Well, there is the Bavian
(or Baboon) in 2 Noble Kinsmen whose one line--"Yes, sir"--is as terse and perhaps as shocking as Caesar's one line--"NO"--in Rise of the Planet of the Apes.
inscription describes the intentional imposition of fear upon the objects of the campaign, causing their flight:
NAJA MARIE AIDT'S recent collection of short stories Bavian (Baboon) is characterized by tackling somewhat uneasy issues such as adultery, divorce, violence, disease, sexuality, and physical attraction.
The relation between the portrayal of the characters in Bavian, their further development, and the condensed form as well as the ensuing atmosphere of discomforting tension is well balanced.
The Lord and Lady are served by the Chambermaid and Servingman in a country house; the Host maintains a tavern on a country road; the Clown tends sheep or cattle in the field, the Fool wanders and the Bavian
lives altogether in the wild.
Shakespeare and Fletcher's The Two Noble Kinsmen reveals that repertory companies could introduce onto the stage the apelike Bavian
of the morris dance, with his comic "long tool" and simian disguise.
Although societal standards and expectations of the past that discouraged paternal participation in child rearing are rapidly changing (LaRossa, Gordon, Wilson, Bavian
& Jaret, 1991; Levant, 1988), many fathers find themselves unprepared to assume an active parental role.
That there might be baboons where we anticipate human actors is itself interesting; that we are unsure of whether a number of early modern performers were human or baboon--blind Gew, Bavian in Shakespeare's Two Noble Kinsmen, and Thomas Greene's "apes," to name just a few--is even more so.
We might read, for example, the schoolmaster's many warnings to Bavian about how to perform the morris dance in Shakespeare and Fletcher's Two Noble Kinsmen as commenting on such wide-scale appeal for mimicry, offering something akin to Hamlet's advice to the actors.