Adapting Whiteness Katherine of Aragon in Shakespeare and Fletcher’s All is True and Starz’s The Spanish Princess

Abstract

The sources influencing Shakespeare’s representation of racialized queens continue to shape popular media representations of queenship. In this article, I argue that Juan Luis Vives’ Instruction of a Christian Woman influenced Shakespeare’s representation of Katherine of Aragon’s idealized whiteness in All is True (Henry VIII). Moreover, I show how Vives and Shakespeare in turn influence Starz’s 2019 The Spanish Princess. Firstly, I how Vives represents the domestic space of the royal household a form of racial enclosure intended to manage the paradoxical confluence of the queen’s biological reproductivity and the social circulation of her image. Katherine’s patronage of Vives demonstrates her agency in cultivating her cult of queenship through gendered and racially charged notions of kinship, conduct, and labor. These tropes elevate the racial purity of the queen through and at the expense of lower class and enslaved peoples whose work is often rendered invisible. I also argue that Vives and Shakespeare’s praise of Katherine’s exemplary kinship, conduct and labor function as compensatory mechanisms that serve to reify Katherine’s whiteness even as her marriage to Henry VIII is failing. While Starz’s The Spanish Princess recasts Katherine of Aragon’s story through the contemporary lens of #MeToo and #BlackLivesMatter, it nevertheless borrows from Shakespeare and Vives’ construction of queenly whiteness at the expense of racial others.