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
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
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
‘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
Pastoral Poetry of the English Renaissance contains the text of the poems with brief headnotes giving date, source and other basic information, and footnotes with full annotation.