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Shakespeare’s interest in ancient Rome spans the whole of his dramatic career, from
Titus Andronicus
to
Cymbeline
, while Roman history and Latin culture permeate the whole of his work, well beyond the explicitly ‘Roman’ plays and poems. Critical interest has to some extent shifted from the historicist Roman plays based on Plutarch,
Julius Caesar
and
Antony and Cleopatra
, and the pseudo-historical
Coriolanus
, to the outlying Roman plays that evidence greater generic diversity and stylistic innovation, the early Senecan tragedy
Titus Andronicus
and the late ‘British’ romance
Cymbeline
. In these latter plays, the complex interactions between past and present, that are the main subject of the formal histories, are presented with even more aesthetic flexibility and creative improvisation than the ‘Roman plays’ proper.