The Cultural Uses of the Caesars on the English Renaissance StageRoutledge, 16. 3. 2016 - Počet stran: 168 Caesarian power was a crucial context in the Renaissance, as rulers in Europe, Russia and Turkey all sought to appropriate Caesarian imagery and authority, but it has been surprisingly little explored in scholarship. In this study Lisa Hopkins explores the way in which the stories of the Caesars, and of the Julio-Claudians in particular, can be used to figure the stories of English rulers on the Renaissance stage. Analyzing plays by Shakespeare and a number of other playwrights of the period, she demonstrates how early modern English dramatists, using Roman modes of literary representation as cover, commented on the issues of the day and critiqued contemporary monarchs. |
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Strana
... and incarnated so much of what Rome stood for. When Cleopatra in Shakespeare's Antony and Cleopatra says ''Tis paltry to be Caesar', 9 she is not just dismissing one individual; she is effectively rejecting earthly power itself,
... and incarnated so much of what Rome stood for. When Cleopatra in Shakespeare's Antony and Cleopatra says ''Tis paltry to be Caesar', 9 she is not just dismissing one individual; she is effectively rejecting earthly power itself,
Strana
... says in the dramatis personae 'vnder whom is figured Rome', in the sense of the seat of the papacy), declares that 16 See Nabil Matar and Rudolph Stoekel, 'Europe's Mediterranean Frontier: The Moor', in Shakespeare and Renaissance ...
... says in the dramatis personae 'vnder whom is figured Rome', in the sense of the seat of the papacy), declares that 16 See Nabil Matar and Rudolph Stoekel, 'Europe's Mediterranean Frontier: The Moor', in Shakespeare and Renaissance ...
Strana
... says to the other conspirators, 26 Good gentlemen, look fresh and merrily; Let not our looks put on our purposes, But bear it as our Roman actors do, With untired spirits and formal constancy. 26 William Shakespeare, Julius Caesar ...
... says to the other conspirators, 26 Good gentlemen, look fresh and merrily; Let not our looks put on our purposes, But bear it as our Roman actors do, With untired spirits and formal constancy. 26 William Shakespeare, Julius Caesar ...
Strana
... says 28 W.A. Sessions, Henry Howard, The Poet Earl of Surrey: A Life (Oxford: Oxford University Press, 1999), p. 262. Well did the Cibills vnrespected verse. Bid thee beware of Crocadilish Nile. 29 29 The tragedie of Caesar and Pompey ...
... says 28 W.A. Sessions, Henry Howard, The Poet Earl of Surrey: A Life (Oxford: Oxford University Press, 1999), p. 262. Well did the Cibills vnrespected verse. Bid thee beware of Crocadilish Nile. 29 29 The tragedie of Caesar and Pompey ...
Strana
... says to his son Titus (later to become clearly identified as a type of Monmouth), 'Remember me; look on thy Father's suff'rings...If thou hast nature, worth, or honour in thee'; 37 later, Titus will muse Hamlet-like on death. Equally ...
... says to his son Titus (later to become clearly identified as a type of Monmouth), 'Remember me; look on thy Father's suff'rings...If thou hast nature, worth, or honour in thee'; 37 later, Titus will muse Hamlet-like on death. Equally ...
Obsah
Hamlet among the Romans | |
Caesar and the Czar | |
Pocahontas and The Winters Tale | |
The Romans in Britain | |
Cymbeline | |
He Claudius | |
Conclusion | |
Index | |
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