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This Norton Critical Edition of Antony and Cleopatra is based on the First Folio (1623), the only authoritative text of the play. The edition includes a preface, detailed explanatory annotations, two maps, and visuals ranging from a silver tetradrachm (34 B.C.E.) to an Egyptian Queen Barbie. 'úSources, Analogues, and Contexts,'Ě a rich selection of historical and literary writing, gives readers an understanding of Antony and Cleopatra 's origins, from the earlier texts that inspired Shakespeare, especially those by Herodotus, Plutarch, and Virgil, to later works by Chaucer, Mary Sidney (Countess of Pembroke), and Samuel Daniel. The volume also includes a wide array of the early modern English views of Egyptians, gypsies, and women that informed Shakespeare's worldview and his writing. 'úCriticism'Ě includes fourteen essays representing four centuries of interpretation, from the early observations of Samuel Johnson to the Romantic readings of Samuel Taylor Coleridge and William Hazlitt, from the razor-sharp analyses of Anna Brownell Jameson to recent essays by Jonathan Gil Harris, Patricia Parker, Anston Bosman, and Ania Loomba, among others. 'úAdaptations, Rewritings, and Appropriations'Ě reprints alternative versions of Antony and Cleopatra's story, including one by John Dryden, a burlesque version by F. C. Burnand, a poem by Robert Louis Stevenson, and an Arabic version by Ahmad Shawqi. A Selected Bibliography is also included.
Table of Contents
|List of Maps and Illustrations||p. xv|
|Calendar of Historical Events Important to the Play||p. xvii|
|The Text of Antony and Cleopatra||p. 1|
|Note On The Text||p. 116|
|Sources, Analogues, and Contexts||p. 123|
|Description of Egypt||p. 125|
|Life of Antony||p. 126|
|[Cleopatra and Dido]||p. 142|
|The Legend of Good Women||p. 146|
|The Tragedy of Antony||p. 147|
|The Tragedy of Cleopatra||p. 153|
|Salve Deus Rex Judaeorum||p. 156|
|Early Modern Views Of Egyptians||p. 157|
|From First Book of the Introduction of Knowledge||p. 158|
|From A Brief Description of the Whole World||p. 158|
|From The Geographical History of Africa||p. 158|
|From Relation of a Journey Begun An. Dom. 1610||p. 159|
|Early Modern Views Of Gypsies||p. 159|
|An Act against Certain Persons Calling Themselves Egyptians||p. 160|
|From The Interpreter||p. 160|
|From The Art of Jugling or Legerdemaine||p. 161|
|Early Modern Writings On Women||p. 161|
|From The First Blast of the Trumpet against the Monstrous Regiment of Women||p. 162|
|From The Anatomie of Abuses||p. 162|
|From Hic mulier: or, The man-woman||p. 163|
|[The Busy Play]||p. 167|
|[A Fiery Force]||p. 167|
|[The Noble Play]||p. 168|
|[The Real Cleopatra]||p. 169|
|[The Dark Woman]||p. 171|
|[Gipsy Queen]||p. 172|
|[The Play Itself]||p. 172|
|Shakespeare's Antony and Cleopatra||p. 173|
|Tradition as Source in Antony and Cleopatra||p. 180|
|Antony and Cleopatra (c. 1607): Virtus under Erasure||p. 193|
|"Narcissus in thy face": Roman Desire and the Difference It Fakes in Antony and Cleopatra||p. 203|
|[The "Other" Woman: Beauty, Women Writers, and Cleopatra]||p. 219|
|Squeaking Cleopatras: Gender and Performance in Antony and Cleopatra||p. 227|
|Shadowing Cleopatra||p. 248|
|The Imperial Romance of Antony and Cleopatra||p. 261|
|"Best Play with Mardian": Eunuch and Blackamoor as Imperial Culturegram||p. 280|
|Barbers, Infidels, and Renegades: Antony and Cleopatra||p. 289|
|Adaptations, Rewritings, and Appropriations||p. 317|
|All for Love; or, The World Well Lost (1677)||p. 319|
|Antony and Cleopatra (1858)||p. 330|
|Cleopatra (1866)||p. 332|
|Antony & Cleopatra; or, His-tory and Her-story in a Modern Nilo-metre (1866)||p. 336|
|Caesar and Cleopatra (1901)||p. 340|
|Antony and Cleopatra (1911)||p. 342|
|After Reading "Antony and Cleopatra" (1918)||p. 350|
|The Death of Cleopatra (1927)||p. 350|
|Cleopatra to the Asp (1970)||p. 354|
|Cleopatra Topless (1973)||p. 355|
|Portrait of a Nude Woman as Cleopatra (1987)||p. 355|
|Antony and Cleopatra (2007)||p. 358|
|Laxmi as Cleopatra (2010)||p. 360|
|Selected Bibliography||p. 361|
|Table of Contents provided by Ingram. All Rights Reserved.|