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James Doelman

-­Martialian tradition, or at least to deny these elements in their own work. Renaissance practitioners and theorizing A theoretical understanding of the epigram in the Renaissance may be derived from both the poetic treatises of the period – ­such works as Julius Caesar Scaliger’s Poetices Libri Septem, Jacobus Pontanus’s Poeticae Institutiones, and Puttenham’s Arte of English Poesie – a­ nd from the prefatory material to published epigram collections.76 Treatises were fairly uniform in their description of the genre, but Scaliger was the most frequently cited by later writers.77 His

in The epigram in England, 1590–1640
Open Access (free)
Postcolonial women writers in a transnational frame
Elleke Boehmer

national axes – which is conducted throughout.34 Beginning with Ammu’s comment, à propos of Brutus’s role in Julius Caesar, ‘you can’t trust anybody’, and – the unstated corollary – that there must always be someone to blame for a crisis (GST 83), The God of Small Things tirelessly worries at the problem of responsibility: the fact that it is the twins’ grand-aunt Baby Kochamma who betrays the lovers; that a terrified Estha is the one who identifies Velutha to the police. The central question, who does what to whom, which the novel repeatedly poses, is a further way of

in Stories of women
Rewriting Shakespeare in A Poem upon the Death of O. C.
Alex Garganigo

. Margoliouth, Legouis, Donald Friedman, and Nigel Smith have caught allusions to Julius Caesar, Antony and Cleopatra, Romeo and Juliet, King Lear, and Henry V in other parts of the poem.9 But no one seems to have noticed that ‘I saw him dead’ is a direct quotation of Hal’s startled response to Falstaff’s rising from the dead in Henry IV, Part 1. Shortly after Douglas appears to have slain Falstaff in Act 5, Prince John sees Falstaff alive and asks Hal, ‘Did you not tell me this fat man was dead?’ Hal insists, ‘I did, I saw him dead, / Breathless and bleeding on the ground

in Texts and readers in the Age of Marvell
Alison Morgan

heraldry, the lion symbolises bravery and strength, hence the description of the yeoman as a ‘counterfeit lion’. 42 Medusa, 1:34 (1819), pp. 271–2. 43 This epigraph varies from the original lines in Cato by Joseph Addison: ‘True fortitude is seen in great exploits, / That justice warrants, and that wisdom guides.’ First performed in 1713, Addison’s play tells the story of the eponymous Cato, a Stoic and opponent of Julius Caesar. The play is regarded as an attack on government tyranny, and as a championing of individual liberty, as shown in the Preface to Cato written

in Ballads and songs of Peterloo
Open Access (free)
Settler emigration, the voyage out, and shipboard literary production
Fariha Shaikh

‘erosion of gender norms’, as she represents a double inversion of stereotypical gender roles: not only does she protect her brother but she also participates in the violence that usually marked boys’ adventure fiction. 44 In the first two issues of the Somersetshire Gazette , a short play was published with the title The Row, the Wreck, and the Reconciliation . 45 The dramatis personae lists Julius Caesar Hannibal Smith who has ‘just … lost some twenty thousand pounds’, his daughter Zerlina, her lover and Smith’s clerk, Lorenzo Jones, and an old and rich merchant

in Worlding the south
Abstract only
James Doelman

Renaissance Texts and Studies (Binghamton, NY: Center for Medieval & Early Renaissance Studies, 1985), pp. 638–44, p. 638. He describes the elder Scaliger (Julius Caesar) as ‘a major exponent of epigrammatic sequences’ (640) without giving a reference. 67 Reynolds, Epigrammata (1611). 68 Niccols, The Furies, sig. A3r. Epigrams in print187 69 Charles Cathcart, ‘John Davies of Hereford, Marston, and Hall’, Ben Jonson Journal, 17(2010), pp. 242–8, p. 243. 70 Jonson, ‘To All to Whom I Write’, Ep. 9. 71 Partridge, ‘Jonson’s Epigrammes: The Named and the Nameless’, p. 155. 72

in The epigram in England, 1590–1640
Travel fiction and travelling fiction from D.H. Lawrence to Tim Parks
Suzanne Hobson

, tolerance and decency. Though Lawrence does not go quite so far as to argue that England is itself an effect of empire, he insists that it is a fiction, conceived after the fact to justify the same kind of expansionist and homogenising practices as were demonstrated by the Romans in their relationship with Etruria: In Etruria there is no starting point. Just as there is no starting-point for England, once we have the courage to look beyond Julius Caesar and 55 BC. … What does the word England mean, even? What clue would it give to the rise of the English, should all our

in End of empire and the English novel since 1945
Abstract only
J. A. Smith

jumping between two kinds of neck breaking sets up a pattern that continues to code the development of the letter. The next thing Lovelace discusses is his own disinclination to write:  ‘how can I  think it in my power to divert, when my subject is not pleasing to myself’. Comparing himself to Julius Caesar, Lovelace next swings from considering the melancholy of having achieved everything he had set out to, to interrupting himself with the thought that having resorted to rape he has achieved nothing at all: ‘why say I completed? when the will, the consent, is wanting

in Samuel Richardson and the theory of tragedy
James Joyce’s Ulysses (1922)
Gerry Smyth

‘Et Tu, Healy’, in which the precocious writer likened the relationship between Parnell and Tim Healy – trusted lieutenant and chief agent of the fall – to that (as portrayed in the Shakespeare play) between Julius Caesar and his friend Brutus. It was at this point, Ellmann explains, that ‘the word betrayal became a central one in Joyce’s view of his countrymen’ (1959: 32). That sense of betrayal, however, was not only political. Parnell’s great sin, after all, was to be implicated in a series of personal relationships which undermined the institution of marriage

in The Judas kiss
Sarah C.E. Ross and Elizabeth Scott-Baumann

. 124–38]  Elizabeth Wade White suggests that Bradstreet drew on Sir Walter Ralegh’s History of the World (1614); see book I, chapter 12. 38 Anne Bradstreet The third monarchy, being the Grecian, beginning under Alexander the Great in the 112 Olympiad […] Fair Cleopatra next, last of that race, Whom Julius Caesar set in royal place; Her brother by him lost his traitorous head For Pompey’s life, then placed her in his stead. She with her paramour, Mark Anthony Held for a time, the Egyptian monarchy, Till great Augustus had with him a fight; At Actium slain, his navy

in Women poets of the English Civil War