Explore Leicestershire's secret history through illustrations old and new.

An impressive exploration of the poet Edmund Spenser's second career as a political secretary.

In the court of Queen Elizabeth I, romance and intrigue could cost you more than your heart… It could cost you your head. July, 1575: Elizabeth I, Queen of England, arrives at Kenilworth Castle—home of Robert Dudley, the Earl of Leicester. Leicester, who has long had ambitions to marry the Queen, knows this may be his very last chance to persuade her to marry him. Toward this end, the hopeful earl has organized a lavish week of music, dancing, and fireworks. Despite his attachment to the Queen and his driving ambition to be her King, Leicester is unable to resist the seductive wiles of Lettice, wife of the Earl of Essex—and the queen’s own cousin. Soon whispers of their relationship start spreading through the court. Enraged by their growing intimacy, Elizabeth employs Lucy Morgan, a young African singer and court entertainer, to spy on the adulterous lovers. But Lucy, who was raised by a spy in London, uncovers far more than she bargains for. For someone at Kenilworth is plotting to kill the queen. No longer able to tell friend from foe, it is soon not only the queen who is in mortal danger—but Lucy herself…

A secret that could have changed the course of English history... Acclaimed historian Paul Doherty offers an insightful interpretation of one of the most fascinating English monarchs in his masterful 'faction', The Secret Life of Elizabeth I. From master historian Paul Doherty comes a detective story with a difference: tracking down the real Elizabeth I, and capturing the atmosphere of Elizabethan and Jacobean England. Written as a 'faction', The Secret Life of Elizabeth I interprets original sources through one of the Queen's ladies-in-waiting. These illuminating 'recollections' form the book, uncovering everything from the passionate relationship between Elizabeth and Robert Dudley, to the stunning revelation that they had a son, Arthur Dudley, seized by the Spanish in 1587. What readers are saying about Paul Doherty: 'Doherty is a spellbinding storyteller with an exceptional grasp of history. This story is of the usual high standard we expect from him and utterly fascinating, I couldn't put it down' 'This book is beyond fantastic. Paul Doherty brought Elizabethan times back to life here - making you feel you're there' 'Doherty proves that he is a scholar as well as a writer of novels'

In Dramaturgical Leaves: Essays about Musical Works for the Stage and Queries about the Stage, Its Composers and Performers, the third volume in Janita R. Hall-Swadley’s The Collected Writings of Franz Liszt, Liszt heralds his admiration for early nineteenth-century opera and musical stage works. He honors Gluck, the musical prophet, as the cultivator of dramatic truth in the Romantic opera Orpheus, expounds on Beethoven’s harmonic inventions and innovative treatment of form in Fidelio, and argues for the latter’s incidental music to Goethe’s Egmont as the epitome of music organicism, a complete unity of words and tone. He also comments on Weber’s Euryanthe as offering the most progressive musical characterizations and declamation—even more so than his popular work Der Freischütz—and on how both works prefigure Wagner’s music dramas; awards Mendelssohn, whose genius Liszt ranks only slightly less than Beethoven’s, top honors for creating in Midsummer’s Night Dream the highest standards of music poetry; suggests how Scribe and Meyerbeer’s Robert the Devil paints a mental image of art’s eternal flames, where poet and musician share equal space in the development of music tragedy; reveals how the poetic deficiencies in the libretto to Schubert’s Alfonso and Estrella are too easily overlooked because of the music’s melodic and lyrical supremacy; and offers in contrast Auber’s Mute from Portici, a remarkable text by many historically picturesque musical motives that are universal and nationalistic at the same time. Finally Liszt offers an early gender study in music in his essay about Bellini’s Montague and Capulet (as well as its impact on nineteenth-century audiences), a look at Boieldieu’s White Lady as a sublime depiction of literary music, and Donizetti’s Favorite as colored with a special type of imagery, a laterna magica, in Liszt’s hand. The beloved soprano Pauline Viardot-Garcia receives special attention in an essay devoted entirely to her, and Liszt proffers a critique of entr’acte music as a pointless tradition that dethrones music and insults the artist and composer by making music a “palate cleanser.” This volume includes a detailed discussion about what it meant to be patronized by Liszt and how his support—financial, literary, and musical—helped shape many a music career. It also offers commentary on how gender in opera was sometimes obscured not only for dramatic interest but also as part of the process of outlining a nation’s identity,as well as a thorough study of Liszt’s concepts of Gestalt theory, the Archetype, and his musical Weltanschauung (his musical "world view"), all revealing his contribution to 19th-century music philosophy as it relates to opera. Finally, a historical review of entr’acte music is presented—how it began and how it developed—to clarify Liszt’s stance against it, making this volume a necessary read for music historians, serious musicians, and music connoisseurs alike.

This volume investigates secret diplomacy with the aim of understanding its role in shaping foreign policy. Recent events, including covert intelligence gathering operations, accusations of spying, and the leaking of sensitive government documents, have demonstrated that secrecy endures as a crucial, yet overlooked, aspect of international diplomacy. The book brings together different research programmes and views on secret diplomacy and integrates them into a coherent analytical framework, thereby filling an important gap in the literature. The aim is to stimulate, generate and direct the further development of theoretical understandings of secret diplomacy by highlighting ‘gaps’ in existing bodies of knowledge. To this end, the volume is structured around three distinct themes: concepts, contexts and cases. The first section elaborates on the different meanings and manifestations of the concept; the second part examines basic contexts that underpin the practice of secret diplomacy; while the third section presents a series of empirical cases of particular relevance for contemporary diplomatic practice. While the fundamental conditions diplomacy seeks to overcome – alienation, estrangement and separation – are imbued with distrust and secrecy, this volume highlights that, if anything, secret diplomacy is a vital, if misunderstood and unfairly criticised, aspect of diplomacy. This book will be of much interest to students of diplomacy, intelligence studies, foreign policy and IR in general.