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Steve Sohmer

perpetuating their unique local calendar, the More Veneto (annotated in their books and documents as ‘MV) which recognized 1 March as New Year’s Day, just as the Roman republic had done prior to Julius Caesar’s reform of 45 bc. 25 Furthermore, lettered Jacobeans certainly knew that the Eastern Orthodox Church wholly rejected the Roman reform and continued to live by the Julian calendar. 26 As a consequence, the

in Shakespeare for the wiser sort
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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John Harris

is exercised, not why it is, is what changes the world. The distinction I am trying to make here is well articulated, as so often, by William Shakespeare. Here is his use of it in Julius Caesar. Caesar is responding to Decius Brutus who has come to escort him to the Senate and to his murder. Caesar tells him to tell the senate he will not come today … CAESAR Decius, go tell them Caesar will not come. DECIUS Most mighty Caesar, let me know some cause, Lest I be laughed at when I tell them so. CAESAR The cause is in my will: I will not come; That is enough to satisfy

in From reason to practice in bioethics
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The most Gothic of acts – suicide in generic context
William Hughes and Andrew Smith

conspirators against all that is sincere and honourable. 6 This is a rich passage, and one with implications that extend far beyond its allusions to the reputation of, and conspiracy against, another celebrated politician as depicted in Shakespeare’s Julius Caesar . 7 ‘Poor’, in context, refers to the politically unfortunate as well as comparatively penurious position of the two emblematical radicals – these latter being figures for whom the suicidal statesman would doubtless have found little

in Suicide and the Gothic
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The Irish dimension
Patrick O’Leary

as applied in the east. He writes that Julius Caesar laid down standards of measurement and assessment to secure a reasonable revenue from public land which had been annexed by profiteering patricians, a decision which may have led to the conspiracy which cost him his life. His standards were adopted by the Byzantine empire and spread from there into Persia, from whence Akbar the

in Servants of the empire
Philip M. Taylor

one battle during the Civil War, 200 veterans saved themselves and 220 recruits surrendered only to be massacred, Julius Caesar commented: ‘here might be seen what security men derive from a resolute spirit’. The tactics employed ensured that, even when defeated, Roman troops inflicted heavy casualties upon their enemies who were invariably less well organized and less well disciplined. Indeed, discipline may have been the key to the effectiveness of Munitions_02_Chap1-3 40 4/11/03, 8:20 The Glory that was Rome 41 Roman war propaganda amongst their own troops

in Munitions of the Mind
Shakespeare and Scott
Lidia Garbin

Prince sarcastically quotes a passage from 1 Henry IV , Sir Henry does not sense the irony. 39 Later, the Prince quotes a line from Julius Caesar to Everard commenting: ‘as your future father-in-law would say’. 40 Even Phoebe rebukes the knight for quoting Shakespeare in a moment of high danger and distress. 41 And yet despite these attacks Shakespeare represents a

in Shakespeare and Scotland
Open Access (free)
Irish drama since 1990
Clare Wallace and Ondrej Pilný

artistic director and co-founder of Loose Canon Theatre Company (1996) leads a full-time ensemble of performers in an ongoing actor training programme. The company’s philosophy foregrounds the role of the actor in the theatre experience. Since 1996 they have produced principally works of Elizabethan and Jacobean drama ( Julius Caesar, Coriolanus, Hamlet, Macbeth, The Revenger’s Tragedy, The White Devil, The Duchess of Malfi) as well as modern European classics such as Ibsen’s Hedda Gabler. In overtly claiming a genealogy of performance/directing, Byrne is remarkable for

in Irish literature since 1990
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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Yann Martel’s lonely book club
Zalfa Feghali

and child on the street, can engage with and react to’ (p. 222). Harper’s cuts to arts and culture funding serves only, according to Martel, to disempower citizens; in the letter accompanying dispatch 51, William Shakespeare’s Julius Caesar, Martel asks Harper directly, ‘Is it really your aim to transform Canada into a post-​literate society?’ (pp. 217–​18). In using literature and the act of reading as an act of resistance, then, Martel works to galvanise his readers to enact their own resistance to Harper’s policies (and politics). Ultimately, Martel never

in Crossing borders and queering citizenship