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・ Cultural depictions of George I of Great Britain
・ Cultural depictions of George II of Great Britain
・ Cultural depictions of George III of the United Kingdom
・ Cultural depictions of George IV of the United Kingdom
・ Cultural depictions of George Washington
・ Cultural depictions of Harold Godwinson
・ Cultural depictions of Harold Harefoot
・ Cultural depictions of Henry I of England
・ Cultural depictions of Henry IV of England
・ Cultural depictions of Henry V of England
・ Cultural depictions of Henry VII of England
・ Cultural depictions of Henry VIII of England
・ Cultural depictions of Herod the Great
・ Cultural depictions of Isabella of France
・ Cultural depictions of Jacqueline Kennedy Onassis
Cultural depictions of James I of England
・ Cultural depictions of Joan of Arc
・ Cultural depictions of John F. Kennedy
・ Cultural depictions of John of England
・ Cultural depictions of Julius Caesar
・ Cultural depictions of King George VI
・ Cultural depictions of Lady Jane Grey
・ Cultural depictions of lions
・ Cultural depictions of Malcolm II of Scotland
・ Cultural depictions of Margaret Thatcher
・ Cultural depictions of Marie Antoinette
・ Cultural depictions of Mary I of England
・ Cultural depictions of Mary, Queen of Scots
・ Cultural depictions of Matthew Shepard
・ Cultural depictions of Medusa and Gorgons


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Cultural depictions of James I of England : ウィキペディア英語版
Cultural depictions of James I of England
James I of England has been depicted a number of times in popular culture.
==Theatrical depictions==
James was first depicted in depth for the modern stage in the four-act comedy ''Jamie the Saxt'' (1936) by Scottish playwright Robert McLellan. Set in Scotland in the years 1592-94, McLellan's play depicts the King's various conflicts with the Kirk and his Scottish nobles, most particularly with the outlawed Francis Stewart, 5th Earl of Bothwell, in the aftermath of the murder of James Stewart, 2nd Earl of Moray. The play ''The Burning'' (1971) by Stewart Conn deals similarly with events in the same period, but with a greater and more serious focus on James's persecution of witchcraft. The King also plays a significant role in Howard Brenton's ''Anne Boleyn'' (2010) depicted at the moment of his arrival in London around 1603. Of the three characterisations, Brenton's is the only one which touches comfortably on James's likely bisexuality. Common to all three characterisations, however, is a portrait, established by McLellan, of self-willed, seemingly cranky and almost arbitrary love of intellectual disputation for its own sake which belies an ultimately wily style of diplomacy.

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