John Schad

face of government. It is, then, something of a surprise to find that Baudelaire’s ‘frightful man’ does not necessarily enjoy what he sees in the mirror, particularly given the nineteenth century’s supposed love of realism. There is, however, Wilde’s famous declaration that ‘the nineteenth-century dislike of realism is the rage of Caliban seeing his own face in a glass’ (Wilde, 1949 : 5). Wilde does add that the ‘nineteenth-century dislike of Romanticism is the rage of Caliban not seeing his own face in a glass

in Interventions
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Macbeth and the Jesuits
Richard Wilson

explosives; but the verdict falls on all who followed Campion, as the retort is to a famous poem by the martyr Southwell, whose ‘babe all burning bright / Did in the air appear’ like an incendiary device. 75 To the end, then, Shakespeare associated martyrdom with conspiracy; and in The Tempest even draped Caliban’s plot in the ‘trumpery’ left hanging by ‘Mistress Line’. Anne Line was the Jesuits’ aged landlady, hanged for hiding priests; but when these plotters garb themselves in the ‘trash’ from her ‘line’, she is roped into their crime, and the ‘saintly widow

in The Lancashire witches
Semiramis and Titania
Lisa Hopkins

impute the blame therof unto the heavens, so as to excuse their own folly and imperfections’ ( View Part I, p. 2). (One might also note the similarity between Caliban’s resolve at the end of The Tempest to ‘be wise hereafter / And seek for grace’ 46 and Irenius’ declaration that after a defeat the Irish ‘creepe a little perhaps, and sewe for grace

in Goddesses and Queens
Cultural politics and art films in post-war Britain
Katerina Loukopoulou

consensus’, a process often considered to have imposed bourgeois cultural values on the masses: in other words, ‘civilising the Caliban’. 13 Historians of 1940s and 1950s British art, however, who have followed inductive methodologies have reached different conclusions: that the post-war cultural policies were steered both by the public’s demand and by utopian visions of a ‘new world’ in which a ‘new art’ and new modes of dissemination would emerge. 14 The Arts Council’s support for films can be seen as part of new institutional policies that

in British art cinema
Drama’s solace
David M. Bergeron

Ferdinand, Gonzalo, Antonio (Prospero’s usurping brother of Milan), and others. Not yet having been introduced to other characters, the audience might conclude that they are watching Shakespeare’s shortest tragedy. But 1.2 opens with Prospero, creator of the storm, and his daughter Miranda. The scene unfolds with retrospection, history, the strange creature Caliban, and the unexpected appearance of

in Shakespeare’s London 1613
Thomas Edison’s Frankenstein and John Barrymore’s Dr Jekyll and Mr Hyde
Richard J. Hand

precursor to Boris Karloff and his iconic embodiment of the role for Universal in 1931. The Edison monster is more reminiscent of O. Smith’s interpretation of the monster or numerous stage Calibans from nineteenth-century stage versions of Shakespeare’s The Tempest : an image of unkempt ‘savagery’ who in physique, deportment and movement is antithetical to the graceful and

in Monstrous adaptations
Jeremy Tambling

, ‘she hath tied / Sharp-toothed unkindness like a vulture, here’ (2.2.323–324), or she ‘struck me with her tongue / Most serpent-like, upon the very heart’, lines leading to further cursing (2.2.349–357), including Goneril’s pregnancy, if that is implied in ‘young bones’ (2.2.352). Muir points out the resemblance of that language to Caliban’s: in King Lear , the authority figure, the Prospero, speaks

in On anachronism
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‘Experience, though noon auctoritee’
Robert Lanier Reid

cultivates Miranda’s loving innocence, harnesses Caliban’s beastly impulses, and exploits Ariel’s spirited powers. With it he treats social ills by managing his anger and forgiving others, by restrainedly punishing malicious evildoers, by praising and rewarding the kind and the penitent. To realize the moral dimensions of Prospero’s art we need only compare his long careful counselling

in Renaissance psychologies
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Kipling’s secret sharer
Norman Etherington

educating Caliban: that the misshapen savage now knows how to curse his benefactor and aspires to mate with his daughter. More proximately, it resonates with a celebrated mid-century essay by Thomas Carlyle on ‘the Nigger Question’. 42 Conrad and Carlyle In the guise of an imaginary address to an anti-slavery meeting, Carlyle had attacked West Indians

in Imperium of the soul
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Maude Casey

delightful DAWSON 9780719096310 PRINT (v2).indd 216 14/10/2016 12:19 Writing as survival 217 nineteenth-century cartoons in Punch, in which the Irish are depicted variously as Caliban, vampires and monsters, is one by Tenniel, who, on 29 October 1881, depicts a human chimpanzee wielding a rock and wearing an ‘Anarchy’ band on his hat, being kept at bay by the upstanding figure of Britannia, wielding her sword of justice.14 Tenniel later portrayed the Irish Home Rule movement as the ‘Irish Frankenstein’ in his cartoon of 20 May 1882, conflating Mary Shelley’s scientist

in The Northern Ireland Troubles in Britain