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Marie Helena Loughlin

’s experiencing excessive desire like Aurelius’s. 9 drenched … mouth Cf. n7. 10 Caesar Gaius Julius Caesar (100–44 bce), Roman general. Caesar’s ‘bisexuality’ was well known. For Caesar’s purported same-sex relationship with King Nicomedes, 7 196 Loughlin, Same-sex desire in early modern England.indd 196 18/12/2013 15:25:11 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, Both

in Same-Sex Desire in Early Modern England, 1550–1735
Marie Helena Loughlin

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.

in Same-Sex Desire in Early Modern England, 1550–1735
Sukanta Chaudhuri

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.

in Pastoral poetry of the English Renaissance
Semiramis and Titania
Lisa Hopkins

his now lost Latin play Caesar Interfectus was on the same theme as Julius Caesar 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 Goddesses and Queens
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Mark Robson

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 Julius Caesar . 2 Antony’s rhetorical display is one of the clearest examples of persuasion as force, and stands against seemingly more naive

in The sense of early modern writing
Syrithe Pugh

‘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 Julius Caesar, which makes no reference to Daphnis as a poet, and in Eclogue 10, where the poet Gallus laments his imagined or metaphorical

in Spenser and Virgil
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Queen Elizabeth, and Joan La Pucelle in 1 Henry VI
Ben Spiller

; A far more glorious star thy soul will make Than Julius Caesar. (I.1.53–6) 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

in Goddesses and Queens
Abstract only
Syrithe Pugh

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 Julius Caesar), 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

in Conversations
Metaphor and mental space in Ralegh’s History of the World
Michael Booth

miseries’. Julius Caesar, 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. MUP_Armitage_Ralegh.indd 211 07/10/2013 14:09 212 Michael Booth (b) overwhelms the integration principle that would otherwise

in Literary and visual Ralegh
Petrarch’s Triumphs and the Elizabethan icon
Heather Campbell

affair involving several triumphal cars and representations of St Prospero, various cherubim and angels, Justice, Julius Caesar, 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

in Goddesses and Queens