ty and Image in Sixteenth -Century England (2009), Reading Revolution: The Politics of Reading in Early Modern England (2000), Remapping Early Modern England: The Culture of Seventeenth-Century Politics (2000), The Personal Rule of Charles I (1992), Criticism and Compliment: The Politics of Literature in the England of Charles I (Cambridge Studies in Early Modern British History, 1990), Politics and Ideas in Early Stuart England: Essays and Studies (1989), and Sir Robert Cotton, 1586-1631: History and Politics in Early Modern England (1979).
His Charles I of England garnered great attention from fellow historians (Hadfield). He received recognition in his “pioneering work in interdisciplinary sciences.” A historian of culture and politics, he was a pioneer in bringing to the study of the English Renaissance the perspectives into other disciplines. Sharpe’s style was characterized by his brilliant and “reader-friendly prose.” For him, historians should make their arguments in such a way so that the arguments could be easily understood by readers without sacrificing their standards. These are basically the reasons why Kevin Sharpe is considered a legitimate author for me.
The book covers a wide range of subject matters over a long span of time. The timeline includes the end of the House of Tudor and up to the restoration of monarchy after the Parliament failed. The representation is very common for England. Monarchs portrayed themselves in different ways, in which people would look them up to be someone in authority. Kevin Sharpe wanted to display how rulers of England during the 17th century represented themselves. Sharpe argued that governments during the early modern age in England had to display an appealing image with the purpose of securing support for their policies and authority (Cunnane, par. XIV).
Elizabeth I portrayed herself “as an icon, a goddess elevated above political faction and fray.” She is more focused on how people will see her