King James I

Total Page:16

File Type:pdf, Size:1020Kb

King James I Task: How does this information link to the characters, plot and themes of Macbeth? King James I When Elizabeth I died without any children in 1603, her cousin King James VI of Scotland became king of England. He was given the title King James I. It was the first time that England, Scotland and Ireland were ruled under a single monarch. He became King of Scots as James VI on 24 July 1567, when he was just thirteen months old. He became king of England at the age of 36. He died from a fever in 1625. James I was highly intelligent and developed a love of learning. He enjoyed poetry and reading, and wrote two books. One was about the dangers of smoking and the other was about witchcraft called Daemonologie. James I was very interested in witchcraft and took part in the North Berwick witch trials in Scotland. James claimed he was a descendant and of the real Banquo and therefore a rightful King. The play Macbeth perhaps explores the theme of rightful kingship (as Banquo is honest and a ‘good’ character) versus the evil usurper Macbeth. James I also had an interest in plays. He became the patron of the King’s Men – the playing company that Shakespeare belonged to for most of his career. The main members of this company, including Shakespeare took part in King James’ coronation procession. James was not popular by all. Guy Fawkes tried to blow him and Parliament up because he disagreed with James’ religion. The conspirators were betrayed, and horribly tortured on the rack until they confessed. They were then executed in the most brutal fashion as a warning to other would-be traitors. Shakespeare's play Macbeth is to some extent a cautionary tale, warning any other potential regicides (king-killers) of the awful fate that will inevitably overtake them. RELIGION IN ELIZABETHAN ENGLAND The two major religions in Elizabethan England were the Catholic and Protestant religions. The convictions and beliefs in these different religions were so strong that they led to the executions of many from both religions. In the early 1500s the people of England all practised the Roman Catholic religion. The practises of the Catholic religion were questioned during the Reformation and the beliefs of men such as the German Martin Luther (1483 - 1546) prompted a new religion called Protestantism. The term 'Protestant' was adopted when supporters of Martin Luther formally protested against efforts to limit the spread of Luther's new ideas However, the people of England were expected to follow the official religion decreed by the reigning Queen or King. Failure to adhere to the 'favoured' religion could often lead to great danger-imprisonment, torture even execution! Adhering to the 'wrong' religion brought risks to personal wealth, freedom and life. Queen Elizabeth established the Church of England (a moderate form of Protestantism) as the official religion of England, with herself as Supreme Governor. James I was raised in Scotland as Protestant, and when Elizabeth died and he became King of England he would have become head of the church of England in his turn. In 1605, two years after James I became King, there was a Catholic plot to blow up parliament while James was there, and install his son Henry as king, with the Catholics in control. The plot failed and the discovery of it fuelled anti-Catholic sentiment in England. Women in Jacobean England Women were supposed to be more fragile than men. A man’s role was to be the strong, dominant head of the family and the country. This is perhaps why Lady Macbeth wishes she were a man because as a woman she is too weak and powerless to act and perform murder. Woman had two stereotypes at the time: housewife and seductress. They had no legal rights, no power and were their husbands’ property. On the other hand, women could be seen as a devilish evil and sexually dangerous. They were ruled first by their fathers and then by their husbands. A society dominated by men is called a patriarchy, Women were mothers and care-givers, supposed to be pious and pure and avid follower of religion. They had no say on their own lives or important matters that affected the family and were supposed to be completely against violence of any sort. Witchcraft in Jacobean England Up until the 1700s most people in England believed in witches and witchcraft. This way of life was related to Pagan (non-Christian) beliefs, and had been tolerated for many years. But from the mid 1500s religious leaders tried to stamp out these beliefs to make sure that people were following the right religious practices. This led to a period of witch hunting where people were tried and often executed for being witches. This was happening all throughout Europe and America too, and the witch hunts lasted for more than 150 years. So if people behaved in a slightly odd way or were around when bad things happened, they were likely to be accused of being a witch. Suspected witches were burnt at the stake or drowned. Some people took advantage of this panic (hysteria) to remove those that didn’t conform in society. King James I wrote a book called Daemonologie in which he supported and encouraged the trials of witches. He believed the witches were being controlled by the devil. .
Recommended publications
  • Macbeth on Three Levels Wrap Around a Deep Thrust Stage—With Only Nine Rows Dramatis Personae 14 Separating the Farthest Seat from the Stage
    Weird Sister, rendering by Mieka Van Der Ploeg, 2019 Table of Contents Barbara Gaines Preface 1 Artistic Director Art That Lives 2 Carl and Marilynn Thoma Bard’s Bio 3 Endowed Chair The First Folio 3 Shakespeare’s England 5 Criss Henderson The English Renaissance Theater 6 Executive Director Courtyard-Style Theater 7 Chicago Shakespeare Theater is Chicago’s professional theater A Brief History of Touring Shakespeare 9 Timeline 12 dedicated to the works of William Shakespeare. Founded as Shakespeare Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style Courtyard Theater, 500 seats Shakespeare's Macbeth on three levels wrap around a deep thrust stage—with only nine rows Dramatis Personae 14 separating the farthest seat from the stage. Chicago Shakespeare also The Story 15 features a flexible 180-seat black box studio theater, a Teacher Resource Act by Act Synopsis 15 Center, and a Shakespeare specialty bookstall. In 2017, a new, innovative S omething Borrowed, Something New: performance venue, The Yard at Chicago Shakespeare, expanded CST's Shakespeare’s Sources 18 campus to include three theaters. The year-round, flexible venue can 1606 and All That 19 be configured in a variety of shapes and sizes with audience capacities Shakespeare, Tragedy, and Us 21 ranging from 150 to 850, defining the audience-artist relationship to best serve each production. Now in its thirty-second season, the Theater has Scholars' Perspectives produced nearly the entire Shakespeare canon: All’s Well That Ends
    [Show full text]
  • Koel Chatterjee Phd Thesis
    Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar.
    [Show full text]
  • Macbeth in World Cinema: Selected Film and Tv Adaptations
    International Journal of English and Literature (IJEL) ISSN 2249-6912 Vol. 3, Issue 1, Mar 2013, 179-188 © TJPRC Pvt. Ltd. MACBETH IN WORLD CINEMA: SELECTED FILM AND TV ADAPTATIONS RITU MOHAN 1 & MAHESH KUMAR ARORA 2 1Ph.D. Scholar, Department of Management and Humanities, Sant Longowal Institute of Engineering and Technology, Longowal, Punjab, India 2Associate Professor, Department of Management and Humanities, Sant Longowal Institute of Engineering and Technology, Longowal, Punjab, India ABSTRACT In the rich history of Shakespearean translation/transcreation/appropriation in world, Macbeth occupies an important place. Macbeth has found a long and productive life on Celluloid. The themes of this Bard’s play work in almost any genre, in any decade of any generation, and will continue to find their home on stage, in film, literature, and beyond. Macbeth can well be said to be one of Shakespeare’s most performed play and has enchanted theatre personalities and film makers. Much like other Shakespearean works, it holds within itself the most valuable quality of timelessness and volatility because of which the play can be reproduced in any regional background and also in any period of time. More than the localization of plot and character, it is in the cinematic visualization of Shakespeare’s imagery that a creative coalescence of the Shakespearean, along with the ‘local’ occurs. The present paper seeks to offer some notable (it is too difficult to document and discuss all) adaptations of Macbeth . The focus would be to provide introductory information- name of the film, country, language, year of release, the director, star-cast and the critical reception of the adaptation among audiences.
    [Show full text]
  • Macbeth for Kids Study Guide
    Sacramento Theatre Company Study Guide The Macbeth For Kids From the book by Lois Burdett and Christine Coburn Based on William Shakespeare's Macbeth Study Guide Materials Compiled by Anna Miles 1 Sacramento Theatre Company Mission Statement The Sacramento Theatre Company (STC) strives to be the leader in integrating professional theatre with theatre arts education. STC produces engaging professional theatre, provides exceptional theatre training, and uses theatre as a tool for educational engagement. Our History The theatre was originally formed as the Sacramento Civic Repertory Theatre in 1942, an ad hoc troupe formed to entertain locally-stationed troops during World War II. On October 18, 1949, the Sacramento Civic Repertory Theatre acquired a space of its own with the opening of the Eaglet Theatre, named in honor of the Eagle, a Gold Rush-era theatre built largely of canvas that had stood on the city’s riverfront in the 1850s. The Eaglet Theatre eventually became the Main Stage of the not-for-profit Sacramento Theatre Company, which evolved from a community theatre to professional theatre company in the 1980s. Now producing shows in three performance spaces, it is the oldest theatre company in Sacramento. After five decades of use, the Main Stage was renovated as part of the H Street Theatre Complex Project. Features now include an expanded and modernized lobby and a Cabaret Stage for special performances. The facility also added expanded dressing rooms, laundry capabilities, and other equipment allowing the transformation of these performance spaces, used nine months of the year by STC, into backstage and administration places for three months each summer to be used by California Musical Theatre for Music Circus.
    [Show full text]
  • Furious: Myth, Gender, and the Origins of Lady Macbeth
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2019 Furious: Myth, Gender, and the Origins of Lady Macbeth Emma King The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3431 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] FURIOUS: MYTH, GENDER, AND THE ORIGINS OF LADY MACBETH by EMMA KING A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2019 ii © 2019 EMMA KING All Rights Reserved iii Furious: Myth, Gender, and the Origins of Lady Macbeth by Emma King This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date Tanya Pollard Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT Furious: Myth, Gender, and the Origins of Lady Macbeth by Emma King This thesis attempts to understand the fabulously complex and poisonously unsettling Lady Macbeth as a product of classical reception and intertextuality in early modern England. Whence comes her “undaunted mettle” (1.7.73)? Why is she, like the regicide she helps commit, such a “bloody piece of work” (2.3.108)? How does her ability to be “bloody, bold, and resolute” (4.1.81), as Macbeth is commanded to be, reflect canonical literary ideas, early modern or otherwise, regarding women, gender, and violence? Approaching texts in the literary canon as the result of transformation and reception, this research analyzes the ways in which Lady Macbeth’s gender, motivations, and words can be understood as inherently intertextual.
    [Show full text]
  • The Historical Context of Macbeth
    The Historical Context of Macbeth EXPLORING Shakespeare, 2003 Shakespeare wrote Macbeth sometime between 1605 and 1606, shortly after the ascension of King James of Scotland to the English throne. The new monarch brought Scotland—previously known to the English only as a mysterious, conquered neighbor—into the public limelight. The period of James' reign was further marked by political and religious conflict, much of which focused the kingdom's attention on the danger of regicide. Events in History at the Time of the Play Sources Following the process used in the creation of many of his plays, Shakespeare drew the plot for Macbeth from historical sources—particularly Raphael Holinshed's Chronicles of England, Scotland, and Ireland (1577), the authoritative historical text of the period. Although Holinshed contains the story of Macbeth and Duncan, Shakespeare did not rely on this only; rather, he combined different stories and different versions of the same story to create his drama. The Chronicles include an account of King Malcolm II (reigned 1005-34), whose throne passed first to Duncan I (reigned 1034-40) and then to Macbeth (reigned 1040-57), both of whom were his grandsons. For his portrayal of the murder through which Macbeth took Duncan's throne, Shakespeare mined another vein of the Chronicles—King Duff's death at the hands of one of his retainers, Donwald. In combining the two events, Shakespeare crafted a specific tone for the tale of regicide. When King Malcolm II of Scotland died in 1034, his last command was that the throne should pass to his oldest grandson, Duncan.
    [Show full text]
  • The Tragedy of Macbeth William Shakespeare 1564–1616
    3HAKESPEARean DrAMA The TRAGedy of Macbeth Drama by William ShakESPEARE READING 2B COMPARe and CONTRAST the similarities and VIDEO TRAILER KEYWORD: HML12-346A DIFFERENCes in classical plaYs with their modern day noVel, plaY, or film versions. 4 EVALUAte how THE STRUCTURe and elements of drAMA -EET the AUTHOR CHANGe in the wORKs of British DRAMAtists across literARy periods. William ShakESPEARe 1564–1616 In 1592—the first time William TOAST of the TOwn In 1594, Shakespeare Shakespeare was recognized as an actor, joined the Lord Chamberlain’s Men, the poet, and playwright—rival dramatist most prestigious theater company in Robert Greene referred to him as an England. A measure of their success was DId You know? “upstart crow.” Greene was probably that the theater company frequently jealous. Audiences had already begun to performed before Queen Elizabeth I and William ShakESPEARe . notice the young Shakespeare’s promise. her court. In 1599, they were also able to • is oFten rEFERRed To as Of course, they couldn’t have foreseen purchase and rebuild a theater across the “the Bard”—an ancienT Celtic term for a poet that in time he would be considered the Thames called the Globe. greatest writer in the English language. who composed songs The company’s domination of the ABOUT heroes. Stage-Struck Shakespeare probably London theater scene continued • INTRODUCed more than arrived in London and began his career after Elizabeth’s Scottish cousin 1,700 new wORds inTo in the late 1580s. He left his wife, Anne James succeeded her in 1603. James the English languagE. Hathaway, and their three children behind became the patron, or chief sponsor, • has had his work in Stratford.
    [Show full text]
  • Roman Polanski's MACBETH
    20 Riddling Whiteness, Riddling Certainty: Roman Polanski’s M ACBETH Francesca Royster Against Reading as White in Shakespeare Studies In her poem “Passing” from her book The Land of Look Behind, Michelle Cliff writes: Isolate yourself. If they find out about you it’s all over. Forget about your great-grandfather with the darkest skin—until you’re back “home” where they joke about how he climbed a coconut tree when he was eighty. Go to college. Go to England to study. Learn about the Italian Renaissance and forget that they kept slaves. Ignore the tears of the Indians. Black Americans don’t under- stand us either. We are—after all—British. If anyone asks you, talk about sugar plantations and the Maroons—not the landscape of downtown Kingston or the children at the roadside. Be selective. Cultivate normalcy. Stress sameness. Blend in. For God’s sake don’t pile difference upon difference. It’s not safe. (Cliff 23) Though I am not a black Jamaican, Cliff’s is the position that I know intimately, the “Black-Eyed Squint,” to borrow Ghanaian writer Ama Ata Aidoo’s subtitle from her book, Our Sister KillJoy. Perhaps this is why I have been particularly interested in images of whiteness gone wrong, not-quite whiteness, moments where we see the gaps in a unified sense of white iden- tity, from Titus Andronicus to Antony and Cleopatra. My view of Shakespearean studies has always been from the outside of whiteness and Britishness, through a gaze that has become (for the necessity of my health) oppositional.
    [Show full text]
  • Renaissance and Reformation, 1998
    Intertextual Madness in HILAIRE Hamlet: The Ghost's KALLENDORF Fragmented Performativity Summary: This essay establishes King James I's Daemonologie and Regi- nald Scot's Discouerie of Witchcraft as intertexts for Hamlet. It demonstrates how the diabolical linguistic register borrowed from these intertexts both heightens the verisimilitude ofHamlet 's madness and expands the performative potential of the Ghost. Performativity has often been discussed as a theme for this play, but usually only in relation to Hamlet himself This essay avoids the reductionism of the "Ghost critics" and extends the performativity theme to the Ghost as well by offering him a diabolical mask to try on in addition to his many others, Performativity is "a specular technique that breaks up the action into acting-out, rehearsals and try-outs for a dramatic action that endlessly threatens (or promises) to revert to its theatrical origins, to collapse into theatricality."^ In a play such as Hamlet, where performativity is arguably one of the primary themes of the work, there are dramatic resources and resonances which would not be possible without the intertextual use of a diabolical linguistic register. The madness in Hamlet becomes more verisim- ilar because it is associated intertextually with demonic possession, and the Ghost appears more frightening because one of his intertextual masks is devilish. The purpose of this essay will be to demonstrate the intertextual use of the demonic register in the play and to explore the theme of per- formativity as one of its ramifications. Let us pause for a moment at the outset to reflect on the nature of intertextuality and how it can illuminate our understanding of a play involved Renaissance and Reformation / Renaissance et Réforme, XXII, 4 (1998) /69 70 / Renaissance and Reformation / Renaissance et Réforme in this process.
    [Show full text]
  • The Real Macbeth
    ‘My father what? Had a duel? He’s in his seventies! Silly man!’ so might antiquarian, James Byres of Tonley have exclaimed when he was brought word about the unseemly quarrel occasioned by Byres Snr. Patrick Byres was an Irish Jacobite, born in Dublin, 1713. In 1741 he married Janet Moir of Stoneywood and became a Burgess of Guild in Aberdeen, yet his political leanings and hot Celtic temper seem to have constantly landed Patrick in trouble. His first problem was his involvement in the Forty-Five Rebellion, fighting on Bonnie Prince Charlie’s side as Major Byres in Stoneywood’s regiment. Escaping Culloden, Patrick’s ally, Gordon of Cluny hid him in his castle until he and his family escaped to France. He managed to hang on to Tonley by the clever suggestion that his English name was Peter, thus he was not Patrick Byres the rebel. While his youngest sons, William and John developed military careers in the Navy and Royal Engineers respectively and second son, Robert took up merchant interests in Prussia, the eldest, James, became something of a tour guide. He embraced antiquarian studies in Rome and became the go-to ex-pat for visiting Scots gentlefolk on their ‘grand tours’ of Europe. Meanwhile, his father returned to Tonley, Mrs Byres hoping her husband’s adventures were over. But, due to Janet’s nephew, James Abernethy of Mayen, Patrick was to be the centre of unwanted attention once more in 1763. A traditional ballad is dedicated to the incident in which John Leith of Leith Hall, Rhynie was murdered by Abernethy after an argument in the New Inn, Aberdeen.
    [Show full text]
  • 2019 Study Guide
    2019 Study Guide Macbeth James IV of Scotland, I by William Shakespeare of England and Ireland. King James I and Witches It is believed that Shakespeare wrote Macbeth for his new king and patron, King James I. King James was fascinated with witches — perhaps because of the bloody death of his mother, Mary, Queen of Scots, by the ax at the command of Elizabeth I. • King James I told others that his moth- The Weird Sisters by Johann Heinrich Füssli. er’s death was visible to those who see the future, in Scotland before it happened. HISTORICAL FIGURES • When he sailed to Denmark to bring There are several historical figures and events that may have back his betrothed, Anne, the return The Cobbe portrait of William Shakespeare. voyage was so plagued by storms that influenced Shakespeare in writing one ship in the royal fleet was lost. James Macbeth. They are: blamed witches. SHAKESPEARE’S PLAY • King Duncan in Macbeth is a wise, older man but historically • Upon landing in England, he had up to 70 • Written around 1606 and was a terrible king who ruled from “witches” rounded up, and under torture, 1034 to 40 and was probably about most likely first performed for they confessed and were put to death. 39 when he died. Macbeth, Chief King James I. of the Northern Scots, had a strong • James went on to write Deamonologe, claim to the throne through his • King James did not like long a treatise on killing witches. mother’s line. He defeated and plays; this perhaps accounts killed Duncan in 1040.
    [Show full text]
  • Engl. 2080 Assignment #3 S 15 Each of These Topics Asks You to Write
    Engl. 2080 Assignment #3 S 15 an essay 5 pp. due M 3/23 Each of these topics asks you to write about Macbeth and related texts with close attention to language – Shakespeare's, and in topics 2, 3, and 4, Garson's and Stoppard's. Your thesis should be strong and definite and responsive to the question(s) you address. Key prompts are identified with a ☛. Sources are referenced MLA-style in "Works Cited" on p. 4. 1. Gendering character, engendering action Approach Macbeth as a dramatic poem about the connection between gender and action – the genders of characters in the play as expressed in their language and the actions they perform or undergo. Writes Janet Adelman, In the figures of Macbeth, Lady Macbeth, and the witches, the play gives us images of a masculinity and a femininity that are terribly disturbed; this disturbance seems . both the cause and the consequence of the murder of Duncan. (93-94) And, she might add, of the other crucial actions performed in the play. Stephen Greenblatt explores these gendered characters thus: There is something uncannily literal about Lady Macbeth's influence, as if marital intimacy were akin to demonic possession . If there is sexual disturbance out on the heath, where the bearded hags stir the ingredients of their hideous cauldron, there is deeper disturbance at home, in the murderous intimacy of the marriage bond. If you are worried about losing your manhood, it is not enough to hunt for witches: look to your wife. ([more at] Norton 2, 840-42.) Most generally, the language as well as the action of Macbeth is saturated with gender- related, gender-specific, and gender-bending features, making up a text that says things about good and evil, political legitimacy and tyranny, kingship and rebellion and revenge in terms of "terribly disturbed" images and ideas of masculinity and femininity.
    [Show full text]