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Reproduction of the original.
This gripping historical novel brings to life the story of Harold Godwinson, the last crowned Anglo-Saxon king of England. Harold's rise to power, from a member of a prominent family with ties to Cnut the Great to a powerful earl, is chronicled in vivid detail. When King Edward the Confessor dies without an heir, the Witenagemot chooses Harold to succeed him, making him the first English monarch to be crowned in Westminster Abbey.
King Harold Godwineson is one of history's shadowy figures, known mainly for his defeat and death at the Battle of Hastings. His true status and achievements have been overshadowed by the events of October 1066 and by the bias imposed by the Norman victory. In truth, he deserves to be recalled as one of the greatest rulers. Harold: The Last Anglo-Saxon King sets out to correct this distorted image by presenting Harold's life in its proper context, offering the first full-length critical study of his career in the years leading up to 1066. Ian Walker's carefully researched critique allows the reader to realistically assess the lives of both Harold and his rival William, significantly enhancing our knowledge of both.
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A major re-examination of an important period in British history
Harold II is chiefly remembered today, perhaps unfairly, for the brevity of his reign and his death at the Battle of Hastings. The papers collected here seek to shed new light on the man and his milieu before and after that climax. They explore the long career and the dynastic network behind Harold Godwinesson's accession on the death of King Edward the Confessor in January 1066, looking in particular at the important questions as to whether Harold's kingship was opportunist or long-planned; a usurpation or a legitimate succession in terms of his Anglo-Scandinavian kinships? They also examine the posthumous legends that Harold survived Hastings and lived on as a religious recluse. The essays in the second part of the volume focus on the Bayeux Tapestry, bringing out the small details which would have resonated significantly for contemporary audiences, both Norman and English, to suggest how they judged Harold and the other players in the succession drama of 1066. Other aspects of the Tapestry are also covered: the possible patron and locations the Tapestry was produced for; where and how it was designed; and the various sources - artistic and real - employed by the artist.GALE OWEN-CROCKER is Professor of Anglo-Saxon Culture at the University of Manchester.