegroom introduced his new wife to his daughters as a ‘playmate’ but Anne formed a bond, not with her stepmother, whose children would be raised in the Roman Catholic faith, but with vivacious Sarah Churchill, who would have such a profound influence on Anne’s life.
Motherless Anne, a Protestant ‘Cinderella’ of her times, has all the ingredients of a fictional heroine, but what would she make of her life? After all, she belonged to the tragic Stuart family.
It is in ‘Cinderella’s life and times that I have set my novel Tangled Hearts and am setting my new novel, Tangled Lives.
Rosemary Morris
www.rosemarymorris.co.uk
www.rosemarymorris.blogspot.com
Tangled Hearts set in Queen Anne's England received five star reviews and is available from bookshops, Amazon, The Book Depository and elsewhere.
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