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Examines all aspects of Catherine the Great's life and career, focusing on her role as mother, lover, and ruler during her reign as Empress of Russia from 1762 to 1796.
"With insight, humor, and candor, Catherine presents her eyewitness account of history, from her whirlwind entry into the Russian court in 1744 at age fourteen as the intended bride of Empress Elizabeth I's nephew, the eccentric drunkard and future Peter II, to her unhappy marriage; from her two children, several miscarriages, and her and Peter's numerous affairs to the political maneuvering that enabled Catherine to seize the throne from him in 1762." "Catherine's eye for telling details makes for compelling reading as she describes the dramatic fall and rise of her political fortunes."--BOOK JACKET.
Published shortly after the death of Catherine the Great, this 1800 volume offers a detailed look at her life.
Catherine the Great (1729-1796) wrote over two dozen plays and operettas, but not until this edition has a complete translation of any of them been available to an English- speaking readership. Oh, These Times (1772) is a satirical attack on many vices Catherine wished to root out from her society: religious hypocrisy, superstition and slander. The main character, Mrs. Pious, is a superficially religious old woman who resembles Moliere's Tartuffe. Catherine again sets her sights on superstition in The Siberian Shaman (1786), this time by satirizing shamanism as a deceitful profession which preys on the gullible. This play was part of a group of three plays usually known as Catherine's "anti-masonic" trilogy, written as a warning against the growing influence of the freemasons. In a comprehensive introduction, Lurana Donnels O'Malley relates the plays to Catherine's status and philosophy.
Contains a history of Catherine II, Empress of Russia.
In this newly-translated excerpt from his five-volume "Course", Kliuchevsky (1841-1911) provides a colourful description of Russian court life in the 18th century, a dramatic narrative of the coup d'etat that brought Catherine II to power, a portrait of the empress herself, and an analysis of her foreign conquests and her major internal initiatives. While Kliuchevsky is critical of Catherine, he draws upon her memoirs and other writings and the accounts of her contemporaries to achieve a well-rounded and deeply human analysis of her character and personality. It is an extraordinary act of historical re-creation of the sort that brought Kliuchevsky such renown in his own time, and it remains so lifelike that it fairly leaps off the page. Kliuchevsky's examination of Western influence in Catherine's reign leads him to questions that were of urgent significance for Russia's development in his own day, and have remained so ever since: how to use Western ideas and practices to improve and enrich Russian life, without turning them into idle fashions or political bludgeons, and where to find the social leadership capable of performing such a delicate task.