It is the extraordinary tale of an exceptional woman, Katherine Swynford, who became first the mistress and later the wife of John of Gaunt, Duke of Lancaster.Katherine Swynford’s charismatic lover was one of the most powerful princes of the 14th century, the effective ruler of England behind the throne of his father Edward III in his declining years, and during the minority of his nephew, Richard II. Katherine herself was enigmatic and intriguing, renowned for her beauty, and regarded by some as dangerous. Her existence was played out against the backdrop of court life at the height of the age of chivalry and she knew most of the great figures of the time — including her brother-in-law, Geoffrey Chaucer. She lived through much of the Hundred Years War, the Black Death, and the Peasants’ Revolt. She knew loss, adversity, and heartbreak, and she survived them all triumphantly. Although Katherine’s story provides unique insights into the life of a medieval woman, she was far from typical in that age. She was an important person in her own right, a woman who had remarkable opportunities, made her own choices, flouted convention, and took control of her own destiny — even of her own public image. Weir brilliantly retrieves Katherine Swynford from the footnotes of history and gives her life and breath again. Perhaps the most dynastically important woman within the English monarchy, she was the mother of the Beauforts and through them the ancestress of the Yorkist kings, the Tudors, the Stuarts, and every other sovereign since — a legacy that has shaped the history of Britain.

    An alternative title, All is True, is recorded in contemporary documents, the title Henry VIII not appearing until the play's publication in the First Folio of 1623. Stylistic evidence indicates that individual scenes were written by either Shakespeare or his collaborator and successor, John Fletcher. It is also somewhat characteristic of the late romances in its structure. It is noted for having more stage directions than any of Shakespeare's other plays.[1]During a performance of Henry VIII at the Globe Theatre in 1613, a cannon shot employed for special effects ignited the theatre's thatched roof (and the beams), burning the original building to the ground.

    The authors made the claim that "All the History you can remember is in the Book," and, for most Brits, they were probably right. But it is their own unique interpretation of events that has made the book a classic; an uproarious satire on textbook history and a population's confused recollections of it.

    Asking and answering some very specific questions about what goes on in her novels, he reveals the inner workings of their greatness.In twenty short chapters, each of which explores a question prompted by Austen's novels, Mullan illuminates the themes that matter most in her beloved fiction. Readers will discover when Austen's characters had their meals and what shops they went to; how vicars got good livings; and how wealth was inherited. What Matters in Jane Austen? illuminates the rituals and conventions of her fictional world in order to reveal her technical virtuosity and daring as a novelist. It uses telling passages from Austen's letters and details from her own life to explain episodes in her novels: readers will find out, for example, what novels she read, how much money she had to live on, and what she saw at the theater.Written with flair and based on a lifetime's study, What Matters in Jane Austen? will allow readers to appreciate Jane Austen's work in greater depth than ever before.

    He drove his kingdom to the brink of civil war a dozen times in less than twenty years. He allowed his male lovers to rule the kingdom. He led a great army to the most ignominious military defeat in English history. His wife took a lover and invaded his kingdom, and he ended his reign wandering around Wales with a handful of followers, pursued by an army. He was the first king of England forced to abdicate his throne. Popular legend has it that he died screaming impaled on a red-hot poker, but in fact the time and place of his death are shrouded in mystery. His life reads like an Elizabethan tragedy, full of passionate doomed love, bloody revenge, jealousy, hatred, vindictiveness and obsession. He was Edward II, and this book tells his story. The focus here is on his relationships with his male 'favourites' and his disaffected wife, on his unorthodox lifestyle and hobbies, and on the mystery surrounding his death. Using almost exclusively fourteenth-century sources and Edward's own letters and speeches wherever possible, Kathryn Warner strips away the myths which have been created about him over the centuries, and provides a far more accurate and vivid picture of him than has previously been seen.

    Tolkien assembled in this new paperback edition were with one exception delivered as general lectures on particular occasions; and while they mostly arose out of Tolkien’s work in medieval literature, they are accessible to all. Two of them are concerned with Beowulf, including the well-known lecture whose title is taken for this book, and one with Sir Gawain and the Green Knight, given in the University of Glasgow in 1953.Also included in this volume is the lecture English and Welsh; the Valedictory Address to the University of Oxford in 1959; and a paper on Invented Languages delivered in 1931, with exemplification from poems in the Elvish tongues. Most famous of all is On Fairy-Stories, a discussion of the nature of fairy-tales and fantasy, which gives insight into Tolkien’s approach to the whole genre.The pieces in this collection cover a period of nearly thirty years, beginning six years before the publication of The Hobbit, with a unique ‘academic’ lecture on his invention (calling it A Secret Vice) and concluding with his farewell to professorship, five years after the publication of The Lord of the Rings.

    Highly respected and widely read author Isaac Asimov offers a fresh, easy-to-read approach to understanding the greatest writer of all time.Designed to provide the modern reader with a working knowledge of topics pertinent to Shakespeare's audience, this book explores, scene-by-scene, thirty-eight plays and two narrative poems, including their mythological, historical and geographical roots.

    Bradley put Shakespeare on the map for generations of readers and students for whom the plays might not otherwise have become 'real' at all" writes John Bayley in his foreword to this edition of Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear and Macbeth.Approaching the tragedies as drama, wondering about their characters as he might have wondered about people in novels or in life, Bradley is one of the most liberating in the line of distinguished Shakespeare critics. His acute yet undogmatic and almost conversational critical method has—despite fluctuations in fashion—remained enduringly popular and influential. For, as John Bayley observes, these lectures give us a true and exhilarating sense of "the tragedies joining up with life, with all our lives; leading us into a perspective of possibilities that stretch forward and back in time, and in our total awareness of things."

    As he did in his groundbreaking Explaining Hitler, he shakes up much that we thought we understood about a vital subject and renews our sense of excitement and urgency. He gives us a Shakespeare book like no other. Rather than raking over worn-out fragments of biography, Rosenbaum focuses on cutting-edge controversies about the true source of Shakespeare’s enchantment and illumination–the astonishing language itself. How best to unlock the secrets of its spell? With quicksilver wit and provocative insight, Rosenbaum takes readers into the midst of fierce battles among the most brilliant Shakespearean scholars and directors over just how to delve deeper into the Shakespearean experience–deeper into the mind of Shakespeare.Was Shakespeare the one-draft wonder of Shakespeare in Love? Or was he rather–as an embattled faction of textual scholars now argues–a different kind of writer entirely: a conscientious reviser of his greatest plays? Must we then revise our way of reading, staging, and interpreting such works as Hamlet and King Lear? Rosenbaum pursues key partisans in these debates from the high tables of Oxford to a Krispy Kreme doughnut shop in a strip mall in the Deep South. He makes ostensibly arcane textual scholarship intensely seductive–and sometimes even explicitly sexual. At an academic “Pleasure Seminar” in Bermuda, for instance, he examines one scholar’s quest to find an orgasm in Romeo and Juliet. Rosenbaum shows us great directors as Shakespearean scholars in their own right: We hear Peter Brook–perhaps the most influential Shakespearean director of the past century–disclose his quest for a “secret play” hidden within the Bard’s comedies and dramas. We listen to Sir Peter Hall, founder of the Royal Shakespeare Company, as he launches into an impassioned, table-pounding fury while discussing how the means of unleashing the full intensity of Shakespeare’s language has been lost–and how to restore it. Rosenbaum’s hilarious inside account of “the Great Shakespeare ‘Funeral Elegy’ Fiasco,” a man-versus-computer clash, illustrates the iconic struggle to define what is and isn’t “Shakespearean.” And he demonstrates the way Shakespearean scholars such as Harold Bloom can become great Shakespearean characters in their own right. The Shakespeare Wars offers a thrilling opportunity to engage with Shakespeare’s work at its deepest levels. Like Explaining Hitler, this book is destined to revolutionize the way we think about one of the overwhelming obsessions of our time.

    Lewis' The Discarded Image paints a lucid picture of the medieval world view, as historical and cultural background to the literature of the Middle Ages and Renaissance. It describes the image discarded by later ages as the medieval synthesis itself, the whole organization of their theology, science and history into a single, complex, harmonious mental model of the universe. This, Lewis' last book, was hailed as the final memorial to the work of a great scholar and teacher and a wise and noble mind.

    The director begins by explicating Shakespeare’s verse and prose, speeches and soliloquies, and naturalistic and heightened language to discover the essence of his characters. In the second section, Barton and the actors explore nuance in Shakespearean theater, from evoking irony and ambiguity and striking the delicate balance of passion and profound intellectual thought, to finding new approaches to playing Shakespeare’s most controversial creation, Shylock, from The Merchant of Venice. A practical and essential guide, Playing Shakespeare will stand for years as the authoritative favorite among actors, scholars, teachers, and students.

    The crown of England changed hands violently seven times as the great families of England fought to the death for power, majesty and the right to rule. Dan Jones completes his epic history of medieval England with a new book about the the Wars of the Roses - and describes how the Plantagenets, tore themselves apart and were finally replaced by the Tudors.With vivid descriptions of the battle of Towton, where 28,000 men died in a single morning, to Bosworth, where the last Plantagenet king was hacked down, this is the real story behind Shakespeare's famous history plays.

    Royal Panoply recaptures the event-filled, often dangerous, always engaging lives of England’s kings and queens, set against the backdrop of a thousand years of Britain’s past.

    He was the last king from the House of York, and his defeat at the Battle of Bosworth marked the culmination of the Wars of the Roses and the end of the Plantagenet dynasty. After the death of his brother King Edward IV, Richard briefly governed as regent for Edward's son King Edward V with the title of Lord Protector, but he placed Edward and his brother Richard in the Tower (see Princes in the Tower) and seized the throne for himself, being crowned on 6 July 1483.[Kindle]

    His reign was one of the most dramatic and important of the entire Middle Ages, leading to war and conquest on an unprecedented scale, and leaving a legacy of division between the peoples of Britain that has lasted from his day to our own.Edward I is familiar to millions as ‘Longshanks’, conqueror of Scotland and nemesis of Sir William Wallace (‘Braveheart’). Yet this story forms only the final chapter of the king’s astonishingly action-packed life. Earlier Edward had defeated and killed the famous Simon de Montfort in battle; travelled across Europe to the Holy Land on crusade; conquered Wales, extinguishing forever its native rulers, and constructing – at Conwy, Harlech, Beaumaris and Caernarfon – the most magnificent chain of castles ever created. He raised the greatest armies of the English Middle Ages, and summoned the largest parliaments; notoriously, he expelled all the Jews from his kingdom. The longest-lived of all England’s medieval kings, he fathered no fewer than fifteen children with his first wife, Eleanor of Castile, and after her death he erected the Eleanor Crosses – the grandest funeral monuments ever fashioned for an English monarch.In this book, Marc Morris examines afresh the forces that drove Edward throughout his relentless career: his character, his Christian faith, and his sense of England’s destiny – a sense shaped in particular by the tales of the legendary King Arthur. He also explores the competing reasons that led Edward’s opponents (including Llywelyn ap Gruffudd and Robert Bruce) to resist him, and the very different societies that then existed in Scotland, Wales and Ireland. The result is a sweeping story, immaculately researched yet compellingly told, and a vivid picture of medieval Britain at the moment when its future was decided.