By Coppélia Kahn
Within the first full-length learn of Shakespeare's Roman performs, Copp?lia Kahn brings to those texts a startling, severe point of view which interrogates the gender ideologies lurking at the back of 'Roman virtue'. performs featured comprise: * Titus Andronicus * Julius Caesar * Antony and Cleopatra * Coriolanus * Cymbeline atmosphere the Roman works within the twin context of the preferred theatre and Renaissance humanism, the writer identifies new resources which she analyzes from a historicised feminist point of view. Roman Shakespeare is written in an available variety and may attract students and scholars of Shakespeare and people attracted to feminist thought, in addition to classicists.
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Extra info for Roman Shakespeare: Warriors, Wounds, and Women (Feminist Readings of Shakespeare)
Example text
Among the copious marginalia in his folio edition of Livy’s history of Rome he wrote an account of a debate inspired by a deeply engaged reading of Livy, held at the estate of Sir Thomas Smith sometime in 1570–1. Two gentlemen took the side 11 ROMAN VIRTUE ON ENGLISH STAGES of Marcellus, two the side of Fabius Maximus, before an audience; Fabius seems to have won. But in Harvey’s view, Both of them [were] worthy men, and judicious. Marcellus the more powerful; Fabius the more cunning. Neither was the latter unprepared [weak], nor the former imprudent: each as indispensible [sic] as the other in his place.
Vickers treats Lucrece as the voiceless creation of a rhetorical tradition through which the male gaze verbalizes itself, a tradition shaped by and shaping the linguistic and political rivalry of men, as exemplified in the blazon. 1 Before feminist criticism developed, for the most part readers avoided confronting the rape directly. They were also made uneasy by the poem’s rhetorical luxuriance, particularly by the rhetoric accorded to Lucrece. Prince, the Arden editor of Shakespeare’s poems, is representative: “Not only is she a less interesting character than Tarquin; she is forced to express herself in a way which dissipates the real pathos of her situation…After her violation.
On the other hand, unlike Vesta, Lucrece can be seen—she is not sequestered from the agonistic rivalry just as important to Roman culture as its inviolable unity. She is a woman, not a goddess, and her body is the site—and sight—at which Shakespeare sets against each other these two contending aspects of the Roman ethos. Thus she divides the masculine Roman self, yet in dividing it confers on it a dimension of subjectivity and a tragic potential which we have learned to honor. Insofar as we can identify Lucrece with “the ideal of a self” associated, as Goux argues, with “the innermost things,” that “self” isn’t hers.