Victoria the queen An intimate biography of the woman who ruled an empire

Julia Baird

Book - 2016

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Subjects
Genres
Biographies
Published
New York : Random House [2016]
Language
English
Main Author
Julia Baird (author)
Edition
First edition
Physical Description
xlvii, 696 pages, 16 unnumbered pages of plates : illustrations (some color), portraits, maps ; 25 cm
Bibliography
Includes bibliographical references and index.
ISBN
9781400069880
Contents unavailable.
Review by New York Times Review

QUEEN VICTORIA was the first British monarch to be photographed. But it's not the early images of a young woman that we remember. It's the figure of a long-reigning matriarch in profile, small and heavy, that lives in the collective imagination. Because of the length of the exposure, subjects found it difficult to hold a smile for the camera - but, in any case, we assume this queen would not be quick to smile. We would be wrong. Queen Victoria wasn't tipped to rule. Accident and tragedy put her on the throne soon after her 18th birthday. Christened Alexandrina Victoria, this woman who lent her name to the age would, as Mark Twain once put it, "see more things invented than any other monarch that ever lived." While the era is known for great leaps in innovation and industrialization, it's equally famed for its spirit of repression - social, sexual, emotional - and Queen Victoria was its standard-bearer. But surprisingly, Victoria was not a Victorian. Now a new queen is emerging. A biography and a novel, paired with a forthcoming television series, will sift through the standard lore, seeking the unexplored life of this iconic woman. Factual and fictional investigations of a historical figure can lead a reader through varied trajectories, yet still arrive in a similar emotional landscape. It's a tricky thing to translate a human life, with all its unknowable quirks and happenings, to pull a narrative are from the scattered chronology of events. Biography presents itself as fact, but without occasional forays into dramatic scene-setting it may not hold together. These small imagined moments are the movable joints that make it whole. For me, biographical history must be animate in order to succeed, and for that it must have the propulsive power of storytelling, as well as the kind of affinity that gives a writer authority over her subject. With fiction, success often depends on immersion. As a reader of novels, I want to be helicoptered into a period and move right in. If the author's historical research becomes obtrusive, the illusion cracks. "Victoria the Queen," Julia Baird's exquisitely wrought and meticulously researched biography, brushes the dusty myth off this extraordinary monarch. Right out of the gate, the book thrums with authority as Baird builds her portrayal of Victoria. Overturning stereotypes, she rips this queen down to the studs and creates her anew. Yes, there are the familiar biographical landmarks, the wild love for Prince Albert and the bottomless grief at his early death, but Baird's Victoria isn't the woman we expect to meet. Her queen is a pure iconoclast: emotional, demonstrative, sexual and driven. She is a woman who leaps off her throne to embrace her elderly uncle during her coronation, who loves to dance, is fervently opposed to animal cruelty, survives eight assassination attempts and weeps loudly in public. She is also a woman who shocks her doctors with her candid approach to pregnancy and does nothing to hide her frank sexual appetite. When, after her ninth child is born, the royal physicians advise that, at almost 38, "this should be her last baby," her first question is "Can I have no more fun in bed?" This is not the prudish queen of the history books. It's commonly thought that after Prince Albert died, Victoria sank into her grief and retired from public life, essentially abdicating her responsibilities. Baird offers us a paradox: a queen who uses the stereotypes of her sex to her advantage and, while claiming nervous weakness, withdraws from public view even as she ruthlessly micromanages her political cabinet, often sending her ministers hourly instructions. Baird follows this trajectory of power, tracing its swing from Victoria to Albert and back again. Power provides the vertebrae of the biography. After she marries Prince Albert of Saxe-Coburg-Gotha, the queen's authority begins to erode. Baird's Albert is a loyal husband and diligent public servant but also a misogynist. He has excellent political instincts, yet he believes that rulership is a male prerogative. Over the course of their 21-year marriage, Albert dismantles his wife's confidence in her own intellect, sensibilities and judgment. It is a marriage that begins with a radical role reversal. Victoria proposes, offers Albert a ring and keeps her maiden name, but as their union proceeds, Albert becomes firmly ensconced in the world of government while Victoria is tethered to the domestic realm, pregnant for a total of 80 months. Baird's Victoria has "forgotten her own colossal strength." It's only after Albert dies and her grief begins to subside that she rediscovers her political will. Baird writes in the round. She constructs a dynamic historical figure, then spins out a spherical world of elegant reference, anchoring the narrative in specific detail and pinning down complex swaths of history that, in less capable hands, would simply blow away. At points, she also pulls back, effectively locating her subject within a broader context. And so, on the day Victoria discovers she is next in line for the throne, Baird offers snapshots of other future pillars of the Victorian world. We see 10-year-old George Eliot at boarding school, 18-yearold Charles Dickens learning shorthand in the reading room of the British Museum and 20-year-old Alfred, Lord Tennyson "unhappily studying at Cambridge ." Baird's central figures are sculpted from finely grained raw material, enhanced with the kind of detail that lends them nuance and dimension. Once we know that Victoria kicked off the trend for white wedding dresses; popularized the use of chloroform during childbirth (disregarding the established belief that its pain was the payback for original sin); wrote a yearly personal letter to Joseph Merrick, the "Elephant Man"; and placed a "sultry" portrait of herself inside her husband's coffin, she takes on a specificity of character that brings a warm immediacy to the historical narrative. IN "VICTORIA," Daisy Goodwin's lively and effervescent novel, the range of her storytelling i s rich but brief. Here we meet a green young queen who has spent her childhood shut up in a moldy palace with an overprotective mother and her mother's adviser, the bullish, ambitious Sir John Conroy. Not permitted to sleep in a room or tackle a flight of stairs alone, Victoria is hungry for independence. The day she ascends the throne, she gains her freedom, and over the next two years she carefully polices the borders of her authority. She is young, motivated primarily by love and instinct. Perhaps inevitably, Victoria compromises her position, but then rallies. In depicting this process, Goodwin uses her well-judged departures from the strict historical chronology to arrive at an emotional core quite similar to Baird's. The young Victoria is the worker as well as the queen bee, yet still "the sort of woman who flowered in male company." Goodwin's queen has all the makings of a captivating human paradox. Although the novel ends before her marriage, Goodwin cleverly lays the groundwork for Victoria's future. Her repaired relationship with her mother and the dynamics of power within her marriage are all seeded here. Queen Victoria's historical image was carefully curated by those closest to her. In what Baird calls "one of the greatest acts of censorship in history," Victoria's daughter Beatrice transcribed her mother's journals and edited out everything that seemed to reflect poorly on her, then burned the originals. Even now, the keepers of the Royal Archives would prefer that the physical details of Victoria's death not be published. That the queen lived with a painful prolapsed uterus for decades is a secret that was meticulously concealed. In a similar fashion, her family tried to erase all evidence that she cared deeply for any of the men in her life other than her adored Prince Albert, from Lord Melbourne to her Highland servant John Brown. Victoria's sanitized, puritanical mythology was a creative act of fiction intended to illuminate the woman those around her wanted her to be. In their own ways, Baird and Goodwin are seeking the woman she actually was. ? priya parmar'S most recent novel is "Vanessa and Her Sister."

Copyright (c) The New York Times Company [December 11, 2016]
Review by Booklist Review

*Starred Review* Given the many books about Queen Victoria, one wonders if is there more to say, but Baird writes with such spirit and well-founded authority that readers will feel as though the story of the famous British queen is being told for the first time. The second but no-less-important impression Baird leaves readers with is the sense that she has great appreciation for the queen's husband, Prince Albert, and his very important and self-created role in British political and public life. Baird also clarifies issues that have habitually clouded an accurate accounting of the queen's character and reign, beginning with the idea, an incorrect one, as it turns out, that Victoria pretty much retreated from life when the prince consort died. The truth as Baird establishes it is that, for the 39 years left to her, Victoria continued to exhibit the great strength of character that first revealed itself when she was a little girl whose chance of inheriting the throne appeared slim. Baird does not turn a blind eye on Victoria's darker sides, including her willfulness, selfishness, and self-pity. But that simply adds dimensions to a significant character.--Hooper, Brad Copyright 2016 Booklist

From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review

Journalist Baird dedicates this florid, heaving biography of Queen Victoria to undoing the myths that continue to surround the woman whose era bears her name-specifically, that she was eclipsed by her husband, Albert, in matters of state; was incapable of loving her children; and was an absentee monarch after Albert's untimely death. Instead, Victoria emerges in Baird's fluid prose as a figure to be reckoned with in her own right, a passionate wife as well as an unbending ruler who defied no fewer than seven assassination attempts. Victoria's rich personal life makes for interesting reading, but Baird's attempts to trace the beginnings of the suffrage and anti-slavery movements to the values embodied in Victoria's reign are unconvincing, grafted as they are onto a mass of details about white dresses "edged with swansdown" and the Prince of Wales's sordid love life. Baird's empathy for her subject is apparent throughout, however, and when Victoria finally exits the stage at age 81, the narrative seems to exhale, drained. Royal biographies tend to be breathless and straitened at the same time, and Baird's contribution is no exception, but she imbues the chilly figure of Victoria with welcome humor and warmth. Agent: Amanda Urban, ICM. (Dec.) © Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review

With this work, Australia-based journalist Baird (Media Tarts) covers the life and times of the longest reigning UK monarch prior to Queen Elizabeth II. This book guides readers through the ups and downs of Queen Victoria's life (1819-1901), including her melancholy childhood, unlikely ascent to the throne, and the supreme amount of losses she experienced during her 63-year reign. Baird convincingly reframes the public perception of Victoria as a mother, along with providing unprecedented insight into her relationships following Prince Albert's death in 1861. The book features an extensive notes section and a bibliography of the primary and secondary sources the author used from her research. While readers will come across multiple hefty biographies on Queen Victoria, such as A.N. Wilson's Victoria: A Life, Baird crafts a comprehensive study of the monarch and others with whom she was involved in an engaging, smoothly rendered narrative. VERDICT Highly recommended for those interested in British history and the integral figures that shaped it, as well as readers looking for an excellent biography. [See Prepub Alert, 5/23/16.]-Katie McGaha, County of Los Angeles P.L. © Copyright 2016. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Kirkus Book Review

Australian journalist and historian Baird (Media Tarts: Female Politicians and the Press, 2004) draws on previously unpublished sources to fashion a lively, perceptive portrait of the long-reigning queen.Victoria (1819-1901), writes the author, was an adoring wife, overbearing mother, and a clever and forceful political calculator. Characterizing her subject as the most famous working mother in the world, Baird focuses intently on love, sex, and family: Victorias marriage to Albert and protracted mourning after he died; her attitudes toward childbearing and mothering her extensive brood; her postpartum depressions; her adoration of the blunt, bearded Scotsman John Brown; and her relationships with many men in her government. Although there are few surprises for readers familiar with previous biographies by A.N. Wilson, Christopher Hibbert, Matthew Dennison, and Carrolly Erickson, to name a few, Baird shrewdly assesses the quality of the queens family life and creates sharply drawn portraits of the major players in her circle. The queen budded in the presence of a man who charmed her, who confided in her and sought her approval, such as her first prime minister, Lord Melbourne, with whom she had one of the great platonic romances of modern history, and the sympathetic, witty Benjamin Disraeli. As for her marriage, Baird sees both Victoria and Albert as stubborn and strong-willed. Albert was aiming for greatness, the author observes, and was happy when his wife was pregnant so he could take a role in governing. He believed women were inferior to men, and Victoria conceded, Alberts talents were superior. As far as motherhood, Baird reveals that Victoria hated being pregnant, feared that she would die in childbirth, was sometimes doting, but also described her children bluntly and often harshly and clearly had her favorites. On the political landscape, Victoria witnessed the devastating Crimean War, uprisings across Europe, famine in Ireland, and domestic social pressures. She sought to transcend a primarily ceremonial and symbolic role to one of power and influence. A well-researched biography sensitive to Queen Victoria as a woman. Copyright Kirkus Reviews, used with permission.

Copyright (c) Kirkus Reviews, used with permission.

CHAPTER 1 The Birth of "Pocket Hercules" My brothers are not so strong as I am. . . . I shall ­outlive them all; the crown will come to me and my children. --­EDWARD, DUKE OF KENT, FATHER OF QUEEN VICTORIA Queen Victoria was born, roaring, at 4:15 a.m., in the hour before dawn on May 24, 1819. In those first few seconds, she was like any newborn: naked, vulnerable, and wondering, wriggling in her mother's arms. Her spell of innocence would be brief. In moments, the most important men in the land--­clergymen, chancellors, warriors, and politicians--­would crowd into the room, pressing ruddy faces close to the baby girl who did not yet have a name. Within two decades, all of the men present at her birth who were still alive would be bowing to her as queen--­something few could have guessed when she was born, as she was merely fifth in line to the throne. But this was an important child--­one who would go on to command armies, select archbishops, and appoint prime ministers. From this moment, she would never be alone; an adult shadowed every step she took, tasted every mouthful of food, and overheard every conversation. As the sky lightened, her mother, the Duchess of Kent, lay back on the pillows of her four-­poster bed and closed her eyes, exhausted, breathing in the lilacs and mayflowers in the gardens below. On this cloudy spring morning, a light rain was falling, bringing relief after three weeks of intense heat. The room in Kensington Palace in which the baby was born was entirely white and smelled of lush new carpet. Outside the windows, sheep grazed and jays sang among the beech trees. As was the custom in royal households, the men of the Privy Council had been summoned from dinner parties, the theater, and bed the night before. As the duchess lay writhing and breathing through contractions, His Majesty's ministers waited in an adjoining room. The duke had forewarned them that he would not entertain them, as he planned to stay next to his wife, urging her on. As tradition dictated, these high-­ranking men listened to the cries of the duchess during the six-­hour labor, then crowded the room once the baby arrived, to attest that it was in fact the mother's child. (In 1688, when Mary of Modena, the Catholic wife of James II, gave birth to a thriving boy, a majority of the public--­fueled by Protestants unhappy at the thought of a healthy male heir--­believed that she had in fact miscarried and that she had had another, live baby smuggled into her room in a warming pan. This was untrue, but it was one of the factors leading to the revolution that knocked James II off the throne.) The duchess endured the presence of the men, who signed the birth certificate and a report of the baby's "perfectly healthful appearance." They murmured congratulations, then shuffled wearily back out into a city that was slowly waking; grooms in stables were fetching water, the scent of beeswax wafted from the nearby candle manufactory. Breakfast sellers were setting up stalls along the Great Western Road, an old Roman highway that ran alongside Hyde Park and was the main route into London from the southwest. Workers hurried to factories through the mist among rattling mail coaches and market carts, and past thousands of weary cattle being herded to their ­slaughter. Back in Kensington Palace, the Duke of Kent was restless with pride and excitement. In letters to friends, he raved about his wife's "patience and sweetness" during labor, and he praised the midwife, Frau Siebold, for her "activity, zeal and knowledge." In a curious coincidence that shows how tight-­knit the worlds of the British and German royals were at the time, just three months later, Frau Siebold was to preside at the birth of Victoria's future husband, Albert of Saxe-­Coburg and Gotha. The baby Albert, his mother cooed, was "superbe--­d'une beauté extraordinaire." From infancy, Albert was praised for his beauty, just as Victoria was praised for her strength. At birth Victoria was only fifth in line to the throne. But in the years before, her father, Edward, Duke of Kent--­the fourth son of King George III--­had dramatically revised his life when he realized his siblings were not producing heirs and that the throne could someday pass to him and his offspring. He already had a partner, a gentle Frenchwoman named Julie de Saint-­Laurent. Edward had ostensibly hired her to sing at a party with his band in 1790, during his first stint as governor in Gibraltar, but she was really brought into his house to share his bed. Despite these unromantic beginnings, and the fact that even if they had married, the king would never have recognized their union, they formed a remarkably successful partnership, which lasted through postings in Canada and Gibraltar as well as a scandalous mutiny by Edward's troops. But despite the three decades he had spent with the devoted Julie de Saint-­Laurent, Edward had come to decide he needed a legitimate wife, one who would enable him to pay off his substantial debts, as princes were given additional allowances when they wed. When his niece Charlotte, the presumptive heir to the throne, died in childbirth, it also became clear that if he found a younger wife, she might be able to bear a child who could reign over En­gland. When the Duke of Kent urged his carriage westward from Germany weeks before Victoria's birth, he was trying to outrun the most unpredictable of rivals: biology. He wanted to get his heavily pregnant German wife to Britain in time to give birth to a baby he hoped might one day sit on the throne. The duke was certain any future monarch would be more loved if he or she bawled their first cry on En­gland's soil. He looked down at his wife's pale face, lit by the gentle spring sun, and beamed. He was fifty-­one and penniless: it was something of a miracle that he had found such a young, pretty, amiable wife. The thirty-­two-­year-­old Princess Victoire of Saxe-­Coburg-­Saalfeld, a tiny principality much diminished by Napoleon's land grab in south Germany, was cheerful, short, and plump, with brown ringlets and apple-­red cheeks. Recently widowed, Victoire had two children of her own, and had taken some persuading before agreeing to marry the Duke of Kent. But they had quickly settled into a fond companionship, and Victoire soon became pregnant. When he began the long journey from Amorbach to En­gland, the duke was not just racing to Great Britain; he hoped he was racing to the throne. Just a year before, the thought that the Duke of Kent might have been able to produce an heir to the throne would have been laughable. He was then only a distant fifth in line, after his older brother George, the Prince Regent. Next in line after George was George's only and much-­loved child Charlotte. Then, also ahead of the Duke of Kent were his other older brothers, Frederick and William. King George III, who was going mad, had fifteen children with his wife, Queen Charlotte, though only twelve were still alive. The seven remaining sons had precedence over their six sisters--­and if any of the sons had children, the crown would pass down to their heirs, not to their siblings. (The British throne was until 2011 governed by male preference primogeniture, whereby the crown passed to the sons, in order of birth, before then being passed to the daughters, in order of birth.) Charlotte, the only daughter of King George III's eldest son the Prince Regent who would become George IV, would ascend the throne after her father. Charlotte was a high-­spirited, fetching young woman, who fell deeply in love with and married the dashing Prince Leopold of Saxe-­Coburg-­Saalfeld. En­gland cheered when she quickly became pregnant. But Charlotte hated feeling enormous--­and constantly being told how big she was--­and grew depressed. Her doctors put her on a strict diet in her final months, and drained blood from her. Many patients died from this dubious practice, the favored remedy for patients believed to have "bad humors," especially those who were already malnourished and ailing. After a fifty-­hour labor, Charlotte's son emerged stillborn. She was exhausted and bled heavily. Doctors plied her with wine and brandy, and piled hot water bottles around her, but they were unable to save her; she died on November 6, 1817. (Her accoucheur, or male midwife, Richard Croft, was so distraught that three months later, while attending another prolonged labor, he picked up a gun and shot himself in the head). Grief for Charlotte, the hopeful future queen of England, hung like a pall over the streets of London for weeks. Soon there was a national shortage of black fabric. Suddenly, and unexpectedly, the succession had been opened up; the crown would now pass down through the aging brothers or their children, not to Charlotte, a young and beloved woman barely out of her teens. Who, they asked, would be the next heir to the throne? King George III and Queen Charlotte led quiet and respectable lives, much like the British middle class. Their debauched sons, though, were unpopular, fat and lazy. Oddly, the one son who was disciplined, upright, and truthful was the one his parents seemed to like the least: Victoria's father, Edward, the Duke of Kent. By 1818, King George was deaf, blind, and deranged, suffering from what is thought by some to be a rare metabolic disorder called porphyria, although it was also quite possibly dementia or bipolar disorder. Residents of his castle could hear "unpleasant laughing" from the wings he wandered in, and he was often found strumming a harpsichord, wearing purple robes. He was haunted by apocalyptic visions of drowning in a large flood, spoke constantly to invisible friends, and embraced trees he mistook for foreign dignitaries. In 1811, at the age of seventy-­three, he was declared officially mad. The Prince Regent, later George IV, was friendly and mildly intelligent. By the time he reached his mid-­fifties, he was a miserable man. He suffered from gout and took large doses of opium to numb the pain in his legs. His relationship with his wife, Princess Caroline, was toxic and brutal. The Prince Regent banned her from his coronation in 1821 (a door was slammed in her face when she arrived at Westminster Abbey clad in her finery). Three weeks afterwards, Queen Caroline died. The cause is unknown; it was rumored that the king had poisoned her. By the time the Prince Regent's daughter died, in 1817, the seven sons of George III were all middle-­aged; the youngest was forty-­three. So who would produce an heir? Ernest, the Duke of Cumberland, was the only one both officially married and not estranged from his wife. When they were very young, King George III had decreed that none of the royal offspring could enter into marriages without the king's consent and the approval of Parliament. The resulting Royal Marriages Act of 1772 gave the princes a convenient excuse to wriggle out of any commitments to their lovers. They acted, Lord Melbourne later told Queen Victoria, like "wild beasts." The result was a large pile of illegitimate grandchildren--­fifty-six in total, none of whom could ever occupy the throne. Charlotte had been the only grandchild produced from an officially recognized marriage. What was at stake, then, was not just this generation but control of the next. (Too far down the succession to count were King George III's five daughters, who were all over forty and childless.) Could such an enormous family have become extinct? It may seem ludicrous now to think that the Hanoverian dynasty, which began with to King George I in 1714, could have ended with King George III's sons. It was entirely possible, though, given the behavior of his progeny. When Charlotte died, a hubbub surrounded the future of the throne, and parliament insisted the four unwed brothers marry. The brothers immediately powdered their hair and cast their eyes upon the royal courts of Europe. France was out of favor because of the decades-­long battle with Napoleon. Germany was preferred, partly because it was thought that a Lutheran upbringing made for chaste and obedient wives. Three of the four complied immediately, marrying by mid-1818. The youngest of the royal princes, Adolphus, the Duke of Cambridge, sent a marriage proposal to Augusta, the German princess of Hesse-­Cassel, to which she agreed. Victoria's father, Edward the Duke of Kent was now fourth in line, and the only son who had adopted his parents' Spartan, disciplined lifestyle. He was more than six feet tall, proud and muscular, and called himself the "strongest of the strong." Though he privately conceded it was presumptuous, he boasted that he would live longer than his brothers: "I have led a regular life," he often said; "I shall outlive them all; the crown will come to me and my children." He was a composite of opposites that his daughter would later reflect: gentle and tough, empathetic and needy, severe when crossed and tender when loved. Unlike his brothers, Edward was clever, eloquent, and a conscientious letter writer. He was a progressive who was in favor of popular education, Catholic emancipation, and the abolition of slavery. Despite his tyrannical military reputation, he had a kind heart. He was also extravagant: whims he indulged included a library of five thousand books dragged across the seas, fountains installed inside closets, bed ladders covered in velvet, and bright lights of every hue placed along driveways. He kept a hairdresser on staff for himself and his servants. When the duke first asked for his young wife Victoire's hand, it was not guaranteed she would say yes. Her two children would become the half brother and half sister of Victoria; when Edward and Victoire married, Charles was thirteen, Feodora just ten, and the independent life of a widow was in many ways preferable to that of a wife. But days after Charlotte died, Leopold, her widower, who was Victoire's brother, sent a letter urging Victoire to reconsider the Duke of Kent's proposal. Suddenly Edward had greater prospects: he was now much closer to the throne. Finally Victoire agreed. In response, Edward was tender and romantic, vowing to make his young bride happy. Edward and Victoire were lucky: They were quietly thrilled with each other and settled into a domestic routine. On December 31, 1818, Edward wrote his new wife a loving note: "God bless you. Love me as I love you." As the new year rang in, three new brides were pregnant. They lay curled up next to their husbands, with rounded bellies and sweet hopes, thinking of the year ahead. In 1819, the race began in earnest. On March 26, Augusta, the wife of the Duke of Kent's younger brother Adolphus gave birth to a healthy son. On March 27, Adelaide, the wife of Edward's older brother William, produced a premature baby girl who lived only a few hours. And on March 28, Edward, the Duke of Kent, began his journey from Amorbach, Germany, to London. Victoire, at eight months pregnant, endured a 427-­mile journey over rough roads and wild seas. The duke had worried that the trip might bring on an early labor. But Victoire was full of "joyful anticipation" at the life in store for her in En­gland. As she rattled along next to her husband, her hands kept creeping to her stomach, her fingers tracing the skin where tiny feet kicked and limbs tickled inside her. Excerpted from Victoria the Queen: An Intimate Biography of the Woman Who Ruled an Empire by Julia Baird All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.