regshoe: A row of old books in a wooden bookshelf (Bookshelf)
I have been stuck inside for most of the day due to the highly interesting weather. I went out for a short walk this morning and got thoroughly soaked—it was great fun but definitely confirmed that staying in for the rest of the time was the right thing to do.

Anyway, I decided to pass the time by reading Shakespeare's Henry IV Part I. I find Shakespeare's language difficult enough that it'll probably take a few more read-throughs and/or watches of the play to appreciate it properly, but I like it already! It picks up shortly after Richard II left off, and follows the new King Henry IV as he finds himself on the other side of a rebellion against the crown (this time, I already knew a very little about the history in question because of that one Horrible Histories song about Owain Glyndŵr—who appears in the play). Despite the fairly similar setting and events, it's very different in style and mood from Richard II: it's a lot more down-to-earth, with more coarse humour and comedy hijinks, and quite a bit of it is in prose (Richard II is pretty much entirely verse, iirc). It was an interesting contrast, although I think Richard II will still be my fave. I continue to enjoy the way Shakespeare plays with words very much, and there's a lot of it here (and, I'm sure, much more that I missed this time around and will get to appreciate later!).

The rest of my reading over the last couple of weeks has been more historical stuff about the Jacobites, who I think are now a proper obsession in their own right. I started with some more general historical background by reading Eighteenth-Century Britain 1688-1783 by Jeremy Black, which was a very broad overview of the major features and events of the century. The general theme could be summarised as 'it was a complicated time; lots happened; many things changed in important ways, but a lot of things didn't really change'. So industrialisation was kicking off, but many areas had little or no large-scale industry and many people didn't work in industrial settings; transport and communication links improved with things like the turnpike roads, but were still often pretty terrible by modern standards, and so on. I preferred these chapters on society, and found the political stuff a bit difficult to follow, which isn't too surprising because it was very complicated. In any case, it was all very interesting! The author has also written a history of the '45, which I've just got from the library and am very much looking forward to.

Then I got back to the main point with Culloden: The Last Charge of the Highland Clans 1746 by John Sadler. The author is a military historian and there is a particular focus on the battle of Culloden, but despite the title the book as a whole is a general account of the history of the Jacobites, going all the way back to the first Stuart kings of Scotland as context for the later loyalty of the Highland clans. The events of the '45, particularly the battles, are discussed in some detail, which was all very interesting and relevant. The writing style is much more accessible than the other history books I've read so far—there's a lot of quite vivid detailed description of the events (occasionally a bit too vivid for my squeamishness), and lots of quotes from eyewitness accounts, which were very informative—although there were occasional awkwardnesses and minor errors in the sentence-level writing which could be a little distracting.

I'm not quite sure what I'll read next—I have more history books lined up, obviously, but I think I need a few days' break before getting back to them. Perhaps I'll just do a bit of (re-)reading all the great fairy tales in the [community profile] once_upon_fic tagset...
regshoe: Text 'a thousand, thousand darknesses' over an illustration showing the ruins of Easby Abbey, Yorkshire (A thousand darknesses)
I watched the 2012 Hollow Crown film version of Shakespeare's 'Richard II' again the other day, this time reading along with an annotated edition of the play so I could actually understand a little of the context. I still love it a lot and I'm still convinced that it's highly relevant to Jonathan Strange & Mr Norrell, although I'm not clever or literary enough to write the proper meta post analysing the narrative/theatrical links between them that really ought to exist.

Basically, what I find so compelling about Richard as a character is this: He is a bad king—in both the ethics and competence senses of 'bad'—and his downfall is an entirely predictable result of the bad choices he makes. Whether you think of Bolingbroke as a good person heroically rebelling against the unjust rule of Richard or simply an opportunistic pragmatist who sees his chance to grab more power and goes for it, it'd be easy to see the whole thing from Richard's perspective as a fairly straightforward story about consequences—except for everything about the way the whole thing is structured in the later parts of the play, the attitude Richard takes towards his fate and especially the language he uses to establish a position for himself in the midst of his own downfall.

Particularly in the deposition scene: Richard is at his lowest point yet politically and personally, 'down and full of tears', but by the language he uses and the way he manipulates the scene, he manages to gain a kind of poetical, theatrical victory over Bolingbroke—who certainly looks as though he understands exactly what Richard is doing. I find this fascinating!

So about Jonathan Strange & Mr Norrell, in this context: I feel like Richard is in some ways a sort of anti-John Uskglass. The obvious difference is that Uskglass is a good king (certainly in the competence sense, if the ethics one can be disputed :P); but the way Richard uses language (and magic in Strange & Norrell is explicitly a form of language) is in many places strikingly familiar:

This earth shall have a feeling and these stones
Prove armèd soldiers ere her native king
Shall falter...

Make dust our paper and with rainy eyes
Write sorrow on the bosom of the earth

I have no name, no title—
No, not that name was given me at the font—
But 'tis usurped. Alack the heavy day
That I have worn so many winters out
And know not now what name to call myself
Oh that I were a mockery king of snow
Standing before the sun of Bolingbroke
To melt myself away in water-drops.

It almost feels as though Richard's problem is essentially that he's trying to be John Uskglass but he can't back up his words, his theatricality with actual power. But the words themselves still have a power, just as the words 'written upon the sky by the rain' do.

Anyway, that's what I think.

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