The fascinating personalities of Regency England provide the dramatic intrigue of this excellent social history that looks at the dynamic forces of English society in flux. From the acclaimed author of Bloody Mary and Mistress Anne.

An authoritative account of everyday life in Regency England, the backdrop of Austen’s beloved novels, from the authors of the forthcoming Gibraltar: The Greatest Siege in British History (March 2018) Jane Austen, arguably the greatest novelist of the English language, wrote brilliantly about the gentry and aristocracy of two centuries ago in her accounts of young women looking for love. Jane Austen’s England explores the customs and culture of the real England of her everyday existence depicted in her classic novels as well as those by Byron, Keats, and Shelley. Drawing upon a rich array of contemporary sources, including many previously unpublished manuscripts, diaries, and personal letters, Roy and Lesley Adkins vividly portray the daily lives of ordinary people, discussing topics as diverse as birth, marriage, religion, sexual practices, hygiene, highwaymen, and superstitions. From chores like fetching water to healing with medicinal leeches, from selling wives in the marketplace to buying smuggled gin, from the hardships faced by young boys and girls in the mines to the familiar sight of corpses swinging on gibbets, Jane Austen’s England offers an authoritative and gripping account that is sometimes humorous, often shocking, but always entertaining.

Provides period information on home furnishings, fashion, medicine, the courts, entertainment, shopping, travel, and etiquette.

In Jane Austen and Representations of Regency England, Roger Sales looks at Jane Austen's entire oeuve, and views her historically as a Regency writer voicing concerns on the condition of England. Examining Austen's literary works; her letters - in the context of those of other Regency women; as well as contemporary texts such as television adaptations of her work, Jane Austen and Representations of Regency England reconstructs the breadth of Jane Austen's writing. It also examines: * her representations of dandyism and masculine identities * the events of the Regency crisis of 1810-12 * the way in which Austen engaged in topical debates such as healthcare in both Emma and Persuasion.

A vivid and immersive history of Georgian England that gives its reader a firsthand experience of life as it was truly lived during the era of Jane Austen, Percy Bysshe Shelley, and the Duke of Wellington. This is the age of Jane Austen and the Romantic poets; the paintings of John Constable and the gardens of Humphry Repton; the sartorial elegance of Beau Brummell and the poetic licence of Lord Byron; Britain's military triumphs at Trafalgar and Waterloo; the threat of revolution and the Peterloo massacre. In the latest volume of his celebrated series of Time Traveler's Guides, Ian Mortimer turns to what is arguably the most-loved period in British history: the Regency, or Georgian England. A time of exuberance, thrills, frills and unchecked bad behavior, it was perhaps the last age of true freedom before the arrival of the stifling world of Victorian morality. At the same time, it was a period of transition that reflected unprecedented social, economic, and political change. And like all periods in history, it was an age of many contradictions—where Beethoven's thundering Fifth Symphony could premier in the same year that saw Jane Austen craft the delicate sensitivities of Persuasion. Once more, Ian Mortimer takes us on a thrilling journey to the past, revealing what people ate, drank, and wore; where they shopped and how they amused themselves; what they believed in, and what they were afraid of. Conveying the sights, sound,s and smells of the Regency period, this is history at its most exciting, physical, visceral—the past not as something to be studied but as lived experience.

Bachelor Thesis from the year 2012 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Bamberg, language: English, abstract: This work analyses prejudices in Elizabeth Gaskell’s "North and South" and Jane Austen’s "Pride and Prejudice". Both novels employ a wide range of prejudices which I will compare in categories such as gender, space and class. The thesis basically investigates the constitution of prejudices in the two novels. Moreover, it explores their causes and how the characters eventually overcome them. My aim is to draw a concise and structured overview of the prejudices in "North and South" and "Pride and Prejudice" as well as to compare the characters’ ways of dealing with them. As a means to a better understanding of my argumentation I will begin with a brief presentation of Regency and Victorian society focusing on their conventions and value systems. In this context I want to inform about the strictly organised class system, the role of women, as well as regional ideological differences between the North and South of England in both eras which resembled each other to a great extent due to their historical proximity. Beginning then with the practical part of the thesis, I first focus on NS and then on PP; in both cases the interpretation of prejudices is performed based on three categories: class, gender and space. Corresponding to each nove individually, I explore these subgroups on account of their relevance within the book. That is, analysing NS I first refer to the spatial dimension, simply because, in my view, the contrast drawn between North and South England is the starting point for all other types of prejudices in this novel. The same principle applies to PP, where all prejudices emanate from the class hierchary presented by Austen; hence I start discussing the social dimension. To conclude my thesis there will be a thorough comparison of both novels with regard to the presented prejudices.

Lesley Blanch’s novella-length introduction to the Memoirs of Harriette Wilson, the reigning courtesan of Regency London, was first published in 1955 in New York, where she was then living with her diplomat-novelist husband, Romain Gary. The Wilder Shores of Love, for which Blanch is chiefly remembered, had been published to acclaim the previous year. Harriette Wilson lived among and was an integral part of a wealthy society where privilege, arrogance and leisure flourished. The greatest courtesan of her age, her patrons included many of the distinguished men of her day, from the Duke of Wellington to Lord Byron. Her weapons of allure were beauty, style and wit. She held court in a box at the opera and competed with her courtesan sisters for status and prestige. “Harriette Wilson’s life was deplorable – but how readable!” Blanch exclaims. The motive for writing the Memoirs, published in 1825, was blackmail, or “a desperate effort to live by my wits,” as Wilson put it. She was in her thirties, her looks were fading away as were her admirers, and the annuity she had been promised by the Duke of Beaufort in exchange for leaving alone his heir, the Marquis of Worcester, had been cut off. Wilson offered to edit out of her Memoirs any lovers who paid 200 pounds, thereby holding the British aristocracy to ransom. Certain men who bought her silence were excluded, while others who paid highly were hugely flattered. Those who were brave enough to stand up to her were ridiculed and shamed − most famously the Duke of Wellington: “Publish and be damned!” he cried. She did and she was. Regency England Undressed: Harriette Wilson, the Greatest Courtesan of her Age also offers intimately detailed portraits of eccentrics, individualists and the demi-monde. Blanch’s Biographical Notes in the Appendix read like a raffish Who's Who of Regency England, and Europe too. She brings the distant past to life so it reads like a novel; precise in its curious detail and bold in its historical panache. MAUREEN CLEAVE, DAILY TELEGRAPH — “A scholarly romantic in a school of her own, the depth of Lesley Blanch’s research is such that other writers plunder her books shamelessly.” LESLEY BLANCH "Today, in America, the courtesan may be said to have been replaced by the psychoanalyst. In place of the alcove there is the analyst's office. But basically the functions of both courtesan and analyst have the same principle. Both offer escape, relaxation and individual attention; both are expensive. And the couch is still there."

The early nineteenth century was marked by public disorder, governmental repression and correction. It was a period of revolution, reaction and reform. This pamphlet focuses on three key issues: * the factors which combined to produce the turmoil and uprisings of 1812-21 and the severity with which they were put down * the validity of the distinction between 'repressive' and 'liberal' phases of the administration * the ability of Lord Liverpool as Prime Minister.

This valuable book considers the reception of the composer, pianist, organist and conductor Felix Mendelssohn in nineteenth-century England, and his influence on English musical culture. Despite the composer's immense popularity in the nation during his lifetime and in the decades following his death, this is the first book to deal exclusively with the subject of Mendelssohn in England. Mendelssohn's highly successful ten trips to Britain, between 1829 and 1847, are documented and discussed in detail, as are his relationships with English musicians and a variety of prominent figures. An introductory chapter describes the musical life of England (especially London) at the time of Mendelssohn's arrival and the last two chapters deal with the composer's posthumous reception, to the end of the Victorian era. Eatock reveals Mendelssohn as a catalyst for the expansion of English musical culture in the nineteenth century. In taking this position, the author challenges much of the extant literature on the subject and provides an engaging story that brings Mendelssohn and his English experiences to life.

When women were admitted to the Royal Academy Schools in 1860, female art students gained a foothold in the most conservative art institution in England. The Royal Female College of Art, the South Kensington Schools and the Slade School of Fine Art also produced increasing numbers of women artists. Their entry into a male-dominated art world altered the perspective of other artists and the public. They came from disparate levels of society--Princess Louise, the fourth daughter of Queen Victoria, studied sculpture at the National Art Training School--yet they all shared ambition, talent and courage. Analyzing their education and careers, this book argues that the women who attended the art schools during the 1860s and 1870s--including Kate Greenaway, Elizabeth Butler, Helen Allingham, Evelyn De Morgan and Henrietta Rae--produced work that would accommodate yet subtly challenge the orthodoxies of the fine art establishment. Without their contributions, Victorian art would be not simply the poorer but hardly recognizable to us today.