’s experiencing excessive desire like Aurelius’s.
drenched … mouth Cf. n7.
Caesar Gaius JuliusCaesar (100–44 bce), Roman general. Caesar’s ‘bisexuality’
was well known. For Caesar’s purported same-sex relationship with King Nicomedes,
Loughlin, Same-sex desire in early modern England.indd 196
The Classical Tradition in Translation
The same ill courses both pursue.
No wonder, both alike inclined
Have the same vices of the mind,
Which on it still impressed shall stay,
Hopeless of being washed away.
One bed has always both contained,
Committed royalist and early proponent of the Royal Society, Abraham Cowley wrote a tract in support of the advancement of science, lyric verse, and translations from the classics. At Cambridge Richard Crashaw became fluent in several ancient and modern languages, and began writing verse, publishing a volume of Latin sacred poetry in 1634. Apart from writing the most famous plays in English literature, William Shakespeare produced the narrative poems Venus and Adonis and The Rape of Lucrece, as well as Sonnets. Like all Charles Goodall's homoerotic lyrics in Poetical Recreations that were reprinted in Poems and Translations, 'Idyll 23' is recast in heteroerotic terms, transforming the poem's scornful young man into a merciless young woman. Founder of the gossip-mongering periodical Female Tattler, Thomas Baker had varying success with his plays: the popular The Humour of the Age led to the acting company's prosecution for public immorality.
his now lost Latin play Caesar Interfectus was on
the same theme as JuliusCaesar and is sometimes suggested as
a source for it). 49 Such
parallels suggestively invite us to read Shakespeare’s Athens
in openly English terms.
While Athens is clearly identified with the civic,
Spenser specifically associates Ireland with wood-lore when he has
In Shakespeare’s works,
the ear is treated with an ambivalence that cannot be simply
idiomatic. One of the most famous invocations of the ear is, of
course, Antony’s ‘Friends, Romans, countrymen, lend me
your ears!’ (3.2.65) in JuliusCaesar . 2 Antony’s rhetorical display is
one of the clearest examples of persuasion as force, and stands
against seemingly more naive
‘the God of shepheards Tityrus … / Who taught me homely, as I
can, to make’ (81–2), seeming to align his plaints with the genre of
pastoral elegy. Theocritus’ first idyll, we remember, was focused on
an elegy for the legendary shepherd Daphnis, himself a singer ‘whom
the Muses loved’ (Idyll 1.141).40 Virgil imitates this eclogue twice,
both in Eclogue 5’s elegy for a ‘Daphnis’ probably (and traditionally read as) representing JuliusCaesar, which makes no reference to
Daphnis as a poet, and in Eclogue 10, where the poet Gallus laments
his imagined or metaphorical
Queen Elizabeth, and Joan La Pucelle in 1 Henry VI
A far more glorious star thy soul will
Exeter questions whether the
French have brought about Henry V’s death through conjuring;
and Bedford attempts to conjure a ghost. Later, Joan will evoke
fiends from hell. Invocation of the
want to cry ‘Why keep me waiting, Fortune? Enter the lists! Behold, I am ready for you!’ (64.2–4)
Though Sextius is long dead (he lived in the time of JuliusCaesar), he is ‘alive’ and ‘free’ in several senses. As a ‘real Stoic’, who knows the true value of things, he is free from subjection to Fortune and the body, and to enjoy such mental freedom is to be most alive. Since he has actually died, he has been liberated from the trammels of the body in a more literal and Platonic sense, too. As Seneca explains in the very next letter (65), while pondering the
Metaphor and mental space in Ralegh’s History of the World
JuliusCaesar, IV.iii.218–21. The boat departing at high tide will get you clear of the
shoals. Here too, there is a compression of time to the small scale of one tidal cycle.
What differs is the mapping of roles in the tidal scenario. In Raleigh’s figure, the ebbing
tide is one’s life itself, one’s failing energy. In Shakespeare’s, the tide is a moving target, a
passing opportunity that one must move energetically to exploit.
(b) overwhelms the integration principle that would otherwise
affair involving several triumphal
cars and representations of St Prospero, various cherubim and
angels, Justice, JuliusCaesar, and the seven Virtues. The wedding
of Lucrezia Borgia to Alfonso d’Este in Rome in 1501 was
graced by several triumphal processions, including one representing
Petrarch’s triumph of Scipio Africanus. And the entry of Louis
XII into Milan included an