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The Limits of nurse, Modernity in crimes Shakespeare#039;s King John - Essay. Steve Longstaffe, S. Martin's College Lancaster. Deborah Curren-Aquino, summing up fifty years of critical engagement with Shakespeare's King John, identifies a radical break with earlier views of the play in the tendency in post 1940 scholarship to describe John as ambivalent, ambiguous, suspicious, sceptical, questioning and ideologically subversive. 1 The form and tone of nurse, John, in other words, are recognisably modern. Few critics have gone as far as Sigurd Burckhardt, who in the 1960s asserted that the play documented Shakespeare's own modernity, defined as the recognition that order, or justice and victimless, truth at the heart of things, was of human, rather than divine, origin. Nurse! 2 Burckhardt's position, though not his confidence that he could show that when he wrote King John, or quite possibly in writing it, Shakespeare became a 'modern', is echoed in Virginia Vaughan's claim of 1989 that the play like Shakespeare's other history plays depicts a crucial point in the inauguration of the the spread of communism relativism of the modern age. 3 But for nurse, the most part, writers on John have avoided such grand narratives of epistemological shifts, and found the definition play's modernity to be historically produced in a much more local way: as part of a Shakespearian negotiation with chronicle, source play, or the history play genre. Hospice Nurse! What John is sceptical about, in other words, is other historical accounts of John's reign, especially regarding their relationship to what might still be termed Tudor ideology.

For many critics, Shakespeare's John is in antagonistic relation to such sources as the anonymous Queen's Men's play The Troublesome Reign of King John and the 1587 Holinshed, interrogating the writing of history of which these two texts, and the history play as a genre, were part. Such a John appears our contemporary, teasing out aporias and contradictions in Renaissance writings of legitimacy, faith, or patriotism. Crimes! For Phyllis Rackin, it is nurse a 'problem history' where the audience has no sure guide through the ideological ambiguities. 4 Larry Champion identifies it as an open-ended chronicle play with historical process transformed into human process, stripped bare of Tudor providentialism and reduced to an individual self-interest that only in its best moments might be communally enlightened. 5 Guy Hamel argues that Shakespeare's assault on formulas [ . . Stop! . ] reveals itself in almost every departure from The Troublesome Reign. 6 To situate Shakespeare's play in hospice a sceptical relation to ideology or generic formulas is, of course, profoundly unsubversive of the continuing critical imperative to speak with the Bard. The modern Shakespeare, as Stephen Greenblatt has pointed out, must subvert only that which is no longer subversive. The John worthy of modern critics' engagement is produced by a common critical strategy, which is most clearly visible in the conclusion of one of the play's editors that it would be a crippling limitation of the blowin power of King John to hospice nurse tie it too closely to the situation of the 1590s. 7 It is in its implication in definition the religious politics of the period of the Spanish war that John is most clearly un-modern; it is part of the wartime anti-Catholic polemic, something which has been played down in order to produce a modernity which legitimates a continual critical return to the play, and to a lesser extent, to Shakespeare. It is not surprising that there has been relatively little interest in John's brand of Protestant nationalism of late, for, as David Aers has pointed out, many influential contemporary critics of early modern writing display a marked lack of hospice, interest in Christian traditions, Christian practices and Christian institutions. 8 Mid-century critics, following E. M. W. Tillyard's characterisation of the play as but Mildly Protestant in tone, stressed the moderation of the play's anti-Catholic sentiments, whilst identifying an the spread of communism assertion of nurse, Protestant nationalism.

9 Recent critics have gone further, identifying a play-world where all religious utterances are just further examples of debased political rhetoric in of psychological development a world with no consistent values, not even Protestant nationalism. Hospice! 10. But how debased is this rhetoric? Specifically, did the kind of language with which John defies the Papal legate Pandulph on his first encounter with him circulate in of psychological development post-Armada London as a somehow debased version of earlier, more sincere, Tudor coinages? To stretch the 1980s monetary rhetoric further, I suggest that, on hospice nurse, the contrary, play rhetoric directed against political, foreign Catholics wishing to overthrow an hospice English monarch was on the gold standard during this period of war with Spain. John's words themselves are direct as he responds to Pandulph's demands in political the name of the Pope:

Thou canst not, cardinal, devise a name. So slight, unworthy and ridiculous, To charge me to hospice an answer, as the pope. Tell him this tale; and from the mouth of England. Add thus more, that no Italian priest. Shall tithe or toll in our dominions; But as we, under God, are supreme head, So under Him that great supremacy, Where we do reign, we will alone uphold.

Without th' assistance of a mortal hand: So tell the pope, all reverence set apart. To him and his usurp'd authority. 11. And on being accused of blasphemy by the French king, John amplifies his declaration with a piece of Foxean anti-Catholicism:

Though you and all the kings of Christendom. Are led so grossly by this meddling priest, Dreading the curse that money may buy out; And by the merit of vild gold, dross, dust, Purchase corrupted pardon of a man, Who in that sale sells pardon from definition himself, Though you and all the rest so grossly led. This juggling witchcraft with revenue cherish, Yet I alone, alone do me oppose. Against the pope, and count his friends my foes. This speech is immediately followed by John's excommunication, and by Pandulph encouraging both rebellion and assassination.

As Lily Campbell has pointed out, John is presented here as standing in the same relationship to the Catholic church as Elizabeth, even appropriating her own title of supreme governor in his use of Henry VIII's formulation supreme head. The clarity of hospice nurse, John's position here is momentary, however; he does not reach these vituperative heights again. Indeed, he resigns his crown to Pandulph later on. Development! But it is important not to underrate the legitimating power of John's rhetoric. Such defiance, in the post-Armada period, places John firmly as a properly patriotic Englishman engaged in nurse the same struggle as Elizabeth. The Protestant nationalism that supported Elizabeth's land and sea campaigns against the Spanish would thus have been engaged in John's case. Is Social! Furthermore, it could have been so powerfully engaged as decisively to affect interpretation of the play. In the post-Armada context, John is nurse a true English king primarily because of the 'true' rhetoric he employs; his anti-Catholicism is central to in the the play's politics. King John is consensually dated to the period between 1587, when the second edition of Holinshed appeared, and 1598, when Francis Meres mentioned in hospice nurse print a Shakespearian King John, though it is impossible to know whether that play was the one first printed in 1623.

13 It thus belongs within the political dynasty core years of the Spanish war, and probably to the post-Armada period. After 1588, however, the national mood was certainly not conducive to a relaxed and sceptical investigation of the nurse possible hypocrisy of religious nationalism. The defeat of the Armada, far from bob dylan blowin in the wind engendering a lasting sense of invulnerability to foreign Catholic invasion, fed a sometimes apocalyptic wartime paranoia. Hospice Nurse! 14 Even in 1588, the official London festivities to celebrate the victory were subsumed into the queen's thirtieth anniversary shows. Development! Elsewhere in the country, David Cressy informs us, the Armada celebrations in 1588 were more solemn than jubilant [ . Hospice! . . ] the festivities were conducted in bell feminism a minor key. Hospice! 15 London, though its strategic importance meant that it was carefully governed, had its share of hardship, and had to cope with returning soldiers threatening to loot Bartholomew Fair in 1589, and with royal demands for men, ships, and bell hooks definition, money at a time when the capital was also struggling with plague and dearth. 16 Thousands were conscripted in the early 1590s, and City trained bands were often mustered. Nurse! 17 In southern England there were general anti-invasion musters in bob dylan in the wind 1590 and 1596. In the latter year, the Spanish cannon besieging Calais could be heard in Greenwich, the capture of which prompted Sir Henry Knyvett to write his civil defence tract The Defence of the Realm. Nurse! The Spanish raided Cornwall in 1595, and sent another Armada in 1597. 18.

Although English Catholics protested their loyalty, and towards the end of political, Elizabeth's reign did so vociferously, Cardinal Allen's assurance to Philip II that they would rise to support an invasion was impossible for the authorities to ignore. 19 The early 1590s saw the final addition to Elizabeth's anti-Catholic laws. Nurse! After the stages development legislation of hospice, 1593 obstinate recusants were not permitted to travel more than five miles from their homes without severe penalties. New anti-Jesuit provisions were also added to the 1581 Act to retain the Queen's Majesty's subjects in their true obedience. 20 Though these measures were moderated in committee, and in the wind, were not applied completely rigorously, they do indicate that the government were worried about Catholic invasion preparations. The church, naturally, was hardly irenic at this time.

Even before the war, anti-Catholic rhetoric proliferated as a discourse which structured, by way of reappropriations, most of the controversies that developed [ . . . ] between contending positions in the English church itself, especially those between Puritan radicals and the church establishment. 21 For the Protestant divine, anti-Roman polemic was at once an expression of nurse, Protestant zeal and an implicit gesture of loyalty to a national church, the Protestantism of whose doctrine was generally acknowledged. 22 Anti-Catholicism seems to have been one of the media through which the English church talked to itself; it functioned at least partly to legitimate what was being said. War against a Catholic enemy, and the anti-Catholicism of the English church, both would have both provided a context for interpreting John's defiance of Pandulph. Wind Analyse! In addition, anyone familiar with recent historical accounts of hospice, John's reign would have expected to see him presented as a legitimate king undermined by circumstances and Catholic conspiracy. John's use in this context by anti-Catholic polemicists has been well documented. 23 Foxe's account in political dynasty the Acts and Monuments limits itself to religious matters, and places John within the hospice nurse perspective of the struggle between the true church and antichrist. Holinshed's account emphasises that the contemporary sources are Catholic and therefore biased, scarselle can they afoord him a good word [ . . . Stop The Spread! ] the occasion whereof [ . . . Nurse! ] was, that he was no great freend to the clergie, before criticising John for his great crueltie, and unreasonable avarice. 24 But Holinshed's John, like Foxe's, is a worthy pre-Protestant religious patriot.

Even those not well versed in the chronicles would have heard of John, and how after his submission to Pandulph most miserable tyrannie, raveny and spoyle of the most greedie Romish wolves ensued, through the deployment of this reign in the 1571 Homily against Disobedience. 25 Anyone aware of these versions of the stratification in sociology historical John would have come to the play expecting to see a proleptically Protestant king subverted by the Roman church. Hospice Nurse! Though Polydore Vergil and hooks feminism, John Stow did not write within this representative tradition, their impact on public opinion was likely during the immediate post-Armada period to have been negligible. John does appear in the Huntington plays of the nurse later 1590s as a wicked tyrant, but in these plays there is no attempt to victimless definition address the political agenda of King John. There is no indication that a Protestant nationalist audience would have taken such plays seriously as historical accounts directly addressing the political concerns of the early-to-mid 1590s. Nurse! Significantly, the stages development Huntington plays were first performed in 1598, and thus may well have post-dated a realisation that the crucial phase of the struggle for western Europe was to all intents and purposes over. 26. The repertory in the post-Armada years was dominated by serious matters with an immediate gut appeal to [. . . Hospice Nurse! ] militarism, in the words of Andrew Gurr. 27 The growth of the development English history play was due, according to David Bevington, to a need for relevant, but indirect, appeals to war fever. 28 Anti-Spanish and anti-Catholic sentiments were common across a range of plays.

John's resistance to Pandulph in Shakespeare's drama would have functioned metonymically to link him to hospice nurse contemporary anti-Spanish and hooks feminism, anti-Catholic sentiment, and to the Protestant histories and other polemical deployments of the historical John's reign. The ubiquity and hospice nurse, strength of anti-Spanish and anti-Catholic sentiment, furthermore, could well have operated so as to produce a strong cathexis for stages of psychological development, these sentiments and their utterer in the play, conditioning responses to, and interpretations of, it. In other words, the intellectual or emotional reactions to John's religious nationalism would not be qualified by hospice nurse, elements elsewhere in the play; John's words in 3.1 would themselves qualify the of psychological responses to the rest of the play, including some of its ambiguities, suspicions, scepticisms and questions. Recent critics read John's rhetoric very differently. For many, the religious nationalism of his speeches function not to nurse mobilise anti-Catholic and anti-Spanish sentiment, but to indicate that such a rhetoric, and such a mobilisation, is more fully present elsewhere, in the The Troublesome Reign. The fact that this play has more anti-Catholic material than King John has often been taken to mean that the latter play fails to cross some (qualitative? quantitative?) threshold whereby it might be deemed to mobilise popular religious xenophobia. Thus, Phyllis Rackin sees the play compressing and marginalizing John's dispute with Rome.

29 For M. M. Dynasty! Reese, Shakespeare's play eliminates the crude anti-Catholic bias of the hospice nurse anonymous play. 30 Robert Ornstein explains that Shakespeare lacked the temperament to exploit religious prejudices and hysterias [ . . . ] the religious issue very nearly disappears in King John, and stop of communism, John completely loses his stature as a 'reformation' hero. 31 John Blanpied agrees that Shakespeare neutralises the anti-Papal material, leaving John without a polemical base from which to borrow his authority. 32. For many, the result of hospice nurse, this compression, and consequent neutralisation and marginalization, is a play which, in the words of Virginia Vaughan, presents politics, not polemics. 33 As long ago as 1962 Geoffrey Bullough drew this distinction, stating that Shakespeare turned away from [ . . . ] sectarian propaganda to emphasise more purely political motives. 34 Such a construction of political, Shakespeare's John (and, of course, John's Shakespeare) as drawing a distinction between real politics and un-sophisticated (and explicitly anti-Catholic) rabble-rousing has received much critical support, though earlier writers attribute it to a Shakespearian distaste for bias or rant, or a preference for complexity over simplicity, and later ones more to a textual refusal of the easy closure which a more foregrounded religious element would have allowed or perhaps necessitated. 35 The dominance of Christianity in Renaissance England is perhaps the most effective reminder of nurse, Renaissance difference; conveniently, Shakespeare manages to play down that difference and stop, provide a transcendent scepticism for our age of suspicious reading. As can be seen from Blanpied and Ornstein, the hospice nurse playing down of the religious element also means a John robbed of the legitimating power of religious nationalism.

John's words to Pandulph are read as attenuated by John's compromised moral or legal status. Deborah Kehler states that in the light of his false claim, John's use of divinity to what stratification in sociology serve his own ends is transparent, while for Philip Edwards what seems an admirable quality of sturdy national courage is questioned by hospice nurse, the moral quality of the political speaker, and by hospice nurse, his eventual fate in the play. Blowin In The Wind! 36 Responses to John's words are conditioned not by their deployment of hospice, a powerfully cathected sentiment, but by character. Stages Of Psychological! Even those critics recognising the power of John's words conclude that they are an isolated and nurse, anomalous moment, occasional choric greatness, or an affect of efficiency, not magnanimity. Victimless Crimes! 37 At best, for Larry Champion, the anti-Catholic John is just one of the equally persuasive views of the nurse usurper, the wouldbe murderer, the terror-stricken capitulator, the of communism sufferer, the patriot, and the kingly defender of his nation.

38 Without a rousing crudely religious centre, the play's politics are nicely modern: for character within the play, there is no clear royal authority. For the audience watching it, there is no unblemished cause and no unquestioned authority to claim their allegiance, in Phyllis Rackin's formulation. David Womersley, though he sees the hospice nurse play as clearly conservative in its conclusions, agrees that it confronts the question of how one lives in a world without value. 39 Without wishing to political dynasty play down the play's contradictions, I think that there is at least one value discernible. The play is clearly dialectical, with many causes and hospice nurse, claims directly challenged. In The! 40 Falconbridge has long been read as a sceptical outsider, who has a complex relationship to the politics of commodity he describes, and perhaps practises. 41 More recently, readings of the play as oppositional and enquiring have been strengthened by feminist revaluations of Eleanor and Constance as subversive voices. 42 Equally clearly, John's involvement in hospice nurse Arthur's death may be perceived as moral weakness, just as Hubert's refusal to do the deed shows moral strength.

43 None of this, however, directly undermines John's unblemished cause of resisting Pandulph. Hooks Feminism Definition! Although he is criticised for much else within the play, the hospice only voices raised against John's defiance are Pandulph's and those foreign kings' loyal to him, which is only to be expected, as they are the targets of John's ire. The main reasons for the widespread critical perception of the play as modern in its politics are mentioned by Kehler and Edwards above: that John is illegitimate, that he is lacking in moral quality, and that he later gives his crown, effectively, to wind the Pope. Of these, the moral argument is least persuasive. Machiavellianism does not preclude sincerity, especially with such an affective topic. Renaissance history plays often portray monarchs as complex, and attempt to manipulate audience responses via this complexity. Holinshed recognises John's faults, but does not allow them to hospice nurse reflect on his status as proto-Protestant martyr.

William Camden, writing in 1605 of the Tudor bugbear Richard III, recognised that albeit hee lived wickedly, yet made good laws. 44 The other two points require more detailed engagement. John's submission to stop the spread of communism the Papacy at the end of the play could well have cancelled his earlier robust anti-Papalism. Through an hospice analysis of the of communism representative strategies used for John's cession I will argue that it may not have done so. If he is not a legitimate king, then he is employing anti-Catholic rhetoric to bolster his position. He need not be shown to believe his own words. If this were so, John's use of religious rhetoric is on a par as a cynical manipulation of language with Richard Ill's political use of witchcraft accusations in Shakespeare's play and the anonymous True Tragedy of Richard III. John is not illegitimate just because his opponents say he is.

The challenges of Constance or the Dauphin have no particular power on their own. Yet for many critics, whether or not they engage with John's modernity, it is axiomatic that John is an illegitimate king, that he is a usurper in possession of the crown when the hospice nurse right lies with Arthur (and, some have added, the true kingliness with Falconbridge). 45 There are two cruces commonly adduced to support John's illegitimacy. Both can be read differently. The first is a critical exchange in the play's first scene, where John and Eleanor discuss the implications of the of communism French challenge just made on Arthur's behalf. Eleanor reproaches John for not dealing with the question sooner, as This might have been prevented and made whole/With very easy arguments of love,/Which now the manage of two kingdoms must/With fearful-bloody issue arbitrate (1.1.35-8). John replies Our strong possession and our right for us, to which Eleanor retorts, Your strong possession much more than your right,/Or else it must go wrong with you and hospice nurse, me./So much my conscience whispers in your ear/Which none but heaven, and you and I, shall hear (1.1.39-43). Most critics follow Reese's conclusion that this shows that John is king de facto and possession is his only 'right' , though Edna Zwick Boris points out that Eleanor is not denying John's right but emphasising the practical aspect of his advantage over Arthur. Stages Development! 46 Nothing in Eleanor's speech indicates that John has no right, or that he is a usurper.

Eleanor's qualification of John's assertion merely draws attention to the relative usefulness of possession, and the military strength it brings, in the fighting to hospice nurse come. Given he is up against French and other armies, it is obvious that his right alone is insufficient. The use of conscience similarly does not have to imply a guilty recognition of the facts. Even within Shakespearian usage, the word at this time could simply mean inner knowledge. 47 Eleanor does not wish others to hear because a public acknowledgement of the what stratification in sociology relative uselessness of John's right is inappropriate to the dignity of his court, especially just after he has been challenged by Chatillon. Her subsequent words and actions are consistent with her holding the opinion that John's legitimate rule must be buttressed with her diplomatic sense. She refers to hospice nurse the will of Richard I, which in Holinshed plainly entitles John to the throne, in stages of psychological development her confrontation with Arthur's mother: I can produce/A will that bars the title of thy son (2.1.470-1). Just as the fact that The Troublesome Reign is more anti-Catholic than John seems to license the claim that John is not anti-Catholic, so Eleanor's words that John's possession is more important than his right have led to the claim that he therefore has no right. The other key moment for John's illegitimacy, and for the play's exploration of the consequent instability of nurse, political legitimacy, is Falconbridge's reaction to Arthur's corpse at the end of the fourth act. Modern editors have been so sure that he accepts Arthur's claim that they have punctuated a potentially ambiguous speech so that only one interpretation is victimless crimes definition possible. Hospice Nurse! In order to suggest an alternative reading which supports John's legitimacy, I will quote from the First Folio:

Bast. Go, beare him in thine armes: I am amaz'd me thinkes, and loose my way. Among the thornes, and dangers of this world. How easie dost thou take all England vp, From forth this morcell of dead Royaltie? The life, the right, and of communism, truth of all this Realme. Is fled to hospice nurse heauen: and England now is left. To tug and scamble, and to dynasty part by th teeth. The vn-owed interest of proud swelling State: Now for the bare-pickt bone of Maiesty.

Doth dogged warre bristle his angry crest, And snarleth in the gentle eyes of peace: Now Powers from home, and hospice, discontents at home. Meet in one line: and vast confusion waites. As doth a Rauen on a sicke-falne beast, The iminent decay of wrested pompe. Now happy he, whose cloake and center can. Hold out this tempest. Beare away that childe, And follow me with speed: Ile to the King: A thousand businesses are briefe in hand,

And heaven it selfe doth frowne vpon the Land. 48. Editors of the recent Penguin, Oxford and Cambridge editions concur in seeing the development fourth line as addressed to Hubert, who has now picked up Arthur as Falconbridge commanded, and in punctuating the passage so that From forth . Hospice! . . Feminism Definition! begins a new sentence. Nurse! 49 The clear interpretation is that, ironically, Hubert can lift all England as he lifts Arthur's corpse. Arthur is referred to as England at 2.1.91 and 202 by Philip of France. Victimless Definition! All the nurse life, truth and right of England, which resided in Arthur, has fled (like Astraea) to heaven, and stages of psychological development, all that remains for the country left behind is a dogfight over the remaining in bones of hospice nurse, power. Arthur is both England, and dead royalty, and with his death dies political legitimacy.

No one speaks of Arthur's right more eloquently than the Bastard son of Coeur de Lion, according to Marie Axton. Blowin In The! 50 For others, John's illegitimacy authorises views of the play's modernity, and Falconbridge's speech marks the point where he chooses to support a king whom he has just recognised as a usurper, making his own political meaning in a world where there is no guarantor of legitimate rule. His decision to follow John must be an existential one, choosing a way despite his own awareness that whatever 'rightness' he invests it with is hospice nurse not inherent in it. 51. It is possible, however, to read the speech differently. If the thou of the fourth line is not Hubert, but the heaven to which Arthur's soul has presumably fled, Arthur need not be acknowledged as rightful monarch at all.

Arthur's soul is imagined both as actively fleeing and passively being taken up. Bell Feminism Definition! Arthur's body, in a familiar metaphor, is hospice a realme from which the ruler (England, as Arthur is English) has gone. Alternatively, the England that has left the body just suggests life, in conjunction with Englishness. Wind! Either way, Arthur's right is to hospice the realm of his own body. Falconbridge then shifts to the larger realm, also lacking a ruler, but for what, the different reason that powers from home, and discontents at home are in nurse conflict. What In Sociology! The crucial point is whether this realm refers both to Arthur's body and to England. A simple gesture could make clear that the reference is to hospice nurse Arthur's body alone. Falconbridge is victimless definition critical of John, but this need not impugn his legitimacy, as the terms he uses recall those used by the nobles disapproving of John's recrowning in 4.2. Each reference to John can be read as critical of the sumptuousness of the ceremony, and of the new clothing associated with it, much remarked on hospice nurse, by the nobles at the time.

His first reference ironically situates John's majesty as bare-pickt rather than clothed with flesh. Proud swelling state refers back critically to the wasteful excess of the recrowning, as does wrested pomp (that is, pomp employed in the improper context of John's ceremony, rather than wrested from Arthur). The final reference ironically characterises John's clothing as simple (cloak and crimes, center) and unlikely to last the tempest of disorder in the realm. Thus, although the whole speech is clearly critical of John, and registers Arthur's loss, Falconbridge is not necessarily affirming Arthur's right to the crown. Falconbridge's words are difficult to nurse understand, but an audience accepting John's legitimacy need not have understood him to challenge this right, and it is victimless crimes definition possible to imagine a performance which makes clear that John is legitimate King. His legitimacy is further buttressed by the qualifications of Arthur's right implicit in the words and hospice nurse, actions of those supporting it. A claim supported by a man who carries on his back the spoils of a dead Richard I is not likely to have impressed an Elizabethan audience, even if they responded positively to the bemused and passive boy who at one point states I would that I were laid low in my grave./I am not worth this coil that's made for me (2.1.164-5).

John's legitimacy, however, raises the question of his cession of the bell hooks crown to hospice Pandulph, which happens just after the Falconbridge speech quoted above. If John is not legitimate king, then his act is robbed of political or constitutional authority, and crimes, is unlikely to hospice nurse bind his successors. In the 1960s John Sibly pointed out political dynasty, that papal claims for supremacy in hospice England utilised historical as well as spiritual arguments, and suggests that John's illegitimacy was introduced precisely to counter these arguments. He begins from the premise that technically, John was not a usurper until Arthur's death, as he could still have resigned the crown when Arthur reached his majority, and sees Falconbridge's words before the is social stratification recrowning as recognising that John is now a usurper: it is immediately after the 'flight to heaven' of any 'right' John may have had in hospice the realm, that he 'surrenders' his crown. To an Elizabethan audience, this must very forcibly have demonstrated that John had just given up what he no right to give at all; and Pandulph had 'restored' what he had no right to receive in of psychological the first place. 52. The cession of the crown is merely an index of the hospice current balance of power, and for a Protestant audience devalues a morally bankrupt and/or illegitimate John still further. 53 If a legitimate John is posited, the in sociology status of this humiliating submission, to the very man John had so strongly defied earlier, needs to be addressed. The mere representation of John's submission need not have functioned simply to condemn him, despite the commonsense appeal of nurse, this position.

The Homily Against Rebellion draws different conclusions. Here John's submission to Pandulph is the clearest example, in its awfulness, of the chaos into stages of psychological which rebellion throws the country. Hospice! The details of John's contract with the Papacy are spelt out to indicate the extremity of the situation when Englishmen [ . Development! . Hospice! . Bell Hooks Definition! ] brought their soveraigne lorde and naturall countrey into this thraldome and subjection to a false forraigne usurper. 54 John's legitimacy emphasises the indignity of hospice, his submission. Holinshed reproduces John's charter of submission and his words of fealtie, but does not criticise him, as he does on other matters. Bell Hooks Feminism! Foxe is slightly more difficult to hospice interpret. A paragraph of the 1563 edition, omitted from the 1583 second edition, explains John's reasons for submitting as fear of the wind French king, and the perception that nothing else could be found to avoid the present destruction both of his person and the realm also. As a sorry subject of the hospice sinful seat of Rome he was sure, not without shame, that being under his protection, no foreign potentate throughout the whole empire was able to subdue him. Is Social Stratification! 55 The negativity of shame here may be Foxe's judgement on John, or John's own opinion of nurse, himself. But the 1583 edition reproduces John's Letter Obligatory to the Pope, and is unequivocal in its identification of John as a hapless victim of that execrable monster and antichrist of Rome. Thus, though an audience may well have simply cathected John's earlier anti-Papalism, the reverse is is social not necessarily true when considering responses to hospice nurse his submission.

The signification of John's cession of the crown depended on its context, so that within a Foxean narrative it might simply indicate the effectiveness of the Papacy in persecuting and stop the spread of communism, humbling its opponents. It is also important to recognise that John's cession of the hospice nurse crown in Shakespeare's play employs different dramatic strategies to his earlier confrontation, and that these strategies may well have directed an audience towards a response the final result of which would be to confirm John as legitimate. The representation of crimes definition, English kings losing crowns on the London stage of the 1590s shows signs of having been subject to careful and subtle theatrical negotiations. Though recent critics have retreated from the once-commonplace conclusion that because the 1608 quarto of Shakespeare's Richard II was the first to feature his deposition it must have been censored, there is still the possibility that the hospice first quarto of 1597, or the play as performed, was cut, or that Richard's abdication/deposition was somehow 'unwritable' at this period. Stop! 56 This 'unrepresented' 1590s deposition can be compared to hospice those represented in Shakespeare's Richard III and 3 Henry VI. Stop Of Communism! The 1595 quarto of the nurse latter presents Henry's resignation of his throne to of communism the joint protectors Warwick and Clarence in a scene half the length of its 1623 First Folio equivalent, in which Henry accepts the arrangement so that the people of this blessed land/May not be punished with my thwarting stars (4.6.21-2). The 1590s quarto underrepresents, rather than omits, Henry's deposition In Richard III deposition is directly represented only in a stage direction in which Richard fights Richmond and is slain.

Although the visitations Richard receives in his sleep before the battle can be argued to be a displaced representation of a deposing tribunal, to whose conclusions Richard involuntarily assents, the death of the king in nurse this instance is underrepresented in that it is a fait accompli. 'Underrepresentation' was not the hooks definition only strategy used in the history plays of the 1590s. The 1591 quarto of The Troublesome Reign of King John, which covers much of the same ground as Shakespeare's play, follows Foxe and hospice, the Homily in representing John's recrowning at victimless Pandulph's hands. As with the two earlier texts, its principal strategy is to attempt to limit interpretation by presenting the deposition/abdication as primarily signifying John's helplessness in the face of Popish prelates' persecutions, the final wrong turning in a Troublesome Reign. Hospice! The preface identifies John as a kind of development, English Tamburlaine, a warlike Christian and your Countreyman; For Christs true faith indur'd he many a storme,/And set himselfe against the Man of Rome. 57 This John, as in Shakespeare's play, defies Pandulph on their first meeting, and orders Falconbridge to ransack the nurse abbeys, though The Troublesome Reign shows the action where Shakespeare only alludes to of communism it.

John recrowns himself in front of hospice nurse, his nobles, explaining that he does this not because he has been deposed, but because he is checking the assured witnes of your loves in a ceremony to bind the nobles to him, (Troublesome Reign, 1555). The play deals with such potentially difficult moments by providing a clear cause for victimless crimes definition, events, and this applies also to John's recrowning by Pandulph. He prepares to meet the legate by assessing his situation under the Papal interdict, recognising that his sins are too great for hospice nurse, him successfully to banish Popery (though he looks forward to it happening), and resolving to finely dissemble with the crimes definition Pope (2 Troublesome Reign, 275) as the realm's chaos is caused by Papal interference. Nurse! He ends by resolving equivocation: Dissemble thou, and whatsoere thou saist,/Yet with thy heart wish their confusion (283-4). On meeting Pandulph, John offers submission, penance, and crusade, and bob dylan in the wind, is rejected. Hospice! His first impulse is to kill Pandulph, but he again submits, to be informed that surrendering his crown is the only acceptable course. John resolves to fight rather than do so. At that moment a messenger enters, telling that a large French fleet has put the country into mutiny. On hearing this, John's resistance collapses. He later receives his crown back as tenaunt to stop of communism the Pope (637), berates himself (Shame be my share for hospice, yeelding to the Priest), and in his last speech traces this act as increasing his troubles: Since John did yeeld unto the Priest of Rome/Nor he nor his have prospred on the earth (707, 1075-6).

The dramatic strategy of bell hooks definition, The Troublesome Reign is to try to contain the implications of John's submission to the Pope by hospice nurse, inserting it into a master narrative, the feminism course of the hospice ancient struggle between Roman and native Christianity (Protestantism). It provides a full account of how and why John yielded, and what John perceived the consequences to have been. By this strategy, the play attempts to contain the implications of John's act for posterity. Because the what stratification in sociology causes of the deposition easily fit into the Foxean picture of the embattled proto-Protestant subverted by Papal wiles, to represent the hospice deposition itself is not necessarily to provide a subversive undoing of John's status as proto-Protestant hero. This strategy might be called directive representation: the political dynasty deposition is shown, but attempts are made to limit an audience's perception of its meaning. A third strategy is at work in Marlowe's Edward II, which was published twice during the 1590s also with a deposition/abdication scene. This third strategy might be characterised as overrepresentation, here defined as the representation of an action or event so that a conclusive meaning is difficult to draw from hospice it. It is not clear, for of psychological development, example, from Edward's abdication/deposition scene why he has given up the crown, whether he has a choice, or whether he is in hospice a fit state to understand what he is doing. This ambiguity is foregrounded when Edward begins by hooks feminism definition, comparing himself to hospice nurse a shadow now regiment is gone.

58 He then asks if he must resign his crown as Mortimer will take it, is what is social in sociology told that it will rather pass to his son, denies this, is nurse asked again whether he will resign, gives his crown to Leicester, takes it back just until night, is asked again for it, refuses, gives it back to protect his son's right on a reminder from Leicester, calls upon another to take it from him, hands it over, and victimless crimes, sends a handkerchief wet with his tears to queen Isabel. The switches of intent, and the complexity of Edward's emotional state make a mockery of Winchester's bland comment in the next scene that The king hath willingly resigned his crown (5.2.28). Hospice! Moreover, Edward remains alive to worry at feminism the contradiction of his status as king without a crown or regiment. Edward's abdication/deposition is shown, but what it signifies, other than that Edward no longer has the military or emotional resources to resist, is unclear. The deposition scene in the later quartos of Richard II works in a similar fashion. King John clearly underrepresents John's sensitive submission to hospice nurse the church. Where The Troublesome Reign attempts to direct attention from the constitutional consequences by focusing on John's reasons for, and reactions to, his swearing fealty, King John takes only 65 lines (during which John also hears of the effects of Arthur's death upon the rebels) to cover the period between the stop the spread first mention of the idea and Falconbridge's rejection of it as an nurse inglorious league. John is not shown reflecting upon his tactics before he meets Pandulph, or on the submission's consequences. What Is Social! Although the play underrepresents this episode in comparison to The Troublesome Reign, what happens is hospice nurse still clear.

John states he has yielded his crown, and stop, Pandulph gives it back, as holding of the nurse pope/Your sovereign greatness and authority (5.1.3-4). Underrepresentation is not, however, non-representation, though Barbara Hodgdon has recently pointed out that the play seeks to in the suppress precisely those events that might divide or fracture audience response. 59 But the play can be read as recognising the problems even in underrepresenting John's submission, and nurse, that it attempts to contain the negative implications of this via overrepresentation. It does not follow the Foxean strategy of presenting the recrowning with minimal comment and leaving the reader to point the moral; rather, it makes it difficult to understand, and thus subject to recuperative qualification by John's easily intelligible speeches in 3.1. Overrepresenting sensitive events and topics was common in Tudor histories. A. Crimes Definition! R. Braunmuller has identified dramatist and hospice nurse, chronicler as sharing the problem of avoiding both censorship and charges of partisanship, and as having two choices: leave out causal explanations as Fabyan did, or include too many causes (Hall's 'double grace') and what is social stratification, avoid choosing among them. Shakespeare and Holinshed wrote confusing texts because each believed that confusion was not sedition. 60 Braunmuller's useful formulation of the available strategies is confirmed in nurse Holinshed's preface to the reader: I have in things doubtfull rather chosen to in the analyse shew the diversitie of hospice nurse, their writings, than by over-ruling them, and using a peremptory censure, to frame them to agree to my liking: leaving it nevertheless to each mans judgement, to controll them as he seeth cause. What Is Social! 61. It is nurse perhaps misleading to characterise historical writing as primarily concerned with avoiding sedition, rather than as attempting to make orthodox sense out of unpromising material. Shakespeare may have attempted a different, though still orthodox, treatment of John's reign as compared to that in his sources, rather than avoided or covered up heterodoxy.

In the present context, Holinshed's crucial point centres on the notion of controlling the interpretation of things doubtful. Where two straightforwardly represented events contradict one another such controll would be likely to depend heavily on extra-textual factors such as previous expectations. Thus, in the case of bell feminism definition, John, an audience might compare his submission with his defiance, and nurse, conclude that no conclusion was possible. What Is Social! But if the defiance was straightforward, and nurse, the submission confusing, an audience is less likely to have seen the defiance as cancelled or invalidated by the submission. The defiance would be central to a response to the play, and what in sociology, the submission marginal. Though John underrepresents John's submission in comparison with other texts, the issues upon which an interpretation depend are overrepresented: the validity of a recrowning, whether John can give away his crown, and what significance such an action has.

A parallel to this dramatic strategy can be seen in another text dealing peripherally with John. Hospice Nurse! Thomas Wilson, writing in 1600 of the state of England, states that it is an absolute Imperiall Monarchy held neither of Pope, Emperor, nor any but of God alone, and so hath bene ever since the year of the World 2855, which was 1108 years before Christ. 62 Wilson then engages with the supposed donation of Britain to the Papacy by the emperor Constantine, which he rebuts by definition, pointing out that subsequent conquests extinguished Rome's right. Nurse! The only other threat to stop this independent England is John's submission: after this, K John did resign the Crowne to Pandolphus, the Pope's legate, and did receive it againe from him, to hold it of the Pope, paying yearly a certain Tribute; but then is easily answered (though it be the Pops strongest clayme) that King John was but an hospice usurper, and being distressed besides with the Barons' Warres, he was forced to do yt to political dynasty have the nurse Pope's help, but his act was never confirmed by the States of the Country and therefore frivolous. 63.

This passage, written for private circulation and not printed until 1936, stresses the stages development constitutional importance of an engagement with John's submission, though this is not a question Holinshed, Foxe or the Homily addressed. Wilson overrepresents the arguments against Papal sovereignty; John is not merely a usurper, but a distressed, enforced and frivolous usurper. The tactic here is not to provide one conclusive refutation, but to hospice produce the victimless definition impression that the cumulative force of all explanations is strong enough to show John's submission as irrelevant to the current situation. A similar process is at work in John, whereby a variety of qualifications are introduced to make a simple interpretation of the recrowning difficult to arrive at. In the play John does not explicitly challenge Pandulph's commentary on the submission's significance, but after Pandulph has left he introduces an odd qualification. Hospice! Remembering the prophecy that he would this day give off his crown, he comments I did suppose it should be made on stages of psychological development, constraint;/Heaven be thanked, it is but voluntary (5.1.28-9). Given that one of the foci of The Homily's treatment of hospice nurse, John's recrowning is on bob dylan in the wind analyse, the indignity of the English king being forced to submit, this statement can be seen as an attempt by John to reiterate his independence of Pandulph, so that the recrowning is hospice a tactic, a piece of blowin in the wind, equivocation meaning nothing to John.

At the least, the nurse distinction between voluntary and involuntary uncrowning implies that this kind of recrowning is not as bad as its alternative. This muddle can be read as either denoting John's personal muddle (he has lost the bob dylan crown but tries to persuade himself he hasn't) or as a piece of obliquity for which there is no clear interpretation (though the hospice nurse implication is that the recrowning is not what Pandulph thinks it is). Falconbridge's prompt criticism of John's inglorious league (5.1.65) further confuses matters, suggesting John has made a military bargain. In the what stratification in sociology following scene, Pandulph is shown to be unable to honour his contract with John. Lewis, whom Pandulph has encouraged to hospice nurse invade, is one of the threats John fears.

His first words after the truncated recrowning ceremony are to enjoin Pandulph to bell feminism definition go to nurse meet the French/And from his holiness use all your power/To stop their marches 'fore we are inflamed (5.1.5-7). Not only is Pandulph unable to the spread provide what John needs; he is also met with a forceful declaration of royal independence of the nurse Papacy: I am too highborn to be propertied,/To be a secondary at control,/Or useful serving-man and instrument/To any sovereign state throughout the world/[ . Dynasty! . Hospice Nurse! . ] must I back/Because that John hath made his peace with Rome?/Am I Rome's slave? (5.2.79-82, 95-7). Thus, although Pandulph clearly presents the what is social in sociology recrowning as signifying John's subservience to the Pope, it is followed by an obscure distinction drawn by John, Falconbridge's perception that a purely political league has been made, and Lewis' declaration that he (and by implication, John) is royal and thus nobody's slave. Hospice Nurse! Later, in braving Lewis, Falconbridge stresses that John's submission was voluntary, referring to Pandulph as this halting legate here/Whom he hath us'd rather for sport than need (5.2.174-5). King John can thus be seen to use the same tactics as Wilson's State, presenting several arguments against the seriousness of John's recrowning, which have a cumulative as well as an individual effect. Victimless Crimes Definition! It might even be said that much of the hospice last third of the play is constructed to contradict Pandulph's claims of the significance of the recrowning, for is social, only two scenes before John receives the crown back from hospice Pandulph, he recrowns himself, and stages of psychological development, is criticised for so doing. In Act 4 John enters once again crowned (4.2.1). Though his nobles defer to John's right to nurse do as he likes, the ceremony is presented, in the words of bell definition, Pembroke as superfluous: you were crowned before/And that high royalty was ne'er plucked off,/The faiths of men ne'er stained with revolt/Fresh expectation troubled not the land/With any longed-for change or better state (4.2.4-8). Salisbury is more blunt, stating Therefore, to be possessed with double pomp,/To guard a title that was rich before,/To gild refined gold, to paint the lily/[ . Hospice Nurse! . . ] or with taper-light/To seek the beauteous eye of heaven to garnish,/Is wasteful and ridiculous excess (4.2.9-11, 14-16).

The nobles' criticisms emphasise John's sumptuous excess, as well as his political overcompensating: In this the antique and well-noted face/Of plain old form is disfigured, so new a fashion'd robe startles and frights consideration (4.2.21-22, 27, 25). The physical excess of John's coronation will later be criticised in the Bastard's soliloquy over Arthur's corpse. But just as prominent are the political arguments. Crimes! John's new coronation cannot strengthen his title, as that was already refined gold. Hospice! He is trying to political dynasty increase the hospice light of the analyse sun (himself) with a candle. Pembroke implies that the ceremony of recrowning might have some point in the context of a domestic rebellion as a reassertion of the proper relationship between king and nobles, but this does not validate the later recrowning, as no nobles are present. The overall impression is nurse that as John is hooks feminism legitimate, he cannot make himself more or less legitimate with ceremonies; that a recrowning can be a political miscalculation; and that such a ceremony does not materially alter John's supremacy. The five lines exchanged between Pandulph and nurse, John two scenes later must be read in this context. The play's overrepresentation of the issues surrounding John's recrowning works in tandem with the actual recrowning's underrepresentation.

The play gives little space to this traumatic event, but contextualises it so as to suggest that, whatever it is, is not a cession of dynasty, sovereignty to the Pope by the Moses of the Reformation. Hospice Nurse! A post-Armada audience interpreting King John would undoubtedly have had to controll and reconcile the anti-Papal John with the submissive John, and to negotiate the play's contestations of his authority. Bell Definition! However, the text does allow a construction of John as legitimate monarch, and thus sincere in his anti-Catholicism. This presentation of John would also have accorded with those in Holinshed, Foxe, the Homily and The Troublesome Reign, and would not have offended contemporary anti-Spanish or anti-Catholic nationalism. Hospice! The model offered by critics identifying the crimes definition play as modern, in contrast, situates the hospice play as against the grain of most influential historical accounts, the predominant war fever of the theatrical repertory, and the likely mood of wartime London. At such a time, a play's religious politics are likely to be powerfully inflected towards orthodoxy in at least the most uncontroversial of areas: John's legitimacy as an opponent of the Papacy. To recognise this historical reading as possible, perhaps even likely, goes against the grain of what is social, post-Tillyard approaches to the history plays, which David Womersley characterises by critics' unwillingness to believe that Shakespeare might have written in support of doctrines they find repugnant or risible and a consequent locating of a remarkable dramatic complexity 64 in hospice the plays. The reinvention of the history plays described from a different perspective by Womersley and of psychological development, Curren-Aquino has helped to continue Shakespeare's dominance of the Renaissance canon as continually relevant politically, something which happens surprisingly frequently by hospice nurse, the traditional critical/polemical tactic of presenting Shakespeare, or his texts, as rising above the simplicity and polemic of contemporary sources. What Is Social! I have attempted to show how it is possible to read King John as irrelevant to modern political concerns, and that in at least one important respect Shakespeare is not our ambivalent, ambiguous, sceptical, questioning and ideologically subversive contemporary. 1 Deborah Curren-Aquino, King John: An Annotated Bibliography (New York: Garland, 1994), p. Hospice! xxvi. 2 Sigurd Burckhardt, King John: The Ordering of this Present Time, ELH, XXXIII (1966), p. 133.

3 Burckhardt, 134; Virginia Vaughan, King John: A Study in Subversion and Containment, in King John; New Perspectives, ed. Deborah Curren-Aquino (London and Toronto: Associated UP, 1989), p. 62. 4 Phyllis Rackin, Stages of History: Shakespeare's English Chronicles (London: Routledge, 1990), p. Development! 66. 5 Larry Champion, The Noise of hospice nurse, Threatening Drum: Dramatic Strategy and Political Ideology in Shakespeare and the English Chronicle Plays (London and Toronto: Associated UP, 1990), p. 98. 6 Guy Hamel, King John and The Troublesome Reign: A Reexamination, in Curren-Aquino (1989) p. 54. 7 Stephen Greenblatt, Invisible Bullets, in Political Shakespeare: New Essays in of communism Cultural Materialism, ed.

Jonathan Dollimore and Alan Sinfield (Manchester: Manchester UP, 1985), p. 29; King John, ed. Nurse! Robert Smallwood (Harmondsworth: Penguin, 1974), p. 12. 8 David Aers, A Whisper in of psychological the Ear of Early Modernists, Culture and History 1350-1600: Essays on English Communities, Identities and Writing, ed. David Aers (Hemel Hempstead: Harvester Wheatsheaf, 1992), pp. 195-6. 9 E.M.W.

Tillyard, Shakespeare's History Plays (London, 1944; repr. Harmondsworth: Penguin, 1986), p. 220; see also M.M. Reese, The Cease of Majesty (London: Arnold, 1961), p. Nurse! 270; Irving Ribner, The English History Play in the Age of Shakespeare (Princeton: Princeton UP, 1957: rev. edn, London: Methuen, 1965), pp. Bell Definition! 121-2; David Bevington, Tudor Drama and Politics (Cambridge, MA: Harvard UP, 1968), p. 200. 10 This argument is hospice nurse developed thoroughly in hooks Deborah Kehler, 'So Jest With Heaven': Deity in nurse King John, in hooks feminism Curren-Aquino (1989) p. 101. 11 King John ed E.A.J. Honigmann (London: Methuen, 1954), 3.1.75-86. Unless otherwise specified all references to Shakespeare's plays are from the Arden editions. 12 Lily Campbell, Shakespeare's Histories (San Marino, CA: Huntington Library Publications, 1947;3rd edn, London: Methuen, 1964), p. 154. 13 C.W. Heiatt, Dating King John, NQ, xxxv (1988), p. 463 dates the play to 1593/4; Roslyn Knutson, The Repertory of Shakespeare's Company 1594-1613 (Fayetteville: Arkansas UP, 1991), p. 75 suggests 1596-97; L.A.

Beaurline's edition of King John (Cambridge UP, 1990), p. Hospice! 210 plumps for 1590; A.R. Braunmuller's edition (Oxford UP, 1989), p. 15 chooses 1595-96; Smallwood, p. 10 also supports 1593/4, and Honigmann, p. lviii 1590/1. 14 Carol Wiener, The Beleagured Isle: A Study of Elizabethan and Early Jacobean Anti-Catholicism, Past Present, LV (1971), pp. 52-3; R.B. Of Psychological Development! Wernham, After the hospice nurse Armada (Oxford: OUP, 1984), pp. 453-60. 15 David Cressy, Bonfires and Bells: National Memory and political, the Protestant Calendar in Elizabethan and hospice, Stuart England (London: Weidenfeld Nicolson, 1989), p. 119. 16 Peter Clark, A Crisis Contained? The Condition of development, English Towns in the 1590s, in The European Crisis of the 1590s ed. Peter Clark (London: Allen Unwin, 1985), p. Hospice Nurse! 55.

18 R.B. Outhwaite, Dearth, the stratification English Crown and hospice, the 'Crisis of the 1590s', in Clark (1985), p. 25; Henry Knyvett, The Defence of the development Realm (Oxford: Clarendon Press, 1906). 19 A. Pritchard, Catholic Loyalism in nurse Elizabethan England (London: Scolar Press, 1979), pp. 6-8, 12. 20 T.E. Hartley, Elizabeth's Parliaments: Queen, Lords and Commons 1559-1601 (Manchester: Manchester UP, 1992), pp.

98-101. 21 Donna Hamilton, Shakespeare and the Poetics of Protestant England (Lexington: Kentucky UP, 1992), p. 4. 22 Peter Lake, Moderate Puritans and the Elizabethan Church (Cambridge: Cambridge UP, 1982), p. Stop The Spread Of Communism! 6. 23 See Carole Levin, Propaganda in the English Reformation: Heroic and Villainous Images of King John (Lewiston/Queenston, NY: Edwin Mellen Press, 1988). 24 Raphael Holinshed, Chronicles of hospice, England, Scotland and Ireland, Vol. Bell Hooks Definition! II (London, 1807; repr. New York: AMS Press, 1965), pp. 339, 319. 25 Certain Sermons or Homilies (1547) and A Homily Against Disobedience And Wilful Rebellion (1570): A Critical Edition, ed. Ronald Bond (Toronto and London: Toronto UP, 1987), p. 243.

26 Wernham, p. 555. 27 Andrew Gurr, Play going in Shakespeare's London (Cambridge: Cambridge UP, 1987), p. 135. 28 Bevington, p. 195. 29 Rackin, p. 187. 31 Robert Ornstein, A Kingdom for a Stage (Cambridge, MA: Harvard UP, 1972), p. 88.

32 John Blanpied, Time and the Artist in Shakespeare's English Histories (London and hospice nurse, Toronto: Associated UP, 1983), pp. 100-101. See also William Hawley, Critical Hermeneutics and Shakespeare's History Plays (New York and Bern: Lang, 1992), p. 70. 33 Vaughan, 1989, p. 70; see also James Bryant's odd conclusion that John's antipapal remarks can be seen [ . . . ] not as being derogatory to the Roman Catholic Church but as an expression of the Reformation position, Tudor Drama and Religious Controversy (Macon, GA: Mercer UP, 1984), p. 133. 34 Narrative and Dramatic Sources of Shakespeare, ed. Geoffrey Bullough (London: Routledge Kegan Paul, 1962), Vol. IV, p. 22. 35 For the former stance, in addition to Bullough, Reece and definition, Ornstein cited above, see Marie Axton, The Queen's Two Bodies: Drama and the Elizabethan Succession (London: Royal Historical Society, 1977), p. 108; Philip Edwards, Threshold of a Nation (Cambridge: Cambridge UP, 1979), p. 115, and Bevington, p. 198.

For the latter position, see Hawley, p. 70; Champion, p. 96; Hamel, p. 55. 36 Kehler, p. Hospice Nurse! 103; see also Edward Berry, Patterns of Decay: Shakespeare's English Histories (Charlottesville: Virginia UP, 1975), p. 115. 37 Reese, p. 275; Emrys Jones, The Origins of stop the spread of communism, Shakespeare (Oxford: Clarendon Press, 1977), p. 239. 38 Champion, p. 96. 39 Rackin, p. 184; David Womersley, The Politics of Shakespeare's King John, RES, XI (1989), p. 502.

See also Robert Jones, Those Valiant Dead: Renewing the Past in hospice nurse Shakespeare's Histories (Iowa City: Iowa UP, 1991), p. Crimes Definition! 60 and hospice, Beaurline, p. 51. 40 Douglas Wixson, 'Calm words folded up in smoke': Propaganda and Spectator Response in Shakespeare's King John, Shakespeare Studies, 14 (1981), pp. 111-27 and Michael Manheim, The Weak King Dilemma in the Shakespearian History Play (Syracuse, NY: Syracuse UP, 1973), pp. 116-60. 41 Since at least James Calderwood's Commodity and stop of communism, Honour in King John, UTQ, XXIX (1960), pp.

341-56. 42 Juliet Dusinberre, King John and embarrassing women, Shakespeare Survey, 43 (1989), pp. 37-52; Carole Levin, 'I trust I may not trust thee': Women's Visions of the World in Shakespeare's King John, in Ambiguous Realities: Women in the Middle Ages and the Renaissance, ed. Carole Levin and J. Watson (Detroit: Wayne State UP, 1987), pp. 219-34; Rackin, pp. 146-200. 43 A topic of interest since at least Adrien Bonjour's The Road to Swinstead Abbey: A Study of the Sense and Structure of King John, ELH, XVIII (1951), pp.

253-74. 44 William Camden, Remains Concerning Britain, ed. R. Dunn (Toronto and London: Toronto UP, 1984), p. 246. 45 See John Elliott, Shakespeare and the Double Image of hospice, King John, Shakespeare Studies, I (1965), p. The Spread! 72; R Burkhart, Obedience and Rebellion in Shakespeare's Early History Plays, English Studies, LV (1971); Kristian Smidt, Unconformities in Shakespeare's History Plays (London: Macmillan, 1982), p. Hospice Nurse! 73; John Loftis, Renaissance Drama in dynasty England and Spain (Princeton: Princeton UP, 1987), p. 74; Bonjour, p. 257; Reese, p. 263; Manheim, p. 131; Edwards, p. Hospice Nurse! 115, Levin, 1987, p. 221; Hamilton, p. Victimless Crimes Definition! 43; Berry, p. Hospice Nurse! 115; Bevington, p. 243; Honigmann, p. xxvii; Beaurline, p. 47; Hawley, p. 64; Hodgdon, p. Crimes Definition! 27; Robert Jones, p. Nurse! 48; Rackin, p. 162; Kehler, p. 103; Dusinberre, p. Bob Dylan In The Analyse! 44. 46 Reese, p. 272; Edna Zwick Boris, Shakespeare's English Kings, the People and the Law (London: Associated Press, 1978), p. 133.

48 Mr William Shakespeare's Comedies, Histories and Tragedies, facsimile prepared by H. Kokeritz (New Haven and hospice nurse, London: Yale UP, 1954), pp. 17-18. 49 Honigmann's Arden edition is closest to dynasty the First Folio, substituting an exclamation mark for its question mark; his notes indicate that the 'England' of the fourth line refers to both Arthur and the country. 51 Robert Jones, p. 60; see also Womersley, p. Hospice Nurse! 502 and Smallwood, p. 38. 52 John Sibly, The Anomalous case of King John, ELH, XXXIII (1966), p. 421. 53 Emrys Jones, p. 256; Robert Jones, p. Feminism! 57; Calderwood, p. 97; Bonjour, p. 264; Champion, p. Hospice Nurse! 92. 55 Acts and Monuments, Vol. II (London: Seeley Burnside Seeley, 1843), p. 332. I have checked that this passage is of communism not present in the 1583 edition. 56 J. Leeds Barroll, A New History for Shakespeare and His Time, SQ, XXIX (1988), pp.

441-64. 57 The Troublesome Reign of King John, ed. Nurse! Bullough, To the Gentlemen Readers, p. Feminism! 72. All quotations from The Troublesome Reign are from this edition. 58 Edward the Second, ed. W Moelwyn Merchant (London: Benn, 1967), 5.1.26. 59 Hodgdon, p. 30. 60 A.R.

Braunmuller, King John and Historiography, ELH, LV (1988), p. 318. 61 Holinshed, Preface to the Reader. [Chronicles, Vol. II]. 62 Thomas Wilson, The State of England Anno Dom 1600, ed. F. Nurse! Fisher, Camden Miscellany, XVI (London, 1936), p. 1. 64 Womersley, p. 499.

Source: The Limits of Modernity in Shakespeare's King John, in stages of psychological development Shakespeare and History, edited by Holger Klein and Rowland Wymer, The Edwin Mellen Press, 1996, pp. 91-118.

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50 Inspiring Resume Designs: And What You Can Learn From Them. Hospice Nurse. Your resume or CV may be one of the most important projects you ever design. Stop The Spread Of Communism. It can make or break job applications, open doors to new careers, make a great (or dismal) first impression. When you send out your resume, youre really sending out a piece of nurse yourself. So make sure its representing you to your best advantage. Just like how you dress your best for an interview, its important to give your resume the what is social stratification same treatment to make sure its polished and presentable.

The 50 resume designs below span a wide range of styles, from strictly businesslike to ultra creative browse through them to get some ideas for updating your own resume. Designing your own is nurse, easy with our wide collection of beautiful resume templates. Click the image to see more resume templates. Starting off your resume strong with a bold header, like in crimes definition this design by Shed Labs for Loft Resumes, draws attention to your name and makes it more memorable. Hospice. You can also include a few keywords or descriptors under your name that sum up who you are as a candidate. This chessboard-style layout is certainly striking, giving each category its own distinct space. But Mikha Makhouls resume is stages, still somewhat subdued thanks to hospice the simple black-and-white color scheme; it doesnt sacrifice professionalism for visual interest. Some well-placed shadows can make your resume pop, literally giving it a 3D appearance and creating the illusion of bob dylan blowin in the wind depth. Errol Veloso explains how he chose the colors of his design purposefully: blue to symbolize his creative side and red to symbolize his analytic side.

Try using shapes and frames for emphasis. You can experiment with geometric shapes (circles, squares, rectangles), ribbons, or solid or dashed lines. Here, Michael Long frames his name and his role to help them stand out. A cohesive color scheme of cool blues and minty hues gives this information-packed, infographic-style resume by Joseph Acena a visual theme and an orderly, coordinated look. Using a horizontal orientation (instead of the traditional vertical format) immediately gives your resume an edge in terms of nurse attracting attention.

Other strong points of this design by Justin Schueler include a balanced, un-crowded layout and plenty of negative space. There seems to be a trend, at least in industries where you can take some risks with your resume, to forget the stuffy business lingo and show that theres a human behind the piece of paper. Using a more conversational tone, as David Elgena has done with his Hello, nice to meet you. Heres a little about stop me header at the top of nurse this resume, may help you create rapport with the person whos reviewing your application before you even meet them. This resume by Kyle Robertson features a custom crest with Kyles name and a catchy tagline. Creating a distinctive personal brand or style for yourself (such as a personal logo, a color scheme, a nice selection of victimless crimes fonts, etc.) gives your work an extra sheen of professionalism (and an opportunity to show off your abilities). Plus, once you put the hospice nurse work in, this brand is something you can use over and over again on letterhead, business cards, social media profiles, you name it. Crimes. For a unique take on traditional resume colors, try light text on a dark background, as Abdullah Al Mamun has done here.

Just make sure that your font is weighty enough to nurse be easily readable and bell hooks definition not get lost against the background. This clean resume by nurse Patrick Rogan uses a bright splash of crimes color and whittles down the information to hospice nurse only the basics (skills and past positions). Icons in the skills section provide a visual reference that still complements the simplistic style. Stages Of Psychological Development. Printing your resume on textured paper can give an hospice nurse, impression of quality, craftsmanship, or luxury. If a color other than white seems inappropriate for your industry, try a white or cream-colored paper with a slight texture for an ultra-professional, upscale look. This example by S.N. Stages Development. Carter, printed on a recycled or kraft-style paper, gives the resume a custom, hand-printed feel.

When applying for hospice, a position where a more creative approach isnt appropriate, its always a safe bet to what opt for a simple, text-based resume with clean fonts. Here, Frank Schamhart has embellished his resume slightly with minimal use of an accent color and a small personal portrait. Hospice. If youre after a job in the arts or some other highly visual industry, make your resume a mini portfolio like illustrator Rianti Hidayat has done here. Bradley Brooks keeps his resume businesslike with a classic black-and-white color scheme, but livens things up with a modular layout and victimless crimes definition a personal logo. Nurse. Infographic-style resumes have become popular, and they can be effective when done well.

But they should be more than a collection of pretty pictures; the images should, at a glance, tell something about you and stop of communism complement or enhance the text, like in hospice nurse this resume design by Rachel Winter. If youre seeking work in victimless an industry where appearance is important, or the hospice job has asked you to include a portrait, try integrating it into stages development your resume. It doesnt have to be the center of attention, though you can make it a bit more subtle by using a small picture or placing it behind a colored screen, like in Egotypes resume template. Mailing out hospice nurse, some resumes? Make opening yours up a memorable experience, like Amber Van Mieghem has done with this clever folding resume. Wishing you could infuse a little creativity into victimless crimes definition your plain, corporate resume? Try a monogram with your initials, like Bill Mawhinney has done for hospice, this resume template. It adds a little style while still keeping the of psychological overall presentation very businesslike. You can use the same graphic on nurse your cover letter to stages of psychological give your application a polished, pulled-together look. If you have some creative leeway in creating your resume, using a non-rectangular shape will be sure to attract attention, like John Mujicas round resume does here. If you do format your resume in any unusual shape, just make sure all the text is readable.

Youve only nurse got one name. Make it memorable. If its unique, highlight it. Make it big and bold, like Fredrik Andresen did on his resume. Give the hiring manager something to zero in on. Your font choices can change the whole character of in sociology your resume. For instance, the rounded fonts with soft edges that Louis Omari has used for his resume have a more casual, friendly feel than sharper, serif fonts might have.

Need to show your qualifications on the run? Post your resume online and make it mobile-friendly, like Julien Renvoye has done. You can include your resume on your personal website or even post it to networking platforms like LinkedIn. Use blocks of color and/or lines to hospice nurse separate different sections of your resume, give it structure, and make it easy to navigate visually. This template from Beautiful Resumes features vibrant colors, but you could just as easily get the same effect with a more subtle color scheme. Development. If youre going the infographic route, think of nurse effective ways that you can use different types of what stratification graphs to represent your skills, experience, or background, like Martin Suster did here. Organizing your resume with columns, like this three-column layout Anton Yermolov used, keeps the information tidy, creates clear divisions between sections, and helps you keep everything sharply aligned. Nurse. Use a sidebar in your resume to call attention to extra (or extra important) information that you want to hooks feminism definition highlight. Here, Ola Hamdy used a colored sidebar to hospice separate her personal and bell hooks feminism contact information from her educational and professional details.

Although this resume design is hospice, text-heavy, Gershom Charig mixes things up with a two-color scheme and a word cloud to creatively represent the breadth of what is social stratification his skills and experience. Similar in function to the word cloud above, various sizes of circles represent Silviu Schiaus proficiency in various areas, such as management and design. The size of the circles corresponds with his amount of experience a fresh way to illustrate core competencies. Give the person looking at your resume an excuse to find out more about you. Including a link to your website or portfolio (or even a QR code, as Krysten Newby has done here) acts as a good prompt. Hospice Nurse. If your job history includes working for stages of psychological development, big companies with recognizable logos, feature them on hospice your resume. Tamas Leb has included space to do so on this resume template, and it makes an impressive statement, even at a glance. For creative resumes, a theme can give you a starting point to build a one-of-a-kind design and bell hooks feminism think about hospice innovative ways to present your information.

Here, Peter Kistemans laboratory theme makes a strong visual statement and gives his artistic background a scientific, experimental dimension. Putting your resume in a folder or other kind of holder gives you more space to showcase your experience and accomplishments, plus the extra tactile feature makes it memorable, as with this design from stages development S1M. The vertical timeline on the outside offers an immediate visual representation of the hospice candidates career history. This traditional black, white, and gray design by Brice Seraphin brightens up quite nicely with some turquoise as an accent. Stages. This can be done with any color (and you may want to tone it down depending on your industry), but vibrant hues have particular impact. Besides being another nice example of using an accent color, this design by Adam Rozmus keeps things clean and simple, showing that resumes dont have to be fancy to make a good impression. If competition is nurse, stiff, try standing out stages of psychological, with a resume package that gives you some space to nurse demonstrate your abilities, develop a personal brand, and include more information than the what limited area of a one-page resume allows for. Here, Sabrae Precure uses a distinct color scheme and custom illustrations to stand out from the crowd. This resume by Gabriel Valdivia combines a traditional format (the typical positions, dates, and short descriptions) with pictorial elements that provide a more personal touch. As if to nurse say that a normal paper resume just wont cut it, Alison Root got clever with her resume presentation, which demonstrates that she thinks outside the box.

This sample resume from Rahul Chakraborty features bold typography and bright colors for a high-impact look that will make people take notice. There may be times when its ok to stages let your sense of humor shine through in your resume; it makes you more relatable, more likable. Hospice. For instance, check out the stop pronunciation guide Nick Iannuccilli provided for his difficult last name. Using a border is hospice, a good way to add a little bit of color to your resume, as Evelien Callens has done here, without worrying about looking unprofessional. Stylistically, this design is a good compromise between customary and wind more creative resumes. The two-color, mostly traditional layout uses graphic elements sparingly but purposefully. As a nice touch, Dan Hernandez has branded his cover letter with the same style, which is a smart idea if your job application involves submitting multiple documents. Sometimes you have to do what you can to get noticed. Nurse. For an illustrator like Lucia Paul, hand-drawing her resume is political, both appropriate for her industry and gives her a standout way to display her skills.

Big, bold typography, a high-contrast color scheme, and a well-organized presentation all combine to make sure Joao Andrades resume gets looked at. No long-winded explanations of hospice nurse job roles here. Just the essentials enough to get someone interested in definition wanting to know more about hospice nurse Gianina Santiago and her background. Crimes. Clean, sans-serif fonts, relatively little text, and lots of white space give Maxat Malbekovs resume a sleek look thats easy to achieve if you condense your resume down to only the nurse most relevant information. If you have a lot of information you need to fit on one page, take a tip from this design by Halle Rasco and use easy-to-read fonts and clear headings for each section. Of Psychological. Need to keep your resume fairly conservative? A two-column layout with a businesslike blue-gray accent color gives this otherwise traditional resume from ResumeBaker some extra interest. Syril Bobadillas illustrations are whimsical and hospice kid-friendly, and her resume reflects that style. Notice how she also created matching business cards for a cohesive personal brand.

Even if your industry doesnt allow as much creative expression as someone in the arts, you can express your personality in bell feminism more subtle ways, like through font choices or an accent color. Resumes dont always have to read from left to right, top to hospice bottom. You can play with the layout of bob dylan blowin in the analyse your resume to make the best and most visually interesting use of the space you have available, like Milena Filipova has done here. Nurse. You can use a grid structure to organize your resume and dynasty make it easier to navigate, similarly to hospice how Orlando Silva designed this template. Victimless Definition. If applicable, you might also try including some pieces from your portfolio right on the resume (so your abilities are on display at first glance). As you can see from the examples above, there are many approaches you can take to designing your resume.

But no matter what style or format you choose, there are a few things you want to make sure to get right: Readable text Industry-appropriate style (if unsure, play it safe with a conservative design.) Updated and accurate information No spelling/grammar errors. Now it#8217;s your turn. Put these skills into action! Bring great design to your entire workplace. Janie is a freelance writer and hospice nurse graphic designer and the owner of Design Artistree Creative Studio. After college, she built on her background in political dynasty art to explore design. and hospice loved it. Now, she enjoys finding ways to combine the victimless craftsmanship of nurse traditional fine arts with the digital possibilities of graphic design. Design The Perfect Google+ Banner Image With Tips And E. 50 Unique and bob dylan analyse Engaging About Us Pages to hospice Inspire You.

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Youll receive an bob dylan blowin wind, email soon to confirm your subscription. Empowering the world to hospice design. Get your dream job! Design a resume to impress using Canva#8217;s amazingly simple drag-and-drop design tool.

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Essay one corresponds to the essay one prompt as listed below. Essay two corresponds with the essay two prompt, etc. Stop The Spread! through all four essays . Each essay is a separate assignment. In completing each essay , research must be conducted through 24 peer-reviewed, scholarly sources in addition to the Bible and the. Bible , Religious text 990 Words | 3 Pages. Bankers Adda How to write Essay in SBI PO Exam? Dear readers, as you know that SBI PO 2014 Paper will also contain a Descriptive Test of hospice nurse . 50 marks (1 hour duration), which will consist of bob dylan in the analyse English Language Comprehension, Short Precis, Letter Writing Essay ). So, here we are presenting you How to write Essay ? and few points to remember while writing an essay in the exam, which will be important for upcoming SBI PO exam. How to write an essay ? 1. Nurse! Analyze the prompt. Note exactly what. Essay , Jawaharlal Nehru , Linguistics 812 Words | 4 Pages. their motivation was will determine if their act was moral or not.

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Essay , Essays , Qualitative research 555 Words | 3 Pages. create flashcards for hospice nurse, free at Cram.com Sign In | Sign Up StudyMode - Premium and Free Essays , Term Papers Book Notes Essays . Dynasty! Book Notes AP Notes Citation Generator More Code Napoleon and Declaration of the Rights of Man Comparison By wis2cool, april. 2013 | 5 Pages (1064 Words) | 1 Views | 4.5 12345 (1) | Report | This is a Premium essay for upgraded members Sign Up to access full essay DID YOU LIKE THIS? TELL YOUR FRIENDS. Send Code Napoleon and nurse, Declaration. Age of Enlightenment , Declaration of the Rights of victimless crimes definition Man and of the Citizen , French Revolution 632 Words | 4 Pages. ELEMENTS OF AN ESSAY Preliminary Remarks Following are some suggestions to help you write an acceptable academic- level essay . Nurse! . This is not the political dynasty, only way to organize and develop an essay . It is, however, a tried and true system and will likely be what your TCC instructors require of you. Audience and Purpose Before beginning, you should consider both your audience and purpose. For, before you can know how to approach the subject, you must determine whom you will be addressing, how much they already.

2005 albums , Essay , Five paragraph essay 1430 Words | 5 Pages. Peak District and Adventure Playground. on the nurse, moors above the grounds. Political Dynasty! The adventure playground decision : Close to the house and gardens, with a separate admission charge, is the nurse, . farmyard and adventure playground . The farmyard is a popular attraction for families. Stages Of Psychological! Simon Seligman is the Promotion and Education Manager at Chatsworth. As head of marketing he is closely involved in the design and development of nurse new services and facilities. He explained, The existing adventure playground was clearly coming to the end of its life and it. Chatsworth House , Duke of Devonshire , Park 944 Words | 3 Pages.

such strategies as scanning, skimming, main ideas, contextual clues and inferences. In The Wind! Learning Outcomes: Upon completion of this subject, student will . be able to: 1. write summaries as well as process, comparison-contrast and cause-effect essays 2. Hospice! apply basic grammatical concepts in writing 3. answer questions based on academic texts 4. give oral presentations Textbook: 1. Daise, D., Norloff, C., and stop the spread, Carne, P., (2011). Q: Skills for Success 4 : Reading and Writing Oxford University. Cambridge , Essay , Latin 401 Words | 3 Pages. symbols which can be understood and manipulated by nurse, someone who is culturally literate.

Second, being literate can mean having knowledge or competence. For . example, we speak of people being computer literate or politically literate. Development! For your first essay , try to focus on a moment or a period in your life when you realized the significance of being literate in this fashion. Hospice! Did you have trouble using a computer to register for classes? Did you fit into a subculture because you learned to speak its. Essay , Knowledge , Literacy 1120 Words | 4 Pages. trying to what in sociology know everyone in the class. Nurse! After that here comes the big turn, homework and writing essays . I have never written an what stratification in sociology . Hospice! essay in my life while I was living in India. It was really hard for victimless, me to write down our thought on the given assignment. My English is not good and grammar is worse. I was really afraid of writing, I didnt want to hospice tell anyone.

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A question (Why did . communism collapse in hospice Eastern Europe?) is not an argument, and without an argument, a thesis is political dynasty dead in the water. 2. A thesis is never a list. For political, economic, social and cultural reasons, communism collapsed in Eastern Europe does a good job of telegraphing the reader what to hospice nurse expect in the essay a section about political reasons, a section about. Argument , Frederick Douglass , Logic 1094 Words | 5 Pages. Name: Andrew Gordon Subject: Exp201, Professor Morales Summary Assignment Forerunners Sei Shonagon: Hateful Things Essay question: . Consider Sei Shonagons definition of the word hate in the Heian era. Feminism! Is an opinion considered hostile if it focuses on honesty and transparency of hospice a situation? Hateful Things is an opinionated extract from the book Pillow Talk written by Sei Shonagon. Pillow Talk is a collection of the lists, desires, poetry and judgmental conversations by Shonagon.

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Washington finds joy in discarded. Death , Family , New England 1234 Words | 3 Pages. Joseph Lewis History Essay - Mrs Wadsworth 5 November 2014 How far do you agree that the Personal popularity of the spread of communism Hitler was the main . reason for the increased electoral support for the Nazi party in 1928-32? It can be argued that the personal popularity of Hitler was the main reason for the Nazi party's electoral success, due to his powerful speaking skills and charismatic attitude. However, it is evident that the nurse, Economic crisis was the feminism definition, main reason for the increased electoral support. Adolf Hitler , Germany , Great Depression 1353 Words | 4 Pages.

NOTES Paper one: Change paper - Reading section 3-4 different texts - Creative writing, short story - Change essay on looking for Alibrandi . and another related text Paper two: Black rock - Essay ; black rock - Poetry essay , two poems weve done in class and one prescribed - Ideas, how theyre portrayed and how the audience is positioned. Year 11 Yearly Exam Poetry Essay Poetry is powerful because it conveys issues that engage a modern audience. Discuss this statement with reference. Adam and Eve , Audience , Contemporary history 911 Words | 3 Pages. In this essay I will compare between the story of Zahra by hospice, hanan el shik and the wiles of blowin wind men by salwa bakr . first of hospice nurse all both el shik and . bakr are arab women.

Hanan Al-Shaykh was born in 1945 in Beirut, Lebanon. What In Sociology! Al-Shaykh began writing at a young age and by sixteen had essays published in the newspaper she would eventually work for, al-Nahar. She attended the hospice nurse, American College for Girls in Cairo, Egypt from 1963 to what is social in sociology 1966. After her graduation she worked in nurse television in Beirut and as a journalist. Arab , Arab League , Arabic language 927 Words | 3 Pages. ?Social Media Marketing Note On Smo Marketing Essay Social Media Optimization can be defined as a process of achieving Marketing Communication . and Branding goals through the use of various Social Media Websites. It is a process to optimize web sites, so that they are easily connected or interlaced with online communities and community websites.

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