Richard III Makers of History — A Closer Reading

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Abbott, Jacob, 1803-1879 Project Gutenberg 2009 Not confirmed
Richard III, King of England, 1452-1485; Great Britain -- History -- Richard III, 1483-1485 Readers of public-domain and historical texts
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Words 61,025
Reading time 266 min
Text sections 9

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Jacob Abbott's 1858 biography of Richard III uses a measured, narrative voice to trace the prince's path from childhood to Bosworth Field. The text balances moral reflection with vivid set pieces, such as the Treaty of Picquigny's barred bridge, and shifts between psychological commentary and brisk chronicle of civil war.
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The great quarrel between the houses of York and Lancaster.--Terrible results of the quarrel.--Origin of it.--Intricate questions of genealogy and descent.--Lady Cecily Neville.--She becomes Duchess of York.--Her mode of life.--Extract from the ancient annals.--Lady Cecily's family.--Names of the children.--The boys' situation and mode of life.--Their letters.--Letter written by Edward and Edmund.--The boys congratulate their father on his victories.--Further particulars about the boys.--The Castle of Ludlow.--Character of Richard's mother.--Spirit of aristocracy.--Relative condition of the nobles and the people.--Character of Richard's mother.--The governess.--Sir Richard Croft, the boys' governor.

The mother of King Richard the Third was a beautiful, and, in many respects, a noble-minded woman, though she lived in very rude, turbulent, and trying times. She was born, so to speak, into one of the most widely-extended, the most bitter, and the most fatal of the family quarrels which have darkened the annals of the great in the whole history of mankind, namely, that long-protracted and bitter contest which was waged for so many years between the two great branches of the family of Edward the Third--the houses of York and Lancaster--for the possession of the kingdom of England. This dreadful quarrel lasted for more than a hundred years. It led to wars and commotions, to the sacking and burning of towns, to the ravaging of fruitful countries, and to atrocious deeds of violence of every sort, almost without number. The internal peace of hundreds of thousands of families all over the land was destroyed by it for many generations. Husbands were alienated from wives, and parents from children by it. Murders and assassinations innumerable grew out of it. And what was it all about? you will ask. It arose from the fact that the descendants of a certain king had married and intermarried among each other in such a complicated manner that for several generations nobody could tell which of two different lines of candidates was fairly entitled to the throne. The question was settled at last by a prince who inherited the claim on one side marrying a princess who was the heir on the other. Thus the conflicting interests of the two houses were combined, and the quarrel was ended.

But, while the question was pending, it kept the country in a state of perpetual commotion, with feuds, and quarrels, and combats innumerable, and all the other countless and indescribable horrors of civil war.

The two branches of the royal family which were engaged in this quarrel were called the houses of York and Lancaster, from the fact that those were the titles of the fathers and heads of the two lines respectively. The Lancaster party were the descendants of John of Gaunt, Duke of Lancaster, and the York party were the successors and heirs of his brother Edmund, Duke of York. These men were both sons of Edward the Third, the King of England who reigned immediately before Richard the Second. A full account of the family is given in our history of Richard the Second. Of course, they being brothers, their children were cousins, and they ought to have lived together in peace and harmony. And then, besides being related to each other through their fathers, the two branches of the family intermarried together, so as to make the relationships in the following generations so close and so complicated that it was almost impossible to disentangle them. In reading the history of those times, we find dukes or princes fighting each other in the field, or laying plans to assassinate each other, or striving to see which should make the other a captive, and shut him up in a dungeon for the rest of his days; and yet these enemies, so exasperated and implacable, are very near relations--cousins, perhaps, if the relationship is reckoned in one way, and uncle and nephew if it is reckoned in another. During the period of this struggle, all the great personages of the court, and all, or nearly all, the private families of the kingdom, and all the towns and the villages, were divided and distracted by the dreadful feud.

Richard's mother, whose name, before she was married, was Lady Cecily Neville, was born into one side of this quarrel, and then afterward married into the other side of it. This is a specimen of the way in which the contest became complicated in multitudes of cases. Lady Cecily was descended from the Duke of Lancaster, but she married the Duke of York, in the third generation from the time when the quarrel began.

Jacob Abbott opens his 1858 biography of Richard III with a striking moral premise: the king was 'perhaps as bad a man as the principle of hereditary sovereignty ever raised to the throne,' yet he insists that Richard's natural disposition was not peculiarly depraved. This tension between character and circumstance sets the tone for a work that moves between psychological reflection and brisk historical narrative. Abbott's voice is deliberate and didactic, often pausing to comment on the corrupting influence of power, yet he also lingers on concrete details—the 'thirty ells' of crimson velvet given to a herald, or the wooden barricade at Picquigny built 'like the cages of bears.' The prose shifts accordingly: at times it is measured and moralizing, at others it accelerates into vivid, almost novelistic scenes of diplomacy and battle.

The Grating and the Gown: Abbott's Eye for Material Detail

Abbott's narrative gains texture from his attention to physical objects and ceremonies. The Treaty of Picquigny is rendered not as a dry diplomatic event but as a theatrical encounter: a bridge with a 'strong barricade of wood,' a grating 'such as was used in those days to make the cages of bears,' and two kings shaking hands through the bars. Louis XI appears in 'cloth of gold' with a fleur-de-lis worked in precious stones; Edward's followers are put 'in excellent humor' by gifts of velvet. These details are not mere decoration—they serve Abbott's argument that power is performed through display and distrust. The herald's crimson velvet, the missal and crucifix brought forward for oaths—each object carries weight. Abbott uses them to ground abstract political maneuvering in tangible, sometimes absurd, human behavior.

Moral Pauses and Narrative Acceleration

The book's rhythm alternates between reflective commentary and swift chronicle. In the preface, Abbott establishes a moral framework: Richard was 'made reckless, unscrupulous, and cruel by the influences which surrounded him.' This judgment recurs in asides, slowing the pace for ethical assessment. Yet when describing the Picquigny meeting, the prose becomes brisk and scene-driven: 'The day appointed for the meeting was the 29th of August, 1475. The barricade was prepared.' Abbott shifts from general principle to specific date, from moralizing to reportage. This oscillation creates a distinctive voice—part schoolmaster, part storyteller. Readers attuned to pacing will notice how Abbott uses short paragraphs and direct statements to quicken the tempo during confrontations, then expands into longer, more ruminative sentences when drawing lessons from events.

The Limits of the Excerpt: Voice Without Full Arc

The available excerpts reveal Abbott's narrative habits but not the complete shape of the biography. We see his preference for moral framing, his eye for ceremonial detail, and his ability to shift between commentary and scene. However, the excerpts end before the later chapters on Richard's reign, the fate of the princes, and Bosworth Field. It is unclear how Abbott handles the most controversial episodes—the murder of the princes, the battle itself—or whether his moral framework holds consistently. The voice we encounter is measured, even cautious, but the full work may introduce sharper judgments or more dramatic pacing. Readers should approach the text as a product of its era, noting how Abbott's 1858 perspective shapes his portrayal of a king he calls 'the Usurper' while still attempting a nuanced character study.

Abbott's Richard III rewards attention to its narrative voice—a blend of moral seriousness and vivid, object-focused storytelling. Readers will find that the pacing shifts between reflective passages and brisk, almost novelistic scenes, particularly in diplomatic encounters like the Treaty of Picquigny. The excerpts suggest a work that uses material details to ground political history, but the full text may reveal how Abbott handles the darker episodes of Richard's reign. Approach the biography as a window into mid-nineteenth-century historical writing, where character and circumstance are weighed in careful, sometimes surprising, balance.

Abbott’s measured telling of Richard’s lonely road left me thinking about how chronicles turn lives into footnotes. There’s a quiet kinship with the regimental histories, where shared endurance and quiet fortitude weave the same somber thread. I found myself reaching for History of the Scottish Regiments in the British Army — A Closer Reading, remembering how those pages, too, hold the weight of men simply doing their duty.

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