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Jean R. Brink

underlines the alternative shadowed in the November eclogue. This pastoral elegy for Dido also functions as Spenser's comment on Vergil's fifth eclogue, the elegy for Julius Caesar. This elegiac connection suggests the possibility that Elizabeth, like Julius Caesar, will die without ensuring the stability of her state, that her death, like Caesar's, will lead to civil war. November, the month of Elizabeth's accession to the throne, becomes in the

in The early Spenser, 1554–80
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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
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E.J. Clery and Robert Miles

, should the monarch threaten their ancient rights. There were two important classical sources for the political debate on the Goths. One was Julius Caesar’s De Bello Gallico (Commentaries on The Gallic War); the other, longer and more influential source was the Germania of Tacitus. 1 John Aikin, the translator of the edition used here, 2 was, perhaps not incidentally, both a

in Gothic documents
Donne’s Holy Sonnet ‘Oh my black Soule’
Angelika Zirker

of the soul is, in Donne’s sonnet, expressly turned back on the one true martyr, Christ, while Prudentius refers to the martyrs who sacrified themselves for Christ. 80 It is Donne in his sermon who establishes a link between the two. The image of the soul washing in blood, however, also evokes a dramatic connection. In Shakespeare’s Julius Caesar , first performed in London in 1599, Caesar describes the dream of Calphurnia

in William Shakespeare and John Donne
Nine hundred years of pre-Victorian reinvention
Joanne Parker

that turned Alfred into a hero began in his own lifetime. The earliest source that Victorian Alfredianists could turn to for information about the king was the Anglo-Saxon Chronicle – a collection of annals about the British Isles spanning the period from the landing of Julius Caesar to the twelfth century. This chronicle was probably first issued in late 892 or early 893. It may have been completed on the instructions of Alfred – possibly to inspire a sense of unity at a time of Viking invasion – but there is no certain evidence for this.2 In an age of frequent and

in ‘England’s darling’
Politics and performance in 1820
Malcolm Chase

Coburg’s Giovanni in the Country! or, The Rake Husband, which included a version of La Marseillaise and the depiction of a parliamentary election culminating with women presenting a cap of liberty to the victor.22 Sometimes it was subtler but no less powerful. At Leeds, for example, Julius Caesar was presented in June ‘for the first time these thirty years’.23 The production at York’s Theatre Royal was the first in the city since 1813.24 These revivals are consistent with a renewed interest in the play that had begun in Manchester a few weeks after Peterloo. While

in Politics, performance and popular culture
Peter Ernst von Mansfeld’s garden of antiquities in Clausen, Luxemburg, 1563–90
Krista De Jonge

Resurrecting Belgica Romana: Peter Ernst von Mansfeld’s garden of antiquities in Clausen, Luxemburg, 1563–90 11 Krista De Jonge From the earliest decades of the sixteenth century onwards, Netherlandish humanists started searching for archaeological evidence that would confirm their Roman roots. The southern Low Countries, called Belgica after Julius Caesar’s Commentarii de bello Gallico,1 were known to have once been part of Roman Gaul. The quest for local antiquity ran parallel to their studies of antique Rome, on site in Italy or from a distance through more

in Local antiquities, local identities
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Sam Rohdie

multiplicity and differential origins that it is a puzzle, not so much false, as incomprehensible, closest perhaps, to another parallel time zone narration, Orson Welles’s Mr Arkadin (1955). Welles, like Nolan, found his inspiration in Shakespeare, and, specifically, as Nolan did, in Macbeth and Julius Caesar, though there are also other Shakespeare citations in the Welles: Othello and Chimes at Midnight and the ubiquity of Wellesian (and Shakespearian) masquerade, trickery and false identities. Kilpatrick is in fact murdered, but at the hands of his friends not his enemies

in Film modernism
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A writer’s guide to the Romans
Carey Fleiner

The author’s introduction includes a general introduction to the period, that is, the era from the middle to later Republic (roughly the late fourth, early third, centuries BCE) through to the end of the Pax Romana (the end of the second century CE). The main regions covered will be the western regions of the Empire, although there will be discussion of Rome’s involvement with the Greek East, and how Greek culture came to play an important influence in Roman culture; Rome’s involvement with Egypt will also be included, especially as Julius Caesar and Mark Antony’s adventures with Cleopatra are popular topics with authors and screenwriters. The introduction discusses which aspects of Roman culture are discussed in subsequent chapters.

in A writer’s guide to Ancient Rome
Philhellene Protestantism, Renaissance translation and English literary politics

Relatively late manifestations of the European philhellene revival of Greco-Roman letters presented to readers complex, extended prose fiction in which the trials of love mask an implicit moral and political allegory. Inevitably, coming during the Reformation, Counter-Reformation and the Catholic Reformation, this cultural phenomenon was not without its religious and political dimensions. Longus, Achilles Tatius and Heliodorus were the three principal English exponents of rhetorically conscious Greco-Roman erotic romance. This book enhances the understanding of the erotic romances of Philip Sidney, Shakespeare, and Lady Mary Sidney Wroth by setting them within an integrated political, rhetorical, and aesthetic context. It investigates how Renaissance translators alter rhetorical styles, and even contents, to accord with contemporary taste, political agendas and the restrictions of censorship. Particular attention is paid to differences between the French courtly style of Jacques Amyot and François de Belleforest and the more literal translations of their English counterparts. Valuable perspective on the early translations is offered through the modern English versions in B.P. Reardon's Collected Ancient Greek Novels. The book considers the three texts of Sidney's Arcadia, as a political romance sharing many of the thematic and rhetorical concerns of the ancients. It focuses on a narrow range of Shakespeare's plays including Julius Caesar and Antony and Cleopatra. The book identifies Mary Sidney Wroth's masque-like prose allegory, The Countess of Montgomery's Urania, as philhellene Protestant political propaganda.