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Shakespeare’s exemplary Roman plays
Domenico Lovascio

; and to Julius Caesar in Philaster , The Maid's Tragedy, The Captain , The Chances (1616–25), Sir John Van Olden Barnavelt , The Little French Lawyer , The Double Marriage , The Lovers’ Progress (1619–24, rev. Massinger 1634), and possibly Henry VIII . 3 As significant as these echoes are, however, in this chapter I will focus exclusively on Fletcher's reuse of building materials from Shakespeare's Rome for the construction of his own. While this exploration will concentrate at greater length on Fletcher

in John Fletcher’s Rome
Shakespearean swoons and unreadable body-texts
Naomi Booth

Shakespearean body is mired in expressive complexity. The Shakespearean swoons of interest to me here are abyssal: they stage a fall into the dark depths of a body that is inaccessible to the modes of ‘reading’ attempted by the characters of the play-world. In this chapter, I focus on pivotal swoons in three plays: Much Ado About Nothing , Julius Caesar and Othello . 1 Falling, fainting and shaking are crucial to the action of these plays, and to the trajectories of their characters. These are also plays in which bodies

in Swoon
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Marlowe, Tamburlaine, and Lucans First Booke
Emma Buckle

Introduction In Bellum Ciuile 5, Julius Caesar – who has already cut a swathe through Italy and conducted a destructive campaign in Spain – finally ends up battling with nature itself, when he attempts to sail from Brundisium to Dyrrachium. In the confident expectation that with Fortune on his side a storm will prove no obstacle to his desires, he embarks upon the sea in a tiny boat, amidst the protests of the owner, the lowly Amyclas ( BC .5.476–721). Before setting off, however, he attempts to impress and bribe the humble sailor: Expecta uotis

in Conversations
Fletcher's Roman plays as trauerspeile
Domenico Lovascio

mound of rank sweat and bad breath in Shakespeare's Julius Caesar : the rabblement hooted and clapped their chapped hands and threw up their sweaty night-caps and uttered such a deal of stinking breath because Caesar refused the crown that it had almost choked Caesar – for he swooned and fell down at it. And for mine own part, I durst not laugh for fear of opening my lips and receiving the bad air. 2

in John Fletcher’s Rome
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Questioning the classics
Domenico Lovascio

deployment of Henry Savile's essay ‘The End of Nero and the Beginning of Galba’ as a source. I have also brought attention to the implications of his depiction of Roman women as exceptionally passive in the play, argued for a negative portrayal of stoicism, and illuminated the play's relationship with Shakespeare's Julius Caesar , especially as regards the construction of the character of Maximus as oddly reminiscent of the example of Brutus. As for Bonduca , I have brought new elements to the discussion of the play's sceptical attitude to colonial

in John Fletcher’s Rome
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The Roman plays in the Fletcher canon
Domenico Lovascio

arouse at a gathering of early modernists would be with Shakespeare and his Titus Andronicus (1584–94), Julius Caesar (1599), Antony and Cleopatra (1606–07), Coriolanus (1607–09), and Cymbeline (1609–11). Then, someone would be likely to think of Jonson and his Poetaster, or His Arraignment (1601), Sejanus His Fall (1603), and Catiline His Conspiracy (1611). Very few people, if any, would think of Fletcher. As it happens, his name has very infrequently appeared in print in connection with said phrase. 2

in John Fletcher’s Rome
Open Access (free)
Representations of Irish political leaders in the ‘Haughey’ plays of Carr, Barry and Breen
Anthony Roche

money in thy purse’ as the more apposite. But the Shakespeare play which most proliferates intertextually in Charlie is Julius Caesar. Charlie himself, in recalling his meeting with Margaret Thatcher, invokes the figure of Caesar and his ‘great campaigns’ (p. 43) to lament the fact that ‘I would never be tested on a great stage’. The references to the play itself are most prominent when he and his backers are considering the heave against Jack Lynch. To P.J. Mara’s query as to whether it is too soon, Haughey responds: ‘There is a tide [in the affairs of men,] which

in Irish literature since 1990
The inadequacy of Roman female exempla
Domenico Lovascio

plays (Lavinia in Titus Andronicus ; Portia and Calpurnia in Julius Caesar ; Octavia in Antony and Cleopatra ; Volumnia, Virgilia, and Valeria in Coriolanus ). Yet Shakespeare's Roman women are not only more evenly distributed across the different tragedies; they also generally seem to have more relevance – at least plot-wise – in the plays in which they appear than their Fletcherian counterparts: four of these have (very) minor roles (Ardelia, Phorba, Claudia, and Marcellina in Valentinian ); two may be described as supporting characters with a limited influence

in John Fletcher’s Rome
Open Access (free)
Irish drama since 1990
Clare Wallace and Ondrej Pilný

artistic director and co-founder of Loose Canon Theatre Company (1996) leads a full-time ensemble of performers in an ongoing actor training programme. The company’s philosophy foregrounds the role of the actor in the theatre experience. Since 1996 they have produced principally works of Elizabethan and Jacobean drama ( Julius Caesar, Coriolanus, Hamlet, Macbeth, The Revenger’s Tragedy, The White Devil, The Duchess of Malfi) as well as modern European classics such as Ibsen’s Hedda Gabler. In overtly claiming a genealogy of performance/directing, Byrne is remarkable for

in Irish literature since 1990
Abstract only
Andrew Teverson

novel, like the play, begins, and in the central plot, concerning the murder of a head of state by an ambitious underling, who is then haunted, literally and metaphorically, by his deeds. The novel also reper-forms the tragedy of Julius Caesar , which offers a dramatic prefiguration of the plot-line in which the protégé of a political leader becomes his assassin. Rushdie summons the spirit of tragedy in Shame for a number of reasons. In the first place the strong intertextual bond between Rushdie’s novel and tragic narrative serves to

in Salman Rushdie