This chapter provides a survey of the most common scholarly assumptions about the nature of a history play – that it is tragic, historically accurate, relates to a broader nationalistic agenda and that exclusion of the female is fundamental to the genre – and looks at how reading plays by Shakespeare and his contemporaries through the lens of their most prominent female characters troubles these preconceptions. It first explores how the sub-genre of romantic histories challenges the assumption that a history play is concerned with historical accuracy. Reading Shakespeare’s co-authored Edward III as an example of this genre demonstrates its influence on the rest of his canon. It then re-evaluates the stereotype that foreign characters – especially foreign female characters – are always a threat against which the English national identity can be defined by contrast. It takes Margaret of Anjou as a case study in reading female characters not as women but as dramatic devices. The final section looks again to the tone of the plays to unpick how scenes of overwhelming female emotion can be seen as essential features of the history play genre and part of what contributed to the genre’s popularity in the eras when it was most frequently performed.

This essay considers the influence and reception of the writings of Christine de Pizan, whose career was caught up in the Anglo-French conflict of the Hundred Yearsߣ War, as illustrated by her LߣEpistre dߣOthéa, a didactic treatise on chivalry and virtue, and her autobiographical LߣAdvision Christine. Warren explores the shifting significance of the Othéa during the fifteenth and sixteenth centuries, showing that Stephen Scropeߣs English translation reduced female agency and power, changes that reflected wider cultural anxieties concerning female lineage and virtue in the context of Lancastrian claims to the throne. The essay also explores Christineߣs connections to two other powerful women: Joan of Arc and Margaret of Anjou. By reworking Christineߣs treatments of women to reduce their political power and independent wisdom, translators of Christineߣs works also contained the political threats represented by powerful women. Strikingly, depictions of Christine as author shift her context from the court to the cloister, reaffirming traditionally gendered views of women even while her works continued to be circulated in England.