The New Elizabethan Age

In the first half of the twentieth century, many writers and artists turnedto the art and received example of the Elizabethans as a means ofarticulating an emphatic (and anti-Victorian) modernity. By the middleof that century, this cultural neo-Elizabethanism had become absorbedwithin a broader mainstream discourse of national identity, heritage andcultural performance. Taking strength from the Coronation of a new, youngQueen named Elizabeth, the New Elizabethanism of the 1950s heralded anation that would now see its 'modern', televised monarch preside over animminently glorious and artistic age.This book provides the first in-depth investigation of New Elizabethanismand its legacy. With contributions from leading cultural practitioners andscholars, its essays explore New Elizabethanism as variously manifestin ballet and opera, the Coronation broadcast and festivities, nationalhistoriography and myth, the idea of the 'Young Elizabethan', celebrations ofair travel and new technologies, and the New Shakespeareanism of theatreand television. As these essays expose, New Elizabethanism was muchmore than a brief moment of optimistic hyperbole. Indeed, from moderndrama and film to the reinternment of Richard III, from the London Olympicsto the funeral of Margaret Thatcher, it continues to pervade contemporaryartistic expression, politics, and key moments of national pageantry.

This is the first of a new series of books that will tell the history of early modern England from the perspective of those living at the time. Norman Jones' fascinating account details both the individual preoccupations (such as illness and famine) and the larger historical changes (such as fears over the succession and the establishment of Protestantism) which dominated life during the 1560s.

England under Elizabeth I. A time of war and plague, politics and rebellion, personal heroism and religious fanaticism. When if you were born poor you stayed poor, and the thumbscrews and the rack could be the grim prelude to the executioner's block. But it was also an age that encouraged literary genius, global exploration, and timeless beauty. When the lowly privateer Francis Drake circumnavigated the globe with no reliable navigational instruments and only a drunken, mutinous crew for company. When the Queen's favourite, the wealthy and handsome Robert Dudley, was widely suspected of having killed his wife. And when only the machinations of ruthless intriguers like William Cecil and Francis Walsingham prevented Elizabeth's kingdom from descending into anarchy and political chaos. The Elizabethans is a panoramic, exhilarating depiction of an intensely colourful period by master-historian, A N Wilson. This is what life under Elizabeth I was really like.

The adventurers and merchants (as well as the poets and playwrights) of the Elizabethan age are legendary. This work by the eminent historian A. L. Rowse argues that, under Elizabeth I, England began its expansion and eventual enormous impact upon the world. In this era, England amplifed its ideas and influence on international affairs and it also expanded physically into Cornwall and Ireland, made first contact with Russia and the Canadian North, and opened trade with India and the Far East. This new edition includes an introduction by Michael Portillo.

It is hard to overestimate the importance of the contribution made by Dame Frances Yates to the serious study of esotericism and the occult sciences. To her work can be attributed the contemporary understanding of the occult origins of much of Western scientific thinking, indeed of Western civilization itself. The Occult Philosophy of the Elizabethan Age was her last book, and in it she condensed many aspects of her wide learning to present a clear, penetrating, and, above all, accessible survey of the occult movements of the Renaissance, highlighting the work of John Dee, Giordano Bruno, and other key esoteric figures. The book is invaluable in illuminating the relationship between occultism and Renaissance thought, which in turn had a profound impact on the rise of science in the seventeenth century. Stunningly written and highly engaging, Yates' masterpiece is a must-read for anyone interested in the occult tradition.

Sir Edward Coke (1552-1634), the first judge to strike down a law, gave us modern common law by turning medieval common law inside-out. Through his resisting strong-minded kings, he bore witness for judicial independence. Coke is the earliest judge still cited routinely by practicing lawyers. This book breaks new ground as the first scholarly biography of Coke, whose most recent general biography appeared in 1957, and draws revealingly on Coke's own papers and notebooks. The book covers Coke’s early life and career, to the end of the reign of Elizabeth I in 1603 (a second volume will cover Coke’s career under James I and Charles I). In particular, this book highlights Coke's close connection with the Puritans of England; his learning, legal practice, and legal theory; his family life and ambitious dealings; and the treason cases he prosecuted.

The Sunday Times bestseller Now a major BBC TV series presented by Andrew Marr

Societies and entire nations draw their identities from certain founding documents, whether charters, declarations, or manifestos. The Book of Common Prayer figures as one of the most crucial in the history of the English-speaking peoples. First published in 1549 to make accessible the devotional language of the late Henry the VIII's new church, the prayer book was a work of monumental religious, political, and cultural importance. Within its rituals, prescriptions, proscriptions, and expressions were fought the religious wars of the age of Shakespeare. This diminutive book--continuously reformed and revised--was how that age defined itself. In Shakespeare's Common Prayers, Daniel Swift makes dazzling and original use of this foundational text, employing it as an entry-point into the works of England's most celebrated writer. Though commonly neglected as a source for Shakespeare's work, Swift persuasively and conclusively argues that the Book of Common Prayer was absolutely essential to the playwright. It was in the Book's ambiguities and its fierce contestations that Shakespeare found the ready elements of drama: dispute over words and their practical consequences, hope for sanctification tempered by fear of simple meaninglessness, and the demand for improvised performance as compensation for the failure of language to fulfill its promises. What emerges is nothing less than a portrait of Shakespeare at work: absorbing, manipulating, reforming, and struggling with the explosive chemistry of word and action that comprised early modern liturgy. Swift argues that the Book of Common Prayer mediates between the secular and the devotional, producing a tension that makes Shakespeare's plays so powerful and exceptional. Tracing the prayer book's lines and motions through As You Like It, Hamlet, Twelfth Night, Measure for Measure, Othello, and particularly Macbeth, Swift reveals how the greatest writer of the age--of perhaps any age--was influenced and guided by its most important book.