DOCSLIB.ORG

Shakespeare's Rome

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. I’ve seen the bead-praying husband Pope ‘and carry him to people protesting on the streets, in their hoodies and Rome’ (2 Henry VI, 1.3.65), whence Cardinal ’ 1 jeans. You know, that s our world. Pandolf in King John and Cardinal Campeius in Critics of Shakespeare’s Rome have always occu- Henry VIII. Despite such presence, criticism has pied a place along the spectrum marked by these been slow to recognize the connections between extremes, some thinking it depicts a world else- Shakespeare’s ancient and modern cities. For most where and long ago, others that it reflects contem- commentators today, Shakespeare’s Rome is the porary times, either those of the playwright or of classical urbs he depicted in one narrative poem, his audiences. The Rape of Lucrece, and five plays, Titus Andronicus, Shakespeare first encountered Rome as ancient Julius Caesar, Antony and Cleopatra, Coriolanus and, world through his grammar-school education, spe- to a lesser extent, Cymbeline, which has only four cifically his study of Latin authors such as Ovid, Vergil, Horace, Cicero, Caesar, Seneca, Plautus, Terence, Livy, Suetonius, Tacitus and others; this 1 Ralph Fiennes in Christopher Wallenberg, ‘Stage to Screens: education made Rome more significant and acces- Ralph Fiennes Talks to Playbill.com About Wrestling Coriolanus Onto the Big Screen’, Playbill, 20 November sible than Athens, Jerusalem, or cities in Asia and 2011,p.2, www.playbill.com/news/article/stage-to-screens- the East. Allusions and representations throughout ralph-fiennes-talks-to-playbill.com-about-wrestling-coriol- the canon evoke the ancient city and its famous 184750 1 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-15906-8 — Shakespeare Survey Edited by Peter Holland Excerpt More Information ROBERT S. MIOLA scenes in Rome, the rest in Britain and Wales. twenty-one tests, Vickers, of course, has now con- (Some have argued also for Hamlet, wherein clusively demonstrated Peele’s hand in the play, Horatio claims to be ‘more an antique Roman even if some contest the details.9 than a Dane’, 5.2.293.) John W. Velz’s magisterial 1978 review in It was not ever thus. The most influential book Shakespeare Survey expanded Shakespeare’s Rome yet written on the subject, M. W. MacCallum’s to include Lucrece, Titus Andronicus and Shakespeare’s Roman Plays and their Background,2 Cymbeline.10 (After its appearance, Michael Platt considered only Julius Caesar, Antony and felt obliged to revise his Rome and Romans according Cleopatra and Coriolanus as the Roman plays and, to Shakespeare to take into account the missing though noting French Senecan drama, only plays.)11 Velz’s subtitle, moreover, ‘authenticity North’s Plutarch as the background. MacCallum or anachronism?’, pithily identified a central ques- exhaustively analyzed character, all the while tion for commentators on Shakespeare’s ancient methodically comparing passages from Plutarch’s world. Nahum Tate, along with such luminaries Lives to Shakespeare’s text. So doing, he advanced as Dryden, Pope and Johnson, saw historical ver- well beyond the insight of the first editor, Nicholas isimilitude in Shakespeare’s representations. Rowe (1709), who praised the ‘virtue and philo- In 1662 Margaret Cavendish actually went further, sophical temper’ of Shakespeare’s Brutus, his declaring them improvements on the originals: Antony’s ‘irregular greatness of mind’, these figures ‘certainly Julius Caesar, Augustus Caesar and portrayed ‘exactly as they are described by Antonius did never really act their parts better, if Plutarch, from whom certainly Shakespeare copied so well, as he hath described them’.12 On the other ’em’.3 Charting additions, omissions and contra- side, Ben Jonson thought ‘ridiculous’ dictions, MacCallum defined the subject and the Shakespeare’s description of Caesar as never principal approach for most of the following cen- doing wrong but with ‘just cause’,13 a phrase that tury, culminating in the word-by-word semiotic analyses of Alessandro Serpieri;4 but he excluded Titus Andronicus as Shakespeare’s juvenilia, relegat- 2 M. W. MacCallum, Shakespeare’s Roman Plays and their ing it to the ‘vestibule and forecourt of his art’.5 Background (London, 1910; rpt. with an introduction by ’ T. J. B. Spencer, New York, 1967). Introducing the 1967 reprint of MacCallum s 3 book, T. J. B. Spencer justly noted its importance Brian Vickers, ed., William Shakespeare: The Critical Heritage, 6 vols. (London, 1974-81), vol. 2,p.200. fi – 4 and some de ciencies this exclusion, the relent- Alessandro Serpieri, et al., eds., Nel laborotorio di Shakespeare: less emphasis on character, and the lack of any stage Dalle fonti ai drammi, vol. 4, I Drammi Romani (Parma, 1988); sense. A decade earlier Spencer’s own article Alessandro Serpieri, ‘Shakespeare and Plutarch: intertextual- ‘Shakespeare and the Elizabethan Romans’ had ity in action’,inShakespeare, Italy, and Intertextuality, ed. Michele Marrapodi (Manchester, 2004), pp. 45–58. begun correction by considering Titus Andronicus 5 MacCallum, Roman Plays,p.177. ’ 6 as authentically Roman, Shakespeare s attempt T. J. B. Spencer, ‘Shakespeare and the Elizabethan Romans’, 6 ‘not to get it all right, but to get it all in’, and by in Shakespeare Survey 10 (Cambridge, 1957), pp. 27–38;p.32. stating (overstating, actually) that Elizabethan 7 Spencer, ‘Elizabethan Romans’,p.31. 8 Romans, despite literary admiration for Cicero, J. C. Maxwell, ‘Shakespeare’s Roman Plays: 1900–1956’,in Shakespeare Survey 10 (Cambridge, 1957), pp. 1–11. were ‘Suetonian and Tacitan rather than 9 ’ 7 Brian Vickers, Shakespeare, Co-Author: A Historical Study of Plutarchan , that is, imperial rather than republi- Five Collaborative Plays (Oxford, 2002). can. Spencer’s fellow contributor to the same 10 John W. Velz, ‘The Ancient World in Shakespeare: Shakespeare Survey volume, J. C. Maxwell, included Authenticity Or Anachronism? A Retrospect’,in ’ Shakespeare Survey 31 (Cambridge, 1978), pp. 1–12. Titus in his review of Shakespeare s Roman 11 plays, though he thought, prophetically, some of Michael Platt, Rome and Romans according to Shakespeare 8 (Salzburg, 1976; rev. 2nd edn, Lanham, MD, 1983). it by George Peele. After exhaustive review of 12 Vickers, ed., Critical Heritage, vol. 1,p.43. the scholarship and the application of some 13 Vickers, ed., Critical Heritage, vol. 1,p.26. 2 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-15906-8 — Shakespeare Survey Edited by Peter Holland Excerpt More Information PAST THE SIZE OF DREAMING? SHAKESPEARE’SROME does not appear in the Folio as we have it. Thomas of mythic allusion to Tereus, Procne, Philomel, Rymer (1693) mocked Shakespeare for putting Astraea, Mars, Venus and Hercules. Others have Caesar and Brutus in ‘fools’ coats’ and making suggested Lucan’s Pharsalia as a deep source for the them ‘Jack Puddings in the Shakespeare dress’.14 imagery of parricidal saevitia,21 Machiavelli for the And, Velz observed, ‘from the time of John disillusioned politics of Julius Caesar,22 and Cicero Dennis’s Essay on the Genius and Writings of and anti-Ciceronian oratory for the rhetoric of Shakespear (1712) it has been a scholarly parlour Coriolanus.23 game to enumerate Shakespeare’s blunders in the By the late twentieth century the model implicit Roman plays’15 – the clock striking in Rome, the in traditional Quellenforschung, wherein an author night clothes of Brutus and Portia, other anachron- reads a book and tags borrowings by verbal itera- isms and anatopisms. Velz argued that critics in the tion, has yielded to more spacious, accommodating mid to late twentieth century reformulated the models of intertextuality. ‘Background’ can now perennial question by asking not whether include subtexts beneath texts, contexts alongside, Shakespeare’s Rome and Romans were authentic, which may or may not have been read by the but whether the playwright and his audience author, intertexts betwixt and between the author, thought them so; most, he thought, now answered original audience and modern reader. The master in the affirmative. He also declared that of sources traditionally defined, Geoffrey Shakespeare presented Rome as a ‘world apart’, Bullough, actually served as unacknowledged har- a place with its own politics, national character binger of these changes with his endlessly capacious and institutions and called attention to its symbolic category of ‘analogue’; Bullough contributed topography (walls, gates, Capitol, forum, battle- fields), rhetoric and sources, especially Vergil.
Load more

Recommended publications
  • 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..
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Hecuba and the Problems of Conscience in the Rape of Lucrece and Hamlet
    religions Article “For one’s Offence Why Should so Many Fall”?: Hecuba and the Problems of Conscience in The Rape of Lucrece and Hamlet Benedict J. Whalen English Department, Hillsdale College, Hillsdale, MI 49242, USA; [email protected] Received: 20 November 2018; Accepted: 6 January 2019; Published: 9 January 2019 Abstract: In The Rape of Lucrece and Hamlet, Shakespeare focuses upon the effects of sin and the problems of conscience that it causes. However, he does so by shifting focus from the sinner to the one harmed by the sin. Through this shift in focus, Shakespeare explores sin as something that does not only harm the sinner and his immediate victim, but as something that strikes against the common good. Sin harms humanity in its corporate nature, and the consequences of sin—sorrows, guilt, conflicted conscience, and the desire for absolution—spread from the sinner to his victims and the larger community. At pivotal moments in both works, Shakespeare turns to artistic representations of the figure of Hecuba, sorrowing in the midst of the destruction of Troy, as a means for navigating the strained point of intersection between private conscience and the common good. Keywords: Shakespeare; Hamlet; The Rape of Lucrece; Hecuba; conscience; sin When discussing The Rape of Lucrece, it has become commonplace for scholars to mention Gabriel Harvey’s marginalia in his copy of Speght’s edition of Chaucer, in which he remarked, “the younger sort takes much delight in Shakespeare’s Venus, & Adonis: but his Lucrece & his tragedie of Hamlet, Prince of Denmark, have it in them, to please the wiser sort” (Harvey 2018).1 Harvey identifies a relationship between Lucrece and Hamlet that has been subsequently explored in a variety of ways; Harold Walley argues that “Lucrece lays the foundation for Shakespeare’s whole subsequent treatment of tragedy” (Walley 1961, p.
    [Show full text]
  • 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.
    [Show full text]
  • Titus Andronicus
    Synopsis of Titus Andronicus fter the death of the emperor of Rome, the emperor’s two sons Saturninus and Bassianus vie to replace him. Titus returns from 10 years of war with the Goths, Ahaving lost 21 of his 25 sons in battle. He also has captured Tamora, Queen of the Goths, and her three sons. Titus buries his dead sons and, despite her pleas, sacrifices Tamora’s eldest to settle the score. Tamora vows revenge on Titus for this deed. The Roman tribune Marcus Andronicus announces that the throne has been offered to his brother Titus. Titus refuses the title of emperor, instead supporting the candidacy of Saturninus. Saturninus becomes emperor and immediatelyCristofer Jean, Judith•Marie Bergan, Derrick Lee Weeden, B.W. Gonzalez and Gregory Linington as Goths in the Oregon chooses Titus’ daughter Lavinia as his empress.Shakespeare Festival’s 2002 production of Titus Andronicus. Lavinia loves Bassianus, so the two run off together, leaving her brothers to defend them from pursuit. Titus rashly kills his son Mutius for disobeying theblack child, and that they must kill it so that Saturninus new emperor’s command. When Saturninus seesdoes not find out. Aaron murders the nurse to keep Tamora, however, he gives up Lavinia and marries her from talking and takes his newborn baby to the the Goth Queen instead. Goth camp to save its life. Tamora’s sons, Chiron and Demetrius, lust afterTitus, pretending to be mad, orders his followers to Lavinia. Tamora’s Moorish lover Aaron convincesshoot arrows into the sky with letters attached them to take her by force.
    [Show full text]
  • 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.
    [Show full text]
  • Abbreviations
    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 ab- breviations.
    [Show full text]
  • 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.
    [Show full text]
  • Bleeding Bodies and Power Dynamics in Shakespeare's the Tragedy of Coriolanus and the Rape of Lucrece
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 2015 Though My Gross Blood Be Stain'd: Bleeding Bodies and Power Dynamics in Shakespeare's the Tragedy of Coriolanus and the Rape of Lucrece Lindsey Katherine Dee Wedow Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the Literature in English, British Isles Commons Recommended Citation Wedow, Lindsey Katherine Dee, "Though My Gross Blood Be Stain'd: Bleeding Bodies and Power Dynamics in Shakespeare's the Tragedy of Coriolanus and the Rape of Lucrece" (2015). Master's Theses. 2901. https://ecommons.luc.edu/luc_theses/2901 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2015 Lindsey Katherine Dee Wedow LOYOLA UNIVERSITY CHICAGO “THOUGH MY GROSS BLOOD BE STAIN’D”: BLEEDING BODIES AND POWER DYNAMICS IN SHAKESPEARE’S THE TRAGEDY OF CORIOLANUS AND THE RAPE OF LUCRECE A THESIS SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS PROGRAM IN ENGLISH BY LINDSEY K.D. WEDOW CHICAGO, IL AUGUST 2015 ACKNOWLEDGMENTS I would like to thank everyone who helped me along the way to completing this thesis project, beginning with my incredible professors in Loyola University Chicago’s English department. Both Dr.
    [Show full text]