Julius CaesarPenguin, 2000 M12 1 - 304 páginas 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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... bodies - including the London metropolitan and ecclesiastical authorities as well as, occasionally, the royal court itself- tried, without much success, to control and even to disband them. Public officials had good reason to want to ...
... bodies - including the London metropolitan and ecclesiastical authorities as well as, occasionally, the royal court itself- tried, without much success, to control and even to disband them. Public officials had good reason to want to ...
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... body politic. In this light, the ghost of the unvanquishable ruler Caesar becomes, in Hamlet, the paternal ghost to whom the son owes filial and civic obligation. Thus, before Shakespeare composes the great tragedies of familial and ...
... body politic. In this light, the ghost of the unvanquishable ruler Caesar becomes, in Hamlet, the paternal ghost to whom the son owes filial and civic obligation. Thus, before Shakespeare composes the great tragedies of familial and ...
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... body, asking for strength: “Over thy wounds now do I prophesy. . . . To beg the voice and utterance of my tongue” (III.1.262-64). While Brutus imagines power emanating from one's convictions, and Cassius sees manipulation as the key to ...
... body, asking for strength: “Over thy wounds now do I prophesy. . . . To beg the voice and utterance of my tongue” (III.1.262-64). While Brutus imagines power emanating from one's convictions, and Cassius sees manipulation as the key to ...
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... body in tow, Antony proceeds to juxtapose this physical reminder of brutal violence with the increasingly meaningless category of Brutus's elusive “honor.” Brutus “is an honorable man,” we hear again and again (III.2.82, 87,94, 99), but ...
... body in tow, Antony proceeds to juxtapose this physical reminder of brutal violence with the increasingly meaningless category of Brutus's elusive “honor.” Brutus “is an honorable man,” we hear again and again (III.2.82, 87,94, 99), but ...
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... Did from the flames of Troy upon his shoulder The old Anchises bear, so from the waves of Tiber Did I the tirèd Caesar. And this man Is now become a god, and Cassius is A wretched creature, and must bend his body If Caesar.
... Did from the flames of Troy upon his shoulder The old Anchises bear, so from the waves of Tiber Did I the tirèd Caesar. And this man Is now become a god, and Cassius is A wretched creature, and must bend his body If Caesar.
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Términos y frases comunes
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