By Sara Munson Deats
Complementing different volumes within the Shakespeare feedback sequence, this number of twenty unique essays will extend the serious contexts within which Antony and Cleopatra will be loved as either literature and theater. The essays will conceal a large spectrum of subject matters and make the most of a variety of scholarly methodologies, together with textual and performance-oriented methods, intertextual stories, in addition to feminist, psychoanalytical, Marxist, and postcolonial inquiries. the amount also will function an in depth creation via the editor surveying the under-examined functionality background and significant trends/legacy of this advanced play. individuals contain favorite Shakespeare students David Bevington, Dympna Callaghan, Leeds Barroll, David Fuller, Dorothea Kehler, and Linda Woodbridge.
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Additional info for Antony and Cleopatra: New Critical Essays (Shakespeare Criticism)
Even in the moralistic eighteenth century, Antony recruited defenders. One of his earliest recorded admirers, Grifﬁth (1775), praises the heroic liberality that prompts generosity to the perﬁdious Enobarbus, and other romantic interpreters exalt Antony to godlike stature (Heraud, 1865; Winter, 1892). One of Antony’s most eloquent allies, John Middleton Murry (1936), links magnanimity and royalty with loyalty, persuasively demonstrating how Shakespeare employs prodigious and magnificent imagery to convince us of Antony’s royalty.
His winning formula combined scenic embellishment with virtuoso acting. Although his lavish revival eliminated twelve of the play’s scenes, there were no interpolations from Dryden or any other author and the remaining thirty scenes created a captivating mise en scene, universally praised by critics for its magniﬁcence and historical accuracy. Even more important, the production assembled a strong cast featuring leading actors capable of capturing the magnetism and stature of the two protagonists.
Markels (1968) further departs from critical consensus by arguing that instead of choosing between the conﬂicting value systems presented in the play, “Antony grows larger in manhood until he can encompass both Rome and Egypt, afﬁrming the values that both have taught him until both are fulfilled” (9). This view is further elaborated by Simmons (1973), who asserts that the tragedy of Antony “grows out of his heroic insistence on achieving both ideals, on maintaining the honor that is the necessary condition for love’s integrity and fulﬁllment,” whereas his “destruction results from the limitations and exclusiveness that the imperfect realities impose” (Simmons 124; Stilling, 1976).