“... the time. Another way to phrase the same exam question would have been: ‘Have you read Margery James?’ I’m sure I hadn’t; I have now. I was reminded of the exam question when I went to the wine cellars at Berry Brothers & Rudd on St James’s Street in early December, and as I ordered ...”

“... not at that moment trying to create a work of art. But it is reinforced by an anecdote related by Henry Savage Landor. Landor was dining with Whistler (it was in 1896, towards the end of the painter’s life), and in the drawing-room, after dinner, his eye was caught by a skull and a lamp on the grand piano and he suggested that Whistler should sketch this ...”

“... criticism in five words or fewer: on her third quarto of Othello, ‘a sad one’; on her copy of James Shirley’s The Constant Maid, or Love Will Find Out the Way, ‘I doe not lik this.’ Across the start of Eastward Hoe, the very funny city comedy by George Chapman, Ben Jonson and John Marston, she wrote ‘prity one’, then crossed it ...”

“... The 13th-century jurist Henri de Bracton, who formalised the growing body of case law under Henry III, had stressed that ‘in misdeeds we look to the will and not the outcome,’ and consequently ‘a madman is not liable.’ From this point on, madness was defined by legal concepts such as mens rea (guilty intention) and non compos mentis (unsound ...”

“... had actually been started by the Scots and had been finally resolved, years later, in Ireland when James II, the last Stuart king, was defeated at the Battle of the Boyne in 1689, it was downright alarming to go home and see TV footage of riots at Orange parades that showed this supposedly definitive and long-past battle was actually still in progress, and ...”

“... This is the first full-length study of James Thomson’s life and work since Henry Salt’s in 1889. Thomson’s poem The City of Dreadful Night is known by name to many but has seldom been reprinted or discussed. Histories of literature say more about an earlier James Thomson (1700-48) who wrote The Seasons and ‘Rule Britannia’ and got into Johnson’s Lives of the Poets, though Johnson says his diction was ‘florid and luxuriant ...”

“... protested, and the consequence was the presumably unique disclaimer in the Epilogue to 2 Henry IV. The decision to do away with Falstaff is characteristic of a certain archaeological rigour in the editors’ procedures. Of course they are right to say that if we use their work we must live with their decisions, but it may simply be too late for most ...”

“... I turned her attentions to the Earl of Essex. George Villiers, first duke of Buckingham, told James VI and I that what they enjoyed together was ‘more affection than between lovers in the best kind’. Lucy Hughes-Hallett wonders, in her biography of Buckingham, if chiefs of staff or special advisers can be understood as favourites, but really there is ...”

“... gets credit for proscribing as treason any plot against the life of a feudal superior, and Henry VII for backdating his reign to the day before the Battle of Bosworth, making a traitor of anyone who fought for Richard III. There followed, in 1495, his Treason Act, which recognised that it was ‘ayenst all lawes reason and gode conscience’ to ...”

“... have outlined could be unbearable in the hands of any writer less sensitive than Elizabeth Bowen. Henry James had a similar theme on his hands in The Wings of the Dove. He cooled the cruelty of it by intellectualising its moral problem. Colette could take any amount of cruelty on the chin and in her hard-bitten way grin at it like a mauled boxer. With ...”

“... third describes a book by J.H. Findlater, while the fourth is from a review of The Soft Side by Henry James. Good writing is something you can only teach yourself. I also believe, and if I am old-fashioned in this then so be it, that the writer knows best. He always did. If he didn’t, or doesn’t, nothing interesting will be published. A writer ...”

“... refine and spiritualise, a deep dream about belonging. They search for and deny an idea about what Henry James called ‘the Great Good Place’, part-American, part-European: and they finally localise it (if anywhere) in ‘England and nowhere’ – an England at war. The magical places invoked – a historical house, a Tudor village, a childhood ...”

“... Henry Crabb Robinson had a busy evening on 27 January 1818: having attended William Hazlitt’s lecture on Shakespeare and Milton at the Surrey Institution, he hurried over the river to the London Philosophical Society to hear the first lecture in a new course by Coleridge. He was gratified to find there ‘a large and respectable audience – generally of very superior looking persons ...”

“... First World War). In Ladysmith, Foden’s Boer War novel, technology has an almost magical power. Henry Nevinson, a reporter for the Daily Chronicle and one of many characters in the novel to be drawn from history, uses the telegraph to deliver his copy: ‘the atoms of the telegraphs’ somehow travel ‘via Durban . . . passing deep under the sea, up to ...”

“... work. Philby achieved this by tipping the spy-catcher for the Western world, the CIA officer James Jesus Angleton, into clinical madness. Philby had help, of course. Alcohol, Angleton’s own personality, the very nature of spy-catching, the power of bureaucracies, and the appalling inefficiency of the CIA’s system of checks and controls, all ...”