#Sextus and collatinus tarquinus manual

The raped women were Croatian and Muslim (Bosniak) women, residents of Croatia and Bosnia and Herzegovina.

#Sextus and collatinus tarquinus manual

Structured clinical interviews were conducted to diagnose psychiatric disorders that were present at the time of study, according to the third edition of Diagnostic and Statistical Manual of Mental Disorders. Testimony method and a questionnaire were used to retrospectively obtain the description of rapes and symptoms women suffered immediately after rape and at the time of the study, ie, 11.9-/+2.4 after the trauma. The study included 68 women victims of rape and was conducted at the Medical Center for Human Rights, Zagreb, Croatia, from 1992 to 1995. To explore the short- and long-term psychological consequences of rape on women victims of rape during the 1992-1995 war against Croatia and Bosnia and Herzegovina. In both stories, Lucretia's rape and her subsequent suicide set off a train of revolutionary events: Brutus seizes the bloody knife from Lucretia's twice-violated body and, holding it to his lips, vows with his fellow Romans never to suffer Tarquin “nor any other king to reign in Rome.” In Lee's drama, just as in Livy's history, the chaste and honorable Roman matron Lucretia is raped by “the lustful bloody Sextus,” a prince of the proud and tyrannical house of Tarquin.

Yet the central theme of Lee's play is, of course, the association between tyranny and rape: it is the tyrant's violation of woman (not of religion) that justifies resistance. Many modern commentators have specifically noted the anti-Catholic overtones of Lee's drama and have read it within the context of the Popish Plot scare. Like other Exclusion publications, Brutus offered a powerful argument against tyranny and arbitrary government, and the play was evidently construed as an attack on the Stuart monarchy.

This theatrical production was by all accounts a success, yet the play was banned from the stage after only six days the order of the Lord Chamberlain stated objections to its “very Scandalous Expressions & Reflections upon ye Government.” Lee's Brutus was, however, soon available in print, published by Richard and Jacob Tonson in June of 1681. Lee's play recounted the tale of the rape of Lucretia and the subsequent actions taken by Brutus in resistance to this act of tyranny. Early in December 1680, Nathaniel Lee's Lucius Junius Brutus was performed by the Duke's Company in the Dorset Garden Theater. William Shakespeare1tells the story of what happened in his epic poem The Rape of Lucrece:ĭuring the Exclusion crisis, the figure of a tyrant rapist, a ruler undone by his own lust and cruelty, briefly appeared on the London stage. That night after dinner, he entered Lucretia's bed chamber armed with a knife. Several days later, Tarquin took a male slave as an attendant and went to Lucretia's home without Collatinus' knowledge.Īs his kinsman, Tarquin was courteously received as a guest. On seeing her, Sextus Tarquinius, son of the Etruscan king of Rome, was seized with desire for her, not only with her beauty, but also for her chastity. Yet Lucretia, although it was late at night, was busily spinning her wool in the lamplight in the hall of their home she was declared most virtuous. Arriving in Rome at dusk, the others found their wives whiling away the time at a luxurious banquet and engaging in other pleasures. When the subject of their wives came up, every man enthusiastically praised his own, and as their rivalry grew, Collatinus proposed that they mount horses and see the disposition of the wives for themselves, believing that the best test is what meets his eyes when a woman's husband enters unexpectedly. Lucretia was a legendary heroine of ancient Rome, the quintessence of virtue, the beautiful wife of the nobleman Lucius Tarquinius Collatinus.2In a lull in the war at Ardea in 509 BCE, the young noblemen passed their idle time together at dinners and in drinking bouts.