A Short History of England by Simon Jenkins

By Simon Jenkins

Which conflict used to be fought 'For England, Harry and St George'? Who demanded to be painted 'warts and all'? What - and while - was once the conflict of the Bulge?

In A brief historical past of England, bestselling writer Simon Jenkins solutions some of these questions - and lots of extra - as he tells the tumultuous tale of a desirable state. From the invaders of the darkish a while to today's coalition, through the Tudors, the Stuarts and international wars, Jenkins weaves jointly a gripping narrative with all of the most crucial and engaging dates in his personal inimitable kind.

Until now there was no brief background of britain masking all major occasions, topics and contributors: this bestselling publication, released in organization with the nationwide belief, could be the common paintings for years yet to come.

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10–12: toi~j me\n e)ntiqe/asi xalino/n, toi~j de\ oi{a ke/ntra tou\j lo/gouj e)pa/gousin). 17: ei) . . 75 We have seen the state as a ship and an animal, but Psellos regards it also as a building. 3–4: to/te to\ dwma/tion katale/lutai, o9phni/ka kai\ oi9 perisfi/ggontej tou~to desmoi\ dialu/ontai). His continuation that a gathering of clouds prepares for a deluge76 is probably a separate image (Psellos is not averse from mixing metaphors, as we have just seen), but it may be tied in with the building metaphor since rain does weaken and dissolve mortar.

12). 9) indicating the increased brilliant appearance in the eyes of Zoë caused by her prospective lover’s modest demeanor, lightning, with or without mention of thunder, is used to show speed and destructive force. 3–5: h9 th~j a)straph~j e1kplhcij kai\ to\ me/geqoj th~j bronth~j kai\ ta\j e)kei/nou perihu/gase ko/raj kai\ th\n a)koh\n katebro/nthsen), although thereat he figuratively covered up both eyes and ears. 7: keraunofo/roj). 21–22: oi9 o)fqalmoi\ h1strapton, kai\ h9 o)fru/j, oi{a dh/ ti ne/foj tw|~ th~j yuxh~j fwsth~ri, i3n ) ou3twj ei1pw, e)pe/keito).

See Keith (1914) 31; Scott (1974) 76–77. 6). Nevertheless, the fact that he is rarely satisfied with a single word of imagery proves that this is not the case. 13–15: w3sper tino\j e1ndoqen a)narruei/shj phgh~j, dakru/wn r9ou~j a)kata/sxetoj proexei~to tw~n o)fqalmw~n). 3–4: kaxla/zei mo/non tw|~ mega/lw| tw~n le/cewn r9eu/mati), his employment of the somewhat unusual verb kaxla/zw36 with the common noun r9eu~ma37 shows that he was fully conscious of what he was doing. Moreover, Psellos is never satisfied with describing a river, stream or fountain of the same thing in quite the same way.

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