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The Life and Death of King John

 

One of the most romantic and frequently claimed spirit entities, manifesting at many Spiritualist séances of different mediums over many decades. He claimed that he had been Henry Owen Morgan, the famous buccaneer who was knighted by Charles II and appointed governor of Jamaica. "Katie King," Florence Cook 's control, claimed to be John King's daughter. John King first manifested with the Davenport brothers in 1850, his first materialization following the flash of a pistol fired by Ira Davenport in the dark. He remained as spirit manager with the Davenports throughout their career, and in typtology and direct voice he gave them sound advice during difficult times.

While faithfully serving the Davenport brothers, King took charge of the séances in the loghouse of Jonathan Koons in the wilds of Ohio. As the head of a band of 160 spirits, King claimed descent from a race of men known as "Adam," who had as leaders "the most ancient angels." They signed their communications "King No. 1," "No. 2," and so forth, and sometimes "Servant and Scholar of God." In his last incarnation King had strayed from the path of virtue and become a redoubtable pirate. He communicated in direct voice through a trumpet, his own invention, and through direct scripts. The tone of these writings was sanctimonious and upbraiding (e.g., "We know that our work will be rejected by many, and condemned as the production of their King Devil, whom they profess to repudiate, but do so constantly serve by crucifying truth and rejecting all that is contrary to their own narrow pride and vain imaginings.").

The Telegraph Papers of 1856 published a psychometric reading of the writing of John King by a Mrs. Kellog and a Miss Jay of New York, to whom the paper was handed in a sealed envelope. Kellog became entranced and said: "A person of great might and power appears before me—a power unknown. I cannot compare him to anyone on earth. He wields a mighty weapon. I can neither describe nor explain the influence that emanates from him. I can only compare it to one of whom we read in the Bible. It seems like unto one who 'rules the world.' It does not seem to have been done by any human being. It does not seem to me that a mortal could have been employed even as the instrument for this writing. This is beyond human effort."

Jay gave a similar reading: "It must be a power so far exalted in the scale of development as to grasp the great laws that govern all material combinations. He does not seem to be of the Earth, but to belong to another race of beings, whose spiritual growth has continued for ages."

In the early years of British Spiritualism it was the aspiration of many mediums to secure the influence of John King. Mary Marshall was the first, Agnes Guppy-Volckman, GeorginaHoughton, Mrs. A. H. Firman, Charles Williams, William Eglinton, and Cecil Husk followed. In the United States he was claimed by Mr. and Mrs. Nelson Holmes and Helena Petrovna Blavatsky during her early career as a Spiritualist. V. S. Solovyoff, in his book A Modern Priestess of Isis (1895), suggested that Blavatsky's Mahatma Koot Hoomi was John King transformed by Eastern garb.

On March 20, 1873, in a daylight séance conducted by Charles Williams, John King manifested so successfully that a sketch was made of him by an artist. A week later he appeared again in solid and material form. He was usually seen in the light of a peculiar lamp that he carried and that illuminated his face and sometimes the room. In Paris on May 14, 1874, a young man tried to seize him. John King eluded his grasp and left a piece of drapery behind. The medium was found entranced. He was searched, but no paraphernalia for deception was discovered.

In time John King took charge of the physical phenomena of Etta Wriedt in London. He greeted the sitters of Williams's and Cecil Husk's circle by their names. W. T. Stead once found a mislaid manuscript through communication in automatic writing from John King. "Feda," the control of Gladys Osborne Leonard, informed H. Dennis Bradley during a séance of his own that John King often helped with the voices and that the volume of King's voice was enormous.

Of all the public activities of John King, his association with Eusapia Palladino was the most remarkable. He said in many messages that Palladino was his reincarnated daughter. A curious story of his appearance in strong light is told by Chevalier Francesco Graus, an Italian engineer, in a letter to Vincent Cavalli. The letter was published in Luce e Ombra in April 1907. At the time of the narrative, Palladino worried herself ill over the theft of her jewels. She was so affected by the reproaches of the police inspector that she fainted. The table began to move and rapped out, "Save my daughter, she is mad." Graus later wrote of the incident: "A minute later in full light, a phenomenon occurred which I shall never forget. On my left, in the space separating me from Mme. Palladino, appeared the form of an old man, tall, rather thin, with an abundant beard who, without speaking, laid the full palm of his right hand on my head, which he squeezed between his fingers as if to draw from it some vital fluid, and when he saw fit he raised his hand and spread over Eusapia's head the fluid he had withdrawn from my brain. He repeated this operation three times in succession, then the figure dissolved. Mme. Palladino immediately returned to her normal state. I remained for three consecutive days in such a condition of cerebral prostration, on account of the fluid that had been drawn from me, that I could not carry on the smallest intellectual work."

King and Morgan

The identification of John King with Henry Owen Morgan, the pirate, was investigated by Sir Arthur Conan Doyle, who had in his possession a contemporary picture of the buccaneer king. It bore no resemblance to the tall, swarthy man with a noble head and full black beard who presented himself in materialized form. But Doyle stated that a daughter of a recent governor of Jamaica was confronted in a séance in London by John King, who said to her, "You have brought back from Jamaica something which was mine." She asked, "What was it?" He answered, "My will." It was a fact. Her father had returned with the document.

Through Etta Wriedt at Julia's Bureau in London, John King gave many particulars in regard to his corporeal life in Jamaica and made beautiful bugle calls through the trumpet, saying that was how he used to call his men together in the old buccaneering days, one terrific blast being his signal to fight.

In February 1930 John King manifested in Glen Hamilton 's circle in Winnipeg, Canada, and carried on a dialogue with "Walter," who controlled another medium, feigning that they were aboard a pirate ship among a crew of ruffians. This playacting had a psychological purpose—the recovery of past memories and the imagining of a sailing ship that was afterward built out of ectoplasm.

The continued manifestation of John King with different mediums over a period of some 80 years raises a number of interesting questions. If the manifestations were genuine, why should a relatively unimportant individual dominate séance phenomena? Why should such a personality exist virtually unchanged for nearly a century? Was there so little progress in the spirit world? Or did the interest of mediums in a well-defined personality bring about conscious or unconscious fraud? Or was John King perhaps a fictitious personality like "Philip," the experimental "ghost" created by members of the Toronto Society for Psychical Research?

Sources:

Berger, Arthur S., and Joyce Berger. The Encyclopedia of Parapsychology and Psychical Research. New York: Paragon House, 1991.

Medhurst, R. G., and K. M. Golney. "William Crookes and the Physical Phenomena of Mediumship." Proceedings of the Society for Psychical Research 54 (1964).

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Wikipedia: The Life and Death of King John
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The death of King John, in an 1865 production of the play at the Drury Lane Theatre, London.

The Life and Death of King John, a history play by William Shakespeare, dramatises the reign of King John of England (ruled 1199–1216), son of Henry II of England and Eleanor of Aquitaine and father of Henry III of England. It is believed to have been written in the mid-1590s but was not published until 1611.[1]

Contents

Sources

Shakespeare's play has a close relationship to an earlier history play, The Troublesome Reign of King John (ca. 1589). The consensus among modern scholars is that the earlier play provided a source and model for Shakespeare.[2] There is, however, a strong line of oppositional criticism that argues for the priority of Shakespeare's play, beginning with Peter Alexander and continuing with the work of E. A. J. Honigmann.[3] Some critics believe that Shakespeare revised the early version of the play in the mid-1590s. It is possible that The Troublesome Reign is his play or that it is a "bad quarto" or memorial reconstruction put together by one or more actors in an earlier stage production.

Other probable sources of note include Holinshed's Chronicle, John Foxe's Acts and Monuments and Matthew Paris's Historia Maior.

Date and text

Facsimile of the first page of King John from the First Folio, published in 1623

The play was in existence by 1598, as it is mentioned by Francis Meres in his list of Shakespearean plays published in that year, Palladis Tamia; no early performances, however, are recorded. The earliest known performance took place in 1737, when John Rich staged a production at the Theatre Royal, Drury Lane. In 1745, the year of the Jacobite rebellion, competing productions were staged by Colley Cibber at Covent Garden and David Garrick at Drury Lane. Charles Kemble's 1823 production made a serious effort at historical accuracy. Since that time, King John has been one of Shakespeare's least-performed plays.[4] It was first published in the First Folio in 1623. Stanley Wells and Gary Taylor, editors of the Oxford edition of The Complete Works, date the play to 1595 or 1596.[5]

Performance history

Numerous 17th century references to King John testify to the play's popularity, but the first recorded performance did not take place until 1737. David Garrick staged the first successful revival in 1745. Charles Kemble staged a production in 1823, notable for inaugurating the 19th century tradition of striving for historical accuracy in Shakespearean production. Other successful productions of the play were staged by William Charles Macready (1842) and Charles Kean (1846). Twentieth century revivals include Robert B. Mantell's 1915 production (the last production to be staged on Broadway) and Peter Brook's 1945 staging, featuring Paul Scofield as the Bastard.

Herbert Beerbohm Tree made a silent movie version in 1899 (a short film consisting of the King's death throes in Act V, Scene vii), which is the earliest surviving film adaptation of a Shakespearean play. King John has been made for television twice: in 1951 with Donald Wolfit and in 1984 with Leonard Rossiter.[6]

Characters

Synopsis

King John is visited by an emissary from France, demanding that he hand his throne over to his nephew Arthur, whom the French King Philip believes is the rightful heir to the throne. If John refuses to abdicate, war is threatened.

John oversees a land dispute between Robert Faulconbridge and his older brother Philip (known as 'the Bastard'), during which it becomes apparent that Philip is the illegitimate son of King Richard I. Queen Elinor, mother to both Richard and John, recognises the family resemblance and suggests that he renounce his claim to the Faulconbridge land in exchange for a knighthood. John knights the Bastard under the name Richard.

In France, King Philip and his forces besiege the English-ruled town of Angers, threatening attack unless its citizens support Arthur. Philip is in turn supported by Austria, who is believed to have killed King Richard. The English contingent arrives, and Elinor and Arthur's mother Constance trade insults. Kings Philip and John stake their claims in front of Angers' citizens, but to no avail - their representative says that they will support the rightful king, without committing themselves as to who that might be.

The Bastard proposes that both England and France unite to quell the rebellious citizens of Angers, at which point they propose an alternative: Philip's son, Louis the Dauphin, should marry John's niece Blanche, a scheme that gives John a stronger claim to the throne, while Louis gains territory for France. Though a furious Constance accuses Philip of abandoning Arthur in favour of this new scheme, Louis and Blanche are married.

Cardinal Pandulph arrives from Rome bearing a formal accusation that John has disobeyed the pope and appointed an archbishop contrary to his desires. John refuses to recant, whereupon he is excommunicated. Pandulph pledges his support for Louis, though Philip is hesitant, as he has just established family ties with John. Pandulph brings him round by pointing out that his links to the church are older and firmer.

War breaks out, Austria is beheaded by the Bastard (in revenge for his father's death), and both Angers and Arthur are captured by the English. Elinor is left in charge of English possessions in France, while the Bastard is sent to collect funds from English monasteries. John orders Hubert de Burgh to kill Arthur. Pandulph points out to Louis that he now has as strong a claim to the English throne as Arthur (and indeed John), and Louis agrees to invade England.

Hubert finds himself unable to kill Arthur. John's nobles urge Arthur's release. John agrees, but is wrong-footed by Hubert's announcement that Arthur is dead. The nobles believe he was murdered, and defect to Louis' side. The Bastard reports that the monasteries are unhappy about John's attempt to seize their gold. Hubert has a furious argument with John, during which he reveals that Arthur is still alive. John, delighted, sends him to report the news to the nobles.

Arthur is killed after falling from a castle wall. The nobles believe he was murdered by John, and refuse to believe Hubert's entreaties. John attempts to make a deal with Pandulph, swearing allegiance to the Pope in exchange for Pandulph negotiating with the French on his behalf. John orders the Bastard, one of his few remaining loyal subjects, to lead the English army against France.

While John's former noblemen swear allegiance to Louis, Pandulph explains John's scheme, but Louis refuses to be taken in by it. The Bastard arrives with the English army and threatens Louis, but to no avail. War breaks out with substantial losses on each side, including Louis' reinforcements, who are drowned during the sea crossing. Many English nobles return to John's side after a dying French nobleman, Melun, warns them that Louis plans to kill them after his victory.

John is poisoned by a disgruntled monk. His nobles gather around him as he dies. The Bastard plans the final assault on Louis' forces, until he is told that Pandulph has arrived with a peace treaty. The English nobles swear allegiance to John's son Prince Henry, and the Bastard reflects that this episode has taught that internal bickering could be as perilous to England's fortunes as foreign invasion.

Reputation

In the Victorian era, King John was one of Shakespeare's most frequently staged plays, in part because its spectacle and pageantry were congenial to Victorian audiences. King John, however, has decreased in popularity: it is now one of Shakespeare's least-known plays and stagings of it are very rare.[7]

See also

References

  • Wells, Stanley, and Gary Taylor, eds. 1988. The Complete Works. By William Shakespeare. Compact ed. Oxford: Clarendon Press. New York: Oxford University Press. ISBN 0198711905.

Footnotes

  1. ^ http://estc.bl.uk/F/2KVQPI5I2VL4IVR63MIGSXSD5HRLVJHUTT665L973R3FG2HTNG-51168?func=full-set-set&set_number=123201&set_entry=000008&format=999
  2. ^ Hunter, G. K. English Drama 1586-1642: The Age of Shakespeare (Oxford: Clarendon Press, 1997): 223.
  3. ^ King John, ed. Honigmann (London: Methuen and Co., 1981): xi-lix.
  4. ^ F. E. Halliday, A Shakespeare Companion 1564-1964, Baltimore, Penguin, 1964; pp. 264-65.
  5. ^ Wells and Taylor (1988, 397).
  6. ^ Charles Boyce, Shakespeare A to Z, Roundtable Press (1990).
  7. ^ Dickson, Alexander (2008). "King John". The Rough Guide to Shakespeare (2 ed.). London: Rough Guides. p. 173. ISBN 978-1-85828-443-9. 

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