James VI & I, on the throne when was written and performed, himself extensively theorized the political role of the monarch as absolute ruler with divine right.
The preceding reign of Elizabeth I was itself marked by continued efforts to justify her rule—both as a result of her gender and of her uneasy familial claim to the throne—including through the theory of the ‘king’s two bodies’, whereby her person was understood to be divided between her mortal of the kingship.
Elizabeth I, last of the Tudor monarchs, reigned until 1603, presiding over an extraordinary rise in England’s fortunes.
After the defeat of the Spanish Armada in 1588, the country (along with its Protestant religion) had established itself as a political power within Europe, and embarked upon a process of imperial expansion.
Some of the cheque-receivers may have accounts with the same bank.
In that case, the money withdrawn by cheques may be deposited with the bank. The created deposits on the one hand are reduced by the amount of cheques but on the other hand, primary deposits are increased by the same amount which enables a bank to create more credit.The range of influences on early modern tragedy includes classical tragic theories and texts alongside medieval dramas and moral philosophy, and any notion of what tragedy consisted of as a genre was pretty much worked out in practice on the stage, rather than in theory.is a play about kingship, written during a period when the monarchy was of central importance, and the role of the monarch was under constant scrutiny and subject to endless theorization.The far-ranging political, spiritual and societal consequences of such an event exemplified the degree to which the monarch’s personal desires and actions could affect the destiny and structure of an entire country, seemingly on a whim.In the 1590s, Shakespeare often dwelt on the nature of monarchy, and the history plays of the period can be read not just as historical narratives featuring kings, but also as meditations on monarchical rule.The sixteenth and seventeenth centuries were a time of tumult and great social upheaval, both in England and in Europe as a whole.Some fifty years before Shakespeare’s birth, the Reformation had swept through the continent, challenging longstanding religious practices and institutions, and resulting in the establishment of a number of alternatives to the Catholic Church of Rome, including Lutheranism and Calvinism.He was undoubtedly a product of his age: not only of the flourishing literary world of early modern England along with writers such as Edmund Spenser, Mary Sidney Herbert and John Donne, but also of a vibrant theatrical world together with playwrights like Christopher Marlowe, Ben Jonson, Thomas Heywood and John Webster.This latter world, while it featured writers with literary aspirations, was distinctly separate from the world of literature: theater was a commercial venture that sought to entertain as many people as possible, and to turn a profit for its participants. Shakespeare was deeply involved in this theatrical world, as playwright, as actor and eventually as shareholder in one of the premier stage companies of the period, the Lord Chamberlain’s (later known as the King’s) Men.The two , we see Shakespeare tackle the issue of patriarchal monarchy, where the king is figured as head of both his own family and of the state, a staple of Jacobean understandings of the relationship between monarch and country that saw in it an analogy to the relationship between a patriarch and his household.When a bank creates deposits, the borrowers are free to withdraw their funds and issue cheques against others.