Podcasts about Bolingbroke

In 1392, nobody in the Plantagenet realm was expecting one of their own to be gored to death by a wild boar. The grim reaper's busy. More shock deaths befall the Gaunt and Bolingbroke household, and Richard is made a widow. While the king puts on the waterworks, Richard turns grief into opportunity. Remember, you can always keep the discussion as a royal favourite subscriber on our Patreon. Following this episode, we want to talk about other novel ways to die. Choose your untimely demise at: patreon.com/thisishistory A Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts To bring your brand to life in this podcast, email podcastadsales@sonymusic.com Learn more about your ad choices. Visit megaphone.fm/adchoices Presented by Dan Jones Producer - Alan Weedon Senior Producer - Dominic Tyerman Executive Producer - Simon Poole Production Manager - Jen Mistri Production coordinator - Eric  Ryan Sound Design and Mixing - Amber Devereux Head of content - Chris Skinner Learn more about your ad choices. Visit podcastchoices.com/adchoices

I was delighted to talk to the historian Helen Castor (who writes The H Files by Helen Castor) about her new book The Eagle and the Hart. I found that book compulsive, and this is one of my favourite interviews so far. We covered so much: Dickens, Melville, Diana Wynne Jones, Hilary Mantel, whether Edward III is to blame for the Wars of the Roses, why Bolingbroke did the right thing, the Paston Letters, whether we should dig up old tombs for research, leaving academia, Elizabeth I, and, of course, lots of Shakespeare. There is a full transcript below.Henry: Is there anything that we fundamentally know about this episode in history that Shakespeare didn't know?Helen: That's an extremely good question, and I'm tempted now to say no.Helen told me what is hardest to imagine about life in the fourteenth century.I think it's relatively easy to imagine a small community or even a city, because we can imagine lots of human beings together, but how relationships between human beings happen at a distance, not just in terms of writing a letter to someone you know, but how a very effective power structure happens across hundreds of miles in the absence of those things is the thing that has always absolutely fascinated me about the late Middle Ages. I think that's because it's hard, for me at least, to imagine.Good news to any publishers reading this. Helen is ready and willing to produce a complete edition of the Paston Letters. They were a bestseller when they were published a hundred years ago, but we are crying out for a complete edition in modern English.Henry: If someone wants to read the Paston Letters, but they don't want to read Middle English, weird spelling, et cetera, is there a good edition that they can use?Helen: Yes, there is an Oxford World's Classic. They're all selected. There isn't a complete edition in modern spelling. If any publishers are listening, I would love to do one. Henry: Yes, let's have it.Helen: Let's have it. I would really, really love to do that.Full TranscriptHenry: Today I am talking to the historian, Helen Castor. Helen is a former fellow of Sydney Sussex College in Cambridge. She has written several books of history. She is now a public historian, and of course, she has a Substack. The H Files by Helen CastorWe are going to talk mostly about her book, The Eagle and the Hart, which is all about Richard II and Henry IV. I found this book compulsive, so I hope you will read it too. Helen, welcome.Helen: Thank you very much for having me, Henry.Henry: You recently read Bleak House.Helen: I did.Henry: What did you think?Helen: I absolutely loved it. It was a long time since I'd read any Dickens. I read quite a lot when I was young. I read quite a lot of everything when I was young and have fallen off that reader's perch, much to my shame. The first page, that description of the London fog, the London courts, and I thought, "Why have I not been doing it for all these years?"Then I remembered, as so often with Dickens, the bits I love and the bits I'm less fond of, the sentimentality, the grotesquerie I'm less fond of, but the humour and the writing. There was one bit that I have not been able to read then or any of the times I've tried since without physically sobbing. It's a long time since a book has done that to me. I don't want to spoil it for anyone who hasn't read it, but--Henry: I'm sure I know what you mean. That's quite a sentimental passage.Helen: It is, but not sentimental in the way that I find myself objecting to. I think I really respond viscerally to this sentimentalising of some of his young women characters. I find that really off-putting, but I think now I'm a parent, and particularly I'm a parent of a boy [laughter]. I think it's that sense of a child being completely alone with no one to look after them, and then finding some people, but too late for a happy ending.Henry: Too late.Helen: Yes.Henry: You've been reading other classic novels, I think, Moby Dick?Helen: I'm in the middle of Moby Dick as we speak. I'm going very slowly, partly because I'm trying to savour every sentence. I love the sentence so much as a form. Melville is just astonishing, and also very, very funny in a way I hadn't expected to keep laughing out loud, sometimes because there is such humour in a sentence.Sometimes I'm just laughing because the sentence itself seems to have such audacity and that willingness to go places with sentences that sometimes I feel we've lost in the sort of sense of rules-based sentences instead of just sticking a semicolon and keep going. Why not, because it's so gorgeous and full of the joy of language at that point? Anyway, I'm ranting now, but--Henry: No, I think a lot of rules were instituted in the early 20th century that said you can and cannot do all these things, and writers before that point had not often followed those rules. I think what it has led to is that writers now, they can't really control a long sentence, in the sense that Melville and Dickens will do a long sentence, and it is a syntactically coherent thing, even though it's 60, 70 longer words. It's not just lots of stuff, and then, and then. The whole thing has got a beautiful structure that makes sense as a unit. That's just not obvious in a lot of writing now.Helen: I think that's exactly right. Partly, I've been reading some of the Melville out loud, and having just got onto the classification of whales, you can see I'm going very slowly. Those sentences, which are so long, but it's exactly that. If you read them out loud, and you follow the sense, and the punctuation, however irregular it might be in modern terms, gives you the breathing, you just flow on it, and the excitement of that, even or perhaps especially when one is talking about the classification of whales. Just joyful.Henry: Will we be seeing more very long sentences in your next book?Helen: I think I have to get a bit better at it. The habit that I was conscious of anyway, but became acutely so when I had to read my own audiobook for the first time is that I think I write in a very visual way. That is how I read because mostly it's silent.I discovered or rediscovered that often what I do when I want to write a very long sentence is I start the sentence and then I put a diversion or extra information within em dashes in the middle of the sentence. That works on the page because you can see spatially. I love that way of reading, I love seeing words in space.A lot of different kinds of text, both prose and poetry, I read in space like that. If you're reading to be heard, then the difficulty of breaking into a sentence with, whether it's brackets or em dashes or whatever, and then rejoining the sentence further down has its own challenges. Perhaps I ought to try and do less of that and experiment more with a Melvillian Dickensian onward flow. I don't know what my editor will think.Henry: What has brought you back to reading novels like this?Helen: I was wondering that this morning, actually, because I'm very aware having joined Substack, and of course, your Substack is one of the ones that is leading me further in this direction, very inspiringly, is discovering that lots of other people are reading and reading long novels now too. It reminded me of that thing that anyone with children will know that you have a baby and you call it something that you think only you have thought of, and then four years later, you call and you discover half the class is called that name. You wonder what was in the water that led everybody in that direction.I've just seen someone tweet this morning about how inspired they are by the builder next door who, on the scaffolding, is blasting the audiobook Middlemarch to the whole neighborhood.Henry: Oh my god. Amazing.Helen: It's really happening. Insofar as I can work out what led me as opposed to following a group, which clearly I am in some sense, I think the world at the moment is so disquieting, and depressing, and unnerving, that I think for me, there was a wish to escape into another world and another world that would be very immersive, not removed from this world completely. One that is very recognizably human.I think when I was younger, when I was in my teens and 20s, I loved reading science fiction and fantasy before it was such a genre as it is now. I'm a huge fan of Diana Wynne Jones and people like that.Henry: Oh, my god, same. Which one is your favorite?Helen: Oh, that is an impossible question to answer, partly because I want to go back and read a lot of them. Actually, I've got something next to me, just to get some obscurity points. I want to go back to Everard's Ride because there is a story in here that is based on the King's square. I don't know if I'm saying that right, but early 15th century, the story of the imprisoned King of Scotland when he was in prison in England. That one's in my head.The Dalemark Quartet I love because of the sort of medieval, but then I love the ones that are pure, more science fantasy. Which is your favorite? Which should I go back to first?Henry: I haven't read them all because I only started a couple of years ago. I just read Deep Secret, and I thought that was really excellent. I was in Bristol when I read it quite unwittingly. That was wonderful.Helen: Surrounded by Diana Wynne Jones' land. I only discovered many years into an obsession that just meant that I would read every new one while there were still new ones coming out. I sat next to Colin Burrow at a dinner in--Henry: Oh my god.Helen: I did sort of know that he was her son, but monstered him for the whole time, the whole course of sitting together, because I couldn't quite imagine her in a domestic setting, if you like, because she came up with all these extraordinary worlds. I think in days gone by, I went into more obviously imaginary worlds. I think coming back to it now, I wanted something big and something that I really could disappear into. I've been told to read Bleak House for so many decades and felt so ashamed I hadn't. Having done that, I thought, "Well, the whale."Henry: Have you read Diana Wynne Jones' husband's books, John Burrow? Because that's more in your field.Helen: It is, although I'm ashamed to say how badly read I am in medieval literary scholarship. It's weird how these academic silos can operate, shouldn't, probably don't for many, many people. I always feel I'm on horribly thin ground, thin ice when I start talking about medieval literature because I know how much scholarship is out there, and I know how much I haven't read. I must put John Burrow on my list as well.Henry: He's very readable. He's excellent.Helen: I think I can imagine, but I must go into it.Henry: Also, his books are refreshingly short. Your husband is a poet, so there's a lot of literature in your life at the moment.Helen: There is. When we met, which was 10 years ago-- Again, I don't think of myself as knowledgeable about poetry in general, but what was wonderful was discovering how much we had in common in the writing process and how much I could learn from him. To me, one of the things that has always been extremely important in my writing is the sentence, the sound of a sentence, the rhythm of a sentence folded into a paragraph.I find it extremely hard to move on from a paragraph if it's not sitting right yet. The sitting right is as much to do with sound and rhythm as it is to do with content. The content has to be right. It means I'm a nightmare to edit because once I do move on from a paragraph, I think it's finished. Obviously, my editor might beg to differ.I'm very grateful to Thomas Penn, who's also a wonderful historian, who's my editor on this last book, for being so patient with my recalcitrance as an editee. Talking to my husband about words in space on the page, about the rhythm, about the sound, about how he goes about writing has been so valuable and illuminating.I hope that the reading I've been doing, the other thing I should say about going back to big 19th-century novels is that, of course, I had the enormous privilege and learning curve of being part of a Booker jury panel three years ago. That too was an enormous kick in terms of reading and thinking about reading because my co-judges were such phenomenal reading company, and I learned such a lot that year.I feel not only I hope growing as a historian, but I am really, really focusing on writing, reading, being forced out of my bunker where writing is all on the page, starting to think about sound more, think about hearing more, because I think more and more, we are reading that way as a culture, it seems to me, the growth of audiobooks. My mother is adjusting to audiobooks now, and it's so interesting to listen to her as a lifelong, voracious reader, adjusting to what it is to experience a book through sound rather than on the page. I just think it's all fascinating, and I'm trying to learn as I write.Henry: I've been experimenting with audiobooks, because I felt like I had to, and I sort of typically hate audio anything. Jonathan Swift is very good, and so is Diana Wynne Jones.Helen: Interesting. Those two specifically. Is there something that connects the two of them, or are they separately good?Henry: I think they both wrote in a plain, colloquial style. It was very capable of being quite intellectual and had capacity for ideas. Diana Wynne Jones certainly took care about the way it sounded because she read so much to her own children, and that was really when she first read all the children's classics. She had developed for many years an understanding of what would sound good when it was read to a child, I think.Helen: And so that's the voice in her head.Henry: Indeed. As you read her essays, she talks about living with her Welsh grandfather for a year. He was intoning in the chapel, and she sort of comes out of this culture as well.Helen: Then Swift, a much more oral culture.Henry: Swift, of course, is in a very print-heavy culture because he's in London in 1710. We've got coffee houses and all the examiner, and the spectator, and all these people scribbling about each other. I think he was very insistent on what he called proper words in proper places. He became famous for that plain style. It's very carefully done, and you can't go wrong reading that out loud. He's very considerate of the reader that you won't suddenly go, "Oh, I'm in the middle of this huge parenthesis. I don't know how--" As you were saying, Swift-- he would be very deliberate about the placement of everything.Helen: A lot of that has to do with rhythm.Henry: Yes.Helen: Doesn't it? I suppose what I'm wondering, being very ignorant about the 18th century is, in a print-saturated culture, but still one where literacy was less universal than now, are we to assume that that print-saturated culture also incorporated reading out loud —Henry: Yes, exactly so. Exactly so. If you are at home, letters are read out loud. This obviously gives the novelists great opportunities to write letters that have to sort of work both ways. Novels are read out loud. This goes on into the 19th century. Dickens had many illiterate fans who knew his work through it being read to them. Charles Darwin's wife read him novels. When he says, "I love novels," what he means is, "I love it when my wife reads me a novel." [laughs]You're absolutely right. A good part of your audience would come from those listening as well as those reading it.Helen: Maybe we're getting back towards a new version of that with audiobooks expanding in their reach.Henry: I don't know. I saw some interesting stuff. I can't remember who was saying this. Someone was saying, "It's not an oral culture if you're watching short videos. That's a different sort of culture." I think, for us, we can say, "Oh yes, we're like Jonathan Swift," but for the culture at large, I don't know. It is an interesting mixed picture at the moment.Helen: Yes, history never repeats, but we should be wary of writing off any part of culture to do with words.Henry: I think so. If people are reporting builders irritating the neighbourhood with George Eliot, then it's a very mixed picture, right?Helen: It is.Henry: Last literary question. Hilary Mantel has been a big influence on you. What have you taken from her?Helen: That's quite a hard question to answer because I feel I just sit at her feet in awe. If I could point to anything in my writing that could live up to her, I would be very happy. The word that's coming into my head when you phrase the question in that way, I suppose, might be an absolute commitment to precision. Precision in language matters to me so much. Her thought and her writing of whatever kind seems to me to be so precise.Listening to interviews with her is such an outrageous experience because these beautifully, entirely formed sentences come out of her mouth as though that's how thought and language work. They don't for me. [chuckles] I'm talking about her in the present tense because I didn't know her, but I find it hard to imagine that she's not out there somewhere.Henry: She liked ghosts. She might be with us.Helen: She might. I would like to think that. Her writing of whatever genre always seems to me to have that precision, and it's precision of language that mirrors precision of thought, including the ability to imagine herself into somebody else's mind. That's, I suppose, my project as a historian. I'm always trying to experience a lost world through the eyes of a lost person or people, which, of course, when you put it like that, is an impossible task, but she makes it seem possible for her anyway and that's the road I'm attempting to travel one way or another.Henry: What is it about the 14th and 15th centuries that is hardest for us to imagine?Helen: I think this speaks to something else that Hilary Mantel does so extraordinarily well, which is to show us entire human beings who live and breathe and think and feel just as we do in as complex and contradictory and three-dimensional a way as we do, and yet who live in a world that is stripped of so many of the things that we take so much for granted that we find it, I think, hard to imagine how one could function without them.What I've always loved about the late Middle Ages, as a political historian, which is what I think of myself as, is that it has in England such a complex and sophisticated system of government, but one that operates so overwhelmingly through human beings, rather than impersonal, institutionalized, technological structures.You have a king who is the fount of all authority, exercising an extraordinary degree of control over a whole country, but without telephones, without motorized transport, without a professional police service, without a standing army. If we strip away from our understanding of government, all those things, then how on earth does society happen, does rule happen, does government happen?I think it's relatively easy to imagine a small community or even a city, because we can imagine lots of human beings together, but how relationships between human beings happen at a distance, not just in terms of writing a letter to someone you know, but how a very effective power structure happens across hundreds of miles in the absence of those things is the thing that has always absolutely fascinated me about the late Middle Ages. I think that's because it's hard, for me at least, to imagine.Henry: Good. You went to the RSC to watch The Henriad in 2013.Helen: I did.Henry: Is Shakespeare a big influence on this book? How did that affect you?Helen: I suppose this is a long story because Richard II and The Henriad have been-- there is Richard II. Richard II is part of The Henriad, isn't it?Henry: Yes.Helen: Richard II. Henry, see, this is-Henry: The two Henry IVs.Helen: -I'm not Shakespearean. I am. [laughs]Henry: No, it's Richard II, the two Henry IVs, and Henry V. Because, of course, Henry Bolingbroke is in Richard II, and it--Helen: Yes, although I never think of him as really the same person as Henry IV in the Henry IV plays, because he changes so dramatically between the two.Henry: Very often, they have a young actor and an old actor, and of course, in real life, that's insane, right?Helen: It's absolutely insane. I always separate Henry IV, parts I and II, and Henry V off from Richard II because it feels to me as though they operate in rather different worlds, which they do in lots of ways. My story with the Henry ad, now that we've established that I actually know what we're talking about, goes back to when I was in my teens and Kenneth Branagh was playing Henry V in Stratford. I grew up very near Stratford.At 15, 16, watching the young Branagh play Henry V was mind-blowing. I went a whole number of times because, in those days, I don't know how it is now, but you could go and get standing tickets for a fiver on the day. More often than not, if there were spare seats, you would get moved into some extraordinary stall seats at-- I was about to say halftime, I'm a football fan, at the interval.Henry V was the play I knew best for a long time, but at the same time, I'd studied Richard II at school. The Henry IV plays are the ones I know least well. I'm interested now to reflect on the fact that they are the ones that depart most from history. I wonder whether that's why I find them hardest to love, because I'm always coming to the plays from the history. Richard II and Henry V actually have a lot to show us about those kings. They bear very close relationships with a lot of the contemporary chronicles, whereas the Henry IV ones is Shakespeare doing his own thing much more.Particularly, as you've just said, making Henry IV way too old, and/or depending which angle we're looking at it from, making Hotspur way too young, the real Hotspur was three years older than Henry IV. If you want to make Hotspur and how-- your young Turks, you have to make Henry IV old and grey and weary with Northumberland.Back in 2013, the really intense experience I had was being asked to go for a day to join the RSC company on a school trip to Westminster Hall and Westminster Abbey at the beginning of their rehearsal process, so when David Tennant was playing Richard II and Greg Doran was directing. That was absolutely fascinating. I'd been thinking about Richard and Henry for a very long time. Obviously, I was a long way away from writing the book I've just written.Talking to actors is an extraordinary thing for a historian because, of course, to them, these are living characters. They want to know what's in their character's mind. They want to know, quite rightly, the chronological progression of their character's thought. That is something that's become more and more and more and more important to me.The longer I go on writing history, the more intensely attached I am to the need for chronology because if it hasn't happened to your protagonist yet, what are you doing with it? Your protagonist doesn't yet know. We don't know. It's very dramatically clear to us at the moment that we don't know what's happening tomorrow. Any number of outrageous and unpredictable things might happen tomorrow.The same certainly was true in Richard II's reign, goes on being true in Henry IV's reign. That experience, in the wake of which I then went to see Henry IV, parts 1 and 2 in Stratford, was really thought-provoking. The extent to which, even though I'd been working on this period for a long time, and had taught this period, I still was struggling to answer some of those questions.Then I'd just had the similarly amazing experience of having a meeting with the Richard II cast and director at the Bridge Theatre before the Nicholas Heitner production with Jonathan Bailey as Richard went on stage. That was actually towards the end of their rehearsal process. I was so struck that the actor playing Bolingbroke in this production and the actor playing Bolingbroke in the production back in 2013 both asked the same excellent first question, which is so hard for a historian to answer, which is at what point does Bolingbroke decide that he's coming back to claim the crown, not just the Duchy of Lancaster?That is a key question for Bolingbroke in Richard II. Does he already know when he decides he's going to break his exile and come back? Is he challenging for the crown straight away, or is he just coming back for his rightful inheritance with the Duchy of Lancaster? That is the million-dollar question when you're writing about Bolingbroke in 1399.It's not possible to answer with a smoking gun. We don't have a letter or a diary entry from Henry Bolingbroke as he's about to step on board ship in Boulogne saying, "I'm saying I'm coming back for the Duchy of Lancaster." The unfolding logic of his situation is that if he's going to come back at all, he's going to have to claim the crown. When he admits that to himself, and when he admits that to anybody else, are questions we can argue about.It was so interesting to me that that's the question that Shakespeare's Richard II throws up for his Bolingbroke just as much as it does for the historical one.Henry: Is there anything that we fundamentally know about this episode in history that Shakespeare didn't know?Helen: That's an extremely good question, and I'm tempted now to say no.Henry: When I left your book, the one thing I thought was that in Shakespeare, the nobles turn against Richard because of his excesses. Obviously, he really dramatizes that around the death of Gaunt. From your book, you may disagree with this, I came away thinking, well, the nobles wanted more power all the time. They may not have wanted the king's power, but there was this constant thing of the nobles feeling like they were owed more authority.Helen: I think the nobles always want more power because they are ambitious, competitive men within a political structure that rewards ambition and competition. The crucial thing for them is that they can only safely pursue ambition and competition if they know that the structure they're competing within will hold.The thing that keeps that structure rooted and solidly in place is the crown and the things that the crown is there to uphold, namely, particularly, the rule of law because if the rule of law starts to crumble, then the risk is that the whole structure collapses into anarchy. Within anarchy, then a powerful man cannot safely compete for more power because an even more powerful man might be about to roll into his estates and take them over. There have to be rules. There has to be fair competition. The referee is there on a football pitch for a reason.The king, in some senses, whether you want to see him as the keystone in an arch that supports a building or whether he's a referee on a football pitch, there are reasons why powerful men need rules because rules uphold their power. What goes wrong with Richard is that instead of seeing that he and the nobles have a common interest in keeping this structure standing, and that actually he can become more powerful if he works with and through the nobles, he sees them as a threat to him.He's attempting to establish a power structure that will not be beholden to them. In so doing, he becomes a threat to them. This structure that is supposed to stand as one mutually supportive thing is beginning to tear itself apart. That is why Richard's treatment of Bolingbroke becomes such a crucial catalyst, because what Richard does to Bolingbroke is unlawful in a very real and very technical sense. Bolingbroke has not been convicted of any crime. He's not been properly tried. There's been this trial by combat, the duel with Mowbray, but it hasn't stopped arbitrarily, and an arbitrary punishment visited upon both of them. They're both being exiled without having been found guilty, without the judgment of God speaking through this duel.Richard then promises that Bolingbroke can have his inheritance, even though he's in exile. As soon as Gaunt dies, Richard says, "No, I'm having it." Now, all of that is unlawful treatment of Bolingbroke, but because Bolingbroke is the most powerful nobleman in the country, it is also a warning and a threat to every other member of the political classes that if the king takes against you, then his arbitrary will can override the law.That diagnosis is there in Shakespeare. It's the Duke of York, who in reality was just a completely hopeless, wet figure, but he says, and I've got it written down, keep it beside me.Henry: Very nice.Helen: Kind of ridiculous, but here it is. York says to Richard, "Take Herford's rights away and take from time his charters and his customary rights. Let not tomorrow then ensue today. Be not thyself, for how art thou a king, but by fair sequence and succession?" In other words, if you interfere with, and I know you've written about time in these plays, it's absolutely crucial.Part of the process of time in these plays is that the rules play out over time. Any one individual king must not break those rules so that the expected process of succession over time can take place. York's warning comes true, that Richard is unseating himself by seeking to unseat Bolingbroke from his inheritance.Henry: We give Shakespeare good marks as a historian.Helen: In this play, yes, absolutely. The things he tinkers with in Richard II are minor plot points. He compresses time in order to get it all on stage in a plausible sequence of events. He compresses two queens into one, given that Richard was married to, by the time he fell, a nine-year-old who he'd married when he was six. It's harder to have a six-year-old making speeches on stage, so he puts the two queens into one.Henry: You don't want to pay another actor.Helen: Exactly.Henry: It's expensive.Helen: You don't want children and animals on stage. Although there is a wonderful account of a production of Richard II on stage in the West End in 1901, with the Australian actor Oscar Asche in it, playing Bolingbroke. The duel scene, he had full armour and a horse, opening night. It was a different horse from the one he rehearsed with. He gives an account in his autobiography of this horse rearing and him somersaulting heroically off the horse.Henry: Oh my god.Helen: The curtain having to come down and then it going back up again to tumultuous applause. You think, "Oscar, I'm wondering whether you're over-egging this pudding." Anyway, I give Shakespeare very good marks in Richard II, not really in the Henry IV plays, but gets back on track.Henry: The Henry IV plays are so good, we're forgiven. Was Richard II a prototype Henry VIII?Helen: Yes. Although, of course, history doesn't work forwards like that. I always worry about being a historian, talking about prototypes, if you see what I mean, but--Henry: No, this is just some podcast, so we don't have to be too strict. He's over-mighty, his sense of his relationship to God. There are issues in parliament about, "How much can the Pope tell us what to do?" There are certain things that seem to be inherent in the way the British state conceives of itself at this point that become problematic in another way.Helen: Is this pushing it too far to say Richard is a second son who ends up being the lone precious heir to the throne who must be wrapped in cotton wool to ensure that his unique God-given authority is protected? Also describes Henry VIII.Henry: They both like fancy clothes.Helen: Both like fancy clothes. Charles I is also a second son who has to step up.Henry: With wonderful cuffs and collars. He's another big dresser.Helen: And great patrons of art. I think we're developing new historical--Henry: No, I think there's a whole thing here.Helen: I think there is. What Henry does, of course, in rather different, because a lot has changed thanks to the Wars of the Roses, the power of the nobility to stand up independently of the crown is significantly lessened by the political effects of the Wars of the Roses, not at least that a lot of them have had their heads cut off, or died in battle, and the Tudors are busy making sure that they remain in the newly subjected place that they find themselves in.Henry then finds to go back to Hilary Mantel, a very, very able political servant who works out how to use parliament for him in rejecting those extra English powers that might restrain him. I do always wonder what Richard thought he was going to do if he'd succeeded in becoming Holy Roman Emperor, which I take very seriously as a proposition from Richard.Most other historians, because it's so patently ridiculous, if you look at it from a European perspective, have just said, "Oh, he got this idea that he wanted to become Holy Roman Emperor," but, of course, it was never going to happen. In Richard's mind, I think it was extremely real. Whether he really would have tried to give the English crown to Rutland, his favorite by the end of the reign, while he went off in glory to be crowned by the Pope, I don't know what was in his head. The difference with Henry is that the ambitions he eventually conceives are very England-focused, and so he can make them happen.Henry: Is there some sort of argument that, if the king hadn't won the Wars of the Roses, and the nobility had flourished, and their sons hadn't been killed, the reformation would have just been much harder to pull off here?[silence]Helen: I wonder what that would have looked like, because in a sense, the king was always going to win the Wars of the Roses, in the sense that you have to have a king. The minute you had someone left standing after that mess, that protracted mess, if he knew what he was doing, and there are arguments about the extent to which Henry VII knew what he was doing, or was doing something very different, whether or not he knew it was different, but there was always going to be an opportunity for a king to assert himself after that.Particularly, the extent to which the lesser landowners, the gentry had realized they couldn't just rely on the nobility to protect them anymore. They couldn't just follow their lord into battle and abdicate responsibility.Henry: Okay.Helen: That's an interesting--Henry: How much should we blame Edward III for all of this?Helen: For living too long and having too many sons?Henry: My argument against Edward is the Hundred Years' War, it doesn't actually go that well by the end of his reign, and it's cost too much money. Too many dukes with too much power. It's not that he had too many sons, he elevates them all and creates this insane situation. The war itself starts to tip the balance between the king and parliament, and so now you've got it from the dukes, and from the other side, and he just didn't manage the succession at all.Even though his son has died, and it really needs some kind of-- He allowed. He should have known that he was allowing a vacuum to open up where there's competition from the nobles, and from parliament, and the finances are a mess, and this war isn't there. It's just… he just leaves a disaster, doesn't he?Helen: I think I'd want to reframe that a little bit. Perhaps, I'm too much the king's friend. I think the political, and in some senses, existential dilemma for a medieval king is that the best of all possible worlds is what Edward achieves in the 1340s and the 1350s, which is, fight a war for reasons that your subjects recognize as in the common interest, in the national interest. Fight it over there so that the lands that are being devastated and the villages and towns that are being burned are not yours. Bring back lots of plunder. Everybody's getting richer and feeling very victorious.You can harness parliament. When things are going well, a medieval king and a parliament are not rivals for power. An English king working with parliament is more powerful than an English king trying to work without parliament. If things are going well, he gets more money, he can pass laws, he can enforce his will more effectively. It's win-win-win if you're ticking all those boxes.As you're pointing out, the worst of all possible worlds is to be fighting a war that's going badly. To fight a war is a big risk because either you're going to end up winning and everything's great, or if it's going badly, then you'd rather be at peace. Of course, you're not necessarily in a position to negotiate peace, depending on the terms of the war you've established.Similarly, with sons, you want heirs. You want to know the succession is safe. I think Edward's younger sons would argue with you about setting up very powerful dukes because the younger ones really-- York and Gloucester, Edmund of Langley and Thomas of Woodstock, really didn't have much in the way of an estate given to them at all, and always felt very hard done by about that. John of Gaunt is set up very well because he's married off to the heir of the Duke of Lancaster who's handily died, leaving only daughters.Henry: That's the problem, isn't it, creating that sort of impact? John of Gaunt is far too rich and powerful.Helen: You say that, except he's unfeasibly loyal. Without Gaunt, disaster happens much, much, much earlier. Gaunt is putting all those resources into the project of propping up the English state and the English crown for way longer than Richard deserves, given that Richard's trying to murder him half the time in the 1380s.Henry: [laughs] For sure. No, I agree with you there, but from Edward III's point of view, it's a mistake to make one very powerful son another quite powerful son next to-- We still see this playing out in royal family dynamics.Helen: This is the problem. What is the perfect scenario in a hereditary system where you need an heir and a spare, but even there, the spare, if he doesn't get to be the heir, is often very disgruntled. [laughs] If he does get to be the heir, as we've just said, turns out to be overconvinced of his own-Henry: Oh, indeed, yes.Helen: -specialness. Then, if you have too many spares, you run into a different kind of problem. Equally, if you don't have a hereditary system, then you have an almighty battle, as the Anglo-Saxons often did, about who's actually going to get the crown in the next generation. It's a very tricky--Henry: Is England just inherently unstable? We've got the Black Death, France is going to be a problem, whatever happens. Who is really going to come to a good fiscal position in this situation? It's no one's fault. It's just there wasn't another way out.Helen: You could say that England's remarkably-- See, I'm just playing devil's advocate the whole time.Henry: No, good.Helen: You could say England is remarkably stable in the sense that England is very unusually centralized for a medieval state at this point. It's centralized in a way that works because it's small enough to govern. It's, broadly speaking, an island. You've got to deal with the Scotts border, but it's a relatively short border. Yes, you have powerful nobles, but they are powerful nobles who, by this stage, are locked into the state. They're locked into a unified system of law. The common law rules everyone. Everyone looks to Westminster.It's very different from what the King of France has been having to face, which has been having to push his authority outward from the Île-de-France, reconquer bits of France that the English have had for a long time, impose his authority over other princes of the realm in a context where there are different laws, there are different customs, there are different languages. You could say that France is in a much more difficult and unstable situation.Of course, what we see as the tide of the war turns again in the early 15th century is precisely that France collapses into civil war, and the English can make hay again in that situation. If Henry V had not died too young with not enough sons in 1423, and particularly, if he'd left a son who grew up to be any use at all, as opposed to absolutely none-- what am I saying? I'm saying that the structure of government in England could work astonishingly well given the luck of the right man at the helm. The right man at the helm had to understand his responsibilities at home, and he had to be capable of prosecuting a successful war abroad because that is how this state works best.As you've just pointed out, prosecuting a successful war abroad is an inherently unstable scenario because no war is ever going to go in your direction the entire time. That's what Richard, who has no interest in war at all is discovering, because once the tide of war is lapping at your own shores, instead of all happening over there, it's a very, very different prospect in terms of persuading parliament to pay for it, quite understandably.You talk about the Black Death. One of the extraordinary things is looking at England in 1348, 1349, when the Black Death hits. Probably, something approaching half the population dies in 18 months. If you're looking at the progress of the war, you barely notice it happened at all. What does the government do? It snaps into action and implements a maximum wage immediately, in case [chuckles] these uppity laborers start noticing there are fewer of them, and they can ask for more money.The amount of control, at that stage at least, that the government has over a country going through an extraordinary set of challenges is quite remarkable, really.Henry: Did Bolingbroke do the right thing?Helen: I think Bolingbroke did the only possible thing, which, in some senses, equates to the right thing. If he had not come back, he would not only have been abandoning his own family, his dynasty, his inheritance, everything he'd been brought up to believe was his responsibility, but also abandoning England to what was pretty much by that stage, clearly, a situation of tyranny.The big argument is always, well, we can identify a tyrant, we have a definition of tyranny. That is, if a legitimate king rules in the common interest and according to the law, then a tyrant rules not in the common interest, and not according to the law. But then the thing that the political theorists argue about is whether or not you can actively resist a tyrant, or whether you have to wait for God to act.Then, the question is, "Might God be acting through me if I'm Bolingbroke?" That's what Bolingbroke has to hope, because if he doesn't do what he does in 1399, he is abandoning everything his whole life has been devoted to maintaining and taking responsibility for. It's quite hard to see where England would then end up, other than with somebody else trying to challenge Richard in the way that Henry does.Henry: Why was he anointed with Thomas Becket's oil?Helen: Because Richard had found it in the tower, [chuckles] and was making great play of the claims that were made for Thomas. This is one of the interesting things about Richard. He is simultaneously very interested in history, and interested in his place in history, his place in the lineage of English kings, going all the way back, particularly to the confessor to whom he looks as not only a patron saint, but as in some sense, a point of identification.He's also seeking to stop time at himself. He doesn't like to think about the future beyond himself. He doesn't show any interest in fathering an heir. His will is all about how to make permanent the judgments that he's made on his nobles. It's not about realistically what's going to happen after his death.In the course of his interest in history, he has found this vial of oil in the tower somewhere in a locked drawer with a note that says, "The Virgin gave this to Thomas Becket, and whoever is anointed with this oil shall win all his battles and shall lead England to greatness," et cetera. Richard has tried to have himself re-anointed, and even his patsy Archbishop of Canterbury that he's put in place after exiling the original one who'd stood up to him a bit.Even the new Archbishop of Canterbury says, "Sire, anointing doesn't really work like that. I'm afraid we can't do it twice." Richard has been wearing this vial round his neck in an attempt to claim that he is not only the successor to the confessor, but he is now the inheritor of this holy oil. The French king has had a holy oil for a very long time in the Cathedral of Reims, which was supposedly given to Clovis, the first king of France, by an angel, et cetera.Richard, who is always very keen on emulating, or paralleling the crown of France, is very, very keen on this. If you were Henry coming in 1399 saying, "No, God has spoken through me. The country has rallied to me. I am now the rightful king of England. We won't look too closely at my justifications for that," and you are appropriating the ceremonial of the crown, you are having yourself crowned in Westminster Abbey on the 13th of October, which is the feast day of the confessor, you are handed that opportunity to use the symbolism of this oil that Richard has just unearthed, and was trying to claim for himself. You can then say, "No, I am the first king crowned with this oil," and you're showing it to the French ambassadors and so on.If we are to believe the chroniclers, it starts making his hair fall out, which might be a contrary sign from God. It's a situation where you are usurping the throne, and what is questionable is your right to be there. Then, any symbolic prop you can get, you're going to lean on as hard as you can.Henry: A few general questions to close. Should we be more willing to open up old tombs?Helen: Yes. [laughs]Henry: Good. [laughs]Helen: I'm afraid, for me, historical curiosity is-- Our forebears in the 18th and 19th century had very few qualms at all. One of the things I love about the endless series of scholarly antiquarian articles that are-- or not so scholarly, in some cases, that are written about all the various tomb openings that went on in the 18th and 19th century, I do love the moments, where just occasionally, they end up saying, "Do you know what, lads? Maybe we shouldn't do this bit." [chuckles]They get right to the brink with a couple of tombs and say, "Oh, do you know what? This one hasn't been disturbed since 1260, whatever. Maybe we won't. We'll put it back." Mostly, they just crowbar the lid off and see what they can find, which one might regret in terms of what we might now find with greater scientific know-how, and et cetera. Equally, we don't do that kind of thing anymore unless we're digging up a car park. We're not finding things out anyway. I just love the information that comes out, so yes, for me.Henry: Dig up more tombs.Helen: Yes.Henry: What is it that you love about the Paston Letters?Helen: More or less everything. I love the language. I love the way that, even though most of them are dictated to scribes, but you can hear the dictation. You can hear individual voices. Everything we were saying about sentences. You can hear the rhythm. You can hear the speech patterns. I'm no linguistic expert, but I love seeing the different forms of spelling and how that plays out on the page.I love how recognizable they are as a family. I love the fact that we hear women's voices in a way that we very rarely do in the public records. The government which is mainly what we have to work with. I love Margaret Paston, who arrives at 18 as a new bride, and becomes the matriarch of the family. I love her relationship with her two eldest boys, John and John, and their father, John.I do wish they hadn't done that because it doesn't help those of us who are trying to write about them. I love the view you get of late medieval of 15th-century politics from the point of view of a family trying to survive it. The fact that you get tiny drops in letters that are also about shopping, or also about your sisters fall in love with someone unsuitable. Unsuitable only, I hasten to add, because he's the family bailiff, not because he isn't a wonderful and extremely able man. They all know those two things. It's just that he's a family bailiff, and therefore, not socially acceptable.I love that experience of being immersed in the world of a 15th-century gentry family, so politically involved, but not powerful enough to protect themselves, who can protect themselves in the Wars of the Roses in any case.Henry: If someone wants to read the Paston Letters, but they don't want to read Middle English, weird spelling, et cetera, is there a good edition that they can use?Helen: Yes, there is an Oxford World's Classic. They're all selected. There isn't a complete edition in modern spelling. If any publishers are listening, I would love to do one. [chuckles]Henry: Yes, let's have it.Helen: Let's have it. I would really, really love to do that. There are some very good selections. Richard Barber did one many years ago, and, of course, self-advertising. There is also my book, now more than 20 years old, about the Paston family, where I was trying to put in as much of the letters as I could. I wanted to weave the voices through. Yes, please go and read the Paston Letters in selections, in whatever form you can get them, and let's start lobbying for a complete modernized Paston.Henry: That's right. Why did you leave academia? Because you did it before it was cool.Helen: [laughs] That's very kind of you to say. My academic life was, and is very important to me, and I hate saying this now, because the academic world is so difficult now. I ended up in it almost by accident, which is a terrible thing to say now, people having to-- I never intended to be an academic. My parents were academics, and I felt I'd seen enough and wasn't sure I wanted to do that.I couldn't bear to give up history, and put in a PhD application to work with Christine Carpenter, who'd been the most inspiring supervisor when I was an undergraduate, got the place, thought, "Right, I'm just going to do a PhD." Of course, once you're doing a PhD, and everyone you know is starting to apply for early career jobs, which weren't even called early career jobs in those days, because it was a million years ago.I applied for a research fellowship, was lucky enough to get it, and then applied for a teaching job, utterly convinced, and being told by the people around me that I stood no chance of getting it, because I was way too junior, and breezed through the whole process, because I knew I wasn't going to get it, and then turned up looking for someone very junior.I got this wonderful teaching job at Sidney Sussex in Cambridge and spent eight years there, learned so much, loved working with the students. I was working very closely with the students in various ways, but I wasn't-- I'm such a slow writer, and a writer that needs to be immersed in what I was doing, and I just wasn't managing to write, and also not managing to write in the way I wanted to write, because I was becoming clearer and clearer about the fact that I wanted to write narrative history.Certainly, at that point, it felt as though writing narrative history for a general audience and being an early career academic didn't go so easily together. I think lots of people are now showing how possible it is, but I wasn't convinced I could do it. Then, sorry, this is a very long answer to what's [crosstalk] your question.Henry: That's good.Helen: I also had my son, and my then partner was teaching at a very different university, I mean, geographically different, and we were living in a third place, and trying to put a baby into that geographical [chuckles] setup was not going to work. I thought, "Well, now or never, I'll write a proposal for a book, a narrative, a book for a general readership, a narrative book about the Paxton family, because that's what I really want to write, and I'll see if I can find an agent, and I'll see if I," and I did.I found the most wonderful agent, with whose help I wrote a huge proposal, and got a deal for it two weeks before my son was due. At that point, I thought, "Okay, if I don't jump now, now or never, the stars are aligned." I've been a freelance medieval historian ever since then, touching every wood I can find as it continues to be possible. I am very grateful for those years in Cambridge. They were the making of me in terms of training and in terms of teaching.I certainly think without teaching for those years, I wouldn't be anywhere near as good a writer, because you learn such a lot from talking to, and reading what students produce.Henry: How do you choose your subjects now? How do you choose what to write about?Helen: I follow my nose, really. It's not very scientific.Henry: Why should it be?Helen: Thank you. The book, bizarrely, the book that felt most contingent, was the one I wrote after the Paston book, because I knew I'd written about the Pastons in my PhD, and then again more of it in the monograph that was based on my PhD. I knew having written about the Pastons in a very academic, analytical way, contributing to my analysis of 15th-century politics. I knew I wanted to put them at the center and write about them. That was my beginning point.The big question was what to do next, and I was a bit bamboozled for a while. The next book I ended up writing was She-Wolves, which is probably, until now, my best-known book. It was the one that felt most uncertain to me, while I was putting it together, and that really started from having one scene in my head, and it's the scene with which the book opens. It's the scene of the young Edward VI in 1553, Henry VIII's only son, dying at the age of 15.Suddenly, me suddenly realizing that wherever you looked on the Tudor family tree at that point, there were only women left. The whole question of whether a woman could rule was going to have to be answered in some way at that point, and because I'm a medievalist, that made me start thinking backwards, and so I ended up choosing some medieval queens to write about, because they've got their hands on power one way or another.Until very close to finishing it, I was worried that it wouldn't hang together as a book, and the irony is that it's the one that people seem to have taken to most. The next book after that grew out of that one, because I found myself going around talking about She-Wolves, and saying repeatedly, "The problem these queens faced was that they couldn't lead an army on the battlefield."Women couldn't do that. The only medieval woman who did that was Joan of Arc, and look what happened to her. Gradually, I realized that I didn't really know what had happened to her. I mean, I did know what--Henry: Yes, indeed.Helen: I decided that I really wanted to write about her, so I did that. Then, having done that, and having then written a very short book about Elizabeth I, that I was asked to write for Penguin Monarchs, I realized I'd been haunted all this time by Richard and Henry, who I'd been thinking about and working on since the very beginning of my PhD, but I finally felt, perhaps, ready to have a go at them properly.It's all been pretty organic apart from She-Wolves, which was the big, "What am I writing about next?" That took shape slowly and gradually. Now, I'm going to write about Elizabeth I properly in a-Henry: Oh, exciting.Helen: -full-scale book, and I decided that, anyway, before I wrote this last one, but I-- It feels even righter now, because I Am Richard II, Know Ye Not That, feels even more intensely relevant having now written about Richard and Henry, and I'm quite intimidated because Elizabeth is quite intimidating, but I think it's good, related by your subjects.[laughter]Henry: Have you read the Elizabeth Jenkins biography?Helen: Many, many years ago. It's on my shelf here.Henry: Oh, good.Helen: In fact, so it's one of the things I will be going back to. Why do you ask particularly? I need--Henry: I'm a big Elizabeth Jenkins fan, and I like that book particularly.Helen: Wonderful. Well, I will be redoubled in my enthusiasm.Henry: I look forward to seeing what you say about it. What did you learn from Christine Carpenter?Helen: Ooh. Just as precision was the word that came into my head when you asked me about Hilary Mantel, the word that comes into my head when you ask about Christine is rigor. I think she is the most rigorous historical thinker that I have ever had the privilege of working with and talking to. I am never not on my toes when I am writing for, talking to, reading Christine. That was an experience that started from the first day I walked into her room for my first supervision in 1987.It was really that rigor that started opening up the medieval world to me, asking questions that at that stage I couldn't answer at all, but suddenly, made everything go into technicolor. Really, from the perspective that I had been failing to ask the most basic questions. I would sometimes have students say to me, "Oh, I didn't say that, because I thought it was too basic."I have always said, "No, there is no question that is too basic." Because what Christine started opening up for me was how does medieval government work? What are you talking about? There is the king at Westminster. There is that family there in Northumberland. What relates the two of them? How does this work? Think about it structurally. Think about it in human terms, but also in political structural terms, and then convince me that you understand how this all goes together. I try never to lose that.Henry: Helen Castor, thank you very much.Helen: Thank you so much. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

Sounds & Sweet Airs - The Complete Works of Shakespeare 'Richard II' Act 3 Richard returns to the shores of his kingdom, only to discover the extent of Bolingbroke's return to favour with the public. Sheltering in a castle, the king soon meets with the Earl of Northumberland, who outlines Bolingbroke's demands... CAST King Richard - Andrew Peter Shaw Bolingbroke - Rhydian Sendall Duke of York - Philip Donnelly Earl of Northumberland - Kati Herbert Queen of England - Filipa Garrido Duke of Aumerle - Helen Tamlyn Duchess of York - Jacki Dann Henry Percy - Caspia Huntington-Davies Bishop of Carlisle - Christine Garvey Bagot - Chris Barnett Gardener - Andrew Faber Servant - Gareth Johnson CREW Writer - William Shakespeare Producer / Director - Dario Knight Sound Engineers - Stephan Medhurst & Gareth Johnson Music - John Bjork

Sounds & Sweet Airs - The Complete Works of Shakespeare 'Richard II' Act 2 John of Gaunt is nearing the end of his life, but his final breaths hold a stinging tirade for Richard's reign. Unfazed, the king seizes Bolingbroke's inheritance to fund his war in Ireland, unaware that the challenger to his throne has returned to raise an army... CAST King Richard - Andrew Peter Shaw Bolingbroke - Rhydian Sendall John of Gaunt - Andrew Faber Duke of York - Philip Donnelly Earl of Northumberland - Kati Herbert Duke of Aumerle - Helen Tamlyn Queen of England - Filipa Garrido Henry Percy - Caspia Huntington-Davies Lord Ross - Gareth Johnson Green - Jacki Dann Bushy - John North Bagot - Chris Barnett CREW Writer - William Shakespeare Producer / Director - Dario Knight Sound Engineers - Stephan Medhurst & Gareth Johnson Music - John Bjork

Episode 158Picking up the journey through Shakespeare's plays with 'Richard II'A brief summary of the playThe early performance history of the playThe early print history of the playThe variations in the quarto editions concerning the deposition sceneThe sources for the playThe role of the play in the Essex rebellionThe historical accuracy of the playThe dramatic arcs travelled by Richard and BolingbrokeThe political represented in the personal through the female rolesThe significant role of minor charactersHow verse is used in the play to distinguish the noble charactersThe question of the divine right of kings and how it affects Richard's characterThe end of the play, Bolingbroke's regrets, and how we might feel about themThe later performance history of the playSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.

At the end of June in 1399 Henry Bolingbroke, son of John of Gaunt and cousin to King Richard II, landed at Ravenspurn with a small force intent on the overthrow of Richard. The King, who had been in Ireland, did not rush to return to England, but when he did, his throne had been lost, and Bolingbroke became King Henry IV. Richard would die in mysterious circumstances not long after. Henry had secured the throne but his would not be a happy reign. Joining to discuss the two grandsons of Edward III is Helen Castor, author of The Eagle and the Hart: the Tragedy of Richard II and Henry IV as we delve into the two characters in a fascinating period of medieval history. Helen Castor Links The Eagle and the Hart: The Tragedy of Richard II and Henry IV Helen on X Aspects of History Links Latest Issue out - Annual Subscription to Aspects of History Magazine only $9.99/£9.99 Ollie on X Aspects of History on Instagram Get in touch: history@aspectsofhistory.com Learn more about your ad choices. Visit megaphone.fm/adchoices

fWotD Episode 2737: William de Ros, 6th Baron Ros Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Friday, 1 November 2024 is William de Ros, 6th Baron Ros.William de Ros, 6th Baron Ros (c. 1370 – 1 November 1414), was a medieval English nobleman, politician and soldier. The second son of Thomas de Ros, 4th Baron Ros, and Beatrice Stafford, William inherited his father's feudal barony and estates (with extensive lands centred on Lincolnshire) in 1394. Shortly afterwards, he married Margaret, daughter of John FitzAlan, 1st Baron Arundel. The Fitzalan family, like that of de Ros, was well-connected at the local and national level. They were implacably opposed to King Richard II, and this may have soured Richard's opinion of the young de Ros.The late 14th century was a period of political crisis in England. In 1399, Richard II confiscated the estates of his cousin, Henry Bolingbroke, Duke of Lancaster, and exiled him. Bolingbroke invaded England several months later, and de Ros took his side almost immediately. Richard's support had deserted him; de Ros was alongside Henry when Richard surrendered his throne to the invader, who became King Henry IV. De Ros later voted in the House of Lords for the former king's imprisonment. De Ros benefited from the new Lancastrian regime, achieving far more than he had ever done under Richard. He became an important aide and counsellor to King Henry and regularly spoke for him in Parliament. He also supported Henry in his military campaigns, participating in the invasion of Scotland in 1400 and assisting in the suppression of the rebellion of Richard Scrope, Archbishop of York, five years later.In return for his loyalty to the new regime, de Ros received extensive royal patronage. This included lands, grants, wardships, and the right to arrange the wards' marriages. De Ros performed valuable service as an advisor and ambassador (perhaps most importantly to Henry, who was often in a state of near-penury; de Ros was a wealthy man, and regularly loaned the crown large amounts of money). Important as he was in government and the regions, de Ros was unable to avoid the tumultuous regional conflicts and feuds which were rife at this time. In 1411 he was involved in a land dispute with a powerful Lincolnshire neighbour, and narrowly escaped an ambush; he sought and received redress in Parliament. Partly because of de Ros's restraint in not seeking the severe penalties available to him, he was described by a 20th-century historian as a particularly wise and forbearing figure for his time.King Henry IV died in 1413. De Ros did not long survive him, and played only a minor role in government during the last year of his life. He may have been out of favour with the new king, Henry V. As Prince of Wales, Henry had fallen out with his father a few years before, and de Ros had supported Henry IV over his son. De Ros died in Belvoir Castle on 1 November 1414. His wife survived him by twenty-four years; his son and heir, John, was still a minor. John later fought at Agincourt in 1415 and died childless in France in 1421. The barony of de Ros was then inherited by William's second son, Thomas, who also died in military service in France, seven years after his brother.This recording reflects the Wikipedia text as of 08:39 UTC on Friday, 8 November 2024.For the full current version of the article, see William de Ros, 6th Baron Ros on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Matthew.

Richard II är en ung ståtlig kung, men han är slösaktig och spenderar det mesta av sin tid på att göra av med pengar på och med sina nära vänner. Lyssna på alla avsnitt i Sveriges Radio Play. Både gemene man och adelsmän vänder sig mot sin kung när han, för att finansiera sitt överdådiga leverne, börjar hyra ut skiften med engelsk mark till rika adelsmän. När han sedan beslagtar marken och pengarna från en nyligen avliden och mycket respekterad farbror för att fylla på sin personliga kassa, är det droppen som får bägaren att rinna över.Den döde farbrodern, vars mark Richard beslagtagit, tillhörde Henry Bolingbrokes far. När Henry Bolingbroke får reda på att Richard stulit hans arv, samlar han en armé och invaderar Englands norra kust. Också allmogen står på Bolingbrokes sida, och en efter en överger Richards allierade i adeln honom och ansluter sig till Bolingbroke.Richard fängslas i ett avlägset slott i norra England och i London kröns Bolingbroke till kung Henrik IV.Konung Richard den andreAv William ShakespeareÖversättning: Carl August HagbergI rollerna (i den ordning de uppträda): Konung Richard den andre – Olov Molander, Johan av Gaunt, Hertig av Lancaster – Carl Browallius, Lordmarskalken – Gösta Hillberg, Henrik Bolingbroke, Gaunts son – Uno Henning, Mowbray, hertig av Norfolk – Gabriel Alw, Hertiginnan av Gloster – Hilda Borgström, Två härolder; Hertigen av Aumerle – Olof Widgren, Bushy – Manne Grünberger, Edmund av Langley, hertig av York, Aumerles fader – Carl Barcklind, Greven av Northumberland – Carl Ström, Två lorder; Bagot – Bror Bügler, Green – Åke Claesson, Drottningen, konung Richards gemål – Anna Lindahl, Henrik Percy, grevens av Northumberland son – Åke Engfeldt, Greve Berkley; Greven av Salisbury – Oscar Ljung, Sir Stephen Scroop – Gunnar Sjöberg, Hovdamen – Gun Robertson, Trädgårdsmästaren – John Norrman, Trädgårdsdrängen – Åke Uppström, Lord Fitzwater – Albert Ståhl, Hertigen av Surrey – Eric Rosén, Biskopen av Carlisle – Knut Lindroth, Hertiginnan av York – Constance Byström, Sir Pierce av Exton – Gösta Gustafsson, Fångvaktaren – John Ericsson, Stallknekten – Axel HögelDen interfolierade musiken var ”En svit” ur stycken av Henry Purcell sammanställd och bearbetad av John Barbirolli inspelad av New Yorks filharmoniska orkester under Barbirollis ledning.Regi: Olov* Molander*I gamla Radioteaterns arkiv och i gamla Röster i Radio-tidningar skiftar stavningen på Olov Molander. Vi väljer därför att skriva Olov eller Olof utefter den stavning man valt till varje aktuell föreställning. Här är namnet genomgående skrivet Olov i våra arkiv.Kuriosa: När vi började genomlyssningen av ljudfilen upptäcktes att en del av den fattades! Efter idogt arbete av medarbetare på Sveriges Radios ljudarkiv hittades den saknade delen efter att den kommit på avvägar någon gång efter att föreställningen haft premiär den 18 september 1940.

Season 6 of the WSS podcast here!In our inaugural episode of the season, host Tim Cynova is joined by Katy Dammers, Indira Goodwine-Josias, and Christy Bolingbroke as they explore reimagining of value-centered workplaces through Creative Administration. In organizations dedicated to creative expression and innovation, why is it that so many have workplace practices and policies that are dusty?The spirited discussion dives into the challenges and opportunities within the creative sector to rethink “traditional” approaches, asking when it might be better to reinvent the wheel or even asking if a wheel is what's needed. The conversation underscores the critical balance between stability and creative experimentation, reflecting on how new approaches can support long-term change and longevity in the arts.Episode Highlights02:15 Meet the Guests05:44 Diving into Creative Administration09:20 Balancing Structure and Improvisation17:26 Challenging Conventional Wisdom20:46 Navigating Institutional Change24:26 Reevaluating Policy: Balancing Ethics and Values25:09 Navigating Crisis with Established Policies25:51 Incremental Change in Nonprofit Organizations26:37 Creativity and Experimentation During COVID26:58 The Snapback to Pre-COVID Norms27:38 Fear of Change and Embracing New Solutions28:44 Creative Administration and Sustainability29:49 The Role of Artists in Institutional Change34:11 Balancing Administrative and Artistic GrowthResources Mentioned in the Podcast:Check out the new book Artists On Creative Administration: A Workbook from the National Center for Choreography.Christy Bolingbroke's Masters Thesis, Designing a 21st Century Dance Ecology: Questioning Current Practices and Embracing Curatorial InterventionsGUEST BIOSChristy Bolingbroke is the Founding Executive/Artistic Director for the National Center for Choreography at The University of Akron (NCCAkron). She is responsible for setting the curatorial vision and sustainable business model to foster research and development in dance. Previously, she served as the Deputy Director for Advancement at ODC in San Francisco, overseeing curation and performance programming as well as marketing and development organization-wide. A key aspect of her position included managing a unique three-year artist-in-residence program for dance artists, guiding and advising them in all aspects of creative development and administration. Prior to ODC, she was the Director of Marketing at the Mark Morris Dance Group in Brooklyn, NY. She earned a B.A. in Dance from the University of California, Los Angeles; an M.A. in Performance Curation from Wesleyan University; and is a graduate of the Arts Management Fellowship program at the Kennedy Center for the Performing Arts. She currently serves on the Akron Civic Commons Core Team; as a consulting advisor for the Bloomberg Philanthropies Arts Innovation Management initiative; and on the New England Foundation for the Arts National Dance Project Advisory Panel. In 2017, DANCE Magazine named Bolingbroke among the national list of most influential people in dance today.Indira Goodwine-Josias was born and raised in Queens, NY, and believes in the power of art to educate, inspire, and advance change. With a dual background in dance and arts administration, she is currently the Senior Program Director for Dance at the New England Foundation for the Arts

En este episodio de #PodcastLaTrinchera, Christian Sobrino conversa con la licenciada Zulma Rosario, ex Asesora de Seguridad Pública de La Fortaleza, ex Administradora de Corrección, ex Directora Ejecutiva de la Oficina de Ética Gubernamental y hoy anfitrona del programa 'Sin Ataduras' de NotiUno. En la entrevista discuten la formación profesional y política de Zulma, su experiencias durante la gobernación de Don Carlos Romero Barceló, la naturaleza de la corrupción y politización gubernamental y muchos otros temas.Por favor suscribirse a La Trinchera con Christian Sobrino en su plataforma favorita de podcasts y compartan este episodio con sus amistades.Para contactar a Christian Sobrino y #PodcastLaTrinchera, nada mejor que mediante las siguientes plataformas:Facebook: @PodcastLaTrincheraTwitter: @zobrinovichInstagram: zobrinovichThreads: @zobrinovich"Preservar la libertad mediante leyes nuevas y nuevos andamiajes de gobierno, mientras la corrupción de un pueblo continúa y crece, es absolutamente imposible" - Bolingbroke

I feel so grateful and blessed for all the wonderful Osteopaths and Osteopathy teachers I have met on my journey so far and who shared their experience and wisdom with me. One of them is Mary Bolingbroke! Mary keeps inspiring me on such a profound and I am honoured to have her as my guest on the podcast! Welcome, Mary. In this episode she shares with us important parts of her journey and her understanding of health and the role of us Osteopaths … and yes,  if you keep listening, I am sure you will feel and hear what I mean and why it is actually so hard to describe this wonderful teacher in words.  About Mary: Mary Qualified from the British School of Osteopathy in 1992 and then worked and trained with Stuart Korth at the Osteopathic Centre for Children in London until 1997. She co-founded the Irish Diploma in Paediatrics with Ian Wright in 2009 and she is on the Biodynamics of Osteopathy faculty, and regularly teaches on Biobasics (James Jealous) courses in the UK. Mary has a great interest in teaching as well as treating people of all ages and animals including horses, dogs and the occasional parrot. In this conversation with Mary we talked about … Marys` long and convoluted path and what brought Mary to study Osteopathy Why our body always tries to seek health! A simple (and so profound!) practice you can do to learn to get in touch with the stillness (and wisdom) within your body - the place from where so much wisdom is ready to be revealed!  Marys` understanding  of how our body stores both physical and emotional events within its tissues and how this build up can lead to the experience of pain or mental exhaustion … … and how Mary uses touch and the potency of listening to guide the body back to health  More links about this episode:  Mary teaches with the daisy clinic trust in Ireland (www.clonmelosteopaths.ie) and CTET in London (www.cranio.co.uk) Mary recommended to read this book: "It Didn't Start with You: How Inherited Family Trauma Shapes Who We Are and How to End the Cycle" by Mark Wolynn To leave any comments and to get in touch with me, follow me on Facebook or instagram, or visit my webpage www.flurinathali.com  Credits: Intro/outro music – ‘Hymn for Jim' by Aspyrian; Robin Porter – saxophone, Jack Gillen – guitar, Matt Parkinson – drums, composed by Robin Porter, listen to the full track here Graphic: Annina Thali, for more information click here Mix engineer: Jack Gillen, for more information click here

Richard is deposed in a public trial, which Bolingbroke and Northumberland hope to turn into a Soviet-style mockery in which Richard confesses all his wrongs. Instead, he steals the show, and makes them look like bullies and himself like a martyr—like Christ as the Man of Sorrows. The scene was not printed until after the death of Elizabeth, who is reputed to have said, “Know ye not I am Richard II?” --- Support this podcast: https://podcasters.spotify.com/pod/show/michael-dolzani/support

Richard, having made enormous, though eloquent, speeches of self-pity instead of bolstering the morale of what followers remain to him, holes up in Flint Castle. But when confronted by Bolingbroke and his fellow rebels, descends, slowly and ritualistically, from the walls, surrendering without the slightest resistance into the hands of his enemies. In the next scene, the Queen, speaking to a Gardener, speaks of her husband's fate as a second fall of Man. --- Support this podcast: https://podcasters.spotify.com/pod/show/michael-dolzani/support

The exiled Bolingbroke lands in England and gathers an army, claiming he has returned only to claim his legal rights as the heir of John of Gaunt. Old York, the last of the 7 sons of Edward III, helpless and feeble, switches his allegiance to Bolingbroke, the symbolic turning point of the play. Richard returns from Ireland and makes a bizarre, theatrical speech about how the earth itself will rise up and angels descend to aid him because he is God's anointed king. --- Support this podcast: https://podcasters.spotify.com/pod/show/michael-dolzani/support

John of Gaunt is inspired on his deathbed with a famous speech about the glorious land of England—now fallen on hard times due to the corrupt Richard II. Richard comes in, and Gaunt tells Richard what a fool he is being, angering Richard. Gaunt dies offstage, and Richard immediately moves to take his estates, which should go to Gaunt's son Bolingbroke, in order to fund wars in Ireland. This not only gives Bolingbroke yet more reason for rebellion but creates sympathy for his cause. Richard puts old, feeble York, the last of the fabled 7 sons, in charge of England while he is in Ireland. --- Support this podcast: https://podcasters.spotify.com/pod/show/michael-dolzani/support

In a ritualized, formal scene, Bolingbroke opens the play by accusing Thomas Mowbray of having murdered Thomas of Woodstock, Duke of Gloucester. Mowbray denies it, and a date for a trial by combat is set. Mowbray hints what is widely believed, that he was acting on the orders of Richard II himself. Gloucester's widow seeks justice from John of Gaunt, but Gaunt says nothing can be done because the king, who is clearly guilty, is nonetheless “God's anointed.” --- Support this podcast: https://podcasters.spotify.com/pod/show/michael-dolzani/support

This particular day, I had just pulled in to the side of the road close to the depot entrance, when there was an almighty bang and the front of the roof of the tyre retail premises was lifted off the brick cladding over the main front doors.The dust and mess was considerable, covering much of the surrounding area.I moved to go inside with caution, not knowing what I would be looking at.Were there any bodies laying around? Was that the final bang or were there to be more?In fact it was the only one but that initial bang had been followed by a tremendous amount of clattering as various pieces of metal and rubber gradually fell to earth after their being propelled into the air with great force.The force was compressed air and I had been fortunate that I had not arrived a few minutes earlier!Morris the very convivial manager at this particular depot was out, calling on clients. His tyre fitting staff had been taking a few short cuts in their endeavours.When removing commercial tyres from wheels there are safety instructions that should be followed. The lads in the depot that day had their own ideas.They had removed the locking ring and one side of the split wheel and turned the wheel and tyre over on a metal stand to knock the tyre off with a breaker tool.Evidently, so the story was told to me, the tyre would not budge. After lots of tyre lubricant and more hammering and jumping around, no difference, it was fixed solid.This often happened when the tyre had been on that wheel for a long time and had not had to be removed for any reason.In these instances, the tyre and wheel has to be placed in a safety cage and slowly inflated to encourage some movement.Compressed air is very very dangerous, everyone engaged in the tyre trade has received instruction regarding this at some stage in their early career.Even me!The lads at National Tyres, Stamford were fed up with this particular wheel.The boss was out and they decided to take the short cut. They attached the air line and began to blow the tyre off the wheel, without any safety cage. It was still laying there in the middle of the floor of the workshop, on its metal stand.Its the amount of compressed air in a restricted place, contained and under increasing pressure that is dangerous.Our lads that day had a very lucky escape.Quite suddenly, the wheel and tyre began to part company and jointly were launched into the air vertically at very high speed. Within a second or so, the wheel hit the steel girders supporting the roof of the building. The whole roof was lifted off its brick supports at the front and then the tyre and wheel separated and fell to earth almost as quickly as they had been launched.Those commercial tyres weigh over a hundredweight or 200 kilos. The wheel probably weighs more than that, so all together there was getting on for a quarter of a ton of rubber and metal flying around the building at high speed and out of control.Both bits landed not far from a clients car that was having new tyres fitted. He very nearly needed a new car!

Richard II is at once a masterwork of poetry and a bloody account of political plotting. In the 1590s, Shakespeare wrote a series of eight plays based on English chronicle history. Richard II is the first play chronologically in that series, telling the story of a king whose fall helped set in motion the political contentions and civil wars for decades to come. In 1399, Richard II was deposed by his cousin Bolingbroke, who became King Henry IV. But in Shakespeare's play, what Richard loses in political power, he gains in dramatic power. In this course, you'll learn the story and historical context behind Richard II, explore the complex political dimensions depicted in this transition of power, and see how Shakespeare develops this unusual protagonist who wants to be a tragic character.  In Part 1, you'll be guided through a detailed account of the story with commentary by Michael Dobson, Professor of Shakespeare Studies at the University of Birmingham and Director of the Shakespeare Institute in Stratford-upon-Avon. You'll learn the historical background behind the play and start to explore the play's central ambiguities concerning Richard's political moves and Richard's own character. This summary is told using the language of the play itself, placing key quotations in context to help you understand where these lines come from and what they mean. 

Part 3 features close-readings of several significant speeches and scenes. We hear from Richard's opponents and from Richard himself as he narrates his way – dazzlingly – into his new tragic identity. Speeches and Performers: John of Gaunt, Act 2, “Methinks I am a prophet …” (Anton Lesser) Richard II, Act 3, “For God's sake, let us sit upon the ground …” (Keith Hamilton Cobb and Donald Sumpter) Richard II and Bolingbroke, Act 4, “Give me the crown …” (Danann McAleer)

Part 2 explores the play's language and imagery and how it reflects the political plot. It discusses the political strategies and goals of Bolingbroke and Richard to ask what the play reveals about power and why Richard seems to gain in power as a literary, tragic figure precisely as he loses power as king – and why Richard seems to desire this tragic fate. It concludes by looking at how Richard's story has been marshaled as political propaganda and at the political questions that Shakespeare leaves ambiguous: how should we regard Richard's fate?

A few months passed and we received a strange phone call from those farmers and produce merchants we had carted the onions for, they were in a big way of business, located to the north east of Boston and about ten miles out of town.They wanted to know if we were prepared to do them a favour by making a statement that we had never been paid for the delivery we made for them.In explanation, they said that the onions had been of poor quality and they were disputing payment.Onions are quite expensive when you are talking about 10 tons and the total was several hundreds of pounds, even in 1974.We had been paid a fair rate for the delivery we made. We mentioned all this tarry diddle to Albert and he was sure their had been nothing wrong with the onions themselves. Albert could be relied on regarding anything to do with farming.When we replied saying we could not possibly do what they asked, as it was untrue, they became very heated and difficult, offering various threats of one sort and another. As this was the one and only job we had ever be asked to do for them, and we did not work for any of their so called “friends”, we felt that their threats could do us no harm.Besides, the main issue was being honest, open and fair. Our reputation and work ethics were at stake!

Back to Ivy House and the now established wine cellar, we had plenty of storage capacity and as the years went by we learned much more about wine and how to keep it.Buy the late 1970's we were making annual trips to France ourselves and managed to bring back a variety of different wines to augment the cellar.A calamity happened one winter when the water level in the basin rose so high it came up into the garden...and the cellar flooded to a depth of about 12 inches.The wine was ok but those cardboard boxes of tinned food did not fair too well. The cardboard disintegrated and the tins were to be found floating around in varying condition of “distress”.Many had begun to “blow”. When tins of food are kept too long and experience varying differences in storage conditions, they can begin to explode!By now, what with the age of the tins and now finding them floating around the cellar, the labels had come off many of them too.This was going to make identification somewhat difficult.I telephoned my Mother who for the previous four years or so had not even mentioned her tins of food. She went ballistic....Her “valuable” store of comestibles had been violated and I was the cause.One would think I had destroyed the World food bank to hear the racket down the telephone line.When she had finished ranting, I told here they were unsafe and were going to be binned at the earliest possible moment.I was “sent to Coventry” for another period of several months, which suited me fine!

Then just as suddenly it was all over and relative peace and quite reigned until the next group of buses from another large part of the midlands would descend on that modern “oasis” and it would all begin again.We admit to finding good reason to quit the scene rapidly. It was truly a mad house every Saturday Morning in those months that folk from the huge midlands towns and cities took their holidays on the Lincolnshire coast. This was how Hylda made a large proportion of her living. Of course there was substantial beer sales to bus passengers as well as the sandwiches and tea.Local trade for a pub stuck out in a tiny hamlet in the countryside was negligible. Hylda was a good cook and providing meals to paying clients must have been part of her regular trade too.One other result of all this summer time invasion was satisfying the VAT man!I do remember distinctly Hylda remonstrating in her usual way about how the VAT inspectors wanted her to work out how many breakfasts she provided free of charge to the bus drivers who brought their passengers to stop at the pub.They expected her to pay the VAT on those breakfasts even though they had been provided at no charge!She was typically furious and it was not a good idea to pay a visit close to any time the VAT man had also been calling, as this was not the only “weeze” that they thought up to get more income from hard working folk like Hylda.

Bolingbroke brings his expertise in Shakespeare and political philosophy in this heavy-hitting episode. We discuss where to start (or restart) your Shakespeare journey, some of the controversies and our favorite works. Follow him on Twitter @KingBolingbroke

There have been tales of Lady drivers, driving examinations, first potato powder trips to Lancashire, romantic encounters in Thetford Forest and of course the demise of Wonderbun.This story happened in the middle of all the other events. I was the driver this time and engaged in delivering a load of TMC complaint tyres to their examination centre in North Lancashire.Wonderbun was an Austin FKJ140 12 ton capacity two axle diesel lorry with very large box van body, This was one of the reasons we had bought her from Glentons, plus the fact that she had a large capacity hydraulic tail lift fitted.

Keith was phoning from a cafe on the M1 at Crick in Northamptonshire.The first thing he had to tell me was he had lost both rear wheels from one side of the lorry.It was fully loaded and he had been going fairly slowly through a restricted part of the motorway where it was single carriageway only.His rear wheels had come off in this section and just spun away across the remainder of the motorway.Mixed blessings here as with it being roadworks and restricted, then there was a free recovery service for vehicles breaking down in this section.Keith had been recovered to the cafe parking area and had managed to recover his wheels too.Earlier in the journey, he had needed two new rear tyres to be fitted in Brighton and the tyre fitters had been too enthusiastic with the pneumatic nut spinner and overtightened the wheel nuts. The threads had been damaged and during the journey north the wheel nuts had worked their way off the studs on the brake drum.NB The picture is not of a Mastiff, but a much more modern lorry, it shows the same type of demountable body system.

What's in this episode:- Cultivating a positive culture in your agency.- Leadership and communication within your team.- Investing in your agency and employees.About Charlie:I opened my State Farm office in 2010 to serve the residents and businesses of Jackson, Flovilla, Jenkinsburg, Forsyth, Culloden, Bolingbroke, Juliette, and Smarr with products from the country's preferred insurance provider. Today, my office employs a team of 12 local professionals ready to assist you with your Auto, Home, Property, Business, Life, Health, and Pet insurance as well as Financial Services. My team and I have a combined 70+ years of insurance helping residents of Butts and Monroe County understand their insurance options.Contact Charlie:www.ForsythGAinsurance.comwww.CharliePelt.comhttps://www.facebook.com/CharliePelthttps://www.linkedin.com/in/charlie-pelt-427ba1181https://www.facebook.com/forsythgainsuranceBook your 15-minute consultation call to see if Weaver Sales Academy is a fit for your agency here: https://bit.ly/3CnMjTxText BUZZ to (816) 727-7610 to connect directly with Michael and share your favorites from the episode or learn more about upcoming events and challenges happening in our industry Join Weaver Sales Academy: https://www.weaversa.com/Follow Michael on social media:Facebook: https://www.facebook.com/themichaelweaverInstagram: https://www.instagram.com/_michaelweaver_/LinkedIn: https://www.linkedin.com/in/michael-weaver-a2940095

This is a story from Its a Rum Life Book Three. The action is mainly in Boston UK."As soon as 5 o' clock arrived the area suddenly teemed with white smocked Porters wearing their classic flat leather hats. The main impression I remember was the smell and ice in all the gullies and drains.The noise level increased rapidly as instant auctions took place for the countless varieties of fish and shellfish. Auctions on the back of lorries, auctions in the isles between the stalls, and auctions in the open air.As goods were sold, the porters loaded kits of fish on their heads or boxes on their quaint long low barrows. Off they went at top speed, singly or in pairs to another part of the yard where eager buyers waited patiently to load their precious purchases. Fish from all parts of the UK was destined to travel yet again to “pastures new”!

In conclusion, I felt confident that the Inspector of Taxes had good acceptable answers to all his questions and could find no reason to take the matter further. Indeed, I did not hear anything more from that Government Office.But you can read or listen to other unpleasant incidents where various folk have seen fit to “have a go “ at us in other ways over the years.The worst and longest-lasting is covered in the story “Litigation”.It all began in 1982 during the time I was a Parish Councillor at New Bolingbroke and Carrington and continued for over 20 years!The final one was when Barclays Bank tried to “grab” the Northcote property and close the Animal Sanctuary back in 2012.You can follow this later incident in two stories, “A Lesson in Faith in the 21st Century” and “Travel Nightmare, I am a Terrorist!” 

I announced the couple who were to perform without mentioning that neither of them had ever seen each other before. Never mind not having the chance to practice the piece together before the performance.I dare not mention that neither the pianist nor the mezzo soprano singer had any sheet music to follow either.They were both confident and enthusiastic and with a glance at each other off they went.David's beautiful playing of that most difficult of piano pieces accompanied by Heather who had a lovely commanding voice was simply magnificent.David was note-perfect, the piece went on for perhaps four minutes and he finished with that memorable very twiddly complicated beautiful music which is “the Trout”.I was enthralled as were the rest of the audience. 

The phone rang and it was the Estate Manager from the Revesby Estates, he had his home and office at Revesby Bridge and could see the bank at the end of the Medlam Drain out of his front window.It was on this bank that our three horses were kept at the present. I had been down to see them earlier and thought them settled for the night to come.Not on your life, something had got into them and they had dismantled the gate I had erected to keep them on the bank and stop them wandering.The Estate Manager told me with short breaths that they were getting out and if I could, I needed to get down there pronto!

Arriving at the town (Boston) I watched the buildings in all the streets to make sure the auger did not go through any windows or catch any lamp standards.Just by the Odeon Cinema, I arrived at some traffic lights at the approach to the river bridge. As I was slowing gradually, eyes in all directions at once, someone hooted their horn.My eyes were diverted for just a second or two and in that instant, a double-decker bus had decided to stop directly in front!Rapid stamping on my brakes resulted in my truck dipping forwards and the two steel support rods of the auger ending poked through the back of the double-deck bus just below the rotary sign that tells you where it is going!I did manage to stop before the rods went in too far, that is into the seats!As the truck rocked back on its suspension, the two rods reappeared and left two “staring eyes” dead centre in the bus body just a short distance below the rotary signboard.The driver appeared and looked somewhat bewildered.“Well I never did!” he exclaimed, “nothing like this has ever happened before.”

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Richard completes his abdication. Bolingbroke prepares his coronation. Richard is imprisoned and his queen is exiled to France. We hear of Bolingbroke's son, Prince Hal.

Richard completes his abdication. Bolingbroke prepares his coronation. Richard is imprisoned and his queen is exiled to France. We hear of Bolingbroke's son, Prince Hal.

Richard surrenders to Bolingbroke. He initially states loyalty to Richard, but proceeds immediately to seize the crown.

Richard surrenders to Bolingbroke. He initially states loyalty to Richard, but proceeds immediately to seize the crown.

All is set for the trial by combat when Richard steps in and decrees banishment on the combatants. Mowbray gets lifetime banishment, and Bolingbroke ten years (reduced to six years for some reason). Richard makes them swear not to conspire together against him but neglects to have them swear loyalty.

All is set for the trial by combat when Richard steps in and decrees banishment on the combatants. Mowbray gets lifetime banishment, and Bolingbroke ten years (reduced to six years for some reason). Richard makes them swear not to conspire together against him but neglects to have them swear loyalty.

It was one morning before daylight when I unintentionally created something of an incident, it was very cold and damp, so cold the house needed a boost of heat. I opened the garage doors and grabbed three bales of straw, stuffed them into the boiler and opened all the air intakes. Nothing unusual in that, or so I thought, but the wind was from the east. I watched the thick yellow smoke emerging from the chimney and carrying across the main road that passed directly in front of Ivy House.I remember thinking that it was a good job Betty and Les across the road would not be up for an hour or so and I hope they slept with their bedroom window closed, as the smoke began to carry over towards the whole village.

A transcript of this episode is available here: https://thedanceedit.com/transcript-episode-84Subscribe to The Dance Edit Extra: https://podcasts.apple.com/us/podcast/the-dance-edit-extra/id1579075769Links referenced in/relevant to episode 84:-The Charlotte Observer's coverage of the University of North Carolina School of the Arts sexual abuse lawsuit:https://www.charlotteobserver.com/news/state/north-carolina/article254655807.htmlhttps://www.newsobserver.com/news/local/education/article254726867.html-Pointe's rundown of the companies participating in World Ballet Day: https://pointemagazine.com/world-ballet-day-2021/-Lizzo's twerking TED Talk: https://www.ted.com/talks/lizzo_the_black_history_of_twerking_and_how_it_taught_me_self_love-Christy Bolingbroke's essay on rethinking arts admin practices: https://www.dancemagazine.com/making-arts-admin-creative-2655192286.html-Bolingbroke's Dance Edit Podcast interview: https://thedanceedit.com/olympic-dance-black-swan-at-10-and-christy-bolingbroke/-New York City Ballet's fall fashion gala video: https://www.youtube.com/watch?v=no6Gvq6r5xs

Jefferson answers listener questions about his classification systems, and Monticello's gardens and water supply. Jefferson offers advice to a young woman who is trying to be a "good student of liberty." He tells her that "liberty is written in your heart." You can order Clay's new book at Amazon, Target, Barnes and Noble, or by contacting your independent bookstore. The Language of Cottonwoods is out now through Koehler Books. Mentioned on this episode: Virgil Online Course and Lewis and Clark Tours, books by Thomas Paine, including Common Sense, The American Crisis, The Age of Reason, and The Rights of Man, The Federalist Papers by Alexander Hamilton, John Jay, and James Madison, Jefferson and His Time by Dumas Malone, Second Treatise of Government by John Locke, The Aeneid (Robert Fagles Translation) by Virgil, The Odes of Horace, Histories by Tacitus, History of Rome by Livy, History of the Peloponnesian War by Thucydides, Histories by Herodotus, The Iliad by Homer, The Odyssey by Homer, Voltaire, Bolingbroke, David Hume, Find this episode, along with recommended reading, on the blog. Support the show by joining the 1776 Club or by donating to the Thomas Jefferson Hour, Inc. You can learn more about Clay's cultural tours and retreats at jeffersonhour.com/tours. Check out our new merch. You can find Clay's publications on our website, along with a list of his favorite books on Jefferson, Lewis and Clark, and other topics. Thomas Jefferson is interpreted by Clay S. Jenkinson.

Dinan himself did not actually go to the HM The Queen Mother's 80th Birthday Celebrations at Sandringham, but that is where we found the rose with the same name!

idéias baseadas nos filósofos Rousseau, Voltaire, Diderot, Montesquieu e John Locke, Bolingbroke, Potter, Helvétius, Collins, Tindal, todos os enciclopedistas que exaltam as ideias totalitárias de Licurgo.

Ebony had to have an operation, this is what happened.............

"Anne leaves Green Gables and her work as a teacher in Avonlea to pursue her original dream (which she gave up in Anne of Green Gables) of taking further education at Redmond College in Kingsport, Nova Scotia. Gilbert Blythe and Charlie Sloane enroll as well, as does Anne's friend from Queen's Academy, Priscilla Grant. During her first week of school, Anne befriends Philippa Gordon, a beautiful girl whose frivolous ways charm her. Philippa (Phil for short) also happens to be from Anne's birthplace in Bolingbroke, Nova Scotia." -Wikipedia Anne of the Island Book 3 of the Anne of Green Gables Series Laura Hales, an amateur voice actor, is reading Anne of the Island by Lucy Maud Montgomery, chapter by chapter, as a small service to the global community. At a time when many are stuck at home, feeling isolated or alone, hopeless or discouraged, Laura is hoping to provide an opportunity for individuals and families to listen to literary classics with Persuasion, Little Lord Fauntleroy, Pride and Prejudice, The Secret Garden, A Little Princess, Alice in Wonderland, Anne of Green Gables, Jane Eyre, Anne of Avonlea, Anne of Green Gables, The Great Gatsby, and A Christmas Carol. All readings are done live, meaning that mistakes and errors are made in the performance. These mistakes are valuable for young readers to observe and understand as they approach their reading. Did you enjoy this performance? Email us your best reading, art, music creation, dance, or anything else, that this reading has inspired you to create. YOUR ART may be featured on the next video! Videos may be shared freely, or used in classrooms/virtual learning without the performers permission, as long as credit is given in the shared video description to the YouTube video link. This reading material is under free copyright domain. Education. Find us on Facebook! Readings are done every couple of days on Facebook live. Join the performer live! https://www.facebook.com/groups/23595

"Anne leaves Green Gables and her work as a teacher in Avonlea to pursue her original dream (which she gave up in Anne of Green Gables) of taking further education at Redmond College in Kingsport, Nova Scotia. Gilbert Blythe and Charlie Sloane enroll as well, as does Anne's friend from Queen's Academy, Priscilla Grant. During her first week of school, Anne befriends Philippa Gordon, a beautiful girl whose frivolous ways charm her. Philippa (Phil for short) also happens to be from Anne's birthplace in Bolingbroke, Nova Scotia." -Wikipedia Anne of the Island Book 3 of the Anne of Green Gables Series Laura Hales, an amateur voice actor, is reading Anne of the Island by Lucy Maud Montgomery, chapter by chapter, as a small service to the global community. At a time when many are stuck at home, feeling isolated or alone, hopeless or discouraged, Laura is hoping to provide an opportunity for individuals and families to listen to literary classics with Persuasion, Little Lord Fauntleroy, Pride and Prejudice, The Secret Garden, A Little Princess, Alice in Wonderland, Anne of Green Gables, Jane Eyre, Anne of Avonlea, Anne of Green Gables, The Great Gatsby, and A Christmas Carol. All readings are done live, meaning that mistakes and errors are made in the performance. These mistakes are valuable for young readers to observe and understand as they approach their reading. Did you enjoy this performance? Email us your best reading, art, music creation, dance, or anything else, that this reading has inspired you to create. YOUR ART may be featured on the next video! Videos may be shared freely, or used in classrooms/virtual learning without the performers permission, as long as credit is given in the shared video description to the YouTube video link. This reading material is under free copyright domain. Education. Find us on Facebook! Readings are done every couple of days on Facebook live. Join the performer live! https://www.facebook.com/groups/23595

We continue today talking about Queen Anne, after talking in great detail about the Act of Union of 1707 that created the kingdom of Great Britain. We move back a little bit to talk about some other important areas of Anne's life and rule.