In Bellum Ciuile 5, JuliusCaesar – 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:
‘All good letters were layde a slepe’: medieval sleep and early modern heirs
Megan G. Leitch
. S. Brewer, 2003), p.
57; Cooper, Shakespeare and the Medieval World .
Claude Fretz, ‘“Full of Ugly Sights, of Ghastly
Dreams”: Dreams and Tragedy in Shakespeare’s Richard III’, Cahiers Elizabethiens , 92.1 (2017), 32–49, and
‘“Either His Notion Weakens, or His Discernings | Are Lethargied”:
Sleeplessness and Waking Dreams as Tragedy in JuliusCaesar and King
Lear’ , Etudes Episteme , 30 (2017); Estok, Ecocriticism and
Shakespeare ; Totaro, ‘Securing Sleep in Hamlet’; see
Representations of Irish political leaders in the ‘Haughey’ plays of Carr, Barry and Breen
money in thy purse’ as the more apposite. But
the Shakespeare play which most proliferates intertextually in Charlie
is JuliusCaesar. 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
Ralph Knevet's Supplement of the Faery Queene (1635) is a narrative and allegorical work, which weaves together a complex collection of tales and episodes, featuring knights, ladies, sorcerers, monsters, vertiginous fortresses and deadly battles – a chivalric romp in Spenser's cod medieval style. The poem shadows recent English history, and the major military and political events of the Thirty Years War. But the Supplement is also an ambitiously intertextual poem, weaving together materials from mythic, literary, historical, scientific, theological, and many other kinds of written sources. Its encyclopaedic ambitions combine with Knevet's historical focus to produce an allegorical epic poem of considerable interest and power. This new edition of Knevet's Supplement, the first scholarly text of the poem ever published, situates it in its literary, historical, biographical, and intellectual contexts. An extensive introduction and copious critical commentary, positioned at the back of the book, will enable students and scholars alike to access Knevet's complicated and enigmatic meanings, structures, and allusions.
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 ( JuliusCaesar, 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
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 JuliusCaesar , 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
begin to emerge
between Kilpatrick’s slaying and the assassination of JuliusCaesar,
as depicted in Shakespeare’s famous play. When Ryan delves deeper
still, he also finds connections (some of them linguistic) with
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
particularly affronted by Scroop’s
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, JuliusCaesar, 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
queen is Cleopatra, who escorted JuliusCaesar 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
-Martialian tradition, or at least to deny these
elements in their own work.
Renaissance practitioners and theorizing
A theoretical understanding of the epigram in the Renaissance may be
derived from both the poetic treatises of the period – such works as
JuliusCaesar Scaliger’s Poetices Libri Septem, Jacobus Pontanus’s Poeticae
Institutiones, and Puttenham’s Arte of English Poesie – a nd from the prefatory material to published epigram collections.76 Treatises were fairly
uniform in their description of the genre, but Scaliger was the most frequently cited by later writers.77 His