Caesar's Fall: Difference between revisions
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Doris Feldmann and Kurt Tetzeli von Rosador note that ''Caesar's Fall'' may have belonged to a fashion for dramatizations of Julius Caesar's life that ran throughout the 1590s in all kinds of theatrical venues, including Samuel Daniel's ''Cleopatra'' and the Trinity College play ''Caesar's Revenge'' as well as the public theatre plays such as Shakespeare's ''Julius Caesar'' (328).
Doris Feldmann and Kurt Tetzeli von Rosador note that ''Caesar's Fall'' may have belonged to a fashion for dramatizations of Julius Caesar's life that ran throughout the 1590s in all kinds of theatrical venues, including Samuel Daniel's ''Cleopatra'' and the Trinity College play ''Caesar's Revenge'' as well as the public theatre plays such as Shakespeare's ''Julius Caesar'' (328).
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Furthermore, they note that the Admiral's Men themselves had already produced a two-part anonymous "'''Caesar and Pompey'''" (see '''[[Caesar and Pompey, Part 1]]''', and '''[[Caesar and Pompey, Part 2]]''') and the lost (possibly unfinished) "'''[[Catiline's Conspiracy (Catiline)|Catiline's Conspiracy''']]'''" by Henry Chettle and Robert Wilson. They conjecture further that this repertoire of Caesar plays could have been a multi-play "Caesarean project", which would begin with the war with Pompey in '''[[Caesar and Pompey, Part 1]]''', continue with the war against his son Sextus in '''[[Caesar and Pompey, Part 2]]''', and then explore his political triumphs in "'''[[Catiline's Conspiracy (Catiline)|Catiline's Conspiracy''']]'''". As its title suggests, "'''Caesar's Fall'''" would thus conclude the narrative, creating a tragedy in the ''de casibus'' tradition (328-9).
Furthermore, they note that the Admiral's Men themselves had already produced a two-part anonymous "'''Caesar and Pompey'''" (see '''[[Caesar and Pompey, Part 1]]''', and '''[[Caesar and Pompey, Part 2]]''') and the lost (possibly unfinished) "'''[[Catiline's Conspiracy (Catiline)|Catiline's Conspiracy''']]'''" by Henry Chettle and Robert Wilson. They conjecture further that this repertoire of Caesar plays could have been a multi-play "Caesarean project", which would begin with his role in in "'''[[Catiline's Conspiracy (Catiline)|Catiline's Conspiracy''']]'''", continue the war with Pompey in '''[[Caesar and Pompey, Part 1]]''' and that against his son Sextus in '''[[Caesar and Pompey, Part 2]]'''. As its title suggests, "'''Caesar's Fall'''" would thus conclude the narrative, creating a tragedy in the ''de casibus'' tradition (328-9).
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Feldmann and Tetzeli von Rosador note that references to Caesar appear in the works of each of the five dramatists, but that the attitudes displayed toward him are so diverse that it is impossible to speculate on how he might have been portrayed in the play (329).
Feldmann and Tetzeli von Rosador note that references to Caesar appear in the works of each of the five dramatists, but that the attitudes displayed toward him are so diverse that it is impossible to speculate on how he might have been portrayed in the play (329).

Revision as of 01:59, 19 July 2015

Michael Drayton, Thomas Middleton, Anthony Munday and John Webster (1602)

Historical records

Payments to Playwrights (Henslowe's Diary)


Lent unto the company the 22 of maij
1602 to geue vnto antoney monday &
mihell drayton webester & the Rest [interlined: mydelton] in
earneste of a Boocke called sesers ffalle
the some of vll (Greg I, 166)


File:CaesarsFall.JPG
See the relevant MS entry in the Henslowe-Alleyn Digitisation Project site here


Theatrical provenance

Henslowe's diary attributes this play to the Admiral's Men.


Probable Genre(s)

Tragedy.


Possible Narrative and Dramatic Sources or Analogues

None known.




References to the Play

None known.


Critical Commentary

Relationship with Two Shapes

W.W. Greg identified this play with the lost "Two Shapes", recorded in the diary one week later. Henslowe paid out £3 for "Two Shapes" and attributed it to Dekker, Drayton, Middleton, Webster and Munday. Although Dekker's name does not appear in the Caesar's Fall record, Greg argued that the close correspondence between the dramatists and the payments make this identification "beyond doubt" (Greg II, 222). Subsequent commentators have followed suit in treating these two plays as the same.

Relationship with other Caesar plays

Doris Feldmann and Kurt Tetzeli von Rosador note that Caesar's Fall may have belonged to a fashion for dramatizations of Julius Caesar's life that ran throughout the 1590s in all kinds of theatrical venues, including Samuel Daniel's Cleopatra and the Trinity College play Caesar's Revenge as well as the public theatre plays such as Shakespeare's Julius Caesar (328).

Furthermore, they note that the Admiral's Men themselves had already produced a two-part anonymous "Caesar and Pompey" (see Caesar and Pompey, Part 1, and Caesar and Pompey, Part 2) and the lost (possibly unfinished) "Catiline's Conspiracy" by Henry Chettle and Robert Wilson. They conjecture further that this repertoire of Caesar plays could have been a multi-play "Caesarean project", which would begin with his role in in "Catiline's Conspiracy", continue the war with Pompey in Caesar and Pompey, Part 1 and that against his son Sextus in Caesar and Pompey, Part 2. As its title suggests, "Caesar's Fall" would thus conclude the narrative, creating a tragedy in the de casibus tradition (328-9).

Feldmann and Tetzeli von Rosador note that references to Caesar appear in the works of each of the five dramatists, but that the attitudes displayed toward him are so diverse that it is impossible to speculate on how he might have been portrayed in the play (329).


For What It's Worth

(Content welcome)




Works Cited

Feldmann, Doris and Kurt Tetzeli von Rosador. "Lost Plays: A Brief Account." Thomas Middleton: The Collected Works. Ed. Gary Taylor and John Lavagnino. Oxford: Clarendon Press, 2007. 328-333. Print.




Site created and maintained by David Nicol, Dalhousie University, and Domenico Lovascio, University of Genoa; updated 18 July, 2015.