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kin. In order to achieve his purposes, he is ready to lie and to feign mercy only to withdraw it the very next moment: Titus. … O all the extremity Of cruel rigor, to behold me too, To sit unmoved and see me whipped to death? Where are your bowels now? Is this a father? Ah, sir, why should you make my heart suspect That all your late compassion was dissembled? (IV.541–46) 322 323 ‘The Name of King will light upon a Tarquin’ In spite of Titus’s pathetic plea, Brutus –‘father of the country’, as the subtitle of the play styles him, but not a father to his sons
one of the keys to the film’s success. As Andrew Higson explains the process: ‘The cranking up of the romantic comedy in Shakespeare in Love … enabled the film-makers to re-energize the genre, to create something that would appeal to a wider audience.’ 17 He sees this mostly a result of catering for the demands of ‘a highly educated and culturally discerning middle-class audience and for a mainstream romantic comedy audience’ at the same time. 18 Looking back at the film’s release from our post-#MeToo vantage point, it is also interesting to see several