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Abbreviations SHAKESPEARE'S WORKS AW All's Well That Ends Well AC Antony and Geopatra AYL As You Like It CE The Comedy of Errors Cor Coriolanus Cym Cymbeline H Hamlet, Prince of Denmark 1H4 The First Part of King Henry the Fourth 2H4 The Second Part of King Henry the Fourth H5 The Life of King Henry the Fifth 1H6 The First Part of King Henry the Sixth 2H6 The Second Part of King Henry the Sixth 3H6 The Third Part of King Henry the Sixth H8 King Henry the Eighth JC Julius Caesar KJ The Life and Death of King John KL King Lear LLL Love's Labour's Lost Lucrece The Rape of Lucrece Mac Macbeth MM Measure for Measure MV The Merchant of Venice MW The Merry Wives of Windsor MND A Midsummer Night's Dream MA Much Ado About Nothing 0 Othello, The Moor of Venice R2 The Tragedy of King Richard the Second R3 The Tragedy of King Richard the Third XX Abbreviations RJ Romeo and Juliet TS The Taming of the Shrew Τ em The Tempest Timon Timon of Athens TC Troilus and Cressida Titus Titus Andronicus TN Twelfth Night or What You Will TGV The Two Gentlemen of Verona VA Venus and Adonis WT A Winters Tale MAGAZINES* A Anglia, Zeitschrift für Englische Philologie Ar Archiv für das Studium der neueren Sprachen und Litera- turen ESn Englische Studien MLN Modern Language Notes MLR Modern Language Review MP Modern Philology Ν Nation 19 C Nineteenth Century and After NQ Notes and Queries PQ Philological Quarterly PMLA Publications of the Modern Language Association of Amer- ica RES Review of English Studies RLC Revue de littérature comparée SAB Shakespeare Association Bulletin Sf Jahrbuch der Deutschen Shakespearegesellschaft SP Studies in Philology TIS Times Literary Supplement MISCELLANEOUS Β Bulletin CL Columbia University Library ed edited by introd introduction by * For the abbreviation of a portion of a magazine title see under miscellaneous abbreviations. Abbreviations xxi J Journal L Library MS Manuscript n.d date unknown no pi place unknown no tr translator unknown Q Quarterly R Review S Shakespeare Sn Shakespearean Sna Shakespeareana tr translator, or translated by U University .

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Venus and Adonis the Rape of Lucrece
NA432912 Venus and Adonis Booklet 5-9-6 7/9/06 1:16 pm Page 1 William Shakespeare THE COMPLETE Venus and Adonis TEXT The Rape of Lucrece UNABRIDGED POETRY Read by Eve Best, Clare Corbett, David Burke and cast 3 Compact Discs NA432912 Venus and Adonis Booklet 5-9-6 7/9/06 1:16 pm Page 2 CD 1 Venus and Adonis 1 Even as the sun with purple... 5:07 2 Upon this promise did he raise his chin... 5:19 3 By this the love-sick queen began to sweat... 5:00 4 But lo! from forth a copse that neighbours by... 4:56 5 He sees her coming, and begins to glow... 4:32 6 'I know not love,' quoth he, 'nor will know it...' 4:25 7 The night of sorrow now is turn'd to day... 4:13 8 Now quick desire hath caught the yielding prey... 4:06 9 'Thou hadst been gone,' quoth she, 'sweet boy, ere this...' 5:15 10 'Lie quietly, and hear a little more...' 6:02 11 With this he breaketh from the sweet embrace... 3:25 12 This said, she hasteth to a myrtle grove... 5:27 13 Here overcome, as one full of despair... 4:39 14 As falcon to the lure, away she flies... 6:15 15 She looks upon his lips, and they are pale... 4:46 Total time on CD 1: 73:38 2 NA432912 Venus and Adonis Booklet 5-9-6 7/9/06 1:16 pm Page 3 CD 2 The Rape of Lucrece 1 From the besieged Ardea all in post..
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Shakespeare's Rome
Cambridge University Press 978-1-107-15906-8 — Shakespeare Survey Edited by Peter Holland Excerpt More Information PAST THE SIZE OF DREAMING? SHAKESPEARE’SROME ROBERT S. MIOLA Ethereal Rumours citizens, its customs, laws and code of honour, its Revive for a moment a broken Coriolanus enemies, wars, histories and myths. But (T. S. Eliot) Shakespeare knew Rome as a modern city of Italy as well, land of love, lust, revenge, intrigue and art, Confronting modernity, the speaker in setting or partial setting for eight plays. Portia dis- ‘ ’ The Wasteland recalled the ancient hero and guises herself as Balthazar, a ‘young doctor of ’ ‘ Shakespeare s play (his most assured artistic suc- Rome’ (Merchant, 4.1.152); Hermione’s statue is ’ cess , Eliot wrote elsewhere) as fragments of past said to be the creation of ‘that rare Italian master, grandeur momentarily shored against his present Giulio Romano’ (The Winter’s Tale, 5.2.96). And ruins. Contrarily, Ralph Fiennes revived Shakespeare knew both ancient and modern fi Coriolanus in his 2011 lm because he thought it Rome as the centre of Roman Catholicism, a modern political thriller: home of the papacy, locus of forbidden devotion For me it has an immediacy: I know that politician and prohibited practice, city of saints, heretics, getting out of that car. I know that combat guy. I’ve martyrs and miracles. The name ‘Romeo’, appro- seen him every day on the news and in the newspaper – priately, identifies a pilgrim to Rome. Margaret that man in that camouflage uniform running down the wishes the college of Cardinals would choose her street, through the smoke and the dust.
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Rape of Lucretia) Tears Harden Lust, Though Marble Wear with Raining./...Herpity-Pleading Eyes Are Sadly Fix’D/In the Remorseless Wrinkles of His Face
ART AND IMAGES IN PSYCHIATRY SECTION EDITOR: JAMES C. HARRIS, MD Tarquin and Lucretia (Rape of Lucretia) Tears harden lust, though marble wear with raining./...Herpity-pleading eyes are sadly fix’d/In the remorseless wrinkles of his face... She conjures him by high almighty Jove/...Byheruntimely tears, her husband’s love,/By holy hu- man law, and common troth,/By heaven and earth and all the power of both,/That to his borrow’d bed he make retire,/And stoop to honor, not to foul desire.1(p17) UCRETIA WAS A LEGENDARY HEROINE OF ANCIENT shadow so his expression is concealed as he rips off Lucretia’s Rome, the quintessence of virtue, the beautiful wife remaining clothing. Lucretia physically resists his violence and of the nobleman Lucius Tarquinius Collatinus.2 brutality. A sculpture decorating the bed has fallen to the floor, In a lull in the war at Ardea in 509 BCE, the young the sheets are in disarray, and Lucretia’s necklace is broken, noblemen passed their idle time together at din- her pearls scattered. Both artists transmit emotion to the viewer, Lners and in drinking bouts. When the subject of their wives came Titian through her facial expression and Tintoretto in the vio- up, every man enthusiastically praised his own, and as their ri- lent corporeal chaos of the rape itself. valry grew, Collatinus proposed that they mount horses and see Lucretia survived the rape but committed suicide. After en- the disposition of the wives for themselves, believing that the best during the rape, she called her husband and her father to her test is what meets his eyes when a woman’s husband enters un- and asked them to seek revenge.
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Rape and Resistance of Lavinia in Titus Andronicus
Texture: A Journal of Humanities and Social Sciences 2017 The Body that Writes: Rape and Resistance of Lavinia in Titus Andronicus Arnab Baul Assistant Professor of English Surya Sen College, Siliguri Abstract The violent rape of a woman is at the centre of Shakespeare’s early tragedy ‘Titus Andronicus’. The gang rape of Titus’ daughter Lavinia unsettles our civilized sensibility in terms of its brutality and raises questions regarding rape’s appropriation in socio-cultural space. The play shows, as I argue here, how the violated body of Lavinia has become a site of contestation representing a struggle between Roman patriarchy’s attempted construction of narrative of shame and Lavinia’s courageous rebuttal. Lavinia’s subversion of this strategy of gender stratification by speaking through language of silence and then using writing as performance, shows a rape victim’s regaining of her lost self.The narrative of rape and revenge thus turns into a narrative of resistance when more than the act of violation it is the consequence of violation of the body and the resultant trauma which is highlighted. This paper further shows that an environment that makes it shameful to speak of rape, disallows a critique of rape and the culture that sustains it. I conclude by suggesting that the death of Lavinia, even after registering her protest, bursts forth the state of crafty amnesia of a society which still is befuddled on the issue of appropriating rape both culturally and psychologically. Keywords: Rape, patriarchy, gender-construction, protest, befuddlement And that deep torture may be call’d a hell, When more is felt than one hath power to tell.
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86 Women Under Siege. the Shakespearean Ethics Of
DOI: 10.2478/v10320-012-0030-9 WOMEN UNDER SIEGE. THE SHAKESPEAREAN ETHICS OF VIOLENCE DANA PERCEC and ANDREEA ŞERBAN West University of Timișoara 4, Pârvan Blvd, Timișoara, Romania [email protected] [email protected] Abstract: This paper discusses notions of physical violence, domestic violence, and sexual assault and the ways in which these were socially and legally perceived in early modern Europe. Special attention will be paid to a number of Shakespearean plays, such as Titus Andronicus and Edward III, but also to the narrative poem The Rape of Lucrece (whose motifs were later adopted in Cymbeline), where the consumption of the female body as a work of art is combined with verbal and physical abuse. Key words: consumption, rape, sexual assault, siege, violence Introduction The fourth act of William Shakespeare’s Titus Andronicus opens with the raped and mutilated Lavinia chasing Lucius’ son, gesturing at the book in the boy’s hand, Ovid’s Metamorphoses. She manages to turn the pages to the story of the rape of Philomela, thus informing her father and uncle about Tamora’s sons’ deeds. Starting from this scene, which is one of Ovid’s most prominent influences on Shakespeare’s plays, the paper will discuss notions of physical violence, domestic violence and sexual assault and the way in which they are socially and legally perceived in premodern and early modern Europe. Special attention will be paid to such Shakespearean plays as Titus Andronicus and Edward III, probably the best example of sexual harassment in early modern fiction, but also to the narrative poem The Rape of Lucrece (whose motifs were later adopted in 86 Cymbeline), where the consumption of the female body as a work of art is combined with verbal and physical abuse.
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Shakespeare's
Shakespeare’s ‘Forfended Place(s)’: Women and the City Sophie Chiari To cite this version: Sophie Chiari. Shakespeare’s ‘Forfended Place(s)’: Women and the City . Per Sivefors. Urban Encounters: Experience and Representation in the Early Modern City, Fabrizio Serra Editore, 2013. hal-01720066 HAL Id: hal-01720066 https://hal.archives-ouvertes.fr/hal-01720066 Submitted on 28 Feb 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. SHAKESPEARE’S “FORFENDED PLACE(S)”: WOMEN AND THE CITY1 SOPHIE CHIARI In the early 17th century, Tommaso Campanella imagined a utopian city, The City of the Sun (1602), in which Love rules over a compulsory system of training and education, and attends to the implementation of political eugenics.2 Daughters under the age of 19 and sons under 21 must be sexually restrained and amorous feelings prohibited. However, a few brothels remain accessible to those individuals incapable of controlling their sexual drives. Generally speaking, sexual relationships are just tolerated in the city as far as the imperatives of reproduction are concerned. In order to beget perfectly sane and vigorous children, partners will mate only after digestion and prayers.
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Hecuba and the Problems of Conscience in the Rape of Lucrece and Hamlet
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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.
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Titus Andronicus
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University of Edinburgh Postgraduate Journal of Culture and the Arts Issue 07 | Autumn 2008
University of Edinburgh Postgraduate Journal of Culture and the Arts Issue 07 | Autumn 2008 Title Moving Like a Ghost: Tarquin’s Specter and Agentive Objects in The Rape of Lucrece, Julius Caesar, and Macbeth Author Lizz Angello Publication FORUM: University of Edinburgh Postgraduate Journal of Culture and the Arts Issue Number 07 Issue Date Autumn 2008 Publication Date 12/12/2008 Editors Jack Burton & Jana Funke FORUM claims non-exclusive rights to reproduce this article electronically (in full or in part) and to publish this work in any such media current or later developed. The author retains all rights, including the right to be identified as the author wherever and whenever this article is published, and the right to use all or part of the article and abstracts, with or without revision or modification in compilations or other publications. Any latter publication shall recognise FORUM as the original publisher. Moving Like a Ghost: Tarquin’s Specter and Agentive Objects in The Rape of Lucrece, Julius Caesar, and Macbeth Lizz Angello (University of South Florida) It was a dark and stormy night. A man in robes wandered along a drafty corridor, distracted by the bloody business at hand. He was planning to commit a grievous wrong against a friend and kinsman, but his heart and mind were at odds. The winds howled outside the walls. Sudden light illuminated his passage. This is a ghost story. And, like all ghost stories, it strikes us as immediately familiar. As Shakespeare’s heirs, we know the story well, but from where? Is that Macbeth we see before us, his hand on Duncan’s door? Or do we spy on Brutus, reading a cryptic message in his balmy Mediterranean orchard? ‘Speak, strike, redress.’ The lightning suddenly becomes a meteor shower raining down on Rome.
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Body Parts and Female Power in Shakespeare's the Rape of Lucrece, Having Been Approved in Respect to Style and Intellectual Content, Is Referred to You for Judgment
Florida International University FIU Digital Commons FIU Electronic Theses and Dissertations University Graduate School 3-31-2000 Picking up the pieces: body parts and female power in Shakespeare's The ar pe of Lucrece Daphne Blum Florida International University DOI: 10.25148/etd.FI14051173 Follow this and additional works at: https://digitalcommons.fiu.edu/etd Part of the Literature in English, British Isles Commons, and the Other Feminist, Gender, and Sexuality Studies Commons Recommended Citation Blum, Daphne, "Picking up the pieces: body parts and female power in Shakespeare's The ar pe of Lucrece" (2000). FIU Electronic Theses and Dissertations. 1714. https://digitalcommons.fiu.edu/etd/1714 This work is brought to you for free and open access by the University Graduate School at FIU Digital Commons. It has been accepted for inclusion in FIU Electronic Theses and Dissertations by an authorized administrator of FIU Digital Commons. For more information, please contact [email protected]. FLORIDA INTERNATIONAL UNIVERSITY Miami, Florida PICKING UP THE PIECES: BODY PARTS AND FEMALE POWER IN SHAKESPEARE'S THE RAPE OF LUCRECE A thesis submitted in partial fulfillment of the requirements for the degree of MASTER OF ARTS in ENGLISH by Daphne Blum 2000 To: Dean Arthur W. Herriott College of Arts and Sciences This thesis, written by Daphne Blum, and entitled Picking Up the Pieces: Body Parts and Female Power in Shakespeare's The Rape of Lucrece, having been approved in respect to style and intellectual content, is referred to you for judgment. We have read this thesis and recommend that it be approved. Dr.
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Bleeding Bodies and Power Dynamics in Shakespeare's the Tragedy of Coriolanus and the Rape of Lucrece
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