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Robert Shaughnessy

is worth noting, as far as Shakespeare is concerned, is the pattern of play publication considered by genre. Of the 22 plays belonging to the phase of Shakespeare’s writing career that extends from the Henry VI plays and The Two Gentlemen of Verona to Julius Caesar and Twelfth Night , 14 were published in quarto or octavo, of which 9 are tragedies or histories; the unpublished works in

in As You Like It
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The creative nexus
Jeffrey Richards

( Macbeth, Othello, Chimes at Midnight ). Both these enterprises began with his work on stage and on radio. As early as 1934 he had co-edited with his former headmaster Roger Hill, Everybody’s Shakespeare , a series of volumes giving the texts of three plays with essays on their relevance and how to stage them: Twelfth Night, The Merchant of Venice and Julius Caesar . After Welles became famous, they were reissued in a single volume, retitled The Mercury

in Cinema and radio in Britain and America, 1920–60
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Peter William Evans

My interest in Reed began, perhaps predictably, with The Third Man (1949). At school, films were shown every other Sunday evening. Over a period of five years my film education – already at a respectable level thanks to supervision by my mother – was further developed by screenings of a wide range of films, some wonderful, like The 3.10 to Yuma (1957), Shane (1953) and Julius Caesar (1953

in Carol Reed
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Andrew Teverson

novel, like the play, begins, and in the central plot, concerning the murder of a head of state by an ambitious underling, who is then haunted, literally and metaphorically, by his deeds. The novel also reper-forms the tragedy of Julius Caesar , which offers a dramatic prefiguration of the plot-line in which the protégé of a political leader becomes his assassin. Rushdie summons the spirit of tragedy in Shame for a number of reasons. In the first place the strong intertextual bond between Rushdie’s novel and tragic narrative serves to

in Salman Rushdie
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Jeremy Tambling

always with what ‘insists’, as with The Trial , or Blanchot’s récits , the future event feared repeats itself, or is already recognisable because it has already repeated itself. In Shakespeare’s Julius Caesar , Cassius kills himself on his birthday: ‘time has come round, / And where I did begin there shall I end, / My life is run his compass’ (5.3.232–235). The etymologies of the word ‘compass

in On anachronism
Steve Sohmer

repetition. Most of Shakespeare’s foolers occur only once, for example Hamlet’s ‘dram of eale’ (Second Quarto (Q2), throughline 1432) and the playwright’s tantalizing allusion to the words Cicero said and Casca dared not repeat ( The Tragedy of Julius Caesar 1.2.299). By comparison, Shakespeare’s presentation of the forged letter and M.O.A.I. crux – the turning-point in the

in Reading Shakespeare’s mind
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Peter Holbrook

‘live eternally’. 3 In the 1640 edition of Shakespeare’s poems, Digges claimed audiences were ‘ravish’d’ by the quarrel between Brutus and Cassius in Julius Caesar ( OED ’s first instance of ‘ravish’ in the sense of ‘To transport (a person, the mind, etc.) with the strength of some emotion’ is dated to 1390). And in the 1660s, Margaret Cavendish

in The Renaissance of emotion
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Betrayal and the Irish novel
Gerry Smyth

begin to emerge between Kilpatrick’s slaying and the assassination of Julius Caesar, as depicted in Shakespeare’s famous play. When Ryan delves deeper still, he also finds connections (some of them linguistic) with Macbeth. Eventually the truth emerges: Kilpatrick was a traitor who, once his treachery had been exposed, agreed to participate in an elaborate theatrical performance designed to cement his own heroic profile and thus to expedite the revolution. Kilpatrick must be assassinated, and his ‘martyrdom’ must become a rallying point for those whom he had betrayed

in The Judas kiss
Taking the measure of Antony and Cleopatra, Royal Shakespeare Company, 1972, 1978, 1982
Carol Chillington Rutter

stage Shakespeare's four Roman plays, played in historical (but reverse compositional) sequence from Coriolanus (Shakespeare's last tragedy) through Julius Caesar and Antony and Cleopatra to Titus Andronicus (his first) to tell a story not of politics but of civilisation: ‘the birth, achievement, and collapse of a civilisation’ (Rutter 2001 , 75). Nunn's audacity was breathtaking. Or lunatic. No creative partnership had ever been solely responsible for a whole season of work at the RSC. The challenge was magnified by the fact that Nunn was

in Antony and Cleopatra
The intrusion of the time into the play
Richard Wilson

Casca’s report of how the ‘rabblement … threw up their sweaty nightcaps and uttered such a deal of stinking breath’, in Julius Caesar – the play written, we think, to open the Globe in 1599 – that it seems as though Shakespeare’s conflicted reaction to this crisis of representation must also be professional, because ‘the tag-rag people clap and hiss … as they use to do the players in the

in Free Will