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Reimagining nationhood in Macbeth
Christopher Ivic

a shallow, vertical comradeship. 83 When Macbeth commands ‘false Thanes’ to ‘mingle with the English Epicures’ he is using the word ‘mingle’ otherwise, and we can get a fuller appreciation of his caustic use of this verb by considering its presence within the context of Anglo-Scottish union debate. As discussed in chapter 3 , section headed ‘“[T]he Vnion and commixture of bodies”’, Bacon’s Briefe Discovrse opens with some reflections on natural unions, and amidst his musing on unions in nature he distinguishes between ‘ Compositio and Mistio ; putting

in The subject of Britain, 1603–25
Ralegh and the call to arms
Andrew Hiscock

of interest and enquiry for Ralegh that it penetrated every aspect of his enormously diverse textual output, shaping his thoughts on political integrity, cultural heroism, and human epistemology. Ralegh and ‘thes French warrs’ J. H. Elliott argued that ‘those who fought in the Protestant ranks [of the French wars] all subscribed, even if only through the fact of comradeship in arms, to a common vision of the world. It was a world in which the Christian was engaged in ceaseless struggle against the power of Satan’.4 Nonetheless, whatever the truth of the matter in

in Literary and visual Ralegh
Abstract only
Hysteria, paranoia, psychosis
Jeremy Tambling

feelings, which, with heterosexual object-choice, are deflected from their sexual aim, and give ‘an erotic factor to friendship and comradeship’. Freud discusses the possibility of ‘fixation’ at any of these stages, thinking it entirely possible that some crisis in life, which he calls ‘frustration’ – he amplifies this in ‘Types of an Onset of Neurosis’ ( SE 12.231–8) – may lead

in Literature and psychoanalysis
Margret Fetzer

reluctant to speak of rather than to the beloved object and hesitates to use the third rather than the second person, all love matters are prone to become the subject of gossip, so that the beloved will eventually be talked about by others and not only by the lover (Barthes, 1979: 183). Such situations of male comradeship and gossip may be responsible for first lines like ‘For Godsake hold your tongue, and let me love’, or the beginning of ‘The Curse’ (l. 1). In Donne’s divine poems, however, addressee and audience are one and the same, which means that their counterparts

in John Donne’s Performances
Five minutes to midnight and All’s Well
Richard Hillman

that you come Not to woo honour, but to wed it, when The bravest questant shrinks: find what you seek, That fame may cry you loud. I say farewell. (10–17) Soldierly fellowship was the basis of the King’s comradeship with Bertram’s father; idealization of the latter as the epitome of noble

in French reflections in the Shakespearean tragic