Further Reading These notes list the most significant publications in English on the tragedy since 1990. The best survey of publications on Julius Caesar published before 1990 is by René Weiss, in Shakespeare: A Bibliographical Guide (Oxford: Oxford University Press, revised edition 1990), edited by Stanley Wells. EDITIONS The Julius Caesar in the Arden Shakespeare, edited by T. S. Dorsch, is high-minded, but dates from 1955 and is in serious need of updating. The New Penguin edition by Norman Sanders likewise dates from the year before the 1968 theoretical upheaval made it look reactionary and out- moded. Charney, Maurice (ed.), Applause Shakespeare Library (New York: Applause, 1996). Performance edition designed for actors. Gill, Roma (ed.), Oxford School Shakespeare (Oxford: Oxford University Press, 1992). Annotated edition with staging suggestions intended for sixth forms. Green, Frank (ed.), Heinemann Shakespeare (Oxford: Heinemann Educational, 1993). Annotated edition with staging suggestions intended for sixth forms. Holderness, Graham (ed.), Longman Study Texts (Harlow: Longman, 1990). Annotated edition with stage history designed for undergraduate students. Humphreys, A. R. (ed.), World’s Classics (Oxford: Oxford University Press, 1994). Compact annotated edition marketed to general readers and theatregoers. Mowat, Barbara, and Paul Werstine (eds), New Folger Library Shakespeare (New York: Washington Square Press, 1992). Modernised edition with historical context designed for High School students. Rigney, James (ed.), Shakespearean Originals: First Editions (Hemel Hempstead: Harvester Wheatsheaf, 1996). Annotated edition discusses editorial and performance deviations from the original First Folio text. Marketed to undergraduate students. Rosen, William, and Barbara Rosen (eds), Signet Classic Shakespeare (New York: New American Library, 1987). High School edition, updates 229 230 FURTHER READING 1963 Signet Classic with new bibliography and notes on later criticism and performance. Seward, Timothy (ed.), Cambridge School Shakespeare (Cambridge: Cambridge University Press, 1992). Modernised, illustrated edition with supplementary questions designed for pre-sixth form schoolchildren. Spevack, Marvin (ed.), New Cambridge Shakespeare (Cambridge: Cambridge University Press, 1988). Fully annotated text with compre- hensive stage history designed for postgraduate students. Wilson, Roderick (ed.), Macmillan Modern Shakespeare (Basingstoke: Macmillan Press – now Palgrave, 1985). Annotated edition designed for sixth forms and high schools. SOURCES Bryant, J. A., ‘Julius Caesar from a Euripidean Perspective’, in Clifford Davidson, Rand Johnson and John Stroupe (eds), Drama and the Classical Heritage (New York: AMS Press, 1993), pp. 144–58. Considers the irony of the tragedy makes it a ‘problem play’ in the tradition of the Greek dramatist. Fleissner, Robert, ‘“Et tu, Brute?” … Or, Did Shakespeare Ever Utilize the Bodleian?’ Manuscripta, 39 (1995), 51–5. Proposes that Shakespeare saw an earlier version of the Caesar drama at Oxford. Miles, Gary, ‘How Roman are Shakespeare’s “Romans”’? Shakespeare Quarterly, 40 (1989), 257–83. Authenticates Shakespeare’s representa- tion of ancient Rome. Mith, Robert, ‘Julius Caesar and The Massacre at Paris’, Notes and Queries, 44 (1997), 496–7. Opens possibility of play’s indebtedness to Marlowe’s bloody docu-drama on the French Wars of Religion. Parker, Barbara, ‘“A thing unfirm”: Plato’s Republic and Shakespeare’s Julius Caesar’, Shakespeare Quarterly, 44 (1993), 30–43. Proposes that Plato is the source of the fear of civic contamination and corruption that runs through the play. Piccolomini, Manfredi, The Brutus Revival: Parricide and Tyrannicide During the Renaissance (Carbondale and Edwardsville: South Illinois University Press, 1991). Situates Shakespeare’s play within Renaissance debate about justified assassination. Ronan, Clifford, ‘Lucan and the Self-Incised Voids of Julius Caesar’, in Clifford Davidson, Rand Jackson and John Stroupe (eds), Drama and the Classical Heritage (New York: AMS Press, 1993). Links play’s violent imagery and theme of fratricide to Latin writer. Sohmer, Steve, ‘What Cicero Said’, Notes and Queries, 44 (1997), 56–8. Relates play to Shakespeare’s possible knowledge of Euripides. Teague, Frances, ‘Letters and Portents in Julius Caesar and King Lear’, Shakespeare Yearbook, 3 (1992), 87–104. Describes the two tragedies as collage of scripts and quotations from earlier writers. Wells, Charles, The Wide Arch: Roman Values in Shakespeare (Bristol: Bristol Classical Press, 1993). Three chapters on the play discuss Shakespeare’s indebtedness to classical concepts of dictatorship, stoicism and friendship. FURTHER READING 231 CRITICISM Bloom, Harold, Major Literary Characters: Julius Caesar (New York, Chelsea House, 1994). Opinionated survey and selection of the play’s American humanist critics. Bono, Barbara, ‘The Birth of Tragedy: Tragic Action in Julius Caesar’, English Literary Renaissance [ELR], 24 (1994), 449–70. Feminist critique proposes that anxiety about Roman origins in the play expresses deeper fear of maternal control of reproduction. Bradley, Marshall, ‘Casca: Stoic, Cynic, and “Christian”’, Literature and Theology, 8 (1994), 140–56. Argues that Casca is Shakespeare’s inven- tion, devised to question the morality of the pre-Christian world. Burt, Richard, ‘“A Dangerous Rome”: Shakespeare’s Julius Caesar and the Discursive Determinism of Cultural Politics’, in Marie-Rose Logan and Peter Rudnytsky (eds), Contending Kingdoms: Historical, Psychological, and Feminist Approaches to the Literature of Sixteenth-Century England and France (Detroit: Wayne State University Press, 1991), pp. 109–27. See Introduction to this collection. Carducci, Jane, ‘Brutus, Cassius and Caesar in Shakespeare’s Julius Caesar: Language and the Roman Male’, Language and Literature, 13 (1988), 1–19. Discourse analysis explores how rhetoric in this tragedy turns back on its users. Cookson, Linda, and Bryan Loughrey (eds), Julius Caesar: Longman Critical Essays (Harlow: Longman, 1992). Collection of ten essays exam- ining play from different theoretical perspectives, abridged and intro- duced with notes for sixth formers. Drakakis, John, ‘“Fashion it thus”: Julius Caesar and the Politics of Theatrical Representation’, Shakespeare Survey, 44 (1992), 65–73. See Introduction to this collection. Fleissner, Robert, ‘The Problem of Brutus’s Paternity in Julius Caesar’, Hamlet Studies, 19 (1997), 109–13. Relates play to tradition that Brutus was Caesar’s illegitimate son and considers analogy with Hamlet. Gilbert, Anthony, ‘Techniques of Persuasion in Julius Caesar and Othello’, Neophilologus, 81 (1997), 309–23. Linguistic analysis explores verbal strategies that compel the audience of the plays into ironic collaboration. Girard, René, Collective Violence and Sacrifice in Shakespeare’s ‘Julius Caesar’ (Bennington: Bennington College Chapbooks in Literature, 1990). See Introduction to this collection. Gless, Darryl, ‘Julius Caesar, Allan Bloom, and the Value of Pedagogical Pluralism’, in Ivo Kamps (ed.), Shakespeare Left and Right (London: Routledge, 1991), pp. 185–203. Attacks conservative appropriations and argues for divergent readings of Julius Caesar in the multicultural campus. Goy-Blanquet, Dominique, ‘“Death or Liberty”: The Fashion in Shrouds’, Cahiers Elisabéthains, 38 (1990), 25–40. Argues that Cato’s suicide was an assertion of his human freedom, a self-determination denied Brutus. Greenhill, Wendy, Julius Caesar: The Shakespeare Library (Oxford: Heinemann Educational, 1995). Primer designed for pre-sixth form classes. 232 FURTHER READING Hampton, Timothy, Writing from History: The Rhetoric of Exemplarity in Renaissance Literature (Ithaca, NY: Cornell University Press, 1990). Chapter on Julius Caesar interprets play, New Historicist-style, as battle of competing representations. See Introduction to this collection. Iselin, Pierre, and François Laroque (eds), Julius Caesar (Paris: Ellipses, 1994). Collection of seven essays considering play from different histori- cist and theoretical angles, together with bibliography by Gisele Venet. Designed for French graduate students. Kraemer, Don, ‘“Alas, thou hast misconstrued everything”: Amplifying Words and Things in Julius Caesar’, Rhetorica, 9 (1991), 165–78. Discourse analysis shows how speakers control reactions in the Forum scene. Maquerlot, Jean-Pierre, Shakespeare and the Mannerist Tradition: A Reading of Five Problem Plays (Cambridge: Cambridge University Press, 1995). Chapter (pp. 72–86) analyses play as ‘vertiginous parade of images’, and situates this ‘dramatic coquetry’ in relation to the disturbing perspective tricks of sixteenth-century painting. Marshall, Cynthia, ‘Portia’s Wound, Calphurnia’s Dream: Reading Character in Julius Caesar’, English Literary Renaissance, 24 (1994), 471–88. See Introduction to this collection. Miles, Geoffrey, Shakespeare and the Ancient Romans (Oxford: Clarendon Press, 1996). Scholarly discussion of Shakespeare’s representation of the classical world. Motohashi, Edward Tetsuya, ‘“The Suburbs of Your Good Pleasure”: Theatre and Liberties in Julius Caesar’, Shakespeare Studies, 26 (1988; pub. 1990). Considers Cassius’s cry of ‘Liberty, freedom, and en- franchisement!’ in relation to the material situation of the Bankside playgoers. Parker, Barbara, ‘The Whore of Babylon and Shakespeare’s Julius Caesar’, Studies in English Literature, 1500–1900, 35 (1995), 251–69. Examines the combination of sexual