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Shakespeare rewrites the Holy Ghost
Steve Sohmer

before the action began, Hamlet was born on the very day Old Fortinbras was overcome by Old Hamlet who, on the day of that combat and young Hamlet’s birth, wore the armor Old Hamlet’s Ghost bears when he confronts his son on the parapets of Elsinore (in 1.4). 11 I will show in a later chapter that this reckoning proves Hamlet’s illegitimacy. An earlier instance of the same ruse – in Julius Caesar

in Shakespeare for the wiser sort
Sylvie Magerstädt

loss of exclusive rights to theatres, there would now be less opportunity to show their old films. The other way in which antiquity entered US television screens during this period was through individual episodes of other television programmes. The fantasy sitcom Bewitched (1964–72), for example, included an appearance of Julius Caesar (season 6, episode 3, ‘Samantha’s TV antiquity  23 Caesar Salad’). Most of the references to the ancient world, however, can be found, somewhat surprisingly, in science fiction programmes. For instance, ABC’s The Time Tunnel (1966

in TV antiquity
Sylvie Magerstädt

, which had previous experience in the genre with the production of Cleopatra (1999) only a year prior. The two-part miniseries followed trends set in the previous decades and ‘added contemporary references for its multi-cultural, post-feminist audience with a black Orpheus [and] Atalanta as a female Argonaut’ (Blanshard and Shahabudin, 2011: 132). It starred, among other notable actors, Derek Jacobi (the Claudius in I, Claudius) as Phineas and Ciarán Hinds (Rome’s Julius Caesar) as King Aeson. Yet despite the high-profile cast (Dennis Hopper also featured in the role

in TV antiquity
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Tanya Pollard

originals brings us closer to them, it can allow us to capture their power and prestige. For him, as for his contemporaries, origins reside in the ancient Greek world. Rome features prominently in his account of theatre history, but Romans, like the even more belated English, are already imitators, and as such they repeatedly and insistently point back to original models. In particular, Heywood describes Julius Caesar’s desire to emulate the Greek heroism rooted in Hercules: the first actor, who imitates his father, the king of the gods. If audiences imitate the figures

in Thomas Heywood and the classical tradition
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Victor Skretkowicz

on a narrow range of Shakespeare’s plays: Julius Caesar (1599), Antony and Cleopatra (1606), Coriolanus (1608), The Winter’s Tale (1609–10) and Cymbeline (1609–10). The Roman plays, derived from Amyot’s and North’s translations of Plutarch’s Lives , are linked through theme and rhetorical styles to the philhellene Protestant programmes of political and

in European erotic romance
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Novelty Fair, burlesquing history
Jo Briggs

, representing a year each, in the very same way that library copies of the Illustrated London News or Punch do for us. It is this Victorian urge to characterize each year (55 BC is Julius Cæsar, AD 1215 a Baron of the Magna Carta, AD 1630 Civil War and so on) that has persisted to the extent that 1848 and 1851 are seldom considered together, but rather as separate and discrete volumes, each with their own personality. However, with the digitization of nineteenth-century sources, such as newspapers, and the a­ bility to search across titles and years it is possible to begin to

in Novelty fair
Open Access (free)
Representations of Irish political leaders in the ‘Haughey’ plays of Carr, Barry and Breen
Anthony Roche

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

in Irish literature since 1990
History as fashion, furniture, fraud, forgery, folklore and fiction in the Romantic onset of modernity
Damian Walford Davies

History of England, from the Invasion of Julius Caesar to the Revolution in 1688 was published in 1754, at first as The History of Great Britain; beginning with Caesar’s invasion signalled Hume’s exclusion of unmodern ‘legendary’ history. The History appeared in reverse temporal order; after a slow start caused by a booksellers’ conspiracy, it became the ‘standard’ ‘modern’ and ‘national’ history throughout the onset of modernity. Whatever Hume’s intentions, this success likely stemmed from several factors. Broadly, by making the History accessible as well as

in Counterfactual Romanticism
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The case of Jonson’s Sejanus
John E. Curran, Jr

together. First, a dramatist might draw a historically grounded plot from any number of traditions, but from the Romans there was a vast and diversified wealth of true stories of remarkable personages, validated by the most authoritative and fascinating body of historiography in the world. In Renaissance intellectual life, revitalised engagement with writers like Julius Caesar, Sallust and Livy went along with the propagation of writers like Polybius, Plutarch and Tacitus, Jonson's main source; using such serious, famous, detailed and copious history, free from the

in The genres of Renaissance tragedy
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The Problem
Michael D. Friedman and Alan Dessen

(and is often linked to stated or unstated value judgements about the dramatist’s ‘achievement’, or lack thereof), no one denies that Titus is early Shakespeare, probably among the first of the plays to be written. If Titus antedates Romeo and Juliet by a few years and Julius Caesar and Hamlet by about a decade, readers and playgoers should not be surprised to find that the verse, characterisation, and decorum we take for granted in ‘Shakespearean tragedy’ have here not yet been fully formed or come

in Titus Andronicus