Basilikon Doron

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Basilikon Doron

(bəsĭ`lĭkən dô`rən) [Gr.,=royal gift], book written by James VI of Scotland (subsequently James I of England) as a guide for the conduct of his son Henry when he became king. The work was completed in manuscript in 1598 and published the following year. James warned Henry of meddlesome ministers and expounded the doctrine of the divine right of kings. Henry died in 1612 before he could succeed his father.


See edition by J. Craigie (1944–50).

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39) of Richard Gloucester, brought into conversation with James VI and I's Basilikon Doron to emphasise the continuities between stage and scaffold; and Coriolanus, whose baited hero is aligned with the nobility but also the vulnerability of the beast and finally revealed to be anything but a political animal.
Early modern texts, including school books, prayer books and James I's Basilikon Doron (1599), and performance practices, such as the apprentice player system and royal pageantry, are examined alongside productions on stage and screen, largely from the 1980s, 1990s and 2000s, and accounts of performances, from Ellen Terry's autobiographical narrative of her experience of playing Mamillius in 1856 to Rutter's personal experiences as a spectator.
A number of hypotheses are discussed: Fowler's translation may be the result of its author's studying at the University of Padua in 1592-93, or it might have been undertaken as part of Fowler's involvement with James's composition of the Basilikon Doron.
Here, Netzloff makes use of texts like James's Basilikon Doron (1599) and Ben Jonson's The Gypsies Metamorphosed (1621) to explore identity and boundaries.
Peacham, who met James at Hinchingbrooke on the progress down England in 1603, sought his patronage, and later that of Prince Henry, for whom James wrote Basilikon Doron.
6) Basilikon Doron ou Present Royal de Iacques Premier, Roy d'Angleterre, Escoce & Irlande (Paris, 1603), 102.
Right in the middle of Dr Gorlach's period occurred the Union of the Crowns (1603); his discussion of the status of Scots on each side of it is diplomatic and sensible, his inclusion of some little-known Scots texts alongside Douglas and Lyndsay and the parallel passages from Basilikon Doron are particularly well chosen to support his conclusion, and though his summaries of Scots orthography and morphology are, he admits, only sketchy, the general plan and execution of the whole work should carry the student through any minor difficulties and give him a better view of the relationship of English and Scots than any other available book.
Jenny Wormald explores the Scottish setting for Basilikon Doron and The Trew Law of Free Monarchies and argues persuasively that James, in the tradition of Marcus Aurelius and King Alfred, was writing for his own edification in both works.
Basilikon Doron or His Majesties Instructions to his Dearest Sonne, Henry the Prince.
Young's introduction to Volume v, 'Henry Peacham's Manuscript Emblem Books', though short, does a really excellent job, neatly fitting Peacham's three extant manuscripts based (perhaps rather daringly) on James I's Basilikon Doron (Bodleian MS Rawlinson Poetry 146, BL MSS Royal 12A lxvi and Harleian 6855, Art.
These characteristics of the tyrant ensured that he was condemned morally, as James I waxed eloquent in Basilikon Doron on the necessity of a king to subject his 'private affections and appetites' to the good of the realm; but, as Professor Bushnell shows, the issue of morality came into conflict with the issue of legitimacy, and in The Trew Law of Free Monarchies James argued that 'all kings, no matter how wicked, must be tolerated'.
Even so, the reception of the 1603 Lepanto pales in comparison to the huge success of the 1603 Basilikon Doron, which went through eight editions in 1603 alone (Wormald, 51).