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De Officiis (On Duties, On Obligations, or On Moral Responsibilities) is a 44 BC treatise by Marcus Tullius Cicero divided into three books, in which Cicero expounds his conception of the best way to live, behave, and observe moral obligations. The posthumously published work discusses what is honorable (Book I), what is to one's advantage ...
Marcus Tullius Cicero [a] (/ ˈ s ɪ s ə r oʊ / SISS-ə-roh; Latin: [ˈmaːrkʊs ˈtʊlli.ʊs ˈkɪkɛroː]; 3 January 106 BC – 7 December 43 BC) was a Roman statesman, lawyer, scholar, philosopher, orator, writer and Academic skeptic, [4] who tried to uphold optimate principles during the political crises that led to the establishment of the Roman Empire. [5]
The writings of Marcus Tullius Cicero constitute one of the most renowned collections of historical and philosophical work in all of classical antiquity. Cicero was a Roman politician , lawyer , orator , political theorist , philosopher , and constitutionalist who lived during the years of 106–43 BC.
"On the Knocking at the Gate in Macbeth" is an essay in Shakespearean criticism by the English author Thomas De Quincey, first published in the October 1823 edition of The London Magazine. It is No. II in his ongoing series "Notes from the Pocket-Book of a Late Opium Eater" which are signed, "X.Y.Z.". [ 1 ]
Hortensius (Latin: [hɔrˈtẽːsi.ʊs]) or On Philosophy is a lost dialogue written by Marcus Tullius Cicero in the year 45 BC. The dialogue—which is named after Cicero's friendly rival and associate, [nb 1] the speaker and politician Quintus Hortensius Hortalus—took the form of a protreptic.
Shakespeare's Politics is a 1964 book by Allan Bloom and Harry V. Jaffa, in which the authors provide an analysis of four Shakespeare plays guided by the premise that political philosophy provides a necessary perspective on the problems of Shakespeare’s heroes.
The Well Wrought Urn is divided into eleven chapters, ten of which attempt close readings of celebrated English poems from verses in Shakespeare's Macbeth to Yeats's "Among School Children." The eleventh, famous chapter, entitled "The Heresy of Paraphrase," is a polemic against the use of paraphrase in describing and criticizing a poem.
The New York Observer called it "a trailer-trash version of Macbeth that should be avoided like an Elizabethan pox" and "grubby low-budget sendup of 70s pop culture". [ 14 ] Movieguide called it "a hilarious, modern re-telling of William Shakespeare's great tragic play" and a "morality tale".