Under the theme of ’Worthy Stories confused with Dubious Plots’ this exploration of one of the later plays of Shakespeare follows the crisis King Lear’s abdication precipitates and the cost to extricate himself from the ‘plot’ in order to enter the larger ‘Story’. Using the insights of René Girard’s mimetic theory, Gil Bailie brings the inner dynamics of Shakespeare’s play to life.

Troilus & Cressida reveals William Shakespeare in a dark mood. Written shortly after his play Julius Caesar, it reveals another episode of a culture under stress – this time by way of Homer’s epic story of the war between the Greeks and Trojans. Using the insights of René Girard’s mimetic theory, Gil Bailie brings the inner dynamics of Shakespeare’s play to life.

Troilus & Cressida reveals William Shakespeare in a dark mood. Written shortly after his play Julius Caesar, it reveals another episode of a culture under stress – this time by way of Homer’s epic story of the war between the Greeks and Trojans. Using the insights of René Girard’s mimetic theory, Gil Bailie brings the inner dynamics of Shakespeare’s play to life.

Troilus & Cressida reveals William Shakespeare in a dark mood. Written shortly after his play Julius Caesar, it reveals another episode of a culture under stress – this time by way of Homer’s epic story of the war between the Greeks and Trojans. Using the insights of René Girard’s mimetic theory, Gil Bailie brings the inner dynamics of Shakespeare’s play to life.

Troilus & Cressida reveals William Shakespeare in a dark mood. Written shortly after his play Julius Caesar, it reveals another episode of a culture under stress – this time by way of Homer’s epic story of the war between the Greeks and Trojans. Using the insights of René Girard’s mimetic theory, Gil Bailie brings the inner dynamics of Shakespeare’s play to life.

Troilus & Cressida reveals William Shakespeare in a dark mood. Written shortly after his play Julius Caesar, it reveals another episode of a culture under stress – this time by way of Homer’s epic story of the war between the Greeks and Trojans. Using the insights of René Girard’s mimetic theory, Gil Bailie brings the inner dynamics of Shakespeare’s play to life.

In 1940 when Europe was being ravaged by war a 33 year old W. H. Auden penned his ‘New Year Letter’ to a friend. In 1990 Gil Bailie spent some time reflecting on this long poem full of erudite references to historical, literary, political and religious subjects.

“We are, I know not how, double in ourselves, so that what we believe we disbelieve and cannot rid ourselves of what we condemn.” – Montainge

In 1940 when Europe was being ravaged by war a 33 year old W. H. Auden penned his ‘New Year Letter’ to a friend. In 1990 Gil Bailie spent some time reflecting on this long poem full of erudite references to historical, literary, political and religious subjects.

“We are, I know not how, double in ourselves, so that what we believe we disbelieve and cannot rid ourselves of what we condemn.” – Montainge

In 1940 when Europe was being ravaged by war a 33 year old W. H. Auden penned his ‘New Year Letter’ to a friend. In 1990 Gil Bailie spent some time reflecting on this long poem full of erudite references to historical, literary, political and religious subjects.

“We are, I know not how, double in ourselves, so that what we believe we disbelieve and cannot rid ourselves of what we condemn.” – Montainge

Gil Bailie examines William Shakespeare’s Julius Caesar through the lens of René Girard. Shakespeare’s play looks at the volatile transition from republican Rome to Imperial Rome. The unsuccessful attempt to sacralize the murder of Caesar by the conspirators leads to an escalating chaos. The conflict swirling around Brutus and Cassius with the conspirators on the one hand and Antony and Octavius on the other depicts aspects of the mimetic crisis violence provokes. Shakespeare created a masterful display of mimetic doubling  and conflictual undifferentiation in Acts 4 & 5 showing Brutus and Cassius side by side with Antony and Octavius.