Julius CaesarPenguin UK, 07.04.2005 - 272 Seiten 'Cry havoc and let slip the dogs of war, |
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... deaths of their protagonists. Although in performance Shakespeare's characters can give the impression of a superabundant reality, he is not a naturalistic dramatist. None of his plays is explicitly set in his own time. The action of ...
... death decision. It is up to the actor whether he plays Caesar at this moment as dangerously deluded, his judgement 'consumed in confidence' (II.2.49) as Calphurnia puts it, or, alternatively, as a brave man trying to justify his courage ...
... death' (III.1.104–5), but beforehand he sets himself a dicult task in earnest: Let's carve him as a dish fit for the gods, Not hew him as a carcass fit for hounds. And let our hearts, as subtle masters do, Stir up their servants to an ...
... death will be for the public good, but in the political arena it is not those civic reasons that will count, but the people's love and trust for Brutus – though in the event, of course, it is Mark Antony and the mass bribery of Caesar's ...
... death induces a distinctive, uncomfortable feeling: the desire not to rejoice in the wrongful demise of people whom we have disliked. Nothing could be more effective in exorcizing our original crude reaction to the politics of ...