Alessandro Baricco, Without Blood . Translated from Italian by Ann Goldstein. New York: Alfred A. Knopf, 2004. 97 pages. Without Blood , Alessandro Baricco’s fifth book, begins in horror. Four-year-old Nina Roca hides beneath a trap door in an old farmhouse listening as several men murder her . . . . Continue Reading »
INTRODUCTION Antony and Cleopatra is set in the 30s BC, during the period of the Second Triumvirate, which consisted of Antony, Octavius Caesar, and Lepidus. It is a story of middle-aged infatuation between the title characters, carried out in the context of a political struggle between Antony and . . . . Continue Reading »
One Thomas Merriam has a very intriguing article on “Parallel Ironies: Henry VIII (All Is True) and Antony and Cleopatra ” (available in full on his web site ). He argues that the clown’s words to Cleopatra in Act 5 of Shakespeare’s play provide theological commentary on the . . . . Continue Reading »
In Shakespeare’s play, Cleopatra’s outburst against Agrippa (who has suggested that Antony marry Octavia, Caesar’s sister) is remarkable: “That Herod’s head I’ll have” (3.3.5-6). “Herod” cannot be used in the same sentence with . . . . Continue Reading »
Some of the following notes were taken from a longer introduction to Julius Caesar posted on this site some months ago. INTRODUCTION For several generations, Julius Caesar has been a staple of high school English literature, coming from a period when education was rooted in Greek and Roman classics . . . . Continue Reading »
Paul Nickell’s 1951 Westinghouse Studio One production of Coriolanus is fast-paced, well-acted, and, making allowances for technological weaknesses, interesting and fun to watch. It is also very unlike the play that Shakespeare wrote. The play begins with plebs rioting (or milling around) in . . . . Continue Reading »
The stage history of Coriolanus is as interesting as the play itself. It has provoked riots and demonstrations, and has been used as a way of preventing riots and demonstrations. Here are a few excerpts from RB Parker’s excellent introduction to the play (The Oxford Shakespeare): RIGHT-WING . . . . Continue Reading »
INTRODUCTION For Elizabethans, Rome was not only an ancient power but a very real contemporary power. The plays of Shakespeare that are set in Rome and those derived from Roman models often work in both registers, bringing papal Rome into plays set in ancient times. I will look at some of the . . . . Continue Reading »
I wonder: If we take Shakespeare’s Julius Caesar as a play about both ancient and Papal Rome, then the point seems to be that ecclesiastical imperialism is unavoidable, that it will take its vengeance and return in more virulent forms. The “puritans” like Cassius attempt to cut . . . . Continue Reading »
INTRODUCTION Though MSND is set in Athens, there is little in the play that is specifically Greek or Athenian. Theseus is ruling Athens, but he bears little similarity to the Theseus of Plutarch, and he is even anachronistically described as the ?Duke of Athens.?E Bottom and company have nothing . . . . Continue Reading »
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