Bess Hardwick, the fifth daughter of an impoverished Derbyshire nobleman, did not have an auspicious start in life. Widowed at sixteen, she nonetheless outlived four monarchs, married three more times, built the great house at Chatsworth, and died one of the wealthiest and most powerful women in English history.In 1527 England was in the throes of violent political upheaval as Henry VIII severed all links with Rome. His daughter, Queen Mary, was even more capricious and bloody, only to be followed by the indomitable and ruthless Gloriana, Elizabeth I. It could not have been more hazardous a period for an ambitious woman; by the time Bess's first child was six, three of her illustrious godparents had been beheaded.Using journals, letters, inventories, and account books, Mary S. Lovell tells the passionate, colorful story of an astonishingly accomplished woman, among whose descendants are counted the dukes of Devonshire, Rutland, and Portland, and, on the American side, Katharine Hepburn.

    Their findings demonstrate the variety and complexity of black African life in fifteenth and sixteenth-century Europe, and how it was affected by Renaissance ideas and conditions.

    We discover what the perfumes found in Tutankhamen's tomb would have smelt like, what made the medieval woman so synonymous with "the lily and the rose," and where the most fashionable place was for a woman to buy perfume in the 18th century. In the 16th and 17th century the devil reputedly carried a looking glass, and the most expensive cosmetics could kill. A century later, Beau Brummel recommended the scent of freshly aired linen as an appropriate perfume for a gentleman, and Napoleon himself doused himself in quantities of cologne. This richly illustrated book also includes a wide selection of modernized recipes for those wishing to experience some of the cosmetics or perfumes used by our ancestors.

    Although the Granada riot was a local phenomenon that was soon contained, subsequent widespread rebellion provided the Christian government with an excuse—or justification, as its leaders saw things—to embark on the systematic elimination of the Islamic presence from Spain, as well as from the Iberian Peninsula as a whole, over the next hundred years.Picking up at the end of his earlier classic study, Islamic Spain, 1250 to 1500— which described the courageous efforts of the followers of Islam to preserve their secular, as well as sacred, culture in late medieval Spain—L. P. Harvey chronicles here the struggles of the Moriscos. These forced converts to Christianity lived clandestinely in the sixteenth century as Muslims, communicating in aljamiado— Spanish written in Arabic characters. More broadly, Muslims in Spain, 1500 to 1614, tells the story of an early modern nation struggling to deal with diversity and multiculturalism while torn by the fanaticism of the Counter-Reformation on one side and the threat of Ottoman expansion on the other. Harvey recounts how a century of tolerance degenerated into a vicious cycle of repression and rebellion until the final expulsion in 1614 of all Muslims from the Iberian Peninsula.Retold in all its complexity and poignancy, this tale of religious intolerance, political maneuvering, and ethnic cleansing resonates with many modern concerns. Eagerly awaited by Islamist and Hispanist scholars since Harvey's first volume appeared in 1990, Muslims in Spain, 1500 to 1614, will be compulsory reading for student and specialist alike. “The year’s most rewarding historical work is L. P. Harvey’s Muslims in Spain 1500 to 1614, a sobering account of the various ways in which a venerable Islamic culture fell victim to Christian bigotry. Harvey never urges the topicality of his subject on us, but this aspect inevitably sharpens an already compelling book.”—Jonathan Keats, Times Literary Supplement

    Bringing together the complete body of Marlowe's poetry--including Ovid's Elegies, The Passionate Shepherd to His Love, Lucan's First Book, Hero and Leander, and a Latin epitaph on the jurist Sir Roger Manwood--the book also incorporates related works by other writers. These ancillary selections include Sir John Davies's Epigrams, Renaissance response poems to The Passionate Shepherd, and continuations of Hero and Leander by George Chapman and Henry Petowe. By presenting Marlowe's works in the collaborative literary context of Renaissance England, the editors reveal his considerable influence on the literature of that period and on future writings. Patrick Cheney, a leading authority on Marlowe's work, provides a clear, informed, and in-depth introduction that is firmly grounded in modern criticism and current scholarship, while classical and Renaissance scholar Brian J. Striar offers a helpful exploration of the practice of verse translation in Marlowe's work. Extensive annotations throughout give readers background on both the individual poems and on the cultural context in which they were produced. Ideal for courses in Renaissance poetry, The Collected Poems of Christopher Marlowe is an essential resource for students and other readers striving to understand Marlowe's role as a pioneering poet-playwright.

    Richard Brassey's Brilliant Brits series covers famous English personalities, combining colorful drawings, lively captions, and interesting trivia to create a fascinating glimpse into the life of each figure covered.

    Those blackface performances established dynamic theatrical conventions that were repeated from play to play, plot to plot, congealing over time and contributing to English audiences' construction of racial difference. Vaughan discusses non-canonical plays, grouping of scenes, and characters that highlight the most important conventions - appearance, linguistic tropes, speech patterns, plot situations, the use of asides and soliloquies, and other dramatic techniques - that shaped the ways black characters were 'read' by white English audiences. In plays attended by thousands of English men and women from the sixteenth century to the end of the eighteenth, including Titus Andronicus, Othello and Oroonoko, blackface was a polyphonic signifier that disseminated distorted and contradictory, yet compelling, images of black Africans during the period in which England became increasingly involved in the African slave trade.