Perkin Warbeck

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Warbeck, Perkin,

1474?–1499, pretender to the English throne, b. Tournai. He lived in Flanders and later in Portugal and arrived in Ireland in the employ of a silk merchant in 1491. There adherents of the Yorkist party persuaded him to impersonate Richard, duke of York, the younger brother of Edward VEdward V,
1470–83?, king of England (1483), elder son of Edward IV and Elizabeth Woodville. His father's death (1483) left the boy king the pawn of the conflicting ambitions of his paternal uncle, the duke of Gloucester (later Richard III) and his maternal uncle, Earl
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 of England. As children, the royal brothers had been imprisoned in the Tower of London and subsequently disappeared, presumably murdered. Warbeck's claim was supported by Holy Roman Emperor Maximilian I, by James IV of Scotland, and by Margaret of Burgundy, sister of Edward IV (and thus Richard's aunt) and the chief supporter of the Yorkist exiles. Warbeck's attempt to invade England in 1495 failed, and he went to Scotland where he married Catherine Gordon, a cousin of James IV. In 1497 Warbeck landed in Cornwall, proclaimed himself Richard IV, and raised a rebel army. His forces were met by those of Henry VII at Exeter, and the pretender fled. He was captured, admitted the whole story of his adventure, and was imprisoned. In 1499 he was hanged for plotting against the king.


See biographies by J. Gairdner (in his History of the Life and Reign of Richard the Third, 1898, repr. 1969) and A. Wroe (2003).

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References in periodicals archive ?
In Ford's The Broken Heart and Perkin Warbeck, plays with the highest number of feminine endings, simple endings, such as the LESson, much BETter, predominate; they are four to six times more frequent than compound endings, such as adMIRE him or shall FIND us.
(21) Mary Shelley's The Fortunes of Perkin Warbeck (1830) also contains a very strong reappraisal of the merits of chivalry.
Published in 1830, Mary Wollstonecraft Shelley's second and last historical romance, The Fortunes of Perkin Warbeck, elicited reviews that questioned not only her legitimacy as a historical romancer, but also the damaging effects her "feminine" imaginative excesses could have on both the historical record and the literary establishment.
They favored the Lancastrians over the Yorkists, and later supported the impostors Lambert Simnel and Perkin Warbeck, as well as a bizarre plot to assassinate Henry VII.
Vintage has brought out Ann Wroe's highly recommended Perkin: A Story of Deception ([pounds sterling]8.99) which investigates the rise and fall of Perkin Warbeck, who claimed to be Richard of York, one of the 'two princes in the Tower, and Peter Ackroyd's Albion: The Origins of the English Imagination ([pounds sterling]12.99).
Lidia Garbin analyzes the influence of Walter Scott on Shelley's historical novels, especially Perkin Warbeck. Shelley could read a Scott novel in a day, and Garbin writes that "we cannot understand Perkin Warbeck unless we also see that it stands in Scott's shadow" (159).
Having taken refuge in the Tower as a child, while his father, Henry VII, took on the Pretender Perkin Warbeck, Henry had more reason than most to fear such a violent uprising.
John Ford's Perkin Warbeck is the last play in the volume, `a Protestant commentary on his own political world disguised as a chronicle history of the late fifteenth century' (p.
A major example of the consequent ambiguity is Bacon's treatment of the royal pretenders of Henry's reign, Lambert Simnel and Perkin Warbeck. This is the part of the work which is of most interest to us, not only because of its literary quality but also because of its self-reflexiveness.
The notes to Valperga and to Perkin Warbeck usefully supply information that clarifies Mary Shelley's sometimes congested historical exposition.
Similarly a study of the tragic vision of kingship in Shakespeare's history plays (1975) as rendering redundant because reactionary the comical history of plays such as Sir John Oldcastle leads inexorably to a further essay on Perkin Warbeck (1977) as exemplifying a troubled preoccupation amongst Stuart dramatists with the nature of kingship in its ideal manifestations as not necessarily justified by either conquest or divine right.