Search results

Philippa Byrne

partisans of Catiline ought to be punished and the degree of punishment that would be appropriate to their crimes. In Sallust’s account, the debate is dominated by two towering figures of Roman history – Julius Caesar and Marcus Porcius Cato – who, respectively, present the cases for leniency and severe treatment of the prisoners. It is Julius Caesar, Sallust’s own patron, who is first to speak: he argues against imposing a penalty of death on the conspirators, urging that their goods be confiscated and their bodies imprisoned, but that their lives be spared. Caesar

in Justice and mercy
Abstract only
Gwilym Jones

wasteth. 23 The thunder-stone, then, is wholly destructive. The kind of devastation described by Hill is at stake when characters in the drama refer to this type of lightning. It is this level of danger, for example, which Cassius evokes in Julius Caesar as he brags, ‘I have bared my bosom to the thunder-stone’ (1.3.94). This boast is contingent

in Shakespeare’s storms
Abstract only
A play that ‘approves the common liar’
Carol Chillington Rutter

. Dramatic structure In or about 1606, the third year of James I's reign (King James having Caesarean aspirations, styling himself at his coronation the ‘new Augustus’) 4 , Shakespeare returned to Plutarch's Lives of the Noble Greeks and Romans to write a sequel to Julius Caesar (1599), to follow the story after Philippi, to see how the triumvirate who'd so efficiently mopped up the bloodbath of Caesar's assassination, who'd picked off enemies and routed the conspirators

in Antony and Cleopatra
Richard Dutton

Nobility’.16 Q1 and succession Q1 Hamlet is, in Knutson’s analysis, clearly an Elizabethan play, written around the time Julius Caesar contemplated the horrors of regime change and As You Like It conjured a pastoral comedy from the same concerns. It was entered in the Stationers’ Register on 26 July 1602 and so certainly antedated the Queen’s death.17 What relationship the text printed in 1603 had with any earlier Hamlet plays there is no way of knowing, but a play certainly existed by 1589, when Thomas Nashe satirically evoked ‘English Seneca’, who ‘will afford you

in Doubtful and dangerous
Shakespeare’s Roman plays, republicanism and identity in Samson Agonistes
Helen Lynch

, especially, I’m going to claim here, Julius Caesar and Antony and Cleopatra (although also Coriolanus and Titus Andronicus , as well as Macbeth, Hamlet, Richard III … of which more elsewhere). 2 This is a negotiation undertaken by a ‘strong reader’ with his own political and related religious preoccupations, concerns which centre on notions of oratory, identity, death and immortality. These are addressed not least through the question of suicide, classical and otherwise, Samson being ‘self-killed/Not willingly but tangled in the fold/Of dire necessity’ ( SA

in Conversations
Robert Lanier Reid

positive nature, becomes apparent in the series of great tragedies beginning with Julius Caesar . In Shakespearean Tragedy: Its Art and Christian Premises (1969) Roy Battenhouse provides a severe Protestant perspective when he observes the prominence of self-love in these tragedies, not as a God-implanted motivational core but as the deadliest of burdens, a Christianized

in Renaissance psychologies
Abstract only
Gwilym Jones

Julius Caesar . Even with the cursory sortie into thunder above, though, we can find points of contrast between early modern understanding and experience of thunder, and our own. Those distinctions show that thunder is not as familiar as we might casually think. Thunder is not simply loud, but is a touchstone of loudness. It is not just a metaphor for violence but is conceived as violent in and of itself

in Shakespeare’s storms
Abstract only
Supernatural storms, equivocal earthquakes
Gwilym Jones

, and is always at least founded upon some motive: but the chaos of magic bewilders the mind. Anne Louise Germaine de Staël, 1800 1 Macbeth ’s storms are reminiscent of storms elsewhere. In the play, we have the meaning of remarkable weather, signs and portents debated, as in Julius Caesar ; we

in Shakespeare’s storms
The theatre of madness
Stuart Elden

these resources in Macbeth to make his point, his discussion is also notable because it is the one place that he talks about Shakespeare’s Julius Caesar . His focus is specifically the dream of Calpurnia which ‘foretells the death of Caesar: a dream which speaks no less of the entire power and freedom of the imperator who shakes the world – in the interpretation of Decius

in Foucault’s theatres
Steve Sohmer

. In December 1601 the company’s repertory included a number of luminous alternatives. Setting aside Shakespeare’s histories as long in the tooth and inappropriate for a festive evening, the company might have played Julius Caesar or an early Hamlet (neither a dainty dish to set before a Queen) or As You Like It , which I believe they had played before Elizabeth on

in Reading Shakespeare’s mind