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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
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
Abstract only
A poetics of passing out
Naomi Booth

chapter are abyssal: they stage a fall into the dark depths of a body that is inaccessible to the modes of ‘reading’ attempted by other characters in the plays. I read swoons in Much Ado About Nothing (1598), Julius Caesar ( c .1599) and Othello (1604), because these are plays in which bodies are explicitly presented as texts to be read and deciphered – and swooning reveals such processes of reading to be complex, fraught, and/or tragically flawed. Each swoon I draw into focus here occurs when the body cannot be parsed through the signifying systems available

in Swoon
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
Sarah C.E. Ross and Elizabeth Scott-Baumann

Corinthian sailors. 10]  greater: Charles is a greater sovereign than Julius Caesar, who invaded England from Gaul in 55 and 54 BC. 12]  engrossed: thickened, swollen. 28]  Defender of the Faith: Pope Leo X granted Henry this title in 1521, and all subsequent English monarchs took it on. Cromwell refused the crown and so this title also. 180 Katherine Philips At home provoked, abroad obliged; Nor ever man resisted thus, No not great Athanasius. No help of friends could, or foes’ spite, To fierce invasion him invite. Revenge to him no pleasure is, He spared their blood

in Women poets of the English Civil War
Fletcher and the classics
Domenico Lovascio

dialogue between Hiero and the poet Simonides set in 474 BCE, is the first literary work ever to investigate the tyrant's inner life. Cf. Robert S. Miola, ‘ Julius Caesar and the Tyrannicide Debate’, Renaissance Quarterly 38 (1985), 271–89 (280 n.23); William A. Armstrong, ‘The Elizabethan Conception of the Tyrant’, Review of English Studies 22 (1946), 161–81 (174–6). See also Silvia Bigliazzi, ‘Introduction: The Tyrant's Fear’, Comparative Drama 51 (2017), 434–54; Francesco Dall’Olio, ‘Xenophon and Plato in Elizabethan Culture: The Tyrant's Fear Before Macbeth

in John Fletcher’s Rome
Yvette Hutchison

associated the title of the song with Bush’s foreign policy, equating ‘Let the dogs out’ with ‘Let slip the dogs of war’, in Marc Antony’s speech in Shakespeare’s ‘Julius Caesar’, bulletin_board/49/messages/1123.html, accessed 25/1/12. 39 For example, the debates as to whether ancient Egypt was Grecian, African or Arabic, and today whether it is part of the Arabic or African world. African Renaissance and the ‘rainbow nation’ 167 cult it is to separate histories and mythologies from local contemporary politics, as we see in the way the Timbuktu

in South African performance and archives of memory