Get Antony and Cleopatra: New Critical Essays (Shakespeare PDF
By Sara Munson Deats
Complementing different volumes within the Shakespeare feedback sequence, this choice of twenty unique essays will extend the serious contexts within which Antony and Cleopatra might be loved as either literature and theater. The essays will disguise a large spectrum of subject matters and make the most of a range of scholarly methodologies, together with textual and performance-oriented ways, intertextual experiences, in addition to feminist, psychoanalytical, Marxist, and postcolonial inquiries. the amount also will function an in depth creation by means of the editor surveying the under-examined functionality heritage and demanding trends/legacy of this advanced play. individuals contain sought after 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)
Criticism has traditionally viewed him as a kind of magnified Everyman caught in a psychomachia between love and duty, or passion and politics (depending on one’s interpretation of the tragedy). Moralistic interpreters demean him as a mighty general, degraded and emasculated by sexual infatuation into a strumpet’s fool; romantic readers elevate him as Cleopatra’s “paragon of men,” transﬁgured and fulﬁlled by a love transcending paltry power politics. Again, as with Cleopatra, the majority of expositors maneuver a middle way between these polarities.
Thus, in its very first post-Jacobean performance, Antony and Cleopatra encountered the formidable obstacles that would haunt future revivals: the difﬁculty of staging the play and the even more arduous challenge of ﬁnding the appropriate actors to inhabit the roles of the protagonists. Hybrid Productions William Garrett failed in his valiant attempt to stage Shakespeare’s play, albeit in an abridged version, and for the next ninety years, actor-managers mounting productions of the drama took even greater liberties with Shakespeare’s text.
In Harris and Scott 239). Many critics have endorsed Stahr’s reading (Furness, 1907; Wilson, 1950; J. Shaw, 1966; Muir, 1969), whereas others remain unconvinced (Ridley, 1956; Whitaker, 1965; Proser, 1965). In one of the most influential essays on the topic, Stirling (“Cleopatra’s Scene with Seleucus,” 1964) insists that Shakespeare has adapted Plutarch in a manner that renders the scene deliberately ambiguous—as it is not in Plutarch—thus inducing a mood of wonder and suspenseful ambivalence in the audience.
Antony and Cleopatra: New Critical Essays (Shakespeare Criticism) by Sara Munson Deats