References in periodicals archive

In bringing together Antony and Cleopatra following the sea disaster, Eros may be seen as pandering their affair, assuring heterosexual love; but it could equally be argued that Eros is in competition with Cleopatra for Antony's love, as they squabble over who should arm him.

Lives and letters in Antony and Cleopatra

There, in 31 B.C., Agrippa's fleet defeats Antony and Cleopatra's.

The first Emperor: he made Rome into a power that lasted for centuries

In Antony and Cleopatra, Shakespeare uses these familiar strategies to present the deaths of Enobarbus and Cleopatra.

Antony's "secret house of death": suicide and sovereignty in Antony and Cleopatra

Kent Hieatt, it has come to be accepted that Shakespeare was influenced by Spenser's Ruines of Rome.(7) Even though Ellrodt finds that Hieatt may have 'overstated' his case, he concedes that Spenser's sequence is part of the 'background' of the Sonnets.(8) John Kerrigan agrees that it 'left clear traces in Shakespeare's memory'.(9) To add Antony and Cleopatra to this list confirms that such influence was not merely a phenomenon of the 1590s but extended well into the Jacobean phase of Shakespeare's career.

'Antony and Cleopatra,' I.iii.102-5 and Spenser's 'Ruines of Rome.' (drama by playwright William Shakespeare; poet Edmund Spenser)

The often-noted chilliness of this vision finds a counterpart in the Rome of Antony and Cleopatra; and, less predictably, the fluctuating bundle of contradictions which is Cleopatra may be seen as a specifically anti-Stoic exhibition, rather than just the usual apotheosis of `feminine' mutability.

Shakespeare and the Constant Romans

Shakespeare's gargantuan scope in Antony and Cleopatra is, in fact, as controlled as it is extreme.

Anthony and Cleopatra

In Antony and Cleopatra Shakespeare is not bound by the Aristotelian unities.

Antony and Cleopatra

Linley presents students, academics, and researchers with an investigation of the various possible influences that an audience may have brought to understanding ShakespeareAEs Antony and Cleopatra when it was first produced in 1608.

Antony and Cleopatra in Context: The Politics of Passion

And now he's flown in from his US home in Topanga Canyon, LA, to play Mark Antony in a new stripped down, transatlantic production of Antony and Cleopatra at the RSC's Swan Theatre.

Power, politics and an epic love story; Jonathan Cake returns to the RSC to play a man addicted to pleasure in Shakespeare's story of mature passion, Antony and Cleopatra. He talks to CATHERINE VONLEDEBUR

From there Jonathan has returned to Stratford-upon-Avon to play warrior Mark Antony in Antony and Cleopatra, an international co-production between the RSC, New York's Public Theater, Miami's GableStage and Ohio State University.

Bard's epic tale a study of addiction; The RSC's new transatlantic production of Antony and Cleopatra has been radically edited and is directed by rising US playwright Tarell Alvin McCraney. Catherine Vonledebur reports