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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. -
The Child's Two Bodies: Shakespeare, Sovereignty, and the End Of
7KH&KLOGV7ZR%RGLHV6KDNHVSHDUH6RYHUHLJQW\ DQGWKH(QGRI6XFFHVVLRQ Joseph Campana ELH, Volume 81, Number 3, Fall 2014, pp. 811-839 (Article) 3XEOLVKHGE\7KH-RKQV+RSNLQV8QLYHUVLW\3UHVV DOI: 10.1353/elh.2014.0034 For additional information about this article http://muse.jhu.edu/journals/elh/summary/v081/81.3.campana.html Access provided by Fondren Library, Rice University (29 Oct 2014 14:35 GMT) THE CHild’s Two Bodies: SHAKESPEARE, SOVEREIGNTY, AND THE END OF SUCCESSION BY JOSEPH CAMPANA The king is dead. Long live the child? In a dramatic canon full of the ghosts of dead fathers, William Shakespeare offers up tragic protagonists haunted by children. Desperate for assurances about his precarious political future, the monarch-murdering usurper Macbeth seeks out a second encounter with the infamous witches who prophesied his unexpected assump- tion of sovereignty. Macbeth meets Hecate herself and experiences visions of a crowned child, an armed head, a bloody babe, and a glorious future line of Scottish kings culminating in King James VI and I of Scotland and England.1 Pivotal to Macbeth is the question of what central characters do, or do not, see: gruesome witches, killing instruments, guilt-stained hands, ambulatory trees, and prophetic visions. In act 2, scene 1, Macbeth imagines or witnesses the weapon he will later use to slay King Duncan. “Is this a dagger which I see before me,” he famously asks, “The handle toward my hand? Come, let me clutch thee. / I have thee not, and yet I see thee still” (2.1.1–3). Macbeth’s mysterious dagger, Lady Macbeth’s blood-soaked hands, Hecate’s visions of a bloody babe, a crowned child, an armed head, and a line of seven kings: the famous images that flicker in and out of sight in Shakespeare’s Scottish tragedy I will describe as apparitions not of a state of mind but of the state itself. -
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's Coriolanus As an Epitome of A
Conference of the International Journal of Arts and Sciences 2(1): 41-45 (2009) CD-ROM. ISSN: 1943-6114 © InternationalJournal.org Shakespeare’s Coriolanus as an Epitome of a Dysfunctional Family Buket Dogan, Middle East Technical University, Turkey Coriolanus has not been studied as extensively as Shakespeare’s other tragedies. Yet, with the change in sense of style with the turn of the twentieth-century Coriolanus is on stage more often and receives critical attention. Coriolanus seems rather a modern play in not evocating sympathy for any of the characters with whom the reader can identify himself with. Coriolanus has many distancing and disagreeable characteristics that may generate dislike for the protagonist, yet the skillfully adorned rhetoric and speech prove Coriolanus to be one of Shakespeare’s greatest tragedies, as T.S. Eliot puts it Coriolanus is “Shakespeare’s most assures artistic success” (in Brockman 50). Shakespeare for some time was engaged “writing plays about the destructive effects of excessive emotional attachments between children and parents”, for instance, in Hamlet or King Lear (King 14). The outcome of the parental repression is likely to produce the worst repercussions on Coriolanus, who is torn between his own identity and the identity that his mother trying to exert on him. Coriolanus has been dominated by his mother ever since his early childhood. At the outset of the play, the main motive for Coriolanus’ services for Rome is mainly to please his mother rather than to ensure Rome’s well-being. The First Citizen asserts that: “though soft-conscienced men can be content to say it was for his country, he did it to please his mother” (1.1.37-9). -
For God's Sake, Let Us Sit Upon the Ground and Tell Sad Stories of the Death of Kings … -Richard II, Act III, Scene Ii
The Hollow Crown is a lavish new series of filmed adaptations of four of Shakespeare’s most gripping history plays: Richard II , Henry IV, Part 1 , Henry IV, Part 2 , and Henry V , presented by GREAT PERFORMANCES . For God's sake, let us sit upon the ground and tell sad stories of the death of kings … -Richard II, Act III, Scene ii 2013 WNET Synopsis The Hollow Crown presents four of Shakespeare’s history plays: Richard II , Henry IV, Parts 1 and 2, and Henry V . These four plays were written separately but tell a continuous story of the reigns of three kings of England. The first play starts in 1398, as King Richard arbitrates a dispute between his cousin Henry Bolingbroke and the Duke of Norfolk, which he resolves by banishing both men from England— Norfolk for life and Bolingbroke for six years. When Bolingbroke’s father dies, Richard seizes his lands. It’s the latest outrage from a selfish king who wastes money on luxuries, his favorite friends, and an expensive war in Ireland. Bolingbroke returns from banishment with an army to take back his inheritance and quickly wins supporters. He takes Richard prisoner and, rather than stopping at his own lands and privileges, seizes the crown. When one of Bolingbroke’s followers assassinates Richard, the new king claims that he never ordered the execution and banishes the man who killed Richard. Years pass, and at the start of Henry IV, Part 1 , the guilt-stricken king plans a pilgrimage to the Holy Land to wash Richard’s blood from his hands. -
Twelfth Night Study Guide — 2 Twelfth Night a Support Packet for Studying the Play and Attending the Shakespeare Theatre of New Jersey’S Main Stage Production
a study guide compiled and arranged by the Education Department of The Shakespeare Theatre of New Jersey The Shakespeare Theatre of New Jersey Twelfth Night study guide — 2 Twelfth Night a support packet for studying the play and attending The Shakespeare Theatre of New Jersey’s Main Stage production General Information p3- Using This Study Guide p16- Sources for this Study Guide (and Additional Resources) William Shakespeare p4- Shakespeare: Helpful Tips for Exploring & Seeing His Works p5- The Life of William Shakespeare p5- Shakespeare’s London p6- Are You SURE This Is English? About The Play p7- Twelfth Night: A Synopsis p8- Sources and History of the Play p10- Commentary and Criticism Studying Shakespeare’s Twelfth Night p9- Shakespeare’s Common Tongue p9- Terms and Phrases found in Twelfth Night p11- Aspects of Twelfth Night p12- Twelfth Night: Food For Thought p13- Additional Topics for Discussion Classroom Applications p13- Follow-Up Activities p14- What Did He Say? p14- Who Said That? p15- Meeting the Core Curriculum Content Standards p16- “Who Said That?” Answer Key About the Shakespeare Theatre of New Jersey p17- About The Shakespeare Theatre of New Jersey p17- Other Opportunities for Students... and Teachers The Shakespeare Theatre of New Jersey is an independent, professional theatre located on the Drew University campus. The Shakespeare Theatre of New Jersey’s programs are made possible, in part, by funding from the New Jersey State Council on the Arts/ Department of State, a Partner Agency of the National Endowment for the Arts, as well as funds from the National Endowment for the Arts. -
The Threepenny Opera Direct from the National Theatre to Cinemas Around the World from Thursday 22 September
11 July 2016 NT LIVE ANNOUNCES THE BROADCAST OF THE THREEPENNY OPERA DIRECT FROM THE NATIONAL THEATRE TO CINEMAS AROUND THE WORLD FROM THURSDAY 22 SEPTEMBER ★★★★ ‘Rory Kinnear is a fine Macheath. Haydn Gwynne is terrific’ Daily Express ★★★★ ‘Grimy, filthy and tremendously fun’ Time Out ★★★★ ‘Rory Kinnear is really on song’ Evening Standard ★★★★ ‘A snarling beast of a show’ Independent Rufus Norris’ National Theatre production of THE THREEPENNY OPERA by Bertolt Brecht and Kurt Weill in a new adaptation by Simon Stephens will be broadcast live to cinemas around the world direct from the National’s Olivier Theatre on 22 September at 7pm. The cast includes Rory Kinnear at Macheath, Haydn Gwynne as Mrs Peachum and Rosalie Craig as Polly Peachum alongside Hammed Animashaun, Sarah Amankwah, Toyin Ayeden- Alase, Jamie Beddard, Rebecca Brewer, Andrew Buckley, Ricky Butt, Mark Carroll, Matt Cross, Peter de Jersey, Nick Holder, George Ikediashi. Debbie Kurup, Conor Neaves, Sharon Small, Dominic Tighe and Wendy Somerville. The production is designed by Vicki Mortimer, with musical direction by David Shrubsole, choreography by Imogen Knight, lighting by Paule Constable, sound by Paul Arditti and fight direction by Rachel Bown Williams and Ruth Cooper of RC-ANNIE Ltd. London scrubs up for the coronation. The thieves are on the make, the whores on the pull, the police cutting deals to keep it all out of sight. Mr and Mrs Peachum are looking forward to a bumper day in the beggary business but their daughter didn’t come home last night. Mack the Knife is back in town. A landmark of 20th century musical theatre THE THREEPENNY OPERA in this bold new production contains filthy language and immoral behaviour. -
Shakespeare's Warrior Kings
Focus: Introduction to Shakespeare Stage 5 Yr 9 Duration: 6 weeks Karen Yager - Knox Grammar School - Created for the Premier’s Literature Scholarship Shakespeare’s Warrior Kings HENRY V MACBETH RICHARD III 1 Focus: Introduction to Shakespeare Stage 5 Yr 9 Duration: 6 weeks Karen Yager - Knox Grammar School - Created for the Premier’s Literature Scholarship Concept: Perceptions & Cross Curricular Outcomes Representation Literacy ICT A student: 1. responds to and composes increasingly Shakespeare’s Warrior Language modes sophisticated and sustained texts for Kings Reading/writing/speaking/listening/ understanding, interpretation, critical analysis viewing & representing and pleasure. Deep knowledge: Texts 2. uses and critically assesses a range of How context shapes Extracts from Shakespeare’s plays: processes for responding to and composing. perspectives and Macbeth 5.transfers understanding of language concepts representations Richard III into new and different contexts. Henry V 9. demonstrates understanding of the ways texts An appreciation of others’ As well as: reflect personal and public worlds. perspectives The documentary In Search of The power of language and Shakespeare images & K. Yager’s CD rom Rationale This stage 5 unit is designed as an introductory unit to Shakespeare focusing on his representation of the warrior kings. Students begin by exploring Shakespeare’s context through a web quest, a CD-Rom and the documentary In Search of Shakespeare. The students will closely examine some of the key extracts from the plays to appreciate the textual details and features, rhythm and the perspective. The students will explore others’ perspectives of the kings and how ideas and information can be constructed. As a lawyer representing the family of the king the students will research the historical version of the king and compare their findings with Shakespeare’s representation or create a visual representation for the Power House Museum that explores different perspectives. -
Map 44 Latium-Campania Compiled by N
Map 44 Latium-Campania Compiled by N. Purcell, 1997 Introduction The landscape of central Italy has not been intrinsically stable. The steep slopes of the mountains have been deforested–several times in many cases–with consequent erosion; frane or avalanches remove large tracts of regolith, and doubly obliterate the archaeological record. In the valley-bottoms active streams have deposited and eroded successive layers of fill, sealing and destroying the evidence of settlement in many relatively favored niches. The more extensive lowlands have also seen substantial depositions of alluvial and colluvial material; the coasts have been exposed to erosion, aggradation and occasional tectonic deformation, or–spectacularly in the Bay of Naples– alternating collapse and re-elevation (“bradyseism”) at a staggeringly rapid pace. Earthquakes everywhere have accelerated the rate of change; vulcanicity in Campania has several times transformed substantial tracts of landscape beyond recognition–and reconstruction (thus no attempt is made here to re-create the contours of any of the sometimes very different forerunners of today’s Mt. Vesuvius). To this instability must be added the effect of intensive and continuous intervention by humanity. Episodes of depopulation in the Italian peninsula have arguably been neither prolonged nor pronounced within the timespan of the map and beyond. Even so, over the centuries the settlement pattern has been more than usually mutable, which has tended to obscure or damage the archaeological record. More archaeological evidence has emerged as modern urbanization spreads; but even more has been destroyed. What is available to the historical cartographer varies in quality from area to area in surprising ways. -
The Dramatic Space of Hamlet's Theatre
Acta Universitatis Sapientiae, Philologica, 4, 1 (2012) 59-75 “The Play’s the Thing” The Dramatic Space of Hamlet’s Theatre Balázs SZIGETI Eötvös Loránd University Department of English Studies [email protected] Abstract. In my paper I investigate the use of the dramatic space in Shakespeare’s Hamlet. The tragedy will be observed with the method of “pre-performance criticism,” which first and foremost makes use of the several potentials a play contains and puts on display before an actual performance; it offers, also in the light of the secondary literature, various ways of interpretation, resulting from the close-reading of the play and considers their possible realizations in the space of the stage both from the director’s and the actor’s point of view, including the consequences the respective lines of interpretation may have as regards the play as a whole. Hamlet does not only raise the questions of the theatrical realization of a play but it also reflects on the ontology of the dramatic space by putting the performance of The Mousetrap-play into one of its focal points and scrutinises the very interaction between the dramatic space and the realm of the audience. I will discuss the process how Hamlet makes use of his private theatre and how the dramatic space is transformed as The Murder of Gonzago turns into The Mousetrap-performance. Keywords: Hamlet; The Mousetrap; dramatic space; pre-performance criticism Shakespeare’s Hamlet1 does not only raise the questions of the theatrical realization of a play but it also reflects on the ontology of the dramatic space by putting the performance of The Mousetrap-play into one of its focal points and 1 In the present paper I quote the play according to the Norton Shakespeare edition (Greenblatt et. -
05. Filologia Alemana 14
«The people are the city»: Das Volk und der Held bei Shakespeare, Brecht und Grass* Ana R. CALERO Universitat de València Departament de Filologia Anglesa i Alemanya [email protected] Recibido: octubre de 2005 Aceptado: febrero de 2006 ZUSAMMENFASSUNG William Shakespeares Coriolanus (1608-1609), Bertolt Brechts Coriolan (1951-1952) und Günter Grass’ Die Plebejer proben den Aufstand (1966) stellen ein Kontinuum dar, in dem jeder Autor die Zeichen seiner Zeit und seine Auffassung von Theater in das literarische Gewebe hineingestrickt hat. Aufgezeigt werden soll die Beziehung zwischen Held und Volk anhand von zwei dramatischen Momenten: der Aufstand der Plebejer und Coriolanus’ Stimmenwerbung. Schlüsselwörter: Volk , Held , Shakespeare, Brecht, Grass. «The people are the city»: The People and the Hero in Shakespeare, Brecht and Grass ABSTRACT William Shakespeare’s Coriolanus (1608-1609), Bertolt Brecht’s Coriolan (1951-1952) and Günter Grass’ Die Plebejer proben den Aufstand (1966) can be read as a continuum. Each author includes in his play not only the historical circumstances of his time but also his understanding of dramatic art. The aim of this article is to show the relationship between hero and people by means of two dramatical moments: the uprising of the people and Coriolanus’ plea for votes. Keywords: People, Hero, Shakespeare, Brecht, Grass. RESUMEN Coriolanus (1608-1609) de William Shakespeare, Coriolan (1951-1952) de Bertolt Brecht y Die Plebejer proben den Aufstand (1966) de Günter Grass pueden leerse como un continuum. Cada uno de los autores teje en el tapiz literario las circunstancias históricas que vivió y su visión del teatro. El objetivo de esta contribución es mostrar la relación que se establece entre el protagonista y el pueblo sirviéndonos de dos momentos dramáticos: el levantamiento de los plebeyos y la petición de votos por parte de Coriolano. -
Coriolanus and Fortuna Muliebris Roger D. Woodard
Coriolanus and Fortuna Muliebris Roger D. Woodard Know, Rome, that all alone Marcius did fight Within Corioli gates: where he hath won, With fame, a name to Caius Marcius; these In honour follows Coriolanus. William Shakespeare, Coriolanus Act 2 1. Introduction In recent work, I have argued for a primitive Indo-European mythic tradition of what I have called the dysfunctional warrior – a warrior who, subsequent to combat, is rendered unable to function in the role of protector within his own society.1 The warrior’s dysfunctionality takes two forms: either he is unable after combat to relinquish his warrior rage and turns that rage against his own people; or the warrior isolates himself from society, removing himself to some distant place. In some descendent instantiations of the tradition the warrior shows both responses. The myth is characterized by a structural matrix which consists of the following six elements: (1) initial presentation of the crisis of the warrior; (2) movement across space to a distant locale; (3) confrontation between the warrior and an erotic feminine, typically a body of women who display themselves lewdly or offer themselves sexually to the warrior (figures of fecundity); (4) clairvoyant feminine who facilitates or mediates in this confrontation; (5) application of waters to the warrior; and (6) consequent establishment of societal order coupled often with an inaugural event. These structural features survive intact in most of the attested forms of the tradition, across the Indo-European cultures that provide us with the evidence, though with some structural adjustment at times. I have proposed that the surviving myths reflect a ritual structure of Proto-Indo-European date and that descendent ritual practices can also be identified.