Contagious Emulation: Antitheatricality and Theatre as Plague in Troilus and Cressida

2010 ◽  
pp. 75-101 ◽  
Author(s):  
Darryl Chalk
Keyword(s):  
Troilus And Cressida

Lesse Greeke? Homer in Jonson and Shakespeare

2016 ◽  
Vol 23 (1) ◽  
pp. 101-126 ◽  
Author(s):  
Robert S. Miola
Keyword(s):  
William Shakespeare ◽  
Free Will ◽  
Ben Jonson ◽  
Dark Side ◽  
Julius Caesar ◽  
Troilus And Cressida ◽  
English Translations ◽  
Love's Labor's Lost ◽  
And Function

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.

Emulous Factions and the Collapse of Chivalry: Troilus and Cressida

1990 ◽  
Vol 29 (1) ◽  
pp. 145-179 ◽  
Author(s):  
Eric S. Mallin
Keyword(s):  
Troilus And Cressida

The Textual Politics of Troilus and Cressida

1995 ◽  
Vol 46 (4) ◽  
pp. 414 ◽  
Author(s):  
Phebe Jensen
Keyword(s):  
Troilus And Cressida ◽  
Textual Politics

Record Review

Tempo ◽  
1995 ◽  
pp. 49-69
Keyword(s):  
American Music ◽  
80Th Birthday ◽  
List Type ◽  
Organ Music ◽  
Troilus And Cressida ◽  
Record Review

‘Troilus and Cressida’ Michael OliverGoehr on NMC Michael OliverRecent Górecki James HarleyHolliger and Homages to Sacher on ECM Peter PalmerKevin Volans Quartets Louie StowellKenneth Leighton organ music Bret JohnsonMaxwell Davies's ‘Resurrection’ Mike SeabrookMessiaen's ‘Concert à quatre’ Christopher DingleBoulez in Webern and Ligeti Christopher DingleCage and Feldman Christopher FoxAmerican Music Bret JohnsonMarcel Landowski 80th Birthday Edition John PickardEt cetera Guy Rickards

scholarly journals The Bibliographical Relationship between the Texts of Troilus and Cressida

The Library ◽  
2013 ◽  
Vol 14 (3) ◽  
pp. 271-312 ◽  
Author(s):  
Pervez Rizvi
Keyword(s):  
Troilus And Cressida

"The Tempest" and "Troilus and Cressida"

1945 ◽  
Vol 7 (3) ◽  
pp. 143
Author(s):  
Stephen Merton
Keyword(s):  
The Tempest ◽  
Troilus And Cressida

Troilus and Cressida: Romantic Love Revisited

1964 ◽  
Vol 15 (4) ◽  
pp. 327
Author(s):  
Barbara Heliodora C. ◽  
M. F. de Almeida
Keyword(s):  
Romantic Love ◽  
Troilus And Cressida
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