Antony and Cleopatra: New Critical Essays (Shakespeare Criticism)

352 Pages·2004·2.7 MB·English

by  Sara Munson Deats

Antony
and
C leopatra
Shakespeare Criticism
PHILIP C. KOLIN, General Editor
ROMEOANDJULIET Shakespeare’s Sonnets
Critical Essays Critical Essays
Edited by John F. Andrews Edited by James Schiffer
Coriolanus Pericles
Critical Essays Critical Essays
Edited by David Wheeler Edited by David Skeele
Titus Andronicus Henry VI
Critical Essays Critical Essays
Edited by Philip C. Kolin Edited by Thomas A. Pendleton
Love’s Labour’s Lost The Tempest
Critical Essays Critical Essays
Edited by Felicia Hardison Londre Edited by Patrick M. Murphy
The Winter’s Tale Taming of the Shrew
Critical Essays Critical Essays
Edited by Maurice Hunt Edited by Dana Aspinall
Two Gentlemen of Verona Othello
Critical Essays New Critical Essays
Edited by June Schlueter Edited by Philip C. Kolin
Venus and Adonis Hamlet
Critical Essays New Critical Essays
Edited by Philip C. Kolin Edited by Arthur F. Kinney
As You Like It from 1600 The Merchant of Venice
to the Present New Critical Essays
Critical Essays Edited by John W. Mahon and
Edited by Edward Tomarken Ellen Macleod Mahon
The Comedy of Errors Julius Caesar
Critical Essays New Critical Essays
Edited by Robert S. Miola Edited by Horst Zander
A Midsummer Night’s Dream Antony and Cleopatra
Critical Essays New Critical Essays
Edited by Dorothea Kehler Edited by Sara Munson Deats
Antony

and
C leopatra
New Critical Essays
Edited by
Sara Munson Deats
ROUTLEDGE
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Published in 2005 by
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Copyright ©2005 by Taylor & Francis Books,Inc.
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Shakespeare Criticism,Volume 30
Library of Congress Cataloguing-in-Publication Data is available from the Library
of Congress.
ISBN 0-203-30794-1 Master e-book ISBN
To Gordon
My peerless “man of men”

Contents
Acknowledgments ix
1. Shakespeare’s Anamorphic Drama: 1
A Survey of Antony and Cleopatrain Criticism,
on Stage,and on Screen
SARA MUNSON DEATS
2. “Above the element they lived in”: 95
The Visual Language in Antony and Cleopatra,
Acts 4 and 5
DAVID BEVINGTON
3. Passion and Politics: 111
Antony and Cleopatrain Performance
DAVID FULLER
4. Cleopatra’s Sati: 137
Old Ideologies and Modern Stagings
DOROTHEA KEHLER
5. “High events as these”: 153
Sources,Influences,and the Artistry
of Antony and Cleopatra
ROBERT A. LOGAN
6. Rome and Egypt in Antony and Cleopatra 175
and in Criticism of the Play
JAMES HIRSH
vii
viii Contents
7. “He beats thee ’gainst the odds”: 193
Gambling,Risk Management,
and Antony and Cleopatra
LINDA WOODBRIDGE
8. “Cloyless Sauce”: 213
The Pleasurable Politics of Food
in Antony and Cleopatra
PETER A. PAROLIN
9. Cleopatra and the Myth of Scota 231
LISA HOPKINS
10.“Immortal Longings”: 243
The Erotics of Death in Antony and Cleopatra
LISA S. STARKS
11.Sleep,Epic,and Romance in Antony and Cleopatra 259
GARRETT A. SULLIVAN JR.
12.The Allusive Tissue of Antony and Cleopatra 275
LEEDS BARROLL
13.O’erpicturing Apelles: 291
Shakespeare’s Paragonewith Painting
in Antony and Cleopatra
MARGUERITE A. TASSI
14.Interview with Giles Block, 309
Director of the 1999 Production
of Antony and Cleopatraat Shakespeare’s Globe
in London
GEORGIA E. BROWN
Notes on the Contributors 325
Index 327
Acknowledgments
This book is the result of many years of reading about and teaching Antony
and Cleopatra. Many individuals and institutions have contributed to the
completion of this study and I would like to acknowledge at least some of
them at this time.
First and foremost, my gratitude to my thirteen contributors for their
innovative and inspirational essays o’erflows the measure. I am confident that
these original essays,written especially for this anthology,through the vari-
ety of their subject matter and the diversity of their critical approaches,will
significantly expand the critical contexts within which this vast and wonder-
ful drama can be read,viewed,and analyzed.
I would also like to express my appreciation to the Chairperson of my
Department,Phillip Sipiora,who offered continual support,both psychologi-
cal and financial,for this project. In addition,I would like to thank the Sab-
batical Committee at the University of South Florida,which granted me the
research time absolutely necessary for the completion of this endeavor, and
the USF Publications Council, which contributed funds to support this pro-
ject. David Fuller also would like to acknowledge substantial financial sup-
port from the British Academy in carrying out the archival research for his
essay.
I also am grateful to all of the librarians,curators,and theater personnel
who graciously and tirelessly assisted me in finding necessary research mate-
rial and illustrations for this collection. These include the library staff of the
University of South Florida; Kathleen Coleman of the Harvard Theatre Col-
lection; Janet Birkett of the London Theatre Museum; Audrey Hall of the
National Museums of Liverpool; Stacy Bemento of the Philadelphia Museum
of Art; Sylvia Morris,Marian Pringle,Susan Brock,and Helen Hargest of the
Shakespeare Centre Library in Stratford-upon-Avon; Martin Durrant of the
ix