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Excerpt ​

Excerpt from A Child's History of England, by Charles Dickens

After this bad beginning, Richard and his troops went on, in no very
good manner, with the Holy Crusade. It was undertaken jointly by the
King of England and his old friend Philip of France. They commenced the
business by reviewing their forces, to the number of one hundred
thousand men. Afterwards, they severally embarked their troops for
Messina, in Sicily, which was appointed as the next place of meeting.

King Richard’s sister had married the King of this place, but he was
dead: and his uncle Tancred had usurped the crown, cast the Royal Widow
into prison, and possessed himself of her estates. Richard fiercely
demanded his sister’s release, the restoration of her lands, and
(according to the Royal custom of the Island) that she should have a
golden chair, a golden table, four-and-twenty silver cups, and
four-and-twenty silver dishes. As he was too powerful to be
successfully resisted, Tancred yielded to his demands; and then the
French King grew jealous, and complained that the English King wanted
to be absolute in the Island of Messina and everywhere else. Richard,
however, cared little or nothing for this complaint; and in
consideration of a present of twenty thousand pieces of gold, promised
his pretty little nephew Arthur, then a child of two years old, in
marriage to Tancred’s daughter. We shall hear again of pretty little
Arthur by-and-by.

This Sicilian affair arranged without anybody’s brains being knocked
out (which must have rather disappointed him), King Richard took his
sister away, and also a fair lady named Berengaria, with whom he had
fallen in love in France, and whom his mother, Queen Eleanor (so long
in prison, you remember, but released by Richard on his coming to the
Throne), had brought out there to be his wife; and sailed with them for
Cyprus.

Explanation ​

Detailed Explanation of the Excerpt from A Child’s History of England by Charles Dickens ​

1. Context of the Source ​

A Child’s History of England (1851–1853) was written by Charles Dickens as a simplified, engaging account of English history for young readers. Unlike his novels, this work is non-fiction, though Dickens’s signature wit, moral commentary, and narrative flair remain. The excerpt describes events during the Third Crusade (1189–1192), focusing on King Richard I (Richard the Lionheart) and his conflicts in Sicily before reaching the Holy Land.

Dickens’s version is not a neutral historical account but a moralized, dramatic retelling, emphasizing Richard’s flaws—his arrogance, greed, and recklessness—while still portraying him as a larger-than-life figure. The text reflects Dickens’s Victorian-era values, where he often criticized monarchy, war, and political corruption in his works.

2. Summary of the Excerpt ​

The passage describes:

  • Richard’s troubled Crusade: His joint expedition with Philip II of France begins poorly, with their massive army (100,000 men) splitting to meet in Messina, Sicily.
  • The Sicilian Conflict: Richard’s sister, Joan of England, was widowed when her husband (the King of Sicily) died. His uncle, Tancred, seized power, imprisoned Joan, and stole her lands. Richard demands her release, her property, and lavish royal gifts (golden furniture, silverware).
  • Tancred’s Surrender: Overpowered, Tancred complies, but Philip of France grows jealous, accusing Richard of trying to dominate Sicily.
  • Richard’s Political Maneuvering: He secures a marriage alliance between his two-year-old nephew Arthur of Brittany (his brother Geoffrey’s son) and Tancred’s daughter—for 20,000 gold pieces.
  • Personal Affairs: Richard takes his sister and his new love, Berengaria of Navarre (arranged by his mother, Eleanor of Aquitaine), and sails to Cyprus.

3. Key Themes ​

A. The Follies of Kings and Power ​

Dickens portrays Richard as arrogant, impulsive, and self-serving:

  • His demands for golden furniture and silverware for his sister are excessive and materialistic, showing how royalty exploits power.
  • The marriage of a two-year-old (Arthur) for political gain highlights the cynical use of children as pawns in royal diplomacy.
  • Philip’s jealousy suggests that alliances in the Crusade were fragile and selfish, not truly united by religious zeal.

B. The Crusades as a Pretext for Greed ​

  • The "Holy Crusade" is undermined by personal vendettas and financial deals (e.g., the 20,000 gold pieces).
  • Richard’s detour to Sicily and Cyprus shows how the Crusade was as much about conquest and wealth as religion.
  • Dickens subtly critiques the hypocrisy of war in the name of God, a common theme in his works (e.g., A Tale of Two Cities’s critique of revolution).

C. Family and Inheritance as Political Tools ​

  • Joan’s imprisonment reflects how women were vulnerable in power struggles (a recurring Dickensian theme, e.g., Bleak House’s inheritance disputes).
  • The betrothal of little Arthur foreshadows future conflict (Arthur later becomes a rival to Richard’s brother John, leading to his murder—hinted at by "we shall hear again of pretty little Arthur").
  • Eleanor of Aquitaine’s role in arranging Berengaria’s marriage shows how queens manipulated politics behind the scenes.

D. War as a Disappointment ​

  • The line "without anybody’s brains being knocked out (which must have rather disappointed him)" suggests Richard enjoyed violence and was frustrated by a bloodless resolution.
  • This dark humor underscores Dickens’s anti-war sentiment, portraying conflict as pointless and driven by ego.

4. Literary Devices & Style ​

A. Irony & Sarcasm ​

  • "Holy Crusade" is undermined by the unholy behavior of the kings (greed, jealousy, political scheming).
  • "Pretty little Arthur" is a sinister foreshadowing—the innocence of the phrase contrasts with his future fate (likely murder).
  • "Must have rather disappointed him" mocks Richard’s bloodthirsty nature.

B. Dramatic Narrative Techniques ​

  • Direct Address to the Reader: Phrases like "you remember" (referencing Eleanor’s imprisonment) create intimacy, as if telling a story aloud.
  • Pacing & Suspense: The quick shift from Sicily to Cyprus keeps the narrative dynamic, mirroring Richard’s restless energy.
  • Characterization Through Action: Richard is defined by aggression (demands), greed (gold), and impulsiveness (taking Berengaria) rather than noble traits.

C. Symbolism & Imagery ​

  • Gold and Silver: The obsessive listing of golden chairs, silver cups symbolizes materialism over morality.
  • The Sea as Transition: The embarkations (to Messina, Cyprus) represent unstable journeys, both literal and moral.
  • Children as Symbols: Arthur’s betrothal represents the corruption of innocence in power struggles.

D. Foreshadowing ​

  • "We shall hear again of pretty little Arthur" hints at his tragic fate (historically, he was likely killed by his uncle John).
  • The tension with Philip foreshadows their later betrayals in the Crusade.

5. Significance of the Passage ​

A. Historical Perspective ​

  • Dickens simplifies complex history for children but doesn’t whitewash Richard’s flaws, unlike romanticized medieval legends.
  • The excerpt reflects Victorian skepticism toward monarchy and war, aligning with Dickens’s social critiques.

B. Moral Lessons ​

  • Power corrupts: Richard’s actions show how kings prioritize personal gain over justice.
  • War is futile: The Crusade is derailed by petty conflicts, suggesting religious wars are often excuses for conquest.
  • Children suffer: Arthur’s fate warns about the human cost of political games.

C. Dickens’s Authorial Voice ​

  • The passage exemplifies Dickens’s storytelling genius—blending history, humor, and moral commentary.
  • His sympathy for the powerless (Joan, Arthur) contrasts with his scorn for the powerful (Richard, Tancred).

6. Connection to Broader Works ​

  • Dickens’s Novels: Themes of corrupt power (Bleak House), family betrayal (Great Expectations), and war’s brutality (A Tale of Two Cities) parallel this excerpt.
  • Victorian Children’s Literature: Unlike moralistic or sanitized children’s histories, Dickens’s version is engaging but critical, teaching history through drama and irony.
  • Modern Relevance: The critique of war profiteering and political marriages resonates with contemporary conflicts.

7. Conclusion: Why This Excerpt Matters ​

This passage is more than a historical summary—it’s a microcosm of Dickens’s worldview:

  • Kings are flawed, not heroic.
  • War is messy and often hypocritical.
  • The weak (women, children) pay the price for the powerful’s games.

Dickens uses vivid storytelling, sharp irony, and moral urgency to make history accessible and thought-provoking for young readers, ensuring the lessons linger long after the facts are forgotten.

Would you like a deeper dive into any specific aspect (e.g., historical accuracy vs. Dickens’s liberties, comparisons to Shakespeare’s King John, etc.)?