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.
Following an examination of the play as a text that, like Basilikon Doron
, examines what it means to be a child alongside what it means to be a king, she investigates the ways in which recent productions have used children in the play to explore "formulations of evil and of fear" (xvii).
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
. The last section of the paper analyses Fowler's dedication of the work to the Laird of Buccleuch, and the circumstances by which the Principe might have reached Scotland.
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
. Young shows that Peacham's three manuscript emblem books are related not only to James's Basilikon Doron
, but also (especially in case of the heraldic emblems, which stress authority, legitimacy, and descent), to the iconography and themes of James's triumphal entry in London.
(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.
Likewise, some time later, James I explains to his son in Basilikon Doron
: "As for hawking I condemn it not but I must praise it more sparingly; because it neither resembleth the warres so neere as hunting do th in making a man hardy, and skilfully ridden in all groundes" (122) The general ambivalence of contemporaries toward hawking seemed to depend upon how the sport was being used -- properly or improperly.
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.13) into not only a chronology but also the details of a life spent, as many were, in the search for reliable patronage.
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'.
(80.) 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).