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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
Cynthia E. Roman

Press, 1993. 18 Prospectus of the General Design and Conditions for a Complete History of England from the Invasion of Julius Caesar to the Revolution in 1688 by David Hume; from the Revolution to the Present Time by David Williams, London, 1792, p. 2. Published also in Mr. Bowyer’s Address to the

in Cultural identities and the aesthetics of Britishness
Clio, Eurydice, Orpheus
Graham Holderness

things. 6 In Julius Caesar Cassius represents Caesar as arrogating to his own personal aggrandisement the entire history of Rome. Those eliminated from history thus become subjected to unhistoricity , as unmarked and unremembered as Puttenham’s craftsmen and shepherds: . . . he

in Shakespeare’s histories and counter-histories
Tales of origins in medieval and early modern France and England
Dominique Goy- Blanquet

father made in compassing the crown’ ( Henry V , IV.i.290–1). Before him, Richard of Gloucester had stood on stage between two bishops, to court public opinion. The accuracy of records was severely tested in Richard III , not just by the wise child’s asking wise questions about Julius Caesar, but by pert little York, who is caught spreading vile stories about his Uncle Richard. Hall, Shakespeare

in Interweaving myths in Shakespeare and his contemporaries
Stephen Orgel

noblest of the dramatic genres, there were better tragedies and worse ones, and the bad ones were still tragedies. For Renaissance critics generally, the genres were basically a filing system, and in the most detailed and compendious of the anatomies, the Poetics of Julius Caesar Scaliger, many plays appear under a variety of genres. Here is a characteristic passage. He

in Spectacular Performances
Supernatural generation and the limits of power in Shakespeare’s Richard III
Chelsea Phillips

signs. Throughout the canon, calamities in nature frequently portend personal or political unrest. A storm rages the night of Duncan's murder in Macbeth , while the assassins plot in Julius Caesar , and while Lear rages and the country teeters on the brink of civil war. Prospero conjures a storm to right personal and political wrongs; a bolt of lightning punishes the incest of Antiochus and his daughter in Pericles . When associated with the moment of birth, meteorological signs can foreshadow a person's fate, or their capacity for greatness or

in Shakespeare and the supernatural
Abstract only
Hamlet and early modern stage ghosts
Elisabeth Bronfen and Beate Neumeier

addressed to the ghost of Caesar only slightly earlier: ‘Art thou some god, some angel, or some devil / That mak’st my blood cold, and my hair to stare? / Speak to me what thou art’ ( Julius Caesar 4.3.276–8). 7 How were they to be understood, these figures who deconstructed the opposition between life and death? Were they bodies back from the grave, or spirits now divorced from the

in Gothic Renaissance
Abstract only
The mingled yarn of Elizabethan tragedy
Jonathan Bate

a phantasma or a hideous dream: The genius and the mortal instruments Are then in counsel, and the state of man, Like to a little kingdom, suffers then The nature of an insurrection. ( Julius Caesar , 2.1.63–9) Julius Caesar is a dramatisation

in Doing Kyd
Sylvie Magerstädt

deconstructs literary treatments of Caesar and Mark Antony in particular, appears at the start of season 2 (episode 1, ‘Passover’) in relation to Caesar’s funeral. It is arguable how many members of the audience will have a detailed knowledge of the funeral eulogies by Brutus and Mark Antony in Shakespeare’s play Julius Caesar. Yet, it is probably still one of the more well-known literary classics, as it is still required reading for many pupils on both sides of the Atlantic. In an insightful analysis, Angeline C. Chiu discusses the treatment of these iconic speeches. She

in TV antiquity
Gerry Smyth

particularly affronted by Scroop’s 30 The Judas kiss treason that he likens it to ‘Another fall of man’ (477). Coriolanus points up the potential contradictions between political allegiance and personal integrity: the tragic hero’s resolute desire to remain ‘constant’ (703) to himself soon implicates him in ‘Manifest treason’ (718). While in a famous speech from another of the Roman tragedies, Julius Caesar, Antony uses rhetoric to unpick the rhetorical distinction between honour and treason (834–6). In many of the plays, interpersonal deceit and political treason are

in The Judas kiss