The Tragedy of Macbeth by William Shakespeare. The Tragedy of Julius Caesar by William Shakespeare.

1940 ◽  
Vol 55 (2) ◽  
pp. 145
Author(s):  
C. J. Sisson ◽  
George Lyman Kittredge
Keyword(s):  
William Shakespeare ◽  
Julius Caesar

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.

Et tu, Brute ? – Editorial 1/2018

2018 ◽  
Vol 66 (1) ◽  
Keyword(s):  
William Shakespeare ◽  
Julius Caesar

An den Iden des März 44 vor Christus wurde Julius Cäsar von einer Gruppe Senatoren mit dem Dolch ermordet. Mit dabei Cäsars Verbündeter und Mitstreiter Brutus. Auch Du, Brutus? Diese letzten Worte legte William Shakespeare 1599 in seinem Drama «Julius Caesar» dem Sterbenden in den Mund, als auch Brutus mit dem Dolch zustach. Auch Du hast mich verraten. Wir Schweizer Sportmediziner wurden am 30. Januar 2018 aufgeschreckt. Ein Schweizer «Sportarzt» wurde mit versteckter Kamera überführt, wie er aktiv einem Sportler verbotene leistungsfördernde Medikamente (Doping) empfahl und abgab. Et tu, Brute!

scholarly journals Comparative Analysis of Intelligent Devil Villains in W. Shakespeare’s Tragedies: Macbeth, Julius Caesar and Othello

2020 ◽  
Vol 6 (4) ◽  
pp. 527-531
Author(s):  
M. Tursunova
Keyword(s):  
Comparative Analysis ◽  
William Shakespeare ◽  
Julius Caesar ◽  
Similarities And Differences

This article compares three prominent villains — Macbeth, Brutus and Iago in three famous tragedies: Macbeth, Julius Caesar and Othello by William Shakespeare according to the terms of intelligence and devilry. These two main aspects are considered for the analysis to find the main similarities and differences and categorize their villainy on the basis of devilry.

scholarly journals Characterization in William Shakespeare’s Julius Caesar

2020 ◽  
Vol 6 (2) ◽  
pp. 66
Author(s):  
Esmeralda Subashi
Keyword(s):  
High School ◽  
William Shakespeare ◽  
World Wide ◽  
School Curriculum ◽  
Julius Caesar ◽  
Special Focus ◽  
Moral Choice ◽  
High School Curriculum ◽  
Political Implications ◽  
English Speaking

Julius Caesar, one of Shakespeare finest tragedies, has baffled readers, critics and scholars alike for centuries. It still remains one of the most read plays written by William Shakespeare and it has been part of high school curriculum in many English speaking countries world-wide. One of the most important features of it is the ambiguous and ambivalent portrayal of its characters and this paper endeavors to elaborate on the kaleidoscopic characterization in Julius Caesar by exploring its main characters with a special focus on the two tragic heroes of this play: Caesar and Brutus. Also, the paper will deal with some other important aspects of the play such as its political implications, its characteristics as a problem play and a tragedy of moral choice by building upon a wide corpus of critical criticism on Julius Caesar, and finally it will attempt to work out the play’s relevance to the 21st century readers and audiences.

scholarly journals WOLLSTONECRAFT AND FRIEDAN�S THEORIES HIGHLIGHT THE WOMEN STRUGGLES IN JULIUS CAESAR

2015 ◽  
Vol 13 (2) ◽  
pp. 187
Author(s):  
Ekawati Marhaenny Dukut ◽  
Farhana Malik
Keyword(s):  
William Shakespeare ◽  
Julius Caesar ◽  
Ancient Rome ◽  
Female Characters ◽  
Historical Events ◽  
Roman Women ◽  
Condition Of Women

For centuries, women have been struggling to establish their place in the society and fight for their rights as becoming an equal to men. This article, presents an analysis on the female characters - Portia and Calpurnia of Rome, in Julius Caesar. The play was written by William Shakespeare who based his story on the historical events of Ancient Rome. Making use of Wollstonecraft and Friedans theories, this article aims at examining to what extent the struggles of women are reflected and presented in the play. The struggles of the female characters are intrinsically concerned with the play and extrinsically relates to the condition of women in Ancient Rome. Upon analyzing, it becomes clear that Roman women had less rights and privileges than men and were considered inferior to men. Women in Roman were seen as weak, feeble and unworthy. Although feminism is not even heard of in Shakespeares time, through studying Wollstonecraft and Friedans theories, Portia and Calpurnias struggle can be considered as the springing of feminists actions.

scholarly journals A New Historicist Reading of William Shakespeare’s Julius Caesar: Representation of Roman History in Light of Renaissance Culture and History

2021 ◽  
Vol 29 (1) ◽  
Keyword(s):  
William Shakespeare ◽  
Historical Narrative ◽  
Roman History ◽  
Historical Background ◽  
New Historicism ◽  
Julius Caesar ◽  
Historical Account ◽  
Historical Source ◽  
Roman Culture ◽  
Similarities And Differences

William Shakespeare borrows extensively from Thomas North’s translation of Plutarch’s The Lives of Noble Grecians and Romans (1579) in the drama Julius Caesar (1599). At the same time, Shakespeare adapts, manipulates and reworks historical facts to accommodate his Elizabethan surroundings. In this paper, the play Julius Caesar is analyzed in reference to its historical source, Plutarch’s The Lives of Noble Grecians and Romans, and within the theoretical framework of New Historicism. A review was conducted of various studies pertaining to the historical background of the play Julius Caesar. Some of these researches focus on the similarities and differences between Shakespeare’s play and Plutarch’s historical narrative while other sources highlight aspects of the play which are characteristic of Elizabethan thought rather than Roman culture. The general approach in this research has been a comparative one; a scene by scene correlation was carried out between the play on one hand and Plutarch’s historical account of the circumstances surrounding the assassination of the Roman ruler on the other. Furthermore, this research briefly touches upon Shakespeare’s motives for making historical modifications. Such motives include dramatic economy, theatrical effects and factors relating to the playwright’s contemporary matters.

scholarly journals Intraday Variability and Microarcsecond Structure in Blazar Cores

2001 ◽  
Vol 205 ◽  
pp. 84-87 ◽  
Author(s):  
David L. Jauncey ◽  
Lucyna Kedziora-Chudczer ◽  
J. E. J. Lovell ◽  
Jean-Pierre Macquart ◽  
George D. Nicolson ◽  
...  
Keyword(s):  
William Shakespeare ◽  
Brightness Temperature ◽  
Circular Polarization ◽  
Julius Caesar ◽  
Principal Mechanism ◽  
High Brightness ◽  
Brightness Temperatures ◽  
Interstellar Scintillation ◽  
Intraday Variability

The accumulation of evidence now strongly favours interstellar scintillation (ISS) as the principal mechanism causing intra-day variability (IDV) at cm wavelengths. While ISS reduces the implied brightness temperatures, they remain uncomfortably high. The distance to the scattering screen is an important parameter in determining the actual brightness temperature encountered. The high brightness temperatures, the presence of strong and variable circular polarization and the observed lifetimes of a decade or more for several IDV sources, pose significant problems for synchrotron theory. “The fault, dear Brutus, is not in our stars, but in ourselves, that we are underlings.” William Shakespeare, Julius Caesar

A Struggle with Alterity: A Lévinasian Reading of Macbeth

2020 ◽  
Vol 55 (1) ◽  
pp. 1-24
Author(s):  
Mehrdad Bidgoli ◽  
Shamsoddin Royanian
Keyword(s):  
William Shakespeare ◽  
Human Activities ◽  
Emmanuel Levinas ◽  
The Other ◽  
Julius Caesar ◽  
Midsummer Night's Dream ◽  
A Midsummer Night's Dream ◽  
History Play ◽  
The Way

AbstractIn Macbeth (ca. 1606), William Shakespeare returns all the way back to his metaphysics which he had demonstrated magnificently in A Midsummer Night’s Dream (ca. 1595) and Hamlet (ca. 1600). These works represent Shakespeare’s dramaturgical treatment of Being, substance, essence, etc. One of the chief elements of these plays is supernaturality, or nothingness (non-being) in a sense interrupting Being and human activities. These elements are presented in Julius Caesar (1599) as well, a history play which has commonalities with Macbeth. Yet few of his tragedies offer a world so dipped in horror and darkness as Macbeth. Ethics might thus be a far-fetched component among these grisly sensations and in the bloody atmosphere of this tragedy, but with the help of Emmanuel Lévinas (1906–1995), traces of ethical exigency can be discerned. Approaching Macbeth through Lévinas’s philosophy, we attempt to study some ways in which ethics can be addressed and studied in this dark world. We will discuss Macbeth’s struggles with time (mostly his future) and the Other as metaphors of alterity intruding into and interrupting his totalizing conatus.

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