This is a page-turning, revisionist history of the villainised and misunderstood Mary Tudor, the first queen of England.

    The classic play about Sir Thomas More, the Lord chancellor who refused to compromise and was executed by Henry VIII.

    Acclaimed historian G. J. Meyer reveals the flesh-and-bone reality in all its wild excess.In 1485, young Henry Tudor, whose claim to the throne was so weak as to be almost laughable, crossed the English Channel from France at the head of a ragtag little army and took the crown from the family that had ruled England for almost four hundred years. Half a century later his son, Henry VIII, desperate to rid himself of his first wife in order to marry a second, launched a reign of terror aimed at taking powers no previous monarch had even dreamed of possessing. In the process he plunged his kingdom into generations of division and disorder, creating a legacy of blood and betrayal that would blight the lives of his children and the destiny of his country.The boy king Edward VI, a fervent believer in reforming the English church, died before bringing to fruition his dream of a second English Reformation. Mary I, the disgraced daughter of Catherine of Aragon, tried and failed to reestablish the Catholic Church and produce an heir. And finally came Elizabeth I, who devoted her life to creating an image of herself as Gloriana the Virgin Queen but, behind that mask, sacrificed all chance of personal happiness in order to survive.  The Tudors weaves together all the sinners and saints, the tragedies and triumphs, the high dreams and dark crimes, that reveal the Tudor era to be, in its enthralling, notorious truth, as momentous and as fascinating as the fictions audiences have come to love.

    Illustrations.

    Think of Hamlet, trapped in indecision, or Macbeth’s merciless and ultimately self-destructive ambition, or the Machiavellian rise and short reign of Richard III. They are so vital, so alive and real that we can see aspects of ourselves in them. But their world was at once familiar and nothing like our own. In this brilliant work of historical reconstruction Neil MacGregor and his team at the British Museum, working together in a landmark collaboration with the Royal Shakespeare Company and the BBC, bring us twenty objects that capture the essence of Shakespeare’s universe. A perfect complement to A History of the World in 100 Objects, MacGregor’s landmark New York Times bestseller, Shakespeare’s Restless World highlights a turning point in human history. This magnificent book, illustrated throughout with more than one hundred vibrant color photographs, invites you to travel back in history and to touch, smell, and feel what life was like at that pivotal moment, when humankind leaped into the modern age. This was an exhilarating time when discoveries in science and technology altered the parameters of the known world. Sir Francis Drake’s circumnavigation map allows us to imagine the age of exploration from the point of view of one of its most ambitious navigators. A bishop’s cup captures the most sacred and divisive act in Christendom. With A History of the World in 100 Objects, MacGregor pioneered a new way of telling history through artifacts. Now he trains his eye closer to home, on a subject that has mesmerized him since childhood, and lets us see Shakespeare and his world in a whole new light.

    But, as Leanda de Lisle’s gripping new history reveals, they are a family still more extraordinary than the one we thought we knew.The Tudor canon typically starts with the Battle of Bosworth in 1485, before speeding on to Henry VIII and the Reformation. But this leaves out the family’s obscure Welsh origins, the ordinary man known as Owen Tudor who would fall (literally) into a Queen’s lap—and later her bed. It passes by the courage of Margaret Beaufort, the pregnant thirteen-year-old girl who would help found the Tudor dynasty, and the childhood and painful exile of her son, the future Henry VII. It ignores the fact that the Tudors were shaped by their past—those parts they wished to remember and those they wished to forget.By creating a full family portrait set against the background of this past, de Lisle enables us to see the Tudor dynasty in its own terms, and presents new perspectives and revelations on key figures and events. De Lisle discovers a family dominated by remarkable women doing everything possible to secure its future; shows why the princes in the Tower had to vanish; and reexamines the bloodiness of Mary’s reign, Elizabeth’s fraught relationships with her cousins, and the true significance of previously overlooked figures. Throughout the Tudor story, Leanda de Lisle emphasizes the supreme importance of achieving peace and stability in a violent and uncertain world, and of protecting and securing the bloodline.Tudor is bristling with religious and political intrigue but at heart is a thrilling story of one family’s determined and flamboyant ambition.

    So often viewed in her relationships with men, the Virgin Queen is portrayed here as the product of women: the mother she lost so tragically, the female subjects who worshiped her, and the peers and intimates who loved, raised, challenged, and sometimes opposed her.In vivid detail, Borman presents Elizabeth’s bewitching mother, Anne Boleyn, eager to nurture her new child, only to see her taken away and her own life destroyed by damning allegations--which taught Elizabeth never to mix politics and love. Kat Astley, the governess who attended and taught Elizabeth for almost thirty years, invited disaster by encouraging her charge into a dangerous liaison after Henry VIII’s death. Mary Tudor (“Bloody Mary”) envied her younger sister’s popularity and threatened to destroy her altogether. And animosity drove Elizabeth and her cousin Mary Queen of Scots into an intense thirty-year rivalry that could end only in death.Elizabeth’s Women contains more than an indelible cast of characters. It is an unprecedented account of how the public posture of femininity figured into the English court, the meaning of costume and display, the power of fecundity and flirtation, and how Elizabeth herself, long viewed as the embodiment of feminism, shared popular views of female inferiority and scorned and schemed against her underlings’ marriages and pregnancies.Brilliantly researched and elegantly written, Elizabeth’s Women is a unique take on history’s most captivating queen and the dazzling court that surrounded her.

    His monumental decision to split from Rome and the Catholic Church was one that would forever shape the religious and political landscape of Britain.Combining magnificent storytelling with an extraordinary grasp of the pleasures and perils of power, Margaret George delivers a vivid portrait of Henry VIII and Tudor England and the powerhouse of players on its stage: Thomas Cromwell, Cardinal Wolsey, Thomas More and Anne Boleyn. It is also a narrative told from an original perspective: Margaret George writes from the King's point of view, injecting irreverent comments from Will Somers - Henry's jester and confidant.

    And on learning the truth about her lascivious and despotic father, Henry VIII, she vows never to relinquish control to any man. But this avowal doesn't prevent Elizabeth from pursuing a torrid love affair with her horsemaster, Robin Dudley -- described with near-shocking candor -- as too are Anne's graphic trysts with a very persistent and lustful Henry. Blending a historian's attention to accuracy with a novelist's artful rendering, Maxwell weaves compelling descriptions of court life and devastating portraits of actual people into her naughty, page-turning tale. The result is a masterpiece of historical fiction -- so prophetic of our time that one would think it were ripped from today's headlines.

    Her royal birth gave her claim to the thrones of two nations; her marriage to the young French dauphin promised to place a third glorious crown on her noble head. Instead, Mary Stuart became the victim of her own impulsive heart, scandalizing her world with a foolish passion that would lead to abduction, rape, and even murder. Betrayed by those she most trusted, she would be lured into a deadly game of power, only to lose to her envious and unforgiving cousin, Elizabeth I. Here is her story, a queen who lost a throne for love, a monarch pampered and adored even as she was led to her beheading, the unforgettable woman who became a legend for all time.

    Why is Anne so compelling? Why has she inspired such extreme reactions? What did she really look like? Was she the flaxen-haired martyr of Romantic paintings or the raven-haired seductress of twenty-first century portrayals? (Answer: neither.) And perhaps the most provocative questions concern Anne's death more than her life. How could Henry order the execution of a once beloved wife? Drawing on scholarship and critical analysis, Susan Bordo probes the complexities of one of history's most infamous relationships.Bordo also shows how generations of polemicists, biographers, novelists, and filmmakers imagined and reimagined Anne: whore, martyr, cautionary tale, proto-"mean girl," feminist icon, and everything in between. In this lively book, Bordo steps off the well-trodden paths of Tudoriana to expertly tease out the human being behind the competing mythologies.

    It is not a political, still less a personal, biography of the queen; instead it reappraises her role in government and in the nation, and explores the ways in which she exercised her power. Adept at avoiding the pitfalls of sentiment and anachronism alike, Christopher Haigh examines Elizabeth in terms of her power rather than her policies, exploring her relations with the statesmen of her time and with the key institutions of 16th century political life: the Church, the nobility, the Privy CounciL the Royal Court, Parliament, military and naval commanders, and the people of England.

    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.

    But few books have brought to life more vividly the exquisite texture of two women's rivalry, spurred on by the ambitions and machinations of the forceful men who surrounded them. The drama has terrific resonance even now as women continue to struggle in their bid for executive power.Against the backdrop of sixteenth-century England, Scotland, and France, Dunn paints portraits of a pair of protagonists whose formidable strengths were placed in relentless opposition. Protestant Elizabeth, the bastard daughter of Anne Boleyn, whose legitimacy had to be vouchsafed by legal means, glowed with executive ability and a visionary energy as bright as her red hair. Mary, the Catholic successor whom England's rivals wished to see on the throne, was charming, feminine, and deeply persuasive. That two such women, queens in their own right, should have been contemporaries and neighbours sets in motion a joint biography of rare spark and page-turning power.

    This book helps to restore full humanity to these six fascinating women by applying the insights of feminist scholarship. Here they appear not as stereotypes, not simply as victims, but as lively, intelligent noblewomen doing their best to survive in a treacherous court. Divorced, Beheaded, Survived takes a revisionist look at 16th-century English politics (domestic and otherwise), reinterpreting the historical record in perceptive new ways. For example, it shows Ann Boleyn not as a seductress, but as a sophisticate who for years politely suffered what we would now label royal sexual harassment. It presents evidence that the princess Anne of Cleves, whom Henry declared ugly and banished from his bed, was in fact a pretty woman who agreed to the king's whim as her best hope for happiness.