Julius CaesarPenguin, 01.12.2000 - 304 Seiten The Signet Classics edition of Shakespeare's timeless tragedy of conspiracy and betrayal. In the first of his Roman history plays, the Bard tells the story of the murder of emperor Julius Caesar and the gruesome aftermath as ancient Rome descends into a violent mob. This title in the Signet Classics Shakespeare series includes: • An overview of Shakespeare's life, world, and theater • A special introduction to the play by the editors, William and Barbara Rosen • Selections from Plutarch's Lives of Noble Grecians and Romans, the source from which Shakespeare derived Julius Caesar • Dramatic criticism from Roy Walker, Maynard Mack, Richard David, and others • A comprehensive stage and screen history of notable actors, directors, and productions of Julius Caesar • Text, notes, and commentaries printed in the clearest, most readable format • Recommended readings |
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... honor and patriotism has emptied him of a capacity to connect emotionally with others. When he confides to Cassius that his wife is dead, having swallowed fire, Brutus curtails discussion of his loss with a curt “Speak no more of her ...
... honor and patriotism has emptied him of a capacity to connect emotionally with others. When he confides to Cassius that his wife is dead, having swallowed fire, Brutus curtails discussion of his loss with a curt “Speak no more of her ...
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... honor.” Other accounts, however, emphasized Caesar's tyrannical inclinations. Thomas Kyd's English translation of the French play Cornélie (1594) depicted a despotic Caesar, if not at the beginning of his career then certainly by its ...
... honor.” Other accounts, however, emphasized Caesar's tyrannical inclinations. Thomas Kyd's English translation of the French play Cornélie (1594) depicted a despotic Caesar, if not at the beginning of his career then certainly by its ...
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... honor has no bearing on Cassius's actions; it is a mere word that can be manipulated for any ends whatsoever, and yet Cassius knows how much such words mean to Brutus, who loves the “name of honor” more than he fears death (I.2.91) ...
... honor has no bearing on Cassius's actions; it is a mere word that can be manipulated for any ends whatsoever, and yet Cassius knows how much such words mean to Brutus, who loves the “name of honor” more than he fears death (I.2.91) ...
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... honor” so as to defend the murder of Caesar. Antony, by contrast, does not ask his audience to grant him any virtues whatsoever. He does not, of course, “come to bury Caesar,” as he suggests (III.2.74). Rather, he summons Caesar's ghost ...
... honor” so as to defend the murder of Caesar. Antony, by contrast, does not ask his audience to grant him any virtues whatsoever. He does not, of course, “come to bury Caesar,” as he suggests (III.2.74). Rather, he summons Caesar's ghost ...
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... honor.” Brutus “is an honorable man,” we hear again and again (III.2.82, 87,94, 99), but each time the term loses that much more resonance. How, Antony asks implicitly, is Brutus's honor to replace the slain Caesar when it is nowhere to ...
... honor.” Brutus “is an honorable man,” we hear again and again (III.2.82, 87,94, 99), but each time the term loses that much more resonance. How, Antony asks implicitly, is Brutus's honor to replace the slain Caesar when it is nowhere to ...
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actors answer appear army battle bear better blood body Brutus Calpurnia Capitol CASCA CASSIUS cause Cinna comes common conspirators crown dangerous death Decius doth early enemy English Enter Exeunt Exit eyes face fall fear fire folio follow FOURTH PLEBEIAN give gods hand hath hear heart hold honor humor Julius Caesar leave Ligarius live London look lord Lucillius Lucius March Mark Antony matter mean meet Messala mind moved nature never night noble Octavius once Peace performed Pindarus play playwright PLEBEIAN poet PORTIA present reason rest Roman Rome Senate SERVANT Shakespeare sick SOLDIER speak speech spirit stage stand stay streets sword tell texts theater thee things THIRD thou Titinius true turn wrong