For the purpose of this book, I decided to research a character who could fit this theory. British historian Rosemary Horrox’s Richard III: A Study in Service provided me with my Kate. Horrox conjectures that an annuity given to “one Katherine Haute” entered in Richard’s household accounts might have been to support one of Richard’s bastards. Further research into the Hautes, a well-placed family of the time, revealed that a Richard Haute, Esq. had owned Ightham Mote in Kent (my very favorite of all English manor houses). Richard Haute, as far as we know, had a daughter named Anne, not Katherine. However, the chance to write about this beautiful house was too tempting, and as we do not know Katherine Haute’s identity, I gave her a family and a story that begins on a farm, progresses to Ightham and continues to marriage with a branch of the Haute family. Martin Haute, her eventual father-in-law, was indeed an usher to Edward IV’s queen, but I know nothing more of his branch of the family.
The so-called Wars of the Roses is one of English history’s most complex periods. I am aware that too much historical detail could confuse and alienate the reader. However, as it had an immediate effect on each character in my story, I have attempted to weave it as concisely as possible through my narrative. This is a story of a woman who lived in those turbulent times, not of the turbulent times themselves. Also, to help the reader with the medieval convention of calling a man by his first name, his family name or his title—sometimes all in one breath—I have provided a genealogy of the Plantagenets and a Dramatis Personae. Where possible, I have used real people in my story, including everyone mentioned in John Howard’s household.
Records from the period are extensive. In the early stages of my research, I availed myself of the New York Public Library’s excellent collection until I built up a library of my own with the help of family and friends in England. Thanks to Anne Crawford’s master’s thesis The Career of John Howard, Duke of Norfolk, which my sister gamely photocopied from the University of London’s library, I have a treasure of information about the fascinating, wealthy nobleman. That, together with his Household Books, provided me with names, dates and events of the Howard family. (For the skeptical, John Howard did indeed physically move a house from Chelsworth to Stoke, see The Choreography of Suffolk, ed. D. N. J. MacCulloch. How he did it was for me to guess, for without cranes and sixteen-wheel tractor trailers it could only have been dismantled piece by piece.)
Another treasure was Medieval Women: A Social History of Women in England 1450–1500 by Henrietta Leyser. It was there I found the amazing story of how a medieval woman had to prove her man was impotent in order to divorce him or annul the marriage. Ms. Leyser’s new research has been invaluable in my quest to authentically depict the life of a fifteenth-century woman who happened to become the mother of King Richard III’s bastard children.
The language of the period is too stilted for modern-day ears, but I have made a valiant attempt not to put anachronistic words into my characters’ mouths. The result is a formality that I hope will put readers back into an unfamiliar time but not hinder their comprehension and enjoyment.
A plethora of books, essays and articles has been published about Richard through the centuries. It is unfortunate that Shakespeare’s unflattering depiction of the last Plantagenet king has become the standard characterization of Richard in our history books. Using Tudor accounts of Richard’s life and times, Shakespeare wrote for the Tudor Queen Elizabeth I, granddaughter of the very man who took Richard’s crown. Shakespeare knew on which side his bread was buttered. But contemporary accounts make no mention of any deformities, and portraits of him by Tudor artists, painted after he was dead, show none either.
The Shakespearean Richard’s personal culpability for the deaths of Edward of Lancaster, Henry VI, and his own brother, George of Clarence, makes for good drama, but has many times been disproved.
The disappearance of Richard’s nephews—young Edward V and his brother Richard, often referred to as the princes in the Tower—is still a mystery and will remain so unless some startling new evidence is brought to light. The boys were last seen publicly in the late summer of 1483, not long after Richard’s coronation. Richard had no motive for eliminating them. They had been declared illegitimate through the revelation of the famous pre-marriage contract between Edward IV and Eleanor Butler, which rendered Edward’s marriage to Queen Elizabeth unlawful. Their children could not, therefore, wear the crown. No one knows what happened to the boys, but if Henry VII was so eager to denigrate Richard and justify his whisker-thin claim to the throne, why was the murder of those princes not the first item on the list of Richard’s crimes posted on church doors all over England following Henry’s victory at Bosworth? After all, Richard was no longer alive to deny anything.
Anne Easter Smith, Newburyport, Mass.
Glossary
arras—Tapestry or wall hanging.
attaint—Imputation of dishonor or treason; estates of attainted lord often forfeited to the crown.
buckler—Small round shield.
burthen—Refrain or chorus of a song.
catafalque—Funeral chariot.
caul—Mesh hair covering, often jeweled or decorated, encasing braids wound on either side of the head.
chaperon—Elaborate soft hat, often with a liripipe attached.
churching—First communion given to a woman following a period of seclusion after giving birth.
coif—Scarf tied around the head.
conduit—Drinking fountain in a town or city with piped-in water.
coney—Rabbit or rabbit fur.
cote—Long gown worn by men and women.
crenallation—Indentation at top of battlement wall.
ewerer—Water-pourer and holder of hand-washing bowls at table.
gemshorn—Polished, hollowed goat’s horn.
gittern—Plucked, gut-stringed instrument similar to a guitar.
groat—Silver coin worth about fourpence.
gipon—Close-fitting padded tunic.
hennin—a tall conical headdress from which hangs a veil; steepled hennins were as much as two feet high; butterfly hennins sat on the head like wings with the veil draped over them.
houppelande—Full-length or knee-length tunic or gown with full sleeves and train.
jennet—Small saddle horse often used by women.
jerkin—Jacket.
kersey—Coarse woolen cloth.
kirtle—Woman’s gown or outer petticoat.
leman—Lover, sweetheart—usually mistress.
liripipe—Long scarf attached to a hat or chaperon.
malmsey—Kind of wine.
mess—Platter of food shared by a group of people.
murrey—Heraldic term for purple-red (plum).
osier—Willow shoot used for baskets.
palfrey—Small saddle horse.
patten—Wooden platform strapped to the sole of shoe.
pennon—Triangular flags attached to lance or staff; often rallying points during battle.
pibcorn—Hornpipe.
pillion—Pad placed at the back of a saddle for a second rider.
pipkin—Earthenware or metal pot.
plastron—Gauzy material tucked for modesty into the bodice of a gown.
points—Lacing with silver tips used to attach hose to undershirt or gipon.
puling—whining, crying in a high, weak voice.
readeption—Name given to the government that was formed following Henry VI’s reemergence from captivity in 1470.
rebec—Three-stringed instrument played with a bow.
sackbut—Early form of trombone.
sanctuary—Place of protection for fugitives. Safe haven, usually for noble women and their children, who pay to stay.
sarcenet—A fine, soft silk fabric.
seneschal—Steward of a large household.
shawm—Wind instrument making a loud, penetrating sound often used on castle battlements.
solar—Living room sometimes doubling as bedroo
m.
squint—Small window in a wall between a room and a chapel. Often women would participate in a service through it.
stews—Brothel district.
stewpond—Private pond stocked with fish for household use.
subtelty—Dessert made of hard, spun colored sugar formed into objects or scenes.
Sunne-in-Splendour—Heraldic badge name for full sun with rays.
surcote—Loose outer garment of rich material, often worn over armor.
trencher—Stale bread used as a plate.
tun—Barrel.
verjuice—Sour fruit juice used for cooking and medicines.
The Weald—Wooded area that runs across the south of England between the North and South Downs.
Bibliography
Clive, Mary. This Sun of York. New York: W. W. Norton and Co., 1962.
Crawford, Anne. The Career of John Howard, Duke of Norfolk. Unpublished thesis, University of London.
Davies, R. T. Medieval English Lyrics: A Critical Anthology. London: Faber & Faber, 1987.
Dockray, Keith. Richard III: A Source Book. Stroud, Gloucestershire, UK: Sutton Publishing, 1991.
Fields, Bertram. Royal Blood: Richard III and the Mystery of the Princes. HarperCollins, 1998.
Gairdner, James, ed. The Paston Letters. Stroud, Gloucestershire, UK: Sutton Publishing, 1986.
Hamond, P. W. Food and Feast in Medieval England. Stroud, Gloucestershire, UK: Sutton Publishing, 1993.
Hartley, Dorothy. Lost Country Life. New York: Random House, 1979.
Hicks, Michael. Richard III. Collins Brown Ltd., 1991.
Horrox, Rosemary. Richard III: A Study in Service. Cambridge University Press, 1989.
Kendall, Paul Murray. Richard the Third. Unwin Hyman Ltd., 1955.
Leyser, Henrietta. Medieval Women: A Social History of Women in England 1450–1500. London: Weidenfeld & Nicolson, 1989.
Norfolk, John Howard. The Household Books of John Howard, Duke of Norfolk, 1462–1471, 1481–1483. Alan Sutton Publishing, Ltd., 1992.
Norris, Herbert. Medieval Costume and Fashion. London: J. M. Dent & Sons, 1927.
Pollard, A. J. Richard III and the Princes in the Tower. Stroud, Gloucestershire, UK: Sutton Publishing, 1991.
Reeves, Compton. Pleasures and Pastimes in Medieval England. Oxford University Press, 1998.
Richardson, Geoffrey. The Deceivers: The Solution to the Murder of the Princes in the Tower. Baildon Books, 1997.
Ross, Charles. Edward IV. Eyre Methuen Ltd., 1974.
———. Richard III. Berkeley: University of California Press, 1983.
Scofield, Cora L. The Life and Reign of Edward IV (2 vols.). Frank Cass & Co. Ltd., 1967.
Speed, J. The Counties of Britain: A Tudor Atlas (pub. 1611). Pavilion Books, Ltd., 1995.
St. Aubyn, Giles. The Year of the Three Kings. New York: Atheneum, 1983.
Stuart, Malcolm. The Encyclopedia of Herbs and Herbalism. Crescent, 1987.
Virgoe, Roger. Private Life in the Fifteenth Century: Illustrated Letters of the Paston Family. London: Weidenfeld & Nicolson, 1989.
TOUCHSTONE READING GROUP GUIDE
* * *
A Rose for the Crown
1. The prologue contains significant details about Kate and her two sons, one of whom dies tragically in these opening pages. Did having this information up front influence your reading of the story? Why do you suppose Anne Easter Smith chose to reveal these facts in the prologue?
2. When Kate is ten years old, her father tells her the story of how he came into possession of an écu, a French coin, in order to help her understand the concept of loyalty. Loyalty is “when you stand by someone you love or honor and do not desert him even in the bad times,” he says. What impact does this conversation have on Kate? How does the idea of loyalty play out in the story? Why does Kate give Richard the écu to wear when it comes into her possession?
3. When Kate’s parents decide to accept Richard Haute’s offer to have Kate join their household, John Bywood says to him, “As much as it do sadden us to see her go, we are obliged to do what is best for Kate.” Even eleven-year-old Kate acknowledges that “the thrill of a new life at the Mote must outweigh the loss.” How do these same statements apply to Kate and her own children many years later?
4. Kate is reluctant to marry her first husband, Thomas Draper, a man much older than she. But in what ways does Kate’s marriage to Thomas benefit her? Why then is Kate, a smart woman, so deceived by her second husband, George, who not only marries her for her money but harbors a dark secret?
5. When Kate finds out why George refuses to consummate their marriage, she decides to keep his secret. Why does she choose not to reveal what she knows, even though it could be the very thing that will free her from her marriage? After George dies, Kate dreams of him and believes this is God’s way of “reminding her of the reason for [his] untimely death. If she had told him who her lover was from the beginning, he might not have attempted to find Richard and venture into Sherwood Forest.” Does Kate bear any responsibility for George’s death?
6. When Kate travels to the Howard estate and unexpectedly attends the birth of the Howards’ daughter, she strikes up a friendship with Margaret. In what ways does Kate’s friendship with Margaret play an integral role in her life?
7. When Kate first begins her affair with Richard, he is fifteen and she is two years older. What draws them together? Is their relationship based on more than youthful passion? After the initiation of their love affair at the Howards’ home, Richard attempts to persuade Kate to accompany him to London as his mistress. Although she’s tempted, as it would allow her to see him more often, why does Kate refuse Richard’s offer?
8. When they return to the Bywood farm in anticipation of Dickon’s birth, Geoff remarks to his sister, “Who would have believed how our lives would change, Kate. If it had not been for your boldness . . . we would still think there was no bigger river than the Medway or town than Tunbridge!” Is their change in fortune due to Kate’s “boldness”? Does Kate knowingly use it to her advantage? Is this quality more effective when it comes to the men in her life than the women?
9. Why does Kate insist on telling Richard in person that Katherine has died? When she breaks the news to him, he says, “I have nothing to live for, Kate. I have lost my wife, my son, my brothers, my nephews, and now my beautiful daughter. I swear to Almighty God I do not care if I live or die . . . I wish Richmond would come through that door this very moment and put me out of my misery!” Did Kate do the right thing by telling Richard about their daughter’s death right before he went into battle?
10. Both Margaret and Kate’s cousin, Anne, disagree with her decision to send Dickon to Bywood farm to be raised as her brother’s child. When Kate tells Richard, however, he commends her for caring about their child so much that she would do such a selfless thing. How do you explain these different reactions? Did Kate make the right decision, particularly in light of what transpires later in the story? What compels Kate to finally reveal the truth to Dickon?
11. About his wife, Anne, Richard says to Kate “she is a simple soul, Kate, and too vulnerable. In many ways, you would be more suited as a queen.” Compare Kate with Anne, and the role each one plays in Richard’s life. If someone were observing their first meeting, what would they conclude about the two women? Why does Richard confide in Kate on numerous occasions after he becomes king?
12. A Rose for the Crown is a bittersweet story, and the characters experience moments of both great happiness and intense sorrow. What is your overall impression of the book? How does it compare to other works of historical fiction you’ve read? Did you come away with an understanding of what it was like during, as Smith says in her author’s note, “one of English history’s most complex periods”?
ENHANCE YOUR BOOK CLUB DISCUSSION
Set the scene—and enliven your taste buds—by serving tea and traditional English delicacies like shortbread, cucumber sandwiches, sugared plums, and s
cones with jam and clotted cream. If your group normally meets at a restaurant, or if you’d like a change of pace, visit www.theteacaddy.com for a directory of tearooms across the United States.
Select a nonfiction aspect presented in the book, find out more about it, and share your findings with the group. Then discuss its significance in the story, and in particular how it affects Kate. Possible topics include fifteenth-century laws about divorce and annulment, the use of plants and herbs for medicinal purposes, music of the period and taking a vow of widowhood.
Throughout history King Richard III has often been remembered as a usurper of the throne and possibly even a murderer. Conduct some research into how he has been portrayed—in books, articles and even entertainment, using sources such as Shakespeare’s plays and twentieth-century film adaptations. Compare your findings to how Smith presents the monarch in the book, taking into account the information she shares in Author’s Note. A listing of resources and links can be found at www.r3.org, the website of the Richard III Society, whose mission is to restore the reputation of this controversial historical figure.
Q&A with Anne Easter Smith
1. What first sparked your interest in Richard III? That interest seems to extend beyond the research you conducted for A Rose for the Crown. Are you involved in the Richard III Society or any other movement to restore his reputation?
In my early twenties, I was given The Daughter of Time, a modern-day mystery by Josephine Tey centering on the disappearance of the princes in the Tower. So carefully did Ms. Tey research her subject it was clear to me that King Richard had been maligned by both Sir Thomas More and Shakespeare. I wanted to know more and so have read everything I can about Richard and the period in order to draw my own conclusions. I am a member of the Richard III Society, a focus of which is to “promote in every possible way research into the life and times of Richard III, and to secure a re-assessment of the material relating to the period, and of the role in English history of this monarch.” I feel I am, in a small way, fulfilling the society’s mission with A Rose for the Crown.
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