Yesterday, we discussed the very limited uses of bawdy in Julius Caesar. It was a short entry. I don’t expect today’s to be much longer, as we’re discussing comedy in the play.
Eric Partridge, in his (pretty much indispensable) work on the racy bits of the Bard, Shakespeare’s Bawdy, says of our current play under discussion, Julius Caesar:
- Shakespeare’s Bawdy, Partridge, Eric. New York: Routledge, 2008; pages 55
No lie, Mr. Partridge.
In Act Two, Scene One, of Julius Caesar, we see the only interaction between the husband and wife duo of Brutus and Portia.
Shakespeare is notorious for pliable history, that which he can bend, stretch, mold and work into any shape which pleases him and helps him make a dramatic (and–if you’re inclined–political) point. Remember Hotspur-as-contemporary-of-Hal (when he was actually older than Henry IV)? Or the ridiculous Tudor-centric retelling of the War of the Roses stuff in the Henry VI plays? Well, there’s nothing that bad in Julius Caesar, but there is some fudging of facts…
This week’s Shakespeare news review includes A Midsummer Night’s Dream that was a tad too racy, “Shakespeare Corrected,” a 14 year-old Jennifer Lawrence tackling Shakespeare, and announcements for next year’s seasons at Santa Cruz Shakespeare, Shakespeare Dallas, and Shakespeare’s Globe. PLUS our usual recap of this week’s daily highlights in Shakespearean history.
How to pronounce it?
We covered him pretty extensively in the last post, but that being said:
Last Thursday, my wife Lisa and I hit the road to the University of California at Santa Barbara to catch the touring Shakespeare’s Globe production of King Lear, as its tour of the US is winding down. To call the production lean-and-mean would be insulting and would give the false impression that it seems to lack something.
This stripped-down production wants for very, VERY little.
On a deeper dive into Julius Caesar, I’m finding something unusual:
As we dive a little deeper into Julius Caesar, the play, let’s take a look at what leads up to the events of the play. In other words, what’s the context in which play begins? Well, the play begins with Julius Caesar, the man, returning for a triumph. But for what military victory?