Podcast appearances and mentions of edward iii

6/5/25 - Hour 2 The Athletic's James Edward III tells Rich why the Knicks fired head coach Tom Thibodeau after back-to-back 50-win seasons, why he'd be surprised to see UConn's Dan Hurley or former Denver Nuggets HC Michael Malone coaching in MSG next season, and discusses the possibility of a roster shakeup featuring the addition of 2-time NBA MVP Giannis Antetokounmpo. Rich weighs in on the Jacksonville Jaguars' huge opportunity to the use Travis Hunter on both offense and defense, and react to the Ravens possibly extending Lamar Jackson's contract.  Please check out other RES productions: Overreaction Monday: ⁠⁠⁠⁠⁠⁠⁠⁠http://apple.co/overreactionmonday⁠⁠⁠⁠⁠⁠⁠⁠  What the Football with Suzy Shuster and Amy Trask: ⁠⁠⁠⁠⁠⁠⁠⁠http://apple.co/whatthefootball⁠⁠⁠⁠⁠⁠⁠⁠ The Jim Jackson Show: ⁠⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/the-jim-jackson-show/id1770609432⁠⁠⁠⁠⁠⁠⁠⁠ No-Contest Wrestling with O'Shea Jackson Jr. and TJ Jefferson: ⁠⁠⁠⁠⁠⁠⁠⁠https://podcasts.apple.com/us/podcast/no-contest-wrestling/id1771450708 Learn more about your ad choices. Visit podcastchoices.com/adchoices

Fourteenth century England was a time of upheaval, extended war, political turmoil, and overall chaos. Dr Helen Carr joins us to talk about her new book that covers the life of the famous and lesser-known people of a time that changed power structures and the monarchy forever.Show Notes:Carol Ann Lloydwww.carolannlloyd.com@shakeuphistorypatreon.com/carolannlloydThe Tudors by NumbersCourting the Virgin Queen Dr Helen Carrhelencarr.com@helenhcarrHistory Hit, Intelligence Squared, BBC, The New Statesman, etc.The Red Prince: John of Gaunt, Duke of LancasterWhat is History, Now? (co-author and editor)Sceptered Isle: A New History of the Fourteenth CenturyHistory shows us what's possible.

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

Find out what's coming up with our special season bingo over on our subscription channel. Subscribe for weekly bonus episodes and ad-free listening. The reign of the mighty warrior king Edward III is finally over and his 10-year-old grandson Richard is set to take on the crown.  What could possibly go wrong? 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 Senior Producer - Dominic Tyerman Executive Producer - Louisa Field Production Manager - Jen Mistri Production coordinator: Eric Ryan Marketing - Kieran Lancini Sound Design and Mixing - Amber Devereux Head of content – Chris Skinner Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this Gloucester History Festival Special Series episode we speak to author and historian Ian Mortimer about the fake death of Edward II! In the episode we discussed the traditional narrative of Edward's death, the story that Ian's research points him towards, and the different approaches to history that Ian has taken to get to this conclusion!To keep up to date with Ian head to his websiteGrab a copy of Ian's books here, or head grab Perfect King: The lIfe of Edward III, Father of the English Nation, or Greatest Traitor: The Life of Roger Mortimer, 1st Earl of March, or Medieval Intrigue: Decoding Royal ConspiraciesTo find out more about Gloucester History Festival head to: https://www.gloucesterhistoryfestival.co.uk/Or head to @GlosHistFest on Twitter or Instagram for more detailsIf you want to get in touch with History with Jackson email: jackson@historywithjackson.co.ukTo catch up on everything to do with History with Jackson head to www.HistorywithJackson.co.ukFollow us on Facebook at @HistorywithJacksonFollow us on Instagram at @HistorywithJacksonFollow us on X/Twitter at @HistorywJacksonFollow us on TikTok at @HistorywithJackson Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This is the story of the ultimate frenemies that will see a cataclysmic shift in power away from the Plantagenets. The warrior king Edward III is dying and disaster looms when his grandson, the child king Richard II, is crowned. It's not long before he clashes with his cousin, Henry, in a classic tragedy of boyhood companions turned deadly rivals. 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 Senior Producer - Dominic Tyerman Executive Producer - Louisa Field Production Manager - Jen Mistri Production coordinator: Eric Ryan Marketing - Kieran Lancini Mixing - Gulliver Lawrence Tickell Head of content – Chris Skinner Learn more about your ad choices. Visit podcastchoices.com/adchoices

We're still in the 14th century and in this episode, Charlie Higson is looking at the confusion that ensued after Edward III basically had too many sons. His success in the bedroom created a tangled web of family intrigue, thwarted ambition and bitter rivalry that led to Richard II's cousin, Henry Bolingbroke, kicking him off the throne and taking over. Assisting Charlie through this quagmire of power and revenge is Helen Castor, author of The Eagle & The Hart : The Tragedy Of Richard II and Henry IV Hosted on Acast. See acast.com/privacy for more information.

As Charlie Higson guides us through some of the fascinating folk who litter English history, he lands upon John Wycliffe, an academic, a philosopher, a priest, a preacher and a religious reformer who lived during the reigns of Edward III and Richard II. A passionate reformer, he was behind the first translation of the bible to into English – creating the so called Wycliffe bible - one that didn't require a knowledge of Latin to read and understand. In fact, you could even argue that Wycliffe's ideas fed into the beginnings of socialism in the UK and the foundation of the welfare state. Helping Charlie understand the man, he welcomes back Rory Cox, author of John Wycliffe on War & Peace Hosted on Acast. See acast.com/privacy for more information.

Dr. Eleanor Janega and Matt Lewis bring our series on the Plantagenets to its climax with a look at one of England's most influential monarchs.  We pick up the story where we left off in the last episode with Roger Mortimer influencing the boy King Edward III, along with his mother Queen Isabella.  But there's so much more to discover about Edward III, who became a pivotal figure in shaping medieval England.Matt talks to Dr. Christopher Briggs and Dr. Andrew Spencer from Cambridge University, drawing upon their course which offers unique insights into the politics, economy, and society of Edward III's reign. Then Eleanor and Matt round up the series with their reflections on "the original dysfunctional family," known for "bad tempers, spoilt brats, greed, lusty men and the odd bout of genius."Gone Medieval is presented by Dr.Eleanor Janega and Matt Lewis. Edited and produced by Rob Weinberg and Joseph Knight.  The senior producer is Anne-Marie Luff.All music used is courtesy of Epidemic Sounds.Gone Medieval is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on

On this episode, we'll be talking about Royal Couples that truly fit the trope of Friends to Lovers.The title of the episode is Give Me Your Hand and Let Me All Your Fortunes Understand, meaning our couples today knew each other of old and had to get married for practical reasons, but they grew to love each other with time.  On the Royal Menu today we have:The Fair Maid Joan of Kent & Edward, the Black Prince (elder son of Edward III), as well as Anne Neville & Richard III.To help us understand these couples better, we've enlisted Sharon Bennett Connolly. Find Sharon here:@sharonbennettconnolly on InstagramWomen of the Norman Conquest:https://www.amberley-books.com/silk-and-the-sword.htmlHeroines of the Medieval World by Sharon:https://www.amberley-books.com/heroines-of-the-medieval-world-9781445689449.htmlWomen of the Anarchy by Sharon:https://www.amberley-books.com/discover-books/women-of-the-anarchy.htmlHeroines of the Tudor World :https://www.amberley-books.com/heroines-of-the-tudor-world.htmlScotland's Medieval Queens:https://www.pen-and-sword.co.uk/Scotlands-Medieval-Queens-Hardback/p/51759/aid/1238More Books by Sharon:https://www.pen-and-sword.co.uk/Sharon-Bennett-Connolly/a/3883Sharon's Website:https://historytheinterestingbits.com/silk-and-the-sword-the-women-of-the-norman-conquest/For more history fodder please visit https://www.ifitaintbaroquepodcast.art/ and https://www.reignoflondon.com/To book a walking tour with Natalie https://www.getyourguide.com/s/?q=supplier:252243 Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Gone Medieval begins a gripping 4 part series exploring scandal, power, and betrayal in the Plantagenet Court.This one of England's most dramatic royal sagas; from the ill-fated reign of Edward II to the rise of his son, Edward III, Matt Lewis and Dr. Eleanor Janega uncover how love and the Crown do not make good bedfellows.Each episode brings to life the key players in this enthralling saga and today Matt and Eleanor explore the disastrous reign of Edward II.With exclusive behind the scenes access to the Royal Shakespeare Theatre's rehearsals of their stunning new production of Edward II, Matt and Eleanor dissect the intricate balance of power and personal desire, detailing the king's conflicts with his barons, his disastrous military campaigns, and the role of his infamous favourites.Gone Medieval is written and presented by Matt Lewis and Dr. Eleanor Janega. Lines performed by Daniel Evans. Audio editor is Amy Haddow, the producers are Joseph Knight and Rob Weinberg. The senior producer is Anne-Marie Luff.All music used is courtesy of Epidemic Sounds.Gone Medieval is a History Hit podcast.Tickets are available for the RSC's new production of Edward II: https://www.rsc.org.uk/edward-ii/Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on

Right trusty and well beloved, we greet you well!Gemma Hollman is back on the show!This time with her latest book Women in the Middle Ages: Illuminating the World of Peasants, Nuns and Queens (Abbeville Press).This book has women's stories told with some serious help from contemporary art. How were women depicted in paintings, pictures and drawings? Let's find out more...Find Gemma:https://thehistorypress.co.uk/?s=gemma+hollman&submit=https://justhistoryposts.com/https://bsky.app/profile/gemmahauthor.bsky.socialGet Gemma's Books:Women in the Middle Ages:https://www.amazon.co.uk/Women-Middle-Ages-Illuminating-Peasants/dp/0789214962 (UK)https://www.abbeville.com/products/women-in-the-middle-ages (USA)Women of Edward III:https://thehistorypress.co.uk/publication/the-queen-and-the-mistress/ (UK)https://www.simonandschuster.com/books/The-Queen-and-the-Mistress/Gemma-Hollman/9781639363599 (USA)Royal Witches:https://thehistorypress.co.uk/publication/royal-witches/ (UK)https://www.simonandschuster.com/books/Royal-Witches/Gemma-Hollman/9781643137704 (USA)If you would like to join Natalie on one of her London Walking Tours, please follow the links:https://www.getyourguide.com/london-l57/london-the-royal-british-kings-and-queens-walking-tour-t426011/For more history fodder, please browse https://www.reignoflondon.com/ and https://www.ifitaintbaroquepodcast.art/ Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This week, Beau talks all about Richard II, the grandson of Edward III. At just 10 years old, he inherited the throne, and a few years later, he faced a major uprising against taxes during the Peasants' Revolt of 1381. Later, he was overthrown by his cousin, Henry Bolingbroke (the future Henry IV), imprisoned, and likely starved to death.

This episode contains graphic content. The streets of London are rammed with revellers after Edward III's biggest coup in the war yet. Meanwhile, in France a bloody revolution has seized the country.  Could this be the perfect moment to take the French throne? Find out more about Proton Mail at proton.me/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 Written and hosted by Dan Jones Producer - Georgia Mills Executive Producer - Louisa Field Production Manager - Eric Ryan Marketing - Kieran Lancini Sound Design - Amber Devereux Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week Beau discusses the life and times of one of England's greatest kings, Edward III. From his early struggle for power, to the battles of Halidon Hill, Crecy and Poitiers, the Black Death, and much, much more.

Edward III's son and heir, the Black Prince, rides through France in a reign of terror and destruction. He aims to goad the King of France into a fully fledged battle. When the French King finally reveals his hand, that battle suddenly seems like a very bad idea. Find out more about Proton Mail at proton.me/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 Written and hosted by Dan Jones Producer - Georgia Mills Executive Producer - Louisa Field Production Manager - Eric Ryan Marketing - Kieran Lancini Sound Design - Amber Devereux Learn more about your ad choices. Visit podcastchoices.com/adchoices

Edward III takes his forces to sea, aiming to ambush an enemy fleet. There's just one problem: the sun is shining and the wine is flowing. It isn't long before the entire English army is completely drunk. 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 Find out more about Proton Mail at proton.me/thisishistory Learn more about your ad choices. Visit megaphone.fm/adchoices Written and hosted by Dan Jones Producer - Georgia Mills Executive Producer - Louisa Field Production Manager - Eric Ryan Marketing - Kieran Lancini Sound Design - Amber Devereux Learn more about your ad choices. Visit podcastchoices.com/adchoices

Edward III's mighty war is stopped in its tracks by a new, cataclysmic threat. It's the deadliest plague in all of human history: the black death. 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 Written and hosted by Dan Jones Producer - Georgia Mills Executive Producer - Louisa Field Production Manager - Eric Ryan Marketing - Kieran Lancini Sound Design - Amber Devereux Learn more about your ad choices. Visit podcastchoices.com/adchoices

Edward III sets his sights on conquering the mighty port town of Calais. But Calais is very well defended, can Edward think of a plan before his entire campaign falls to pieces? 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 Written and hosted by Dan Jones Producer - Georgia Mills Executive Producer - Louisa Field Production Manager - Eric Ryan Marketing - Kieran Lancini Sound Design - Chris o'Shaughnessy Learn more about your ad choices. Visit podcastchoices.com/adchoices

Lauren Layfield introduces This is History on the series recommendation show Your Next Podcast. Hosted by the New York Times best-selling author and historian Dan Jones, season six of This Is History immerses listeners into the thick of one of the most turbulent eras of the Middle Ages and the rise of one of England's most formidable kings, Edward III. From naval warfare and deadly military inventions to orgies, and castle heists, all set in the backdrop of the Black Death, season six of This Is History is full of explosive moments as Dan unfolds the saga of history's deadliest dynasty. Follow This is History wherever you're reading this!

Thousands of English ships advance towards the beaches of Normandy. Edward III's bloody and brutal invasion of France has begun. 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 Written and hosted by Dan Jones Producer - Georgia Mills Executive Producer - Louisa Field Production Manager - Eric Ryan Marketing - Kieran Lancini Sound Design - Chris o'Shaughnessy Learn more about your ad choices. Visit podcastchoices.com/adchoices

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

The story continues with a three-part episode; we look at the behind the scenes economic reasons why London's trades were becoming more organised and how this was driving massive new political factions being born upon it's streets; we examine the third outbreak of the plague, once again killing thousands of the cities residents, and we witness the declining health and fortunes of that most imperious King, Edward III, as the skies darkened and terrible times threatened the people…

A woman executed for her crimes. An outlaw fleeing from his king. A heron killed by a hawk.  The stage is set for Edward III to walk England into a war unlike anything seen before. 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 Written and hosted by Dan Jones Producer - Georgia Mills Executive Producer - Louisa Field Production Manager - Eric Ryan Marketing - Kieran Lancini Sound Design - Chris o'Shaughnessy Learn more about your ad choices. Visit podcastchoices.com/adchoices

Turmoil in Scotland leads an unexpected ally to Edward III's door. What Edward doesn't know is that this is the first step towards the longest war the world has ever seen. 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 Written and hosted by Dan Jones Producer - Georgia Mills Executive Producer - Louisa Field Production Manager - Eric Ryan Marketing - Kieran Lancini Sound Design - Chris o'Shaughnessy Learn more about your ad choices. Visit podcastchoices.com/adchoices

The times they are a changin' in the Middle Ages, as we step into the tumultuous reign of Edward III. This Plantagenet is a warrior, tactician, and party prince through-and-through, but with a dangerously ambitious streak that will lead him, and his country, into a war that will last over a hundred years. Subscribe and follow This is History, so you never miss an episode. 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 Written and hosted by Dan Jones Producer - Georgia Mills Executive Producer - Louisa Field Production Manager - Jen Mistri and Eric Ryan Marketing - Kieran Lancini Mixing - Gulliver Lawrence-Tickell Learn more about your ad choices. Visit podcastchoices.com/adchoices

The story of a 14th-century Flemish pirate, merchant, and adventurer, a man who took prizes at sea and took whatever side he needed to on land, crossing paths with various counts and kings as he went. If you like what you hear and want to chip in to support the podcast, my Patreon is here. I'm on BlueSky @a-devon.bsky.social, Twitter @circus_human, Instagram @humancircuspod, and I have some things on Redbubble. Sources: Barrell, Andrew D. M. Medieval Scotland. Cambridge University Press, 2000. Cushway, Graham. Edward III and the War at Sea: The English Navy, 1327-1377. Boydell Press, 2011. Holinshed, Raphael. Chronicles of England, Scotland, and Ireland, Volume 5. J. Johnson, et. al. 1808. Lucas, Henry S. “John Crabbe: Flemish Pirate, Merchant, and Adventurer.” Speculum 20, no. 3 (1945): 334–50. Rose, Susan. Medieval Naval Warfare, 1000-1500. Routledge, 2003. Wilson, Ben. Empire of the Deep: The Rise and Fall of the British Navy. Orion, 2013. The Anonimalle Chronicle 1307 to 1334. Edited by Wendy R. Childs and John Taylor. Cambridge University Press, 2013. Learn more about your ad choices. Visit podcastchoices.com/adchoices

So after chapters focused on London, its time to cast our gaze outwards for an episode… as Edward III, the young, dynamic and energetic King of England, finds himself dragged into a war with Scotland, which in turn leads to a war with France… and how this, mixed with complicated French dynastic politics, to produce the conditions that led to the start of the 100 Years War.Covering how the country slid into this war, the seemingly constant set backs and occasional brilliant victory at sea, and Edward virtually bankrupting the nation, ‘Thunderbolt' sets up the situation in London, with the king turning up in the Tower and trying to purge his entire government for backsliding. Wild times abound.

We've hit over 70,000 YOUTUBE subscribers, and you know what that means—Tim is in the hot seat for another Tudor history quiz!

fWotD Episode 2643: Hundred Years' War, 1345–1347 Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Tuesday, 30 July 2024 is Hundred Years' War, 1345–1347.English offensives in 1345–1347, during the Hundred Years' War, resulted in repeated defeats of the French, the loss or devastation of much French territory and the capture by the English of the port of Calais. The war had broken out in 1337 and flared up in 1340 when the king of England, Edward III, laid claim to the French crown and campaigned in northern France. There was then a lull in the major hostilities, although much small-scale fighting continued.Edward determined early in 1345 to renew full-scale war. He despatched a small force to Gascony in south-west France under Henry, Earl of Derby and personally led the main English army to northern France. Edward delayed the disembarkation of his army and his fleet was scattered by a storm, rendering this offensive spectacularly successful. The following spring a large French army, led by the heir to the French throne, John, Duke of Normandy, counter-attacked Derby's forces. Edward responded by landing an army of 10,000 men in northern Normandy. The English devastated much of Normandy and stormed and sacked Caen, slaughtering the population. They cut a swath along the left bank of the Seine to within 20 miles (32 km) of Paris. The English army then turned north and inflicted a heavy defeat on a French army led by their king, Philip VI, at the Battle of Crécy on 26 August 1346. They promptly exploited this by laying siege to Calais. The period from Derby's victory outside Bergerac in late August 1345 to the start of the siege of Calais on 4 September 1346 became known as Edward III's annus mirabilis (year of marvels).After an eleven-month siege, which stretched both countries' financial and military resources to the limit, the town fell. Shortly afterwards, the Truce of Calais was agreed; it ran for nine months to 7 July 1348, but was extended repeatedly until it was formally set aside in 1355. The war eventually ended in 1453 with the English expelled from all French territory except Calais, which served as an English entrepôt into northern France for more than two hundred years.This recording reflects the Wikipedia text as of 00:47 UTC on Tuesday, 30 July 2024.For the full current version of the article, see Hundred Years' War, 1345–1347 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 neural Stephen.

The Order of the Garter, Britain's highest chivalric order, was established by King Edward III on 24th June, 1348.  Influenced by Arthurian legend and the popularity of the Crusades, monarchs all over Europe dreamt up similar orders to boost their own support. But in Britain, the Garter ceremony is still held annually, at Windsor's St. George's Chapel, featuring knights in elaborate costumes, including velvet cloaks and Tudor bonnets. In this episode, Arion, Rebecca and Olly unpick the membership criteria for being in this monarch's mates club; explore the apocryphal origin story of the order, featuring a lady's modesty on the dancefloor; and consider who should occupy the three currently vacant spaces in King Charles's Order… Further Reading: • ‘What is the Order of the Garter? The ancient honour bestowed to the Queen, Prince and Princess of Wales and Duchess of Gloucester' (Tatler, 2024): https://www.tatler.com/article/what-is-the-order-of-the-garter • ‘St George and the Garter - Medieval manuscripts blog' (British Library, 2020): https://blogs.bl.uk/digitisedmanuscripts/2020/04/st-george-and-the-garter.html • ‘Order of the Garter Ceremony at Windsor Castle' (Darryl Wilson, 2010): https://www.youtube.com/watch?v=LobQn5wjVck Love the show? Support us!  Join 

Trip to Australia with William Bentley Ball; Margaret Mead; Alternatives for Evolution; United States Diplomacy in Central America; Gandhi; More Money for Education; Preaching; Church Attendance and Voting; Expectations of Wives; Bridegrooms and Thresholds; Baseball Stories; Edward III; Inquisition and the State with RJR

In 1327, Scottish forces invaded England, posing the first test for the newly crowned Edward III. In this episode of Bow & Blade, Michael and Kelly discuss how the English response turned out so badly. You can support this podcast and Medievalists.net on Patreon - go to https://www.patreon.com/medievalists

fWotD Episode 2583: Siege of Guînes (1352) Welcome to featured Wiki of the Day where we read the summary of the featured Wikipedia article every day.The featured article for Friday, 31 May 2024 is Siege of Guînes (1352).The siege of Guînes took place from May to July 1352 when a French army under Geoffrey de Charny unsuccessfully attempted to recapture the French castle at Guînes which had been seized by the English the previous January. The siege was part of the Hundred Years' War and took place during the uneasy and ill-kept truce of Calais.The English had taken the strongly fortified castle during a period of nominal truce, and the English king, Edward III, decided to keep it. Charny led 4,500 men and retook the town, but could not blockade the castle. After two months of fierce fighting, a large English night attack on the French camp inflicted a heavy defeat and the French withdrew. Guînes was incorporated into the Pale of Calais. The castle was besieged by the French in 1436 and 1514 but was relieved each time, before falling to the French in 1558.This recording reflects the Wikipedia text as of 01:48 UTC on Friday, 31 May 2024.For the full current version of the article, see Siege of Guînes (1352) 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 Emma Standard.

Iain Dale talks to Mark Fox about the life and reign of one of England's most long serving monarchs, King Edward III.

Membership of the Order of the Garter is highly prestigious and is often reserved for members of the English nobility and royalty. Over the centuries, the Order of the Garter has evolved into a ceremonial institution, with its members participating in various official events and ...

The English won a decisive battlefield victory over the French in the first decade of the Hundred Years' War. At the Battle of Crécy, an outnumbered English army went up against thousands of French mounted knights, the finest cavalry in Western Europe at that time. Relying on their famed longbowmen, The English under Edward III weathered French cavalry charges until the forces of King Philip VI were forced to retreat. The victory paved the way for the capture of Calais, which gave the English a foothold in France for over two centuries.In this very special episode Dan teams up with Tim Harford, host of the 'Cautionary Tales' podcast. Tim and Dan delve into the details of this crucial battle to learn about the catastrophic mistakes that were made, and why.Produced by Mariana Des Forges and James Hickmann, and edited by Dougal Patmore.Enjoy unlimited access to award-winning original documentaries that are released weekly and AD-FREE podcasts. Get a subscription for £1 per month for 3 months with code DANSNOW sign up at https://historyhit/subscription/We'd love to hear from you- what do you want to hear an episode on? You can email the podcast at ds.hh@historyhit.com.You can take part in our listener survey here.

Chapter 1 What's Isabella Book by Alison Weir"Isabella: The She-Wolf of France" by Alison Weir is a historical biography about the life of Isabella of France, who was the wife of Edward II of England. Known for her beauty, intelligence, and strength, Isabella played a key role in the turbulent political events of the time, including the overthrow of her husband and the ascension of her son to the throne as Edward III. The book explores Isabella's life, her relationships, and her impact on the political landscape of medieval England.Chapter 2 Is Isabella Book A Good BookThat is a subjective question and opinion may vary. However, Alison Weir is a highly respected historical author known for her meticulous research and engaging writing style. If you enjoy historical fiction based on real events and figures, you may find "Isabella: She-Wolf of France, Queen of England" to be a good book. It has received positive reviews for its detailed portrayal of the life of Isabella of France, the wife of King Edward II of England.Chapter 3 Isabella Book by Alison Weir Summary"Isabella: She-Wolf of France, Queen of England" by Alison Weir is a historical biography that chronicles the life of Isabella of France, who was the wife of King Edward II of England. Isabella is depicted as a strong and ambitious woman who played a significant role in the political events of her time.The book explores Isabella's upbringing as the daughter of the French king, her marriage to Edward II, and her growing discontent with her husband's rule. Isabella's relationship with Roger Mortimer, a powerful nobleman, is also a central focus of the book. Together, Isabella and Mortimer lead a successful rebellion against Edward II, eventually forcing him to abdicate the throne in favor of their son, Edward III.Weir portrays Isabella as a complex figure, capable of both great love and intense cruelty. She is ultimately remembered as a key player in the events that led to the deposition of Edward II and the development of a more powerful monarchy in England.Overall, "Isabella: She-Wolf of France, Queen of England" offers a compelling portrait of a medieval queen who defied societal expectations and wielded significant influence in a turbulent period of English history. Chapter 4 Isabella Book AuthorAlison Weir is a British historian and author known for her historical fiction and non-fiction books about British royalty. "Isabella: She-Wolf of France, Queen of England" was released in 2005. Some of Alison Weir's other notable books include "Katherine Swynford: The Story of John of Gaunt and His Scandalous Duchess" (2007), "The Six Wives of Henry VIII" (1991), and "Elizabeth of York: A Tudor Queen and Her World" (2013). In terms of editions, "The Six Wives of Henry VIII" is considered one of her best works, as it has been reprinted multiple times and continues to be a popular choice for readers interested in Tudor history.Chapter 5 Isabella Book Meaning & ThemeIsabella Book MeaningThere is no specific book titled "Isabella" by Alison Weir. Alison Weir is a renowned British author known for her historical fiction novels and biographies, particularly focusing on British royalty. However, she has not written a book specifically titled "Isabella."It is possible that you may be referring to "Isabella: She-Wolf of France, Queen of England," which is a historical biography by Alison Weir about Isabella of France, who was the queen consort of Edward II of England. The book explores Isabella's life and her role in the political turmoil and conflicts of her time.If you are looking for information about a specific book by Alison Weir or

We're a nation obsessed with genealogy. Millions of us are gripped by TV shows like 'Who Do You Think You Are', where genealogists show celebrities their famous ancestors - like Danny Dyer being descended from Edward III, the first Plantagent King! But what if Danny doesn't get exclusive bragging rights? With the help of mathematician Hannah Fry and Habsburg Royal Historian professor Martyn Rady, population geneticist Dr Adam Rutherford sets out to prove that we're all descended from royalty, revealing along the way that family trees are not the perfect tool for tracing your heritage. But can it really be true? Can we all be descended from Henry VIII or Charlemagne!?

Geoffrey Chaucer stands as a founding father of English literature, and ‘The Canterbury Tales' is an enthralling account of his age, holding a mirror up to the traditional hierarchies of 14th century England. Chaucer's own life was spent navigating the rapids of a particularly tumultuous period, from fighting in the Hundred Years' War alongside Edward III, to working for the infamous John of Gaunt, becoming embroiled in London politics, and surviving the gruesome Black Death. Chaucer even lived through the explosive Peasants' Revolt, during which his own life hung in the balance… Join Tom and Dominic as they discuss the turbulent life and seminal work of Geoffrey Chaucer, a titan of English history and trailblazer of social change. *The Rest Is History LIVE in 2024* Tom and Dominic are back onstage this summer, at Hampton Court Palace in London!  Buy your tickets here: therestishistory.com Twitter: @TheRestHistory @holland_tom @dcsandbrook Producer: Theo Young-Smith Assistant Producer: Tabby Syrett Executive Producers: Jack Davenport + Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

“For within the hollow crown that rounds the hollow temple of a king...” Richard II, son of the dashing Black Prince and grandson of Edward III, became King of England at only ten years old. By the age of fifteen he had overcome one of the most terrifying threats to the English Crown up to that point: the Peasants' Revolt of 1381. In the ensuing years, Richard's rule became increasingly autocratic. This, coupled with the threat of foreign invasion and his dangerous proclivity for favourites, increasingly alienated Richard's subjects, with rebel lords eventually taking up arms against the king. As the storm-clouds of civil war loomed large, King Richard II clung to his hollow crown…. Join Tom and Dominic as they discuss the events that resulted in Richard's deposition and mysterious death, and what his reign tells us the English monarchy in the 15th century. *The Rest Is History LIVE in 2024* Tom and Dominic are back onstage this summer, at Hampton Court Palace in London!  Buy your tickets here: therestishistory.com Twitter: @TheRestHistory @holland_tom @dcsandbrook Producer: Theo Young-Smith Assistant Producer: Tabby Syrett Executive Producers: Jack Davenport + Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

By the late 14th century, England was in decline. Already weakened by the Hundred Years' War, both Edward III and his son, the Black Prince, had died, leaving the country in a perilous state. Richard II, the new king, was only a child. With the poor facing increasingly harsh poll taxes, and distrust of the nobility growing among them, an uprising broke out in southern England in 1381. It was led for the first time by peasants, a class of person invisible on the historical stage up to this point. The Peasants' Revolt would prove to be one of the most iconic events of English history, altering not only England's society and the fate of her monarchy, but also generating a new kind of grassroots radicalism.  Join Tom and Dominic as they discuss the outbreak of this landmark moment in the history of English socialism, building up to the climactic moment when Richard II and his men find themselves besieged in London by the rebel army surrounding her walls, under the leadership of the elusive Wat Tyler… *The Rest Is History LIVE in 2024* Tom and Dominic are back onstage this summer, at Hampton Court Palace in London!  Buy your tickets here: therestishistory.com Twitter: @TheRestHistory @holland_tom @dcsandbrook Producer: Theo Young-Smith Assistant Producer: Tabby Syrett Executive Producers: Jack Davenport + Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices

Chapter 1 What's A Distant Mirror Book by Barbara Wertheim TuchmanA Distant Mirror: The Calamitous 14th Century is a book written by Barbara Wertheim Tuchman. It was published in 1978 and explores the social, political, and cultural aspects of Europe during the 14th century, with a particular focus on France. The book delves into the tumultuous events of the time, such as the Hundred Years' War, the Black Death, the Papal Schism, and the peasant uprisings. Tuchman brings these events to life by examining the lives of various individuals from different social classes and providing a vivid portrayal of the challenges they faced. A Distant Mirror is considered one of Tuchman's most influential works and has been acclaimed for its meticulous research and engaging narrative.Chapter 2 Is A Distant Mirror Book A Good Book"A Distant Mirror" by Barbara Wertheim Tuchman is widely regarded as an excellent book. It is highly praised for its thorough research, engaging writing style, and in-depth analysis of 14th-century Europe. It provides a comprehensive and vivid account of the period, focusing on the life of French nobleman Enguerrand de Coucy. Overall, if you are interested in history, particularly medieval Europe, many readers consider "A Distant Mirror" to be a valuable and enjoyable read.Chapter 3 A Distant Mirror Book by Barbara Wertheim Tuchman Summary"A Distant Mirror: The Calamitous 14th Century" is a historical book written by Barbara Wertheim Tuchman. It explores the social, political, and cultural landscape of Europe during the 14th century, particularly focusing on the reign of French King Charles IV, also known as Charles the Wise.The book starts by setting the scene of Europe in the early 14th century, which was plagued by several calamities such as famine, plague, war, and social unrest. Tuchman presents a detailed account of the economic and religious dynamics of the time, highlighting the tension between the wealthy ruling classes and the impoverished masses.A major focus of the book is the Hundred Years' War, a conflict between England and France that lasted from 1337 to 1453. Tuchman delves into the causes, key events, and consequences of the war, highlighting the prominent figures involved, such as Edward III of England and Charles IV of France. She closely examines the strategies, tactics, and battles of the war, shedding light on the impact it had on both countries and the wider European continent.Tuchman also explores the bubonic plague, known as the Black Death, which ravaged Europe in the mid-14th century, claiming millions of lives. She discusses the social and psychological effects of the plague, including the fear, paranoia, and apocalyptic attitudes that permeated society at the time.Another important aspect of the book is the role of religion and the Church during this period. Tuchman provides an in-depth analysis of the Catholic Church's power, corruption, and the growing discontent among the masses. She discusses the religious figures and movements that emerged during this time, such as the Avignon Papacy and the rise of mysticism.Throughout the narrative, Tuchman uses various primary and secondary sources to support her claims and provide a comprehensive view of the 14th century. She weaves together political, social, cultural, and military aspects of the time to paint a vivid picture of the era and its significance in shaping Europe's history.In conclusion, "A Distant Mirror: The Calamitous 14th Century" by Barbara Wertheim Tuchman is a meticulously researched and engaging book that offers a comprehensive understanding of the social, political, and cultural landscape of Europe during the 14th century. It sheds light on the calamities and challenges faced by...

Today's guest is historian and closet economist Clifford J. Rogers. Cliff is Professor of History at the United States Military Academy at West Point. Before arriving in West Point, he was a Fulbright fellow at the Institute for Historical Research in London and an Olin Fellow in Military and Strategic History at Yale. He was also a Leverhulme Visiting Professor at the University of Wales, Swansea. Cliff triple-majored in Economics, History, and Policy Studies for his BA at Rice University, and earned his MA and PhD in History from The Ohio State University. Cliff is the author of War Cruel and Sharp: English Strategy under Edward III, 1327-1360 (Boydell and Brewer) and Soldiers' Lives through History: The Middle Ages (Greenwood), among other works. He has twice won De Re Militari's Verbruggen Prize, once for War Cruel and Sharp and again for Soldiers' Lives, and also received that association's Bachrach Medal. Cliff is the recipient of the Royal Historical Society's Alexander Prize Medal and has been awarded the Army Historical Foundation's Distinguished Writing Award on three occasions. In addition to his monographs, Cliff has edited and co-edited multiple volumes, including the Oxford Encyclopedia of Medieval Warfare and Military Technology, which received the Society for Military History's Distinguished Book Award. He has published articles in The Journal of Medieval History, War in History, English Historical Review, and the Journal of Military History, among many others. His article “The Military Revolutions of the Hundred Years War” was awarded the Society for Military History's Moncado Prize. Cliff co-founded The Journal of Medieval Military History and serves as co-Senior Editor of the digital West Point History of Warfare. In 2016, he received the George C. Marshall Foundation Prize for the Use of Digital Technology in Teaching Military History for his work on that project. Join us for a deep chat about forks in the road, Dungeons and Dragons, Van Morrison, and New York BBQ. Cliff unwittingly delivers a master-class on military revolutions and revolutions in military affairs - you won't be disappointed. Shoutout to Smoky Rock BBQ in Rhinebeck, New York! Rec.: 11/10/2023

The battle was fought against the French army of King Philip VI and led to the port of Calais becoming an English enclave for over two ...

Melvyn Bragg and guests discuss the brutal events of 26 August 1346, when the armies of France and England met in a funnel-shaped valley outside the town of Crécy in northern France. Although the French, led by Philip VI, massively outnumbered the English, under the command of Edward III, the English won the battle, and French casualties were huge. The English victory is often attributed to the success of their longbowmen against the heavy cavalry of the French. The Battle of Crécy was the result of years of simmering tension between Edward III and Philip VI, and it led to decades of further conflict between England and France, a conflict that came to be known as the Hundred Years War. With Anne Curry Emeritus Professor of Medieval History at the University of Southampton Andrew Ayton Senior Research Fellow in History at Keele University and Erika Graham-Goering Lecturer in Late Medieval History at Durham University Producer Luke Mulhall

Melvyn Bragg and guests discuss the brutal events of 26 August 1346, when the armies of France and England met in a funnel-shaped valley outside the town of Crécy in northern France. Although the French, led by Philip VI, massively outnumbered the English, under the command of Edward III, the English won the battle, and French casualties were huge. The English victory is often attributed to the success of their longbowmen against the heavy cavalry of the French. The Battle of Crécy was the result of years of simmering tension between Edward III and Philip VI, and it led to decades of further conflict between England and France, a conflict that came to be known as the Hundred Years War. With Anne Curry Emeritus Professor of Medieval History at the University of Southampton Andrew Ayton Senior Research Fellow in History at Keele University and Erika Graham-Goering Lecturer in Late Medieval History at Durham University Producer Luke Mulhall

In the summer of 1346, English soldiers landed at Normandy and mounted a campaign that would become one of the most famous in the Hundred Years War. Historian Dan Jones joins the podcast again to talk about Edward III, the Black Prince, and his new novel, ESSEX DOGS. JOIN THE PILGRIMAGE TO CORNWALL! Support Noble Blood: — Bonus episodes, stickers, and scripts on Pareon — Merch! — Order Dana's book, 'Anatomy: A Love Story' and pre-order its sequel 'Immortality: A Love Story'See omnystudio.com/listener for privacy information.

Dan teams up with his parents and esteemed journalists Peter Snow and Ann MacMillan to explore the lives, loves, triumphs and disasters of a monarchy that is the envy of the world. They offer a unique insight into those born to rule, whether villains or heroes – from cruel King John and warrior-king Edward III to our own Elizabeth II: dutiful, discreet and the longest-reigning queen in the world.Their new book is called 'Kings and Queens: The Real Lives of Monarchs' Produced by Dan Snow and edited by Dougal Patmore. If you'd like to learn more, we have hundreds of history documentaries, ad-free podcasts and audiobooks at History Hit - subscribe to History Hit today!Download History Hit app from the Google Play store.Download History Hit app from the Apple Store. Hosted on Acast. See acast.com/privacy for more information.

Historian Helen Carr, author of The Black Prince: The Life of John of Gaunt, to talk about a key event in the life of the third surviving son of Edward III. John of Gaunt, father of the Lancasters and eventually the Tudors, was an unofficial regent for his young nephew. And when taxes were raised too high, the unpopular John became a target of their ire.See omnystudio.com/listener for privacy information.