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The case of Jonson’s Sejanus
John E. Curran, Jr

's left of Roman political forms is mere theatrics devoid of substance; and yet, since there is no alternative to this theatrics, no going outside of it, and since it is presided over by so consummate an actor, who never lets fall his mask of abiding by Roman political decorum, a kind of substance is strangely reified. It seems both that what constitutes the Roman state has been irretrievably gone for a long time, and that what constitutes it can be nothing other than the Rome we see. With his measures to placate the censorious eyes of his own government, Jonson

in The genres of Renaissance tragedy
Five minutes to midnight and All’s Well
Richard Hillman

grace)]’ (1999, p. 159), who, while staying in the household of her sister, married to the Seigneur de Balançon, was courted by the latter’s brother, the Marquis de Varambon, who wished to marry her. His brother, however, was determined that he should go into the Church, and so the girl’s mother removed her from the situation. Marguerite relates the sequel – and there is no alternative to

in French reflections in the Shakespearean tragic