亨利八世的紋章亨利八世是第一個經常使用「Majesty」作為稱呼的英國君主。另外他也不時使用「Highness」或「Grace」。他統治期間皇室禮儀進行了一些變革。亨利最初使用的頭銜是「蒙上帝恩典,英格蘭和法國國王,愛爾蘭領主亨利八世」(Henry the Eighth, by the Grace of God, King of England, France and Lord of Ireland)。1521年由於亨利撰文攻擊馬丁·路德、護衛羅馬天主教廷,教宗良十世賜封「信仰的守護者」(Defender of the Faith)加入到正式頭銜中。英國脫離羅馬教廷後,保羅三世撤回了封賜,但國會法案宣布這一頭銜仍然有效。1535年,亨利在皇室頭銜中增加了王權至高的語句,即「英格蘭教會之首」(of the Church of England in Earth Supreme Head),1536年進一步改為「英格蘭和愛爾蘭教會之首」。1541年,亨利讓愛爾蘭國會將「愛爾蘭領主」頭銜改為「愛爾蘭國王」[10]。當時很多愛爾蘭人認為教宗才是真正的國家首腦,領主只是其代表而已。這是有歷史原因的:12世紀,教宗亞德四世將愛爾蘭作為封地賜給英格蘭國王亨利二世,而教宗仍然保留名義上的最高權位。在這次承認亨利八世為愛爾蘭國王的會議上,與會者首次同時包括了愛爾蘭的凱爾特人酋長和盎格魯人貴族。
此後直到亨利八世去世,他的頭銜一直是「蒙上帝恩典,英格蘭、法國和愛爾蘭國王,信仰的守護者,英格蘭和愛爾蘭教會之首亨利八世」(Henry the Eighth, by the Grace of God, King of England, France and Ireland, Defender of the Faith and of the Church of England and also of Ireland in Earth Supreme Head)。亨利八世的訓辭是「Coeur Loyal」(意為忠貞的心),以心型加上文字「Loyal」的形式繡在他的衣物上。他的徽章是都鐸玫瑰(Tudor rose)加上代表其祖母波福家族的吊閘圖案(Beaufort portcullis)。亨利八世的紋章是自亨利四世時代開始使用的英國王室紋章:四等分,交錯顯示藍底的三支鳶尾花(Fleur-de-lis,代表法國)和紅底的三隻頭朝正面、行走狀的獅形獸(代表英格蘭)。
相關電影
《亨利八世》“亨利八世的私生活”(The Private Life of Henry VIII),1933年。查爾斯·勞頓主演,獲得奧斯卡最佳男主角獎。“千日安妮”(Anne of the Thousand Days),1969年。扮演亨利的理查·伯頓和扮演安妮·博林的珍妮薇芙褒祖德(Geneviève Bujold)分別獲得奧斯卡最佳男主角獎和奧斯卡最佳女主角獎的提名。 “日月精忠”(A Man for All Seasons),1966年,奧斯卡最佳影片獎。根據羅伯特·鮑特(Robert Bolt)的名戲劇改編,主要圍繞托馬斯·摩爾爵士展開,亨利八世由羅伯特·肖(Robert Shaw)扮演。1988年該片的重拍版中,亨利八世由馬廷·張伯倫(Martin Chamberlain)扮演。 “年輕的貝斯”(Young Bess),1953年。這是一部關於伊莉莎白一世年輕時代的電影,亨利八世再次由查爾斯勞頓扮演。 “鳩占鵲巢(台灣翻譯為"美人心機")”(The Other Boleyn Girl),2008年。史嘉蕾·喬韓森(Scarlett Johansson)扮演瑪莉·博林,娜塔莉·波曼(Natalie Portman)扮演安妮·博林,艾瑞克·巴納(Eric Bana)扮演亨利八世。”都鐸王朝“(The Tudors),2007年,美國電視劇。邁勒斯飾演亨利八世。IMDB:http://imdb.com/title/tt0758790/
英文版內容
《亨利八世》Upon first reading, Henry VIII seems obscure and inaccessible to modern readers. Its episodic plot leaps from one group of characters to the next, relying on the audience's background understanding of Tudor history to fill in the gaps. Despite its difficulties, however, the basic format of Henry VIII looks more familiar. It can be seen as an Elizabethan version of "Lifestyles of the Rich and Famous," a glimpse, although fictionalized, into the lives of the most famous public figures of the era. It examines the private and the public livesof England's rulers, and looks at what happens when personal likes and dislikes get tangled up with politics. Henry's desire to find a new wife is not just the story of a man having an affair; he is the king, and the woman he chooses will influence a nation and mother the heir to the throne. The squabble between Buckingham and Wolsey is not just the jealousy of two men competing for their boss's attention; the outcome is a matter of life and death and will determine whether nobles and commoners have equal right to rule. The popularity of stories about the personal lives of the powerful is borne out by the large collection of history plays written and performed during Shakespeare's time. Audiences wanted to know about the lives of their public figures, just as modern audiences are fascinated with the personal lives of the Kennedy family, or the British royal family. For all its familiarity as a peek into the lives of the famous, Henry VIII contains qualities that are peculiarly Elizabethan. As much as a modern author or director might fictionalize the lives of modern leaders, for example in Oliver Stone's version of the life of John F. Kennedy, modern stories sometimes lack the moral tone prevalent in Henry VIII. Shakespeare's play belongs to a medieval tradition known in Latin as de casibus illustrorum, "concerning the falls of great men." The typical de casibus story depicts a man rising to greatness and then falling at the whims of fortune.