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By Julian Swann

at the accession of Louis XIII in 1610 following the assassination of his father, the Bourbon dynasty stood on risky foundations. For all of Henri IV's undoubted achievements, he had left his son a realm that used to be nonetheless prey to the pursuits of an aristocracy that possessed self reliant army strength and used to be ready to inn to violence and vendetta so as to shield its pursuits and honour. to set up his own authority, Louis XIII used to be compelled to resort
to conspiracy and homicide, or even then his authority used to be regularly challenged. but a bit over a century later, because the reign of Louis XIV drew to an in depth, such disobedience was once very unlikely. as a substitute, an easy royal command expressing the sovereign's shame used to be enough to compel the most
powerful women and men within the country to undergo imprisonment or inner exile with out a trial or a chance to justify their behavior, leaving behind their general lives, leaving households, careers, places of work, and possessions at the back of in obedience to their sovereign. to give an explanation for that transformation, this quantity examines the advance of this new 'politics of disgrace', why it emerged, the way it was once conceptualised, the conventions that ruled its use, and reactions to it, not just from the
perspective of the monarch and his noble matters, but in addition the good organizations of the world and the broader public. even supposing that new version of shame proved remarkably profitable, influencing the information and activities of the dominant social elites, it was once however contested, and the critique of disgrace
connects to the second one goal of this paintings, that is to take advantage of moving attitudes to the perform as a method of investigating the character of Ancien Régime political tradition and a few of the dramatic and profound adjustments it skilled within the years isolating Louis XIII's dramatic seizure of strength from the French Revolution.

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