Political Theatre: The Rise and Fall of Rome and The Sword of Freedom, Two Translations of Julius Caesar in Meiji Japan by Kawashima Keizō and Tsubouchi Shōyō

2011 ◽  
Vol 28 (1) ◽  
pp. 168-183 ◽  
Author(s):  
Aragorn Quinn
2019 ◽  
Vol 99 (1) ◽  
pp. 173-192
Author(s):  
Diana E Henderson

Placing two innovative, high-profile stagings of Shakespeare in dialogue, this essay emphasises the power of re-citations, both as aural echoes and as tableaux, across dramatic genres. Building on Martin Luther King’s self-quotation within his anti-Vietnam address, it reveals how the Compagnia de’ Colombari’s site-specific The Merchant of Venice, performed in the originary Jewish Ghetto, and the New York Public Theater’s Julius Caesar, which created a national furore, each employed non-traditional casting and Shakespeare’s Act 4 emphasis on threatened yet suspended male-on-male violence to create complex political theatre, addressing historical ethnic and racial inequalities within ‘the fierce urgency of now’.


1935 ◽  
Vol 4 (12) ◽  
pp. 139-150
Author(s):  
R. J. H. Shutt

Halicarnassus was the birth-place of two historians, Herodotus and Dionysius, though Herodotus is better known: both, however, left their native place for the metropolis of their day, Herodotus for Athens, at that time the mistress of a growing empire, Dionysius for Rome. ‘I took ship to Italy,’ he says of himself, ‘at the time when the Civil War was brought to an end by Augustus Caesar, in the middle of the one hundred and eighty-seventh Olympiad, and I have spent in Rome the twenty-two years which have elapsed between that time and this. I have learnt the Roman language thoroughly and made myself acquainted with the national records; and throughout the whole of this period I continued working on matters connected with this history.’ We gather, then, that he migrated to Italy about 30 b.c. This period was particularly important in Roman history. The revolution, the seeds of which had been sown as early as 13.3 b.c., by Tiberius Gracchus, had after its various vicissitudes come to an end for the time being, Julius Caesar, the champion of the people, having become in all but name the monarch of the Roman world. With his murder in 44 b.c., since the Republic could not be restored, the struggle for supremacy began again: the murder of one man meant the repetition by others of the same process by which he had obtained his power. Augustus and Antony emerged as the chief rivals for the vacant throne, and Augustus at Actium secured it; a fact all must have realized in spite of the fair-sounding names of liberty and republic. That a contemporary should write a true account of the events about this time was vitally necessary. Augustus, when established in power, began to gather around him a literary circle including Virgil, Horace, and Livy, under the patronage of the distinguished Maecenas.


2001 ◽  
Vol 120 (5) ◽  
pp. A284-A284
Author(s):  
B NAULT ◽  
S SUE ◽  
J HEGGLAND ◽  
S GOHARI ◽  
G LIGOZIO ◽  
...  

2016 ◽  
Vol 23 (1) ◽  
pp. 101-126 ◽  
Author(s):  
Robert S. Miola

Throughout their careers both Jonson and Shakespeare often encountered Homer, who left a deep impress on their works. Jonson read Homer directly in Greek but Shakespeare did not, or if he did, he left no evidence of that reading in extant works. Both Jonson and Shakespeare encountered Homer indirectly in Latin recollections by Vergil, Horace, Ovid and others, in English translations, in handbooks and mythographies, in derivative poems and plays, in descendant traditions, and in plentiful allusions. Though their appropriations differ significantly, Jonson and Shakespeare both present comedic impersonations of Homeric scenes and figures – the parodic replay of the council of the gods (Iliad 1) in Poetaster (1601) 4.5 and the appearance of “sweet warman” Hector (5.2.659) in the Masque of the Nine Worthies (Love's Labor's Lost, 1588–97). Homer's Vulcan and Venus furnish positive depictions of love and marriage in The Haddington Masque (1608) as do his Hector and Andromache in Julius Caesar (1599), which features other significant recollections. Both Jonson and Shakespeare recall Homer to explore the dark side of honor and fame: Circe and Ate supply the anti-masque in the Masque of Queens (1609), and scenes from Chapman's Iliad supply the comical or tragical satire, Troilus and Cressida (c. 1601). Both poets put Homer to abstract and philosophical uses: Zeus's chain and Venus's ceston (girdle), allegorized, appears throughout Jonson's work and function as central symbols in Hymenaei (1606); Homer's depiction of the tension between fate and free will, between the omnipotent gods and willing humans, though mediated, inflects the language and action of Coriolanus (c. 1608). Ben Jonson and William Shakespeare practice a kind of inventive imitatio which, according to classical and neo-classical precept, re-reads classical texts in order to make them into something new.


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