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Marlowe, Tamburlaine, and Lucans First Booke
Emma Buckle

Introduction In Bellum Ciuile 5, Julius Caesar – who has already cut a swathe through Italy and conducted a destructive campaign in Spain – finally ends up battling with nature itself, when he attempts to sail from Brundisium to Dyrrachium. In the confident expectation that with Fortune on his side a storm will prove no obstacle to his desires, he embarks upon the sea in a tiny boat, amidst the protests of the owner, the lowly Amyclas ( BC .5.476–721). Before setting off, however, he attempts to impress and bribe the humble sailor: Expecta uotis

in Conversations
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
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
Abstract only
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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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
Gerry Smyth

particularly affronted by Scroop’s 30 The Judas kiss treason that he likens it to ‘Another fall of man’ (477). Coriolanus points up the potential contradictions between political allegiance and personal integrity: the tragic hero’s resolute desire to remain ‘constant’ (703) to himself soon implicates him in ‘Manifest treason’ (718). While in a famous speech from another of the Roman tragedies, Julius Caesar, Antony uses rhetoric to unpick the rhetorical distinction between honour and treason (834–6). In many of the plays, interpersonal deceit and political treason are

in The Judas kiss
Sarah C.E. Ross and Elizabeth Scott-Baumann

black-eyed queen is Cleopatra, who escorted Julius Caesar along the Nile. 61]  Ganges: river in northern India, sacred to Hindus. 62]  Banians: Hindu traders. 63–64]  calcined; purifying waves: Hindu dead are cremated (calcined: turned to ashes), and their ashes are thrown into the water of the Ganges. 69]  Tiber; Horatius’ valour: The Tiber is the river on which Rome stands. Horatius Cocles (530–500 BC) defended the Sublician bridge against invasion, and swam back across the Tiber in full armour once it had been demolished (Eardley, Lady Hester Pulter). 101 Women

in Women poets of the English Civil War
Sarah C.E. Ross and Elizabeth Scott-Baumann

object of the Israelites’ idolatry; see Exodus 32:4. 99]  Basan bull: a notoriously strong bull from the fertile region of Bashan (Psalm 22:12). Cavendish puns on ‘Basan’ and ‘brazen’ (of brass). 101]  Mahomet: Proverbially, Mahomet called the mountain to come to him. 103]  Pompey: a Roman leader, defeated by Julius Caesar and then killed. 204 Margaret Cavendish When killed was Caesar, his great enemy. The wooden-horse that did great Troy betray, Have told what’s in him, and then run away; Achilles’ arms against Ulysses plead, And not let wit against true valour

in Women poets of the English Civil War
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J. A. Smith

jumping between two kinds of neck breaking sets up a pattern that continues to code the development of the letter. The next thing Lovelace discusses is his own disinclination to write:  ‘how can I  think it in my power to divert, when my subject is not pleasing to myself’. Comparing himself to Julius Caesar, Lovelace next swings from considering the melancholy of having achieved everything he had set out to, to interrupting himself with the thought that having resorted to rape he has achieved nothing at all: ‘why say I completed? when the will, the consent, is wanting

in Samuel Richardson and the theory of tragedy
James Joyce’s Ulysses (1922)
Gerry Smyth

‘Et Tu, Healy’, in which the precocious writer likened the relationship between Parnell and Tim Healy – trusted lieutenant and chief agent of the fall – to that (as portrayed in the Shakespeare play) between Julius Caesar and his friend Brutus. It was at this point, Ellmann explains, that ‘the word betrayal became a central one in Joyce’s view of his countrymen’ (1959: 32). That sense of betrayal, however, was not only political. Parnell’s great sin, after all, was to be implicated in a series of personal relationships which undermined the institution of marriage

in The Judas kiss