Mistaken identity, as so commonly developed in the Shakespeare plays, is also a recurrent theme of the Audley End annotations, [1] and nowhere is this more obvious than in the case of the “two Cinnas,” a topic already considered in a blog on James Baldwin’s essay on this motif.
Shakespeare follows his sources and expands upon the motif in his description of the fury of the mob against the conspirators. Having been incited by the power of Antony’s manipulative oratory, confusing him for the Republican conspirator of the same name, the people seize and dismember the poet Cinna, as observed by the Audley End Unknown annotator’s note to Cassius Dio’s History of Rome (Figure 1).
Figure 1. Helvius Cinna Trib:[une] pl:[ebs] a plebe occisus homonymia alterius Cinnæ prætoris qui unus coniuratorum fuerat. Helvius Cinna, a tribune of the people, was by the people slain because he had the same name [homonymia] as the other Cinna, who was one of the conspirators [against Caesar]. All photos from Audley End are by the author and are gratefully reproduced courtesy of the Trustees of Audley End.
The irony emphasized by Shakespeare in his juxtaposition of the two Cinnas already appears in embryonic form in the Audley End note, for this is, of course, exactly what happens in the play:
Cinna the Poet. Directly, I am going to Caesar’s funeral.
First Citizen. As a friend or an enemy?
Second Citizen. That matter is answered directly.
Fourth Citizen. For your dwelling,—briefly.
Cinna the Poet. Briefly, I dwell by the Capitol.
Third Citizen. Your name, sir, truly.
Cinna the Poet. Truly, my name is Cinna.
First Citizen. Tear him to pieces; he’s a conspirator.
Cinna the Poet. I am Cinna the poet, I am Cinna the poet.
Fourth Citizen. Tear him for his bad verses, tear him for his bad verses.
Cinna the Poet. I am not Cinna the conspirator.
Fourth Citizen. It is no matter, his name’s Cinna; pluck but his
name out of his heart and turn him going. (3.3.20-34)
This case of mistaken identity in the play is developed in Tim Crouch’s 2012 play, starring Jude Owusu into an entire new creation exploring the problematic tension between the poet and the conspirator.
[1] See Tacitus 29, “Pseudo Nero,” etc., which closely parallel scenes in the plays.
March 26, 2024 at 11:50 am
Test.
March 27, 2024 at 4:21 pm
The misunderstanding may have reminded Oxford of the misunderstanding about the pen name and the Merchant of Stratford.
April 16, 2024 at 7:54 pm
No doubt about it. There is in these annotations a clear pattern of interest in “mistaken identity” as a theme, also including impersonation of a political leader (pseudo-Neros were apparently a thing) along with this Cinna note among others.