History of Britain, Volume 1: At the Edge of the World? 3500 B.C.-1603 A.D.

Overview

The epic history of Britain from the landmark book and monumental, 14-part television series airing on the History channel

Simon Schama, one the most celebrated historians of our day, brings the history of Britain to dramatic life in this landmark work. Schama reanimates historical figures and events, and draws them skillfully into a powerful and profound narrative that combines passion and scholarship with a superb sense of storytelling.

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Overview

The epic history of Britain from the landmark book and monumental, 14-part television series airing on the History channel

Simon Schama, one the most celebrated historians of our day, brings the history of Britain to dramatic life in this landmark work. Schama reanimates historical figures and events, and draws them skillfully into a powerful and profound narrative that combines passion and scholarship with a superb sense of storytelling.

At the Edge of the World, the first volume of Schama’s monumental work, moves from the birth of civilization to the Norman Conquest. It spans the religious wars and turbulence of the Middle Ages, the outbreak of the Black Plague, the reign of Edward I, the intrigues of the Tudors, and the clash between Elizabeth I and Mary, Queen of Scots.

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Editorial Reviews

From Barnes & Noble
Simon Schama escorts readers through the tumultuous first 1,500 years of British history, much as he did onscreen as the host of the well-received History Channel miniseries. The journey stops along the way at such notable landmarks as the Norman Conquest, the Middle Ages, the horrors of the Black Death, and the seemingly endless Tudor conflicts. Schama, currently Old Dominion Professor of the Humanities at Columbia University, knows how to make the journey an educational yet entertaining one.
Hollywood Reporter
The History of Britain is enriched by grand language, the scenery of events, amazing truths, and wonderful, almost poetic imagery.
Washington Post
Schama, a master of big-picture topical narrative...marshals a wide range of material...handsome illustrations abound.
The New Republic
Schama's style is as assertive, zappy and peremptory as ever, with an added spice of devil-may-care-colloquillism...brave and ambitious.
—(Dec. 4, 2000)
Roy Porter
My literary discovery of the year...British history made so playful and seen through the eyes of today.
Los Angeles Times
NY Times Book Review
Schama's narrative is magnificent.
Publishers Weekly - Publisher's Weekly
One suspects that Schama harbors a secret desire to be the Venerable Bede, whom he describes as a "consummate English story-teller, an artful retailer of wonders, a writer of brilliantly imaginative prose." In earlier works on the French Revolution (Citizens) and the golden age of Holland (The Embarrassment of Riches), he perfected his balance: market appeal is never sacrificed to condescension. This new volume is a model of literate elegance, enlivened by good humor and bursts of pugilistic directness: "The Faerie had warts all right," he writes of Elizabeth I. His task is not easy: British national identity is no longer axiomatic. Schama steers away from a Churchillian litany of patriotic glories, and from the revisionist pieties of the Left. In practice, this means, that unlike Landscape and Memory and Dead Certainties, this is not a work of great conceptual boldness. Its strengths lie rather in the detail. From his opening chapter, in which a prehistoric Orkney community is described as a "seaside village," Schama is ever alert to the unexpected. We learn that Hadrian's wall, far from being an impregnable fence, was designed to control the flow of men and goods; that Saint Patrick was not Irish (he was "a Romano-British aristocrat" by birth); and that the Battle of Hastings, at six hours, was one of the longest of battles in medieval history. His book has all the hallmarks that he admires in Bede, his medieval forebear: vigor of language, the capacity to evoke and clear-eyed common sense. (Oct.) market. Copyright 2000 Cahners Business Information.
Library Journal
Readers should not be daunted by the ambitious timeframe of this first installment of Schama's (Rembrandt's Eyes) two-volume, popular history of Britain, which will accompany the History Channel's upcoming seven-part series. The author makes quick work of 3000 years of pre-Roman Britain, dispensing with the Iron Age in the first seven pages (roughly the same amount of space he grants the far racier trial and execution of Mary, Queen of Scots). This anecdote-driven narrative, complemented by 150 full-color illustrations and unencumbered by footnotes, steps on such familiar stones as the Norman Conquest, the War of the Roses, the Reformation, and the reign of Elizabeth I, whose death closes the account. Schama depicts a Roman encampment along Hadrian's Wall and the effects of the Black Death on 14th-century society, yet his eye is invariably drawn to the monarchy and nobility, whose deeds he describes in an engaging manner that only occasionally misfires (e.g., of Henry VIII, he notes that "you could practically smell the testosterone"). It is Schama's compelling, popular style, rather than new scholarship, that distinguishes this work from Michael Wood's In Search of England: Journeys into England's Past (Univ. of California, 2000) or Roy Strong's The Story of Britain (LJ 3/1/00), and the TV series will ensure demand. The second volume, A History of Britain: The Fate of Empire, is due in the spring of 2001. Recommended for public and academic libraries. (Index not seen.)--Richard Koss, "Library Journal" Copyright 2000 Cahners Business Information.
From The Critics
Ably narrated by Timothy West, Simon Schama's A History Of Britain is a superbly presented, highly recommended historical survey of Great Britain from 3500 B.C. to 1603 A.D. A deftly abridged audiobook version, this flawless production is the first volume of an epic two-part history showcasing the birth and growth of a nation as illustrated by vivid and compelling stories of early tribes and invasions, the Norman Conquest, religious wars, and monarchial struggles and sovereignties; the Black Plague, the growth of national identity in Wales and Scotland, religious wars, and the glorious reign of Elizabeth I which saw Britain emerge as a true world power. Running time: 8 hours.
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Product Details

  • ISBN-13: 9781559276368
  • Publisher: Macmillan Audio
  • Publication date: 11/28/2000
  • Format: Cassette
  • Edition description: Abridged
  • Pages: 8
  • Product dimensions: 4.62 (w) x 6.90 (h) x 1.11 (d)

Meet the Author

Simon Schama

Simon Schama has taught history at Cambridge, Oxford, and Harvard universities. Now professor of art history and history at Columbia University, Schama is also the award-winning author of The Embarrassment of Riches, Rembrandt's Eyes, and A History of Britain: At the Edge of the World. Born in London, he currently lives in upstate New York.

 

Timothy West is a versatile British actor noted for his great command on the classical stage and in several other mediums including radio, film and TV. He has appeared in several Shakespeare productions for the Royal Shakespeare Company. On television, he has appeared in Going Postal, Inspector Lewis, Not Going Out, Bleak House, and Agatha Christie: Poirot. Timothy read three volumes of A History of Britain for Macmillan Audio.

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Read an Excerpt

A History of Britain


By Simon Schama

Miramax Books

Copyright © 2000 Simon Schama
All right reserved.

ISBN: 0786866756


Chapter One


'Great Britain?' What was that? John Speed, tailor-turned map-maker and historian, must have had some idea, for in 1611 he published an atlas of sixty-seven maps of the English counties, Wales, Scotland and Ireland, loftily entitled The Theatre of the Empire of Great Britaine. An energetic opportunist, Speed was taking advantage of King James's widely advertised desire to be known, not as the Sixth of Scotland and First of England, but as monarch of Britain. The fancy of a British history had been given fresh authority by William Camden's great compilation of geography, the antiquarian chronicle, Britannia, already in its sixth edition by 1607. On its frontispiece sat the helmeted personification of the island nation, flanked by Neptune and Ceres, together with an emblem of British antiquity -- Stonehenge -- thought to have been built by the Romano-British hero Aurelius.

But Camden's erudite work was originally in Latin, a volume for the shelves of a gentleman's library. Speed was after the public, sensing the excitement of even armchair travel, the need of the country to fix its place in the world, to contemplate, simultaneously, its past and its present. So the atlas, produced by John Sudbury and George Humble's print shop in Pope's Head Alley, London, was not just a compilation of topographic information but a busy, animated production, full of comings and goings. Sites of historic interest, like the battlefields of the Wars of the Roses, were indicated by miniature sketches of horsemen and pikemen doing their worst; the colleges of Oxford and Cambridge by gowned scholars and coats of arms; royal palaces like Nonesuch and Windsor by elaborate pictorial illustration. On the map of Kent, ships, loaded with cargo, sailed up the Medway before Rochester Castle. Fifty towns were mapped for the first time, given their own insets, streets, markets and churches laid out for the prospective traveller or the proud resident. In this enterprising determination to be the first to provide a popular atlas for the new reign and the new century, the ex-tailor had no scruples about taking his shears to his predecessors. At least five of his maps of the English counties were pilfered more or less directly from the great Elizabethan cartographer Christopher Saxton (who had provided Burghley with his own pocket atlas) and another five from the English map-maker John Norden. For the single map of Scotland, which made good Speed's pretention of a British atlas, he relied on an earlier version by the Flemish cartographer and map-maker Gerardus Mercator, as well as on arcane information (Loch Ness never froze, horsemen speared salmon in the rivers) and on shameless flattery (the people being 'of good features, strong of body and courageous mien and in wars so virtuous that scarce any service of note hath been performed but they were the first and last in the field'). His eastern Ireland was so accurate that he may have gone there in person, but the west was obviously an exotic mystery, peopled by the medieval chronicler Gerard of Wales's fantasy that off the coast 'lay islands, some full of angels, some full of devils'.

A roughly stitched thing of many odd cloths and fragments though it was, Speed's map of Great Britain was not entirely a fake. The comments he inscribes on the reverse of the maps may sometimes have been recycled platitudes about the cleanness or foulness of the air. But just as often they spoke of a real journey, of a man who had taken his theodolite to the shires. There were days when he must have trotted out from some damply shadowed valley and found himself surveying the panorama of England. The landscape before him would not have been so very different from our own: crookedly framed fields (with far fewer individual strips than a century before), copses of standing trees, a distant flock of sheep, a wisp of wood smoke. At one such place -- the Vale of the Red Horse in southeast Warwickshire -- the prosaic Speed felt moved to reach for the hyperbole of the pastoral poets. The county was sharply divided by the river Avon. To the north was the semi-industrialized Forest of Arden, a country populated not by love-lorn Rosalinds and Celias but by impoverished charcoal-burners, woodland-gleaners, poachers and forge-workers on the verge of riot. But to the south was Feldon: 'champaign', rolling arable country, where the valley flats were planted with wheat and the gentle hills grazed by sheep. It was there, at just the point where the Cotswolds descend sharply, that Speed relates his rustic epiphany: 'The husbandman smileth in beholding his pains and the meadowing pastures with the green mantles so embroidered with flowers that from Edgehill we might behold another Eden.'

John Speed died in 1629, leaving behind his History of Great Britaine, his pretty maps, eighteen children and (presumably) exhausted wife, Susanna. Thirteen years later, on 23 October 1642, Charles I arrived at the same Warwickshire ridge from which the map-maker had been given a glimpse of bucolic paradise, took out his prospective glass and peered down at the Roundhead troops below. By nightfall there were sixty bodies piled up where the king had stood on the top of Edgehill, and Charles was kept from his sleep by the vocal agonies of the thousands of wounded, groaning in the razor-sharp cold. Next morning, across Speed's flower-embroidered meadow lay the corpses of 3,000 men, their allegiances indistinguishable in their nakedness, bodies stripped for loot, fingers broken to extract rings. Eden had become Golgotha.

By the time that the first round of the British wars was over -- in 1660 -- at least a quarter of a million had perished in England, Wales and Scotland. They had been lost to disease and starvation as well as to battle and siege. Men had died of infected wounds more commonly than they had endured clean-cut deaths in combat. The scythe of mortality, always busy, never fussy, had swept up all kinds and conditions: officers and rank and file; troopers and musketeers; sutlers and camp whores; apprentices with helmets on their heads for the first time; hardened mercenaries who had grown rusty along with their cuirasses; soldiers who could not get enough to fill their stomachs or boots to put on their feet and peasants who had nothing left to give them; drummer boys and buglers; captains and cooks. Even if the father of modern demography, Sir William Petty (Charles II's surveyor-general in Ireland), grossly overcounted another 600,000 dead in Ireland and his total is divided by three, the toll of life, expressed as a proportion of the 5 million population of the British archipelago, is still greater than Britain's losses in the First World War (1914-18).

In any case, the raw body count fails to measure the enormity of the disaster that reached into every corner of the British isles from Cornwall to County Connacht, from York to the Hebrides. It tore apart the communities of the parish and the county, which through all the turmoil of the Reformation had managed to keep a consensus about who governed and how they went about their duties. Men who had judged together now judged each other. Men and women who had taken for granted the patriotic loyalty of even those with whom they disagreed in matters of Church and parliament now called each other traitor. Ultimately, what had been unthinkable was thought and acted on. Men and women, for whom the presence of a king was a condition for the well-being of the commonwealth, were asked to accept that the well-being of the commonwealth required that he be killed.

The wars divided nations, churches, families, father from son, brother from brother. Sir Bevil Grenville died at the battle of Lansdown knowing that his brother Richard was a parliamentary commander (who switched sides not long after). Private Hillsdeane, dying at the siege of Wardour Castle in Wiltshire, let it be known that it had been his own brother who had shot him, though he forgave him for 'only doing his duty'. During the most brutal year of the Scottish civil wars, 1645, Florence Campbell learned that her brother Duncan had been killed by the victorious leader of the MacDonalds after the battle of Inverlochy. While her brother had been a loser, her husband and son, royalist MacLeans, fought with the winners. But in her wrathful grief Florence was all Campbell. 'Were I at Inverlochy,' she wrote, 'with a two-edged sword in my hand and I would tear asunder the MacLeans and the MacDonalds and I would bring the Campbells back alive.'

The house of Britain was not just divided, it was demolished. The grandiose buildings that proclaimed the wealth and authority of the governing classes and that awed the common people to defer to their senatorial power were, in many cases, turned into blackened ruins by the relentless sieges that became the dominant form of assault. Many of those houses were converted into fortified strongholds and garrisons and, like Basing House in Hampshire and Corfe Castle on the Isle of Purbeck, held out to the bitter end. The defenders died, sword in hand, framed in burning doorways and windows, going down in hand-to-hand combat, or starved into surrender like the beleaguered defenders of Wardour Castle who had been subsisting on eight ounces of cereal each and their small share of half a horse. If anything much was left when the sieges were done, the houses were 'slighted' -- one of the great euphemisms of the war -- to make sure they would never again be a threat.

Epidemics of smallpox and typhus raged opportunistically through populations weakened by shortages of food. Perhaps the most successful army of all was the army of rats, which brought another great wave of plague to add to the bellyful of suffering. For a few years the worst affected regions of the four nations came perilously close to a total breakdown of custom, compassion and law. Towns like Bolton, subjected to a massacre in 1644, lost half their population. At Preston in 1643 'nothing was heard but "Kill dead, kill dead", horsemen pursuing the poor amazed people, killing and spoiling, nothing regarding the dolesful cries of women and children'. After Aberdeen fell to the army of the Marquis of Montrose and Alasdair MacColla, the better-off citizens were made to strip naked before being hacked to death so that the blood would not stain the valuable booty of their clothes. For some victims the trauma would never go away. The septuagenarian Lady Jordan, according to John Aubrey, 'being at Cirencester when it was besieged was so terrified with the shooting that her understanding was spoyled, that she became a tiny child that they made Babies for her to play withall'.

Why had the nations of Britain inflicted this ordeal on themselves? For what exactly had the hundreds of thousands perished? As often as this question has been asked, it can never be asked enough. As often as historians have failed to provide an answer, we can never give up trying to find one. We owe it to the casualties to ask if their misery had meaning. Or were the British wars just a meaningless cruelty? Did the Irish, Scots, English and Welsh of the seventeenth century suffer, as Victorian historians believed, so that their descendants might live in a parliamentary political nation, uniquely stable, free and just? Was their cause one of principle, an unavoidable collision between ultimately irreconcilable visions of Church and state? Or were the protagonists, high and low, the fools of history, jerked around by forces they only half-comprehended and whose outcomes they were blind to predict? Was the whole bloody mess an absurd misunderstanding that, by rights, ought never to have happened at all?

Victorian certainty about a providential purpose running through British histories has, it is safe to say, long been out of fashion, at least in the academic world. Reacting against the sententious, self-righteous view of the Victorians, some modern historical scholarship has argued that the bleaker, more complicated view happens to be the truth: that the British wars were eminently unpredictable, improbable and avoidable. Until the very last moment, late 1641 or 1642, the political class of England was united in a harmonious consensus that the country should be governed by a divinely appointed monarch assisted by a responsible parliament. If there were disputes they were containable. If there were matters that separated people they were as nothing compared to the interests and bedrock beliefs that bound them together. The king was no absolutist, the parliament no champion of liberty. They were all much of a muchness, and that muchness was Englishness: the sound, middling way. The Victorians, like the historian S. R. Gardiner, who blew up every petty squabble between the Stuarts and their parliaments into some great drama of political principle, were deluded by their two-party way of thought, their over-concentration on the sound and the fury of parliamentary debates and their need for a foundation epic. Thus, the argument goes, they read history backwards, so parliament, the beating heart of the nineteenth-century empire, would be thought always to have been the instrument of progress and the hallmark of the British 'difference', separating the nation from the absolutist states of continental Europe. It is this naively insular, nationalist, parliamentary narrative, with heroes like Pym and Hampden defending fortress England from sinking into European despotism, that has drawn the fire of scholars for the last half century. The very worst that can now be said of any account of the origins and unfolding of the civil wars is that it suffers from the delusions of 'Whig' history, in which the parties of 'progress' and 'reaction', of liberty and authority, are cleanly separated and programmed to clash. The truth was just the opposite, the critics insist. Crown and parliament, court and country, were not running on a collision course heading inevitably towards an immense constitutional train wreck. On the contrary, until the very last minute they were moving smoothly on parallel lines. The lights were green, the weather fair, the engine well oiled. When, in 1629, Charles I opted to govern without parliaments, no one, except a few self-righteous, self-appointed 'guardians' of English liberties, could have cared less.

But someone, somehow, seems to have thrown a switch. And, then, that utterly unpredictable, unlikely, what-shall-we-call-it? -- a misfortune -- took place. It was, I suppose, just about the biggest misfortune in Britain's shared history. But there you are. Accidents happen.

Or do they?


For a time, it was rumoured that King James VI and I was about to change his name to Arthur. Well, why not? Hadn't Camden himself made it clear that 'Britain' was not some new invention at all but merely the restoration of an ancient unity, the realm of Brutus the Trojan and of King Lucius, who had been the first to be converted, and ultimately the heart of the great Arthurian -- Christian British empire, which had extended from Iceland to Norway, from Ireland to Armorican Brittany. Certainly James himself believed that he was reuniting two realms that had been snapped apart, bringing about dreadful and unrelenting bloodshed. He was reminded by the court preacher John Hopkins of Ezekiel 37, in which the prophet had had a vision of two dry sticks, which he was commanded to put together; and when he did so, lo, they became one and a living thing too, a dream-parable of the reunion of the sundered Israel and Judah. John Gordon, a Scottish minister who had travelled down with James and who fancied himself a cabbalist, unlocked the esoteric significance of the Hebrew etymology of Britannia, in which Brit-an-Yah -- translation: 'a covenant (Brit) was there' -- encoded God's command to reconstitute Britain from its fractured halves. James was ready and eager to oblige, right from the moment he received the sapphire ring taken from Elizabeth's finger. By the time that he reached Newcastle upon Tyne in April 1603, the king had already redesigned the coinage, styling his kingdom 'Great Britain' and himself as its very Roman-looking, laurel-wreathed emperor. Throughout his reign, one of his adopted personae would be the new Constantine, the first Christian Caesar, born (as it was commonly thought) in north Britain.

Francis Bacon, the philosopher of science, essayist and politician, who would do his utmost to promote the union of realms, feared that the king 'hasteneth to a mixture of both kingdoms and nations faster perhaps than policy will conveniently bear'. But there was no stopping James. Union meant security, wholeness, peace. Everything, everyone, had to be enfolded within the inclusive embrace of his come-together kingdom. The Great Seal would incorporate all the coats of arms of his three kingdoms (four, if you count, as James certainly did, the lilies of France). A new flag, embodying the union, which James often and over-optimistically compared to a loving marriage, would fuse in connubial bliss the crosses of St George and St Andrew. Many trial designs were made, one with the Scottish saltire and the cross of St George side by side, another with the saltire merely quartered with the red and white. But in the end, the first Union flag, featuring the red and white imposed on the blue and white, was adopted in 1606. Scottish shipowners immediately complained that their saltire always seemed obscured by the cross of St George. It was not a good sign for the prospects of the union that any semblance of equity between the two kingdoms was defeated by the laws of optics, which dictated that a saturated red would always seem to project beyond the recessive blue, dooming St Andrew's cross to be read as 'background'.

But never mind the flags: bring on the players. For those who offered themselves to be its publicists and showmen, the fantasy of the happy marriage of realms was a heaven-sent opportunity. Thomas Dekker, for example, East End slum-dweller, hack playwright, chronic debtor and jailbird, seized the moment as a godsend. Together with his much better placed colleague Ben Jonson, Dekker was charged with staging The Magnificent Entertainment for the city of London, by which the king would be formally greeted by his capital. Happy Britannia, of course, would be at the centre of it. 'St George and St Andrew, that many hundred years had defied one another, were now sworn brothers: England and Scotland being parted only with a narrow river.' Dekker knew exactly what to do. The two chevaliers, St Andrew and St George, would ride together, in brotherly amity, to greet the king: a real crowd pleaser, Dekker optimistically thought. And he would write a story of the nation in 1603, draped in mourning black and suffering from a melancholy ague, until a miraculous cure was effected by 'the wholesome receipt of a proclaimed king ... FOR BEHOLD! Up rises a comfortable sun out of the north whose glorious beams like a fan dispersed all thick and contagious clouds.'

Unhappily for Dekker, the plague dashed the cup of success from his lips just as he was poised to taste it. ('But OH the short-lived felicity of man! O world, of what slight and thin stuff is thy happiness!') Between 30,000 and 40,000 died in the summer of 1603. The theatres were closed, the streets empty. So Dekker had to revert to plan B and squeeze some money out of misery rather than jubilation, making the most of the plague in a pamphlet, The Wonderfull Yeare (1603):


What an unmatchable torment were it for a man to be bard up every night in a vast silent Charnel-house; hung (to make it more hideous) with lamps dimly & slowly burning, in hollow and glimmering corners: where all the pavement should in stead of greene rushes, be strewde with blasted Rosemary, withered Hyacinthes, fatal Cipresse and Ewe, thickly mingled with heapes of dead men's bones: the bare ribbes of a father that begat him, lying there: here, the Chaplesse hollow scull of a mother that bore him: round about him a thousand Coarses, some standing bolt upright in their knotted winding sheets, others half mouldred in rotten Coffins ... that should suddenly yawne wide open, filling his nostrils with noysome stench, and his eyes with the sight of nothing but crawling wormes.


A year later, though, with the pestilence finally in retreat, Dekker and Jonson got to stage their pageant after all. If anything, the postponement had only whetted London's appetite for the kind of festivity not seen since the accession of Elizabeth a half century earlier. Dekker was probably not entirely self-serving when he reported 'the streets seemed to be paved with men ... stalles instead of rich wares were set out with children, open casements [the leaded glass windows having been taken out] filled up with women'. With this king, however, public enthusiasm created a problem rather than an opportunity, since crowds made James decidedly nervous, wanting to be off somewhere else, preferably on horseback in the hills near Royston, energetically pursuing the stag. But the allegorical outdoor theatre, full of music and gaudy brilliance, disarmed, at least temporarily, the royal churlishness. In addition to the brotherly Andrew and George, Old Father 'Thamesis', with flowing whiskers taken from his emblem-book personification, offered a tribute in the form of 'an earthenware pot out of which live Fishes were seene to runne forth'. And it was hard not to be impressed by Stephen Harrison's immense wood-and-plaster triumphal arches, 90 feet high and 50 wide, punctuating the processional route. One of them was a three-tower trellis structure, thick with greenery, purporting to show James's realm as a perpetual 'Bower of Plenty' and featuring 'sheep browzing, lambes nibbling, Birds Flying in the Ayre, with other arguments of a serene and untroubled season'. On the arch, erected at Fenchurch, an immense panorama of London rose from a crenellated battlement (as though seen from a distant tower), with the pile of old St Paul's in its centre and looking a great deal more orderly than the chaotic, verminous metropolis of 200,000 souls it really was. Below this Augustan vision of New Troy was none other than Britannia herself, bearing the orb of empire on which was inscribed Orbis Britannicus Ab Orbe Divisus Est (a British world divided from the world). Sharp-eyed scholars of the classics -- and perhaps there were some in the crowd -- would have recognized an erudite allusion to Virgil, in particular to the pastoral poems of the Fourth Eclogue, in which the return of a new golden age was prophesied. Right at the beginning of Britannia, William Camden had already identified Virgil's lines as a recognition of Britain's historic destiny as a place apart. And much, of course, had been made of the identification by some of the foggier classical geographers of the British archipelago as the legendary 'Fortunate Isles' of the western ocean. Until 1603 it was the English who had fancied themselves blessed by this priceless gift of insularity; Shakespeare's vision of 'This fortress built by Nature for herself/Against infection and the hand of war' confirmed the national faith in a divinely ordained immunity from the rest of the world's sorrows.

Continues...


Excerpted from A History of Britain by Simon Schama Copyright © 2000 by Simon Schama. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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