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Plutarch, Machiavelli and Shakespeare's Coriolanus Patrick
The Changing Faces of Virtue: Plutarch, Machiavelli and Shakespeare’s Coriolanus Patrick Ashby University of Bristol [email protected] Introduction: The hinges of virtue ‘Let it be virtuous to be obstinate’, says Caius Martius Coriolanus, shortly before the catastrophe of Shakespeare’s tragedy (Coriolanus, 5.3.26).1 In uttering these words, he articulates a moral hypothesis which is of central importance to Coriolanus: the supposition that steadfastness of principle is a fundamental good. This is a theory which the play puts to the test. The idea of ‘virtue’ — in a variety of guises — is a key focus of this essay, which identifies as crucial those moments at which definitions of virtue are unsettled, transformed, or confronted with a range of alternatives. Several commentators have connected Shakespeare’s Coriolanus with the political ideas of Niccolò Machiavelli, the Florentine theorist whose notoriety rests upon his recommendation of moral flexibility for political leaders. For Anne Barton, who reads the play in the context of Machiavelli’s Discourses on Livy’s history of early Rome, Coriolanus dramatises the futile persistence of obsolescent virtues (the valorisation of battlefield heroics) in an environment of subtler needs and growing political sophistication.2 In Shakespeare and the Popular Voice, Annabel Patterson hints at Shakespeare’s sympathy with the idea of popular political representation, proposing that ‘there is nothing in the play to challenge that famous interpretation of the tribunate which [. .] Machiavelli made a premise of Renaissance political theory’.3 John Plotz 1 William Shakespeare, Coriolanus, The Norton Shakespeare, ed. by Stephen Greenblatt, Katherine Eisaman Maus, Jean E. -
Coriolanus: the Tragedy of Virtus ANTHONY MILLER
SYDNEY STUDIES Coriolanus: The Tragedy of Virtus ANTHONY MILLER From the opening entry of "a company of mntinous Citizens, with staves, clubs, and other weapons" to the next to last, barely coherent action-"Kill, kill, kill, kill, kill him!" "Hold, hold, hold, hold!"-Coriolanus displays an ancient world riven by war and civic turmoil.l For all its occasional evocations of a mar moreal Romanitas, it is also a busy play. Its protagonist accepts with relish and superhuman energy the opportunities for martial action that his world presents: Coriolanus is probably the most active of Shakespeare's tragic heroes, certainly the one least given to reflection. Yet the play's busyness is not always warlike. Much of it consists of talk, especially the contentious talk of political debate. Characters plan courses of action, rehearse public appearances, plot acts of vengeance, conjure with names, report off-stage events-and even events that the audience has seen occur on-stage. Much of the discussion revolves around Coriolanus himself. His nature and motives, his martial prowess and farouche political manners, are incessantly and variously canvassed. To a belligerent citizen, Coriolanus's heroics are performed to please his mother, and to be partly proud; to the indulgent Menenius, his nature is too noble for the world; to Aufidius, shrewd and grudgingly admiring, his actions are a matter for almost obsessive, but inconclusive, rumination: Whether 'twas pride, Which out of daily fortune ever taints The happy man; whether defect of judgement, To fail in the disposing of those chances Which he was lord of; or whether nature, Not to be other than one thing, not moving From th'casque to th'cushion, but commanding peace Even with the same austerity and garb As he controll'd the war; but one of these As he hath spices of them all, not all, For I dare so far free him-made him fear'd, So hated, and so banish'd. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Online Library of Liberty: Shakespeare's Plutarch, Vol. 2
The Online Library of Liberty A Project Of Liberty Fund, Inc. Plutarch, Shakespeare’s Plutarch, Vol. 2 (containing the main sources of Anthony and Cleopatra and of Coriolanus) [1579] The Online Library Of Liberty This E-Book (PDF format) is published by Liberty Fund, Inc., a private, non-profit, educational foundation established in 1960 to encourage study of the ideal of a society of free and responsible individuals. 2010 was the 50th anniversary year of the founding of Liberty Fund. It is part of the Online Library of Liberty web site http://oll.libertyfund.org, which was established in 2004 in order to further the educational goals of Liberty Fund, Inc. To find out more about the author or title, to use the site's powerful search engine, to see other titles in other formats (HTML, facsimile PDF), or to make use of the hundreds of essays, educational aids, and study guides, please visit the OLL web site. This title is also part of the Portable Library of Liberty DVD which contains over 1,000 books and quotes about liberty and power, and is available free of charge upon request. The cuneiform inscription that appears in the logo and serves as a design element in all Liberty Fund books and web sites is the earliest-known written appearance of the word “freedom” (amagi), or “liberty.” It is taken from a clay document written about 2300 B.C. in the Sumerian city-state of Lagash, in present day Iraq. To find out more about Liberty Fund, Inc., or the Online Library of Liberty Project, please contact the Director at [email protected]. -
Leisure, Idleness, and Virtuous Activity in Shakespearean Drama Ed Taft Marshall University, [email protected]
The University of Akron IdeaExchange@UAkron Selected Papers of the Ohio Valley Shakespeare Literary Magazines Conference November 2014 Leisure, Idleness, and Virtuous Activity in Shakespearean Drama Ed Taft Marshall University, [email protected] Please take a moment to share how this work helps you through this survey. Your feedback will be important as we plan further development of our repository. Follow this and additional works at: http://ideaexchange.uakron.edu/spovsc Part of the Literature in English, British Isles Commons Recommended Citation Taft, Ed (2008) "Leisure, Idleness, and Virtuous Activity in Shakespearean Drama," Selected Papers of the Ohio Valley Shakespeare Conference: Vol. 2 , Article 2. Available at: http://ideaexchange.uakron.edu/spovsc/vol2/iss2008/2 This Article is brought to you for free and open access by Literary Magazines at IdeaExchange@UAkron, the institutional repository of The nivU ersity of Akron in Akron, Ohio, USA. It has been accepted for inclusion in Selected Papers of the Ohio Valley Shakespeare Conference by an authorized administrator of IdeaExchange@UAkron. For more information, please contact [email protected], [email protected]. Leisure, Idleness, and Virtuous Activity in Shakespearean Drama Unhae Langis Leisure, Idleness, and Virtuous Activity in Shakespearean Drama by Unhae Langis The topoi leisure and idleness abound in Shakespearean drama in complex manifestations, replete with class and gender inflections. The privileged term, leisure, modeled after Greek skolé, refers to the “opportunity afforded by freedom from occupations” (OED 2a), as enjoyed by the nobles who, excused from sustenance labor, could ideally devote themselves to “the development of virtue and the performance of political duties” (Aristotle, Politics VII.9.1328b33-a2). -
The Overbearing in Coriolanus and Psycho
The Corinthian Volume 17 Article 2 2016 Mother Knows Best: The Overbearing in Coriolanus and Psycho Mikaela LaFave Georgia College and State University Follow this and additional works at: https://kb.gcsu.edu/thecorinthian Part of the English Language and Literature Commons Recommended Citation LaFave, Mikaela (2016) "Mother Knows Best: The Overbearing in Coriolanus and Psycho," The Corinthian: Vol. 17 , Article 2. Available at: https://kb.gcsu.edu/thecorinthian/vol17/iss1/2 This Article is brought to you for free and open access by the Undergraduate Research at Knowledge Box. It has been accepted for inclusion in The Corinthian by an authorized editor of Knowledge Box. The Corinthian: The Journal of Student Research at Georgia College Volume 17 • Spring 2016 Mother Knows Best: The Overbearing in Coriolanus and Psycho ercises enough influence over Martius to drive him toward self-de- Mikaela LaFave structive pride. The First Citizen establishes that Martius’ pride originates from his sense of obligation towards Volumnia: “Though Dr. Jenny Flaherty soft-conscienced men can be content to say it was for his country, Faculty Mentor [Martius] did it to please his mother and to be partly proud, which he is, even to the altitude of his virtue” (1.1.36-40). Shakespeare establishes that Martius’ pride possesses an indelible link to Volum- nia; rather than feeling pride for himself, or seeking out pride for Psychoanalytic critics have focused on the mother-son himself, he does so for his mother, framing their relationship as one relationship throughout its criticism, stemming from Freud’s rein- of fear and domination rather than love. -
Ell 1E5 570 ' CS 20 5 4,96;
. MC0111117 VESUI17 Ell 1E5 570 ' CS 20 5 4,96; AUTHOR McLean, Ardrew M. TITLE . ,A,Shakespeare: Annotated BibliographiesendAeaiaGuide 1 47 for Teachers. .. INSTIT.UTION. NIttional Council of T.eachers of English, Urbana, ..Ill. .PUB DATE- 80 , NOTE. 282p. AVAILABLe FROM Nationkl Coun dil of Teachers,of Englishc 1111 anyon pa., Urbana, II 61.801 (Stock No. 43776, $8.50 member, . , $9.50 nor-memberl' , EDRS PRICE i MF011PC12 Plus Postage. DESCRIPTORS Annotated Biblioal7aphies: *Audiovisual Aids;'*Dramt; +English Irstruction: Higher Education; 4 *InstrUctioiral Materials: Literary Criticism; Literature: SecondaryPd uc a t i on . IDENTIFIERS *Shakespeare (Williaml 1 ABSTRACT The purpose of this annotated b'iblibigraphy,is to identify. resou'rces fjor the variety of approaches tliat teachers of courses in Shakespeare might use. Entries in the first part of the book lear with teaching Shakespeare. in secondary schools and in college, teaching Shakespeare as- ..nerf crmance,- and teaching , Shakespeare with other authora. Entries in the second part deal with criticism of Shakespearear films. Discussions of the filming of Shakespeare and of teachi1g Shakespeare on, film are followed by discu'ssions 'of 26 fgature films and the,n by entries dealing with Shakespearean perforrances on televiqion: The third 'pax't of the book constituAsa glade to avAilable media resources for tlip classroom. Ittries are arranged in three categories: Shakespeare's life'and' iimes, Shakespeare's theater, and Shakespeare 's plam. Each category, lists film strips, films, audi o-ca ssette tapes, and transparencies. The.geteral format of these entries gives the title, .number of parts, .grade level, number of frames .nr running time; whether color or bie ack and white, producer, year' of .prOduction, distributor, ut,itles of parts',4brief description of cOntent, and reviews.A direCtory of producers, distributors, ard rental sources is .alst provided in the 10 book.(FL)- 4 to P . -
Aristotle and the Failure of Autarky in Shakespeare's Coriolanus
Vassar College Digital Window @ Vassar Senior Capstone Projects 2020 "O'me alone?": Aristotle and the failure of autarky in Shakespeare's Coriolanus Sarah Marshall Vassar College Follow this and additional works at: https://digitalwindow.vassar.edu/senior_capstone Part of the Classical Literature and Philology Commons, Comparative Literature Commons, Dramatic Literature, Criticism and Theory Commons, Ethics and Political Philosophy Commons, Literature in English, British Isles Commons, Medieval Studies Commons, and the Renaissance Studies Commons Recommended Citation Marshall, Sarah, ""O'me alone?": Aristotle and the failure of autarky in Shakespeare's Coriolanus" (2020). Senior Capstone Projects. 970. https://digitalwindow.vassar.edu/senior_capstone/970 This Open Access is brought to you for free and open access by Digital Window @ Vassar. It has been accepted for inclusion in Senior Capstone Projects by an authorized administrator of Digital Window @ Vassar. For more information, please contact [email protected]. Marshall 1 “O’me alone?”: Aristotle and the Failure of Autarky in Shakespeare’s Coriolanus Sarah Marshall Professor Curtis Dozier and Professor Zoltán Márkus May 05 2020 Marshall 2 Table of Contents Introduction………………………………………………………………………………………. 3 Chapter 1: Coriolanus and the megalopsuchos…………………………………………………... 7 Chapter 2: The Disordered Family……………………………………………………………… 13 Chapter 3: Food and the Body Politic…………………………………………………………… 24 Chapter 4: Animalism and Apotheosis………………………………………………………….. 35 Conclusion………………………………………………………………………………………. -
Coriolanus and Vojumnia in Shakespeare's Coriolanus
Patriarchy's Victims: Coriolanus and VoJumnia in Shakespeare's Coriolanus Kathleen Marie Fredericks Submitted to the faculty ofthe University Graduate School in partial fulfillment ofthe requirements for the degree Master of Arts in English in the College of Liberal Arts and Sciences Indiana University August 2014 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment ofthe requirements for the degree ofMaster of Arts in English. M.A. Committee R~J-~Lee, Ph~. -D-. ---- Karen Gindele, Ph. D. May 26, 2014 Table of Contents Patriarchy's Victims: Coriolanus and Volumnia in Shakespeare's Coriolanus 1 Works Cited 30 Curriculum Vitae Fredericks I Shakespeare's Coriolanus depicts the Roman Republic full of uncertainty and upheaval. In the midst of this conflict, a man named Canius Marti us, who battled in the Tarquin War and battles thereafter with neighboring tribes, rises to esteem in Roman society. However, the play opens to a chorus of plebeian citizens enraged at Martius for withholding grain from the populace. Their hatred is diluted by the fear of the advancing army of the Volsces, and Marti us accompanies one consul to the Volsces city and conquers the day singlehandedly. Following his victories, the senators elect him Consul and give him the honorary title of Coriolanus; 1 however, he must first submit to showing his battle wounds and beg the approval of the citizens and their representative tribunes. He falters while speaking in the city square and berates the citizens whose tribunes suggest the citizens turn against Coriolanus. Successful in their plot, the Tribunes exile Coriolanus from the city. -
The Ethics of Women's Rhetoric in Shakespeare's Rome
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2015 Paradoxical Agency: The thicE s of Women's Rhetoric in Shakespeare's Rome Catherine Riley Godbold Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the English Language and Literature Commons Recommended Citation Godbold, Catherine Riley, "Paradoxical Agency: The thicE s of Women's Rhetoric in Shakespeare's Rome" (2015). LSU Doctoral Dissertations. 3369. https://digitalcommons.lsu.edu/gradschool_dissertations/3369 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. PARADOXICAL AGENCY: THE ETHICS OF WOMEN’S RHETORIC IN SHAKESPEARE’S ROME A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Catherine Riley Godbold B.A., University of Louisiana at Lafayette, 2007 M.A., Louisiana State University, 2009 May 2015 ACKNOWLEDGMENTS This project would not have been possible without the time and effort of many people, first and foremost my committee: Dr. Michelle Zerba, my committee chair; Dr. Anna Nardo; and Dr. Chris Barrett. They have provided me with both academic and emotional support throughout a long and difficult writing process, and I have grown under their guidance. I would also like to thank the efforts of previous committee members, Dr. -
Appropriated Shakespeare: Sensation, Politicization, and De(Con)Struction David George, Urbana College
Appropriated Shakespeare: Sensation, Politicization, and De(con)struction David George, Urbana College ow do you disappoint me, Shakespeare? Let me count the ways: long-winded, out of date, given to obsolete H words, no clear message. So let us cut, adapt, sensationalize, politicize, deconstruct – but always make relevant, because Shakespeare’s texts are for the most part just too much products of their time. Probably the play which has undergone the most surgery is Coriolanus, second in length after Hamlet and 45 lines longer than Cymbeline. Cutting is understandable but adaptation is odd because, as T. S. Eliot noted in 1919, it “may not be as ‘interesting’ as Hamlet, but it is, with Antony and Cleopatra, Shakespeare’s most assured artistic success.”1 Still, the play’s first recorded performance is an adaptation, and the roster of adapters is long indeed. Over a span of more than 300 years, Nahum Tate, John Dennis, Thomas Sheridan, John Philip Kemble, René- Louis Piachaud, Bertolt Brecht and Robert Lepage adapted it, and in the last fifteen years certain critics have interpreted it in a bizarre manner.2 At the root of this impulse is the feeling that actors cannot do justice to the Shakespearean concept, or that Shakespeare had no concept, or that audiences cannot connect with his play, and therefore must have something from the immediate world outside the theater to connect it with. No adapter seems to have realized that the contemporary world he was adapting the play to must itself rapidly become irrelevant. The first adapter, Nahum Tate, retitled Coriolanus as The Ingratitude of a Commonwealth, which was acted in London in 1681 or 1682. -
Revealing Tells, Bawdy and Otherwise, in Coriolanus by John Maune
Athens Journal of Humanities & Arts - Volume 5, Issue 2 – Pages 147-162 Revealing Tells, Bawdy and Otherwise, in Coriolanus By John Maune The title character of Shakespeareʼs late tragedy Coriolanus does not easily endear himself to his own citizens or we the viewing audience. Coriolanus is seen by many as a political play, but the main character is too naive to be strange or political. Similar to fellow turncoat Roman Titus Andronicus, he is a politically inept soldier surrounded by those more versed in swaying with the times as is the wont of true two-faced politicians. Coriolanus vents his thoughts as they come—more three-year old than statesman. He is always a hair trigger removed from erupting with a tantrum of strident invective. Scabs, braying dogs, and fetid corpses are a few of the images he dredges up to vent his spleen on the commoners. However, the other characters in play can be said to be more deserving on our condemnation than Coriolanus, as their curses and carnal imagery are far more depraved, even though used for a wide range of purposes spanning praise to ridicule. This paper will examine such examples, and present the case that Shakespeareʼs Coriolanus is not Olivierʼs "son of a so-and-so," but nearer Bradleyʼs "noble, even a lovable, being." Introduction The title character of Shakespeareʼs late tragedy Coriolanus does not easily endear himself to his own citizens or to us the viewing audience. "Coriolanus has absolutely no good attribute except physical courage, which he shares with most men and many animals,1"