With Tiberius Caesar, Sejanus
had ascended to that height, as they two were termed, and reckoned, as a pair of friends.
His maiden victory arrived on Sejanus
at Stockton in 1943 while he was runner-up in the Apprentices' Championship three years later.
John Kuhn and Ian Burrows discuss Ben Jonson's Sejanus
in light of very different contexts.
Nos hacen decir, como escribio el complice de Shakespeare en los tragos de la Taberna de las Sirenas de Londres, Ben Jonson en Sejanus
, Su Caida:
13) Matthieu's first two biographies on Sejanus
and Philippa are contemporary transpositions of ancient and early Renaissance narratives intending to depict the political landscape of seventeenth-century France.
He is explicit about this point in his interpretation of Sejanus
, one of his two tragedies, in light of the providential dispensation of just rewards: "This do we advance as a mark of terror to all traitors and treasons, to show how just the heavens are in pouring and thundering down a weighty vengeance on their unnatural intents, even to the worst princes; much more to those for guard of whose piety and virtue the angels are in continual watch, and God himself miraculously working.
1260) can guarantee career advancements, and political offices are regularly distributed to unworthy individuals, much like in Tiberius's reign as depicted in Ben Jonson's Sejanus
His Fall (1603): meritocracy has already become a chimera about seventy years earlier.
One such collection was that of the antiquarian John Field, whose library of Shakespearean first folios and other rarities, such as a copy of Ben Jonson's Sejanus
signed by the author, also contained numerous playbills; the 1827 sale catalogue advertised it as "the largest Collection of PLAY BILLS ever submitted to Public Notice.
74-75), foretold the irresistible rise of the favorite staged in plays like The Roman Actor (1626) or Sejanus
His Tall (1603).
She notes that his early credits on stage include roles in Ben Jonson's Sejanus
, his Fall and John Marston's The Malcontent.
8) Speaight, as noted in William Poel and the Elizabethan Revival, played the following roles: Lucius Arruntius in Ben Jonson's Sejanus
(a single performance given on 12 February 1928 at the Holborn Empire) in which he "was made up to resemble Ben Jonson himself" (248); the Duke of Byron in George Chapman's The Conspiracy and Tragedy of Byron (performed on 15 July 1929 at the Royalty Theatre), upon which he commented: "The scene of Biron's trial and execution was one of the most exciting in which I have ever appeared" (249); and William Shakespeare's Coriolanus, thought by Poel to have been a collaboration between Shakespeare and Chapman (performed on 11 May 1931 at the Chelsea Palace Theatre), in which, as in The Conspiracy and Tragedy of Byron, Speaight played the title role (255).
In 1603 his tragedy Sejanus
caused him to be "called before the Council.