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The Tragedy of Julius Caesar (First Folio title: The Tragedie of Ivlivs Cæsar), often shortened to Julius Caesar, is a history play and tragedy by William Shakespeare first performed in 1599. In the play, Brutus joins a conspiracy led by Cassius to assassinate Julius Caesar , to prevent him from becoming a tyrant.
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.
Bloom provides an analysis of each of Shakespeare's 38 plays, 24 of which he believes "really are of the highest quality". [1] Written as a companion to the general reader and theater-goer, Bloom declares that bardolatry "ought to be even more a secular religion than it already is". [2]
A recent computer-assisted stylistic analysis by Zhang and others (2018) of the five works in the Caesarian corpus confirms that books 1–7 of the Gallic War and 1–3 of the Civil War were written by the same author (presumably Caesar himself), but book 8 of the Gallic War, and the Alexandrian, African, and Spanish War commentaries appear to ...
"Friends, Romans": Orson Welles' Broadway production of Caesar (1937), a modern-dress production that evoked comparison to contemporary Fascist Italy and Nazi Germany "Friends, Romans, countrymen, lend me your ears" is the first line of a speech by Mark Antony in the play Julius Caesar, by William Shakespeare.
In De Bello Gallico 6.21–28, Julius Caesar provides his audience with a picture of Germanic lifestyle and culture. He depicts the Germans as primitive hunter gatherers with diets mostly consisting of meat and dairy products who only celebrate earthly gods such as the sun, fire, and the moon (6.21–22).
A detailed analysis of the style of the Bellum Alexandrinum published in 2013 argues that "whereas the first part of the narrative of events in Alexandria (chh. 1-21) is particularly Caesarian, the conclusion of that panel (22-33), and the narratives of events in Illyricum (42-47), Spain (48-64), and Pontus (34-41, 65-78) are distinctly less so ...
Commenting on the scene in Julius Caesar where Caesar confides to Marc Antony his apprehensions about Cassius, Hazlitt writes: "We know hardly any passage more expressive of the genius of Shakespeare than this. It is as if he had been actually present, had known the different characters and what they thought of one another, and had taken down ...