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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
Steve Sohmer

. In December 1601 the company’s repertory included a number of luminous alternatives. Setting aside Shakespeare’s histories as long in the tooth and inappropriate for a festive evening, the company might have played Julius Caesar or an early Hamlet (neither a dainty dish to set before a Queen) or As You Like It , which I believe they had played before Elizabeth on

in Reading Shakespeare’s mind
Steve Sohmer

. One assessment of the perfection and holiness of seven – exactly contemporaneous with Shakespeare’s writing of Julius Caesar – can be found in A New Treatise of the Right Reckoning of Yeares, and Ages of the World, and mens lives (1599) by Robert Pont (1524–1606). 19 In his preface Pont explains, ‘there is a marvelous sympathie of periodes of times, in

in Reading Shakespeare’s mind
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
Steve Sohmer

repetition. Most of Shakespeare’s foolers occur only once, for example Hamlet’s ‘dram of eale’ (Second Quarto (Q2), throughline 1432) and the playwright’s tantalizing allusion to the words Cicero said and Casca dared not repeat ( The Tragedy of Julius Caesar 1.2.299). By comparison, Shakespeare’s presentation of the forged letter and M.O.A.I. crux – the turning-point in the

in Reading Shakespeare’s mind
Natalie K. Eschenbaum

meaning here), as well as with pleasure. Venery might stupefy the other senses, but it does this by intensifying their pleasures. In Exotericarvm Exercitationvm (1557) Julius Caesar Scaliger originally suggested that titillation was a sixth sense for a different reason. Daniel Jaeckle explains, ‘in a section on touch and taste, Scaliger argues that the desire to copulate depends on a sixth sense that somehow includes touch and sight MUP_Smith_Printer.indd 125 02/04/2015 16:18 126 The senses in context and results in titillation’.29 Scaliger says that this ‘sextus

in The senses in early modern England, 1558–1660
Corin Redgrave

. Corin Redgrave is an actor, director and author. Since his debut in 1962 his work has been divided almost evenly between theatre, film and television. He is the author of Michael Redgrave: My Father (RCB, Fourth Estate, 1995) and Julius Caesar and the English Revolution (Faber & Faber, 2002). As a playwright he has written Roy and Daisy (1998), Fool for the Rest of his

in British cinema of the 1950s
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A theatre maker in every sense
Brian Singleton

after she left it, to reprise her role as Portia in Shakespeare’s Julius Caesar at His Majesty’s in 1932, again under the Asche–Brayton brand, though Asche was no longer leading man material and played Casca. While critics praised Brayton’s return to the stage and indeed her performance, the production was generally criticised for being nostalgic and outmoded, and signalled how out of touch Asche and Brayton as producers had become. Yet, as evidenced in the souvenir programme for the production, this revival was a clear attempt by both of them to salvage their

in Stage women, 1900–50
Open Access (free)
Conversations about the past in Restoration and eighteenth-century England
Daniel Woolf

Walker, the quarrelsome Garter King of Arms, asserted to Samuel Pepys ‘that there was none of the families of princes in Christendom that do derive themselfs so high as Julius Caesar, nor so far by a thousand years, that can directly prove their rise’. 51 Disputed facts were sometimes the occasion of arguments, and by the early eighteenth century Richard Steele found it possible to satirize club-andcoffee-house wagers over history in a bet between two gentlemen, one a recognized authority on ancient sex scandals, ‘upon a point of history, to wit, that Caesar never lay

in The spoken word
The key role of the Italian antiquarian market in the inception of American Classical art collections during the late-nineteenth century
Francesca de Tomasi

.352), purchased from Scalambrini. The 168 coins dating from Julius Caesar to Justinian cost 262.75 French francs. ROBERTS 9781526134554 PRINT.indd 63 03/12/2019 08:56 64 Communities and knowledge production in archaeology 30 These purchases consisted of pottery from a tomb on the slope of Monte Cucco bought from art dealers Fausti and Alberici (MFA 88.538–88.550); pottery from a grave in the Esquiline region bought from Jandolo (MFA 88.551–88.555 and 88.610–88.612); terracottas and bronzes from the Sanctuary of Diana Nemorensis discovered by Luigi Boccanera in 1887 (MFA

in Communities and knowledge production in archaeology