Imagery in Coriolanus
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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. -
Richard II First Folio
FIRST FOLIO Teacher Curriculum Guide Welcome to the Table of Contents Shakespeare Theatre Company’s production Page Number of About the Play Richard II Synopsis of Richard II…..…….….... …….….2 by William Shakespeare Interview with the Director/About the Play…3 Historical Context: Setting the Stage….....4-5 Dear Teachers, Divine Right of Kings…………………..……..6 Consistent with the STC's central mission to Classroom Connections be the leading force in producing and Tackling the Text……………………………...7 preserving the highest quality classic theatre , Before/After the Performance…………..…...8 the Education Department challenges Resource List………………………………….9 learners of all ages to explore the ideas, Etiquette Guide for Students……………….10 emotions and principles contained in classic texts and to discover the connection between The First Folio Teacher Curriculum Guide for classic theatre and our modern perceptions. Richard II was developed by the We hope that this First Folio Teacher Shakespeare Theatre Company Education Curriculum Guide will prove useful as you Department. prepare to bring your students to the theatre! ON SHAKESPEARE First Folio Guides provide information and For articles and information about activities to help students form a personal Shakespeare’s life and world, connection to the play before attending the please visit our website production. First Folio Guides contain ShakespeareTheatre.org, material about the playwrights, their world to download the file and their works. Also included are On Shakespeare. approaches to explore the plays and productions in the classroom before and after the performance. Next Steps If you would like more information on how First Folio Guides are designed as a you can participate in other Shakespeare resource both for teachers and students. -
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. -
King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice -
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. -
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. -
Romeo & Juliet TEACHER
Contents How to Use This Study Guide with the Text & Literature Notebook ......... 5 Notes & Instructions to Student ........................................................................ 7 Taking With Us What Matters .......................................................................... 9 Four Stages to the Central One Idea ............................................................... 13 How to Mark a Book ......................................................................................... 18 Introduction ....................................................................................................... 20 Basic Features & Background .......................................................................... 22 ACT 1 Pre-Grammar | Preparation ............................................................................ 29 Grammar | Presentation .................................................................................. 29 Logic | Dialectic ................................................................................................ 36 Rhetoric | Expression ....................................................................................... 38 ACT 2 Pre-Grammar | Preparation ............................................................................ 41 Grammar | Presentation .................................................................................. 41 Logic | Dialectic ................................................................................................ 46 ACT 3 Pre-Grammar | Preparation -
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. -
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.