The sequence of civil wars that ripped England apart in the seventeenth century was the single most traumatic event in this country between the medieval Black Death and the two world wars. Indeed, it is likely that a greater percentage of the population were killed in the civil wars than in the First World War. This sense of overwhelming trauma gives this major new history its title: God’s Fury, England’s Fire. The name of a pamphlet written after the king’s surrender, it sums up the widespread feeling within England that the seemingly endless nightmare that had destroyed families, towns and livelihoods was ordained by a vengeful God – that the people of England had sinned and were now being punished. As with all civil wars, however, ‘God’s fury’ could support or destroy either side in the conflict. Was God angry at Charles I for failing to support the true, protestant, religion and refusing to work with Parliament? Or was God angry with those who had dared challenge His anointed Sovereign? Michael Braddick’s remarkable book gives the reader a vivid and enduring sense both of what it was like to live through events of uncontrollable violence and what really animated the different sides. The killing of Charles I and the declaration of a republic – events which even now seem in an English context utterly astounding – were by no means the only outcomes, and Braddick brilliantly describes the twists and turns that led to the most radical solutions of all to the country’s political implosion. He also describes very effectively the influence of events in Scotland, Ireland and the European mainland on the conflict in England. God’s Fury, England’s Fire allows readers to understand once more the events that have so fundamentally marked this country and which still resonate centuries after their bloody ending.

'The English Civil War is a joy to behold, a thing of beauty... this will be the civil war atlas against which all others will judged and the battle maps in particular will quickly become the benchmark for all future civil war maps.' -- Professor Martyn Bennett, Department of History, Languages and Global Studies, Nottingham Trent University The English Civil Wars (1638–51) comprised the deadliest conflict ever fought on British soil, in which brother took up arms against brother, father fought against son, and towns, cities and villages fortified themselves in the cause of Royalists or Parliamentarians. Although much historical attention has focused on the events in England and the key battles of Edgehill, Marston Moor and Naseby, this was a conflict that engulfed the entirety of the Three Kingdoms and led to a trial and execution that profoundly shaped the British monarchy and Parliament. This beautifully presented atlas tells the whole story of Britain's revolutionary civil war, from the earliest skirmishes of the Bishops' Wars in 1639–40 through to 1651, when Charles II's defeat at Worcester crushed the Royalist cause, leading to a decade of Stuart exile. Each map is supported by a detailed text, providing a complete explanation of the complex and fluctuating conflict that ultimately meant that the Crown would always be answerable to Parliament.

Step into the tumultuous age of Stuart England with Peter Ackroyd's enlightening Civil War. Beginning with James I, the first Scottish king of England, it tracks an era of massive upheaval, ending with the dramatic flight of his grandson, James II, into exile. Civil War transports you to the heart of the 17th-century Britain, where you meet figures like James I with his shrewd perspectives on diverse matters, and Charles I, whose inept rule ignited the flames of the English Civil War. Ackroyd offers a brilliant – warts and all – portrayal of Charles's nemesis Oliver Cromwell, Parliament's great military leader and England's only dictator, who began his career as a political liberator but ended it as much of a despot as the king he executed. Beyond this political turmoil, Ackroyd also explores the rich cultural and literary contributions of the Jacobean era. This was a world where Shakespeare's masterpieces were penned, John Donne weaved his poetry and Thomas Hobbes crafted his philosophical marvel, Leviathan. Most importantly, get a glimpse of the extraordinary lives of common English men and women, their existence seeped in constant disruption and uncertainty. Civil War is a stirring account of a pivotal epoch, making it a must-read for history enthusiasts.

In this compelling history of the violent struggle between the monarchy and Parliament that tore apart seventeenth-century England, a rising star among British historians sheds new light on the people who fought and died through those tumultuous years. Drawing on exciting new sources, including letters, memoirs, ballads, plays, illustrations, and even cookbooks, Diane Purkiss creates a rich and nuanced portrait of this turbulent era. The English Civil War’s dramatic consequences-rejecting the divine right monarchy in favor of parliamentary rule-continue to influence our lives, and in this colorful narrative, Purkiss vividly brings to life the history that changed the course of Western government.

In an era of mass mobilisation, the Great Famine and rebellion, this book shows how the writers of the mid-19th century Dublin nationalist press were at the heart of Irish nationalist activities, and evaluates the consequences for the development of Irish nationalism.

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This work offers new knowledge to anyone interested in Victorian history, conceptualizing children, literary modes and marketing practices. The book also considers how Barnardo's conception of charity is closely aligned with principles of unconditional hospitality, precisely at a moment when the English were intent on centralizing philanthropy and on meting out support according to measures Barnardo regarded as punitive and unchristian. Part One explicates how institutional branding evolved according to the properties associated with the metaphor of the "open door;" Part 2 elucidates how narrative devices associated with the fiction raised both affect and funds; Part Three concentrates on how Barnardo exploited strategies associated with dramatic performance in public spectacles, despite his adamant strictures against the theater itself.