Several writers have remarked that Marlborough could have never achieved his great military success during the War of the Spanish Succession without the support, industry and ingenuity of his Chief of Staff, Quartermaster General and Chief of Intelligence, General William Cadogan, who became the 1st Earl of Cadogan, and who, in 1722, succeeded Marlborough as Commander-in Chief of the British Army. Apart from the other considerations Marlborough, then in his 50's, was relatively frail and prone to fevers and headaches, whereas Cadogan, the better educated officer, was still in his early 30's and very fit. This, the story of a most able young general, is a must for all those interested in military history, particularly that relating to the early 18th century. However, Cadogan was a more complex -and more interesting -personality than his career as a soldier indicates. He possessed the charm, the wisdom, the powers of persuasion and the linguistic ability to make an outstanding diplomat. He proved, indeed, to be the brightest roving ambassador of the reign of George I. And yet, despite all his positive attributes he was not a man political or of financial integrity.

Blenheim, Ramilles , Oudenarde, Malplaquet _ much has been written about the brilliant victories of the Duke of Marlborough's Anglo-Dutch army over the armies of Louis XIV of France during the War of the Spanish Succession. Less attention has been focused on the men and the military organization that made these achievements possible - the soldiers, the commanders, the army structure and administration, the logistics, engineering, weapons and finance. That is why James Falkner's penetrating account of the composition and operation of Marlborough's army is of such value. His clear analysis gives a fascinating insight into Marlborough's war machine and into the conduct of war in Europe 300 years ago.

John Churchill, 1st Duke of Marlborough, is one of the great commanders of history. Using his great charm and diplomatic skills he was able to bind troops from various European states into a cohesive army that won a string of victories over the French armies of King Louis XIV, the first of which was perhaps his most spectacular triumph – the battle of Blenheim. Other great victories followed, but political and social turmoil proved harder opponents to defeat. This book provides a detailed look at the many highs and lows in the career of the most successful British general of his era.

A revelatory history of the characters that playwrights and managers created out of the real lives of women in intimate relationships with military men to serve Great Britain's greatest needs during the war-saturated eighteenth century. During the long eighteenth century, Great Britain was almost continuously at war. As the era unfolded, the theatre gradually discovered the potential in having actresses, recently introduced to the stage in the 1660s, perform as wartime women characters. As playwrights and managers began casting women in transformative roles to meet each major national need, female characters came to be central figures in bringing the war home to the nation, transforming them into deeply patriotic British subjects. Paula Backscheider's Women in Wartime is the first study of theatrical representations of women with intimate connections to military men. Drawing upon her extensive expertise in gender, performance studies, popular culture, and archival studies, Backscheider traces the rise of the London theatre's acceptance that one of its responsibilities was to support its country's wars. Rather than focusing on the historical, mythical "warrior women" on the battlefield who have been much studied, Backscheider explores the lives and work of sweethearts, wives, mothers, sisters, barmaids, provision sellers, seaport prostitutes, and more, whose relationships to active-duty men made them recruits, volunteers, or even conscripts. They represent a distinct group of thousands of real women, and the actresses who portrayed them gave performances of change, struggle, celebration, mourning, survival, love, and patriotism. Backscheider explicates more than fifty plays—from main pieces, short farces, interludes, afterpieces, and comic operas to entr'actes, pantomimes, and even masques—as both entertainment and as ideological and propagandistic vehicles in times of severe crises. She also reveals how these works, many written by men with military experience, attest to the context of difficult, inescapable realities and momentous needs. Through the debunking of sexual stereotypes and attention to audience-pleasing roles such as impoverished-wife and breeches parts, Backscheider adds a dimension to theatrical history that substantially contributes to women's and military histories. Women in Wartime demonstrates the startling acuity and prescience of the repertoire in responding to the war-steeped culture of the period.

The book explores how Churchill was portrayed in the UK press during the Second World War, comparing his depictions in Scottish, Welsh, Northern Irish, and provincial English newspapers. By using a variety of newspapers from these areas, it examines local opinions about Churchill at the time he was the wartime prime minister. It analyses how Churchill was received and depicted by newspapers in the UK and why differences in these depictions emerged in each area. It contributes to the study of public opinion in the war and of Churchill’s reputation, of the British media, as well as to the study of the notion of Britishness, focusing on local perspectives.

This work is the firs scholarly biography of Sidney Godolphin in over one hundred years, and thus fills a gaping hole in the history of late Stuart England. How Godolphin used his position to mold English diplomacy and military strategy is examined.