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Examines how Richard came to power in fifteenth-century Britain and attempts to reconcile his ruthless political actions with his beneficent rule.
A major new biography of the young Richard III.
The three Richards who ruled England in the Middle Ages were among the most controversial and celebrated of its rulers. Richard I ('Coeur de Lion', 1189-99) was a great crusading hero; Richard II (1377-99) was an authoritarian aesthete deposed by his cousin, Henry IV, and murdered; while Richard III (1483-85), as the murderer of his nephews, 'The Princes in the Tower', was the most notorious villain in English history. This highly readable joint biography shows how much the three kings had in common, apart from their names. All were younger sons of monarchs, not expected to come to the throne; all failed to leave a legitimate heir, causing instability on their deaths; all were cultured and pious; and all died violently. All have attracted accusations but also fascination. In comparing them, Nigel Saul tells three gripping stories and shows what it took to be a medieval king.
A Wolfson History Prize Finalist A New Statesman Book of the Year A Sunday Times Book of the Year “Timely and authoritative...I enjoyed it immensely.” —Philip Pullman “If you care about books, and if you believe we must all stand up to the destruction of knowledge and cultural heritage, this is a brilliant read—both powerful and prescient.” —Elif Shafak Libraries have been attacked since ancient times but they have been especially threatened in the modern era, through war as well as willful neglect. Burning the Books describes the deliberate destruction of the knowledge safeguarded in libraries from Alexandria to Sarajevo, from smashed Assyrian tablets to the torching of the Li...
This fascinating text provides a first-hand account of the exploits of Richard the Lionheart, one of England's most heroic and enigmatic monarchs. Written by the contemporary chronicler Richard of Devizes, it blends historical fact with colourful anecdotes and vivid descriptions of the people and places of medieval England. It is accompanied by Richard of Cirencester's influential Description of Britain, which provides a detailed account of life in Roman Britain. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
"Eighteenth- and nineteenth-century historians such as Hume, Gibbon and Stubbs criticized Richard for his neglect of domestic government and policy, and cast him as a careless ruler and bad husband."--BOOK JACKET. "Harnessing the latest sources and interpretations, John Gillingham provides a new assessment of Richard I, looking at what matters in history as well as what matters in legend."--BOOK JACKET.
A message, a general, and an impossible journey... Four decades into the future, America is spotted with smoggy, military-ruled cities. Economic failure, riots, and war have poisoned the land. In northern Michigan, Richard Braxton lives with his friends. When a newcomer arrives, he assumes the boy is another spy for the transhumans. But when the outsider tells him of a coming war and an unstoppable army, Richard is plunged into a journey battling the horrors of a country left in ruins.
Considers the theatrical fortunes of Richard II from its politically controversial beginnings on the Elizabethan and Restoration stage, to its various later interpretations responding to 19th- and 20th-century tastes and attitudes. A wide range of performances is documented and discussed. These illustrate the ways in which different theatres and companies have staged the play by cutting, restructuring or adding to Shakepeare's script to highlight spectacle, the personality of the King, the nature of authority and the place of Richard in the overall sweep of English history.