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“One of the most satisfying biographies of an English king: it is ample, convincing and well written”—from the acclaimed author of The House of Medici (The Times Literary Supplement). Christopher Hibbert delivers a superbly detailed picture of the life and times of George IV including his exorbitant spending on his homes, his clothes, and his women; his patronage of the arts; his “illegal” marriage to Catholic Mrs. Fitzherbert, and lesser known facts such as his generous charity donations and his witty one-liners, including one he uttered when he met his bride-to-be (Caroline of Brunswick) for the first time: “Harris, I am not well, fetch me a brandy.” George IV was the son of George III (who went insane and inspired The Madness of King George) and was the founder of the prestigious King’s College in London. “A delight to read . . . an enormously enjoyable and skillful portrait.” —Philip Ziegler, The Spectator “Christopher Hibbert’s George IV is at once soundly based on research in the Royal Archives at Windsor and a rollicking good read. I found it invaluable when I was researching The Unruly Queen, my life of George IV’s wife, Queen Caroline, and I recommend it to anyone interested by George IV’s flamboyant and outrageous personality.” —Flora Fraser, author of Flora Macdonald: “Pretty Young Rebel”
The real life story of the Plantagenet ruler, by “the most remarkable medieval historian of our time” (The Times, London). The talented, confident, and intelligent son of John of Gaunt, Henry IV started his reign as a popular and charismatic king after he dethroned the tyrannical and wildly unpopular Richard II. But six years into his reign, Henry had survived eight assassination and overthrow attempts. Having broken God’s law of primogeniture by overthrowing the man many people saw as the chosen king, Henry IV left himself vulnerable to challenges from powerful enemies about the validity of his reign. Even so, Henry managed to establish the new Lancastrian dynasty and a new rule of law—in highly turbulent times. In this book, noted historian Ian Mortimer, bestselling author of The Time Traveler’s Guide to Medieval England and The Time Traveler’s Guide to Elizabethan England, goes beyond the legend portrayed in Shakespeare’s history play, and explores the political and social forces that transformed Henry IV from his nation’s savior to its scourge.
Is King Lear an autonomous text, or a rewrite of the earlier and anonymous play King Leir? Should we refer to Shakespeare’s original quarto when discussing the play, the revised folio text, or the popular composite version, stitched together by Alexander Pope in 1725? What of its stage variations? When turning from page to stage, the critical view on King Lear is skewed by the fact that for almost half of the four hundred years the play has been performed, audiences preferred Naham Tate's optimistic adaptation, in which Lear and Cordelia live happily ever after. When discussing King Lear, the question of what comprises ‘the play’ is both complex and fragmentary. These issues of identity and authenticity across time and across mediums are outlined, debated, and considered critically by the contributors to this volume. Using a variety of approaches, from postcolonialism and New Historicism to psychoanalysis and gender studies, the leading international contributors to King Lear: New Critical Essays offer major new interpretations on the conception and writing, editing, and cultural productions of King Lear. This book is an up-to-date and comprehensive anthology of textual scholarship, performance research, and critical writing on one of Shakespeare's most important and perplexing tragedies. Contributors Include: R.A. Foakes, Richard Knowles, Tom Clayton, Cynthia Clegg, Edward L. Rocklin, Christy Desmet, Paul Cantor, Robert V. Young, Stanley Stewart and Jean R. Brink
Coming to Terms challenges conventional thinking about Aboriginal title in South Australia. It does so by examining the legal consequences of provisions in the State's founding documents that reserve or protect Aboriginal rights to land.
This lively and erudite cultural history of Scotland, from the Jacobite defeat of 1745 to the death of an icon, Sir Walter Scott, in 1832, examines how Scottish identity was experienced and represented in novel ways. Weaving together previously unpublished archival materials, visual and material culture, dress and textile history, Viccy Coltman re-evaluates the standard clichés and essentialist interpretations which still inhibit Scottish cultural history during this period of British and imperial expansion. The book incorporates familiar landmarks in Scottish history, such as the visit of George IV to Edinburgh in August 1822, with microhistories of individuals, including George Steuart, a London-based architect, and the East India Company servant, Claud Alexander. It thus highlights recurrent themes within a range of historical disciplines, and by confronting the broader questions of Scotland's relations with the rest of the British state it makes a necessary contribution to contemporary concerns.
Of all the British monarchs who have claimed that they have ruled the seas, only one, King William IV, has been a truly professional seafarer. Known as the "Sailor King" in his own lifetime, he saw himself as a naval officer who happened to become the sovereign rather than a monarch who had been a naval officer. His life presents an appealing, if sometimes shocking character. His life in the Royal Navy was fraught with crisis: rivalries, doomed love affairs, extravagance and rebelliousness. Often he seems a Hogarthian character, or a nautical version of the Regency rake. Yet, while many mocked or despised him, there were those who loved him. And, when he came to the throne and was all but swept away by the tide of the Age of Reform, he faced it with resolution and survived with honour. He had overcome the pressures and contradictions of a royal upbringing, to end his days a king who was not only loved but admired for setting an unstable monarchy on an even keel for the long reign of his niece Victoria which followed his.