This chapter shows that unlike the deaths of so many of Shakespeare's tragic heroes, neither Antony's nor Cleopatra's death is framed by repeated cues. The technique would simply be inappropriate: it is premissed upon feelings of waste, impotence, and desolation, and of death as the greatest loss into the still greater unknown. The play does, however, provide one example of early cues being used for genuine theatrical innovation. Unsurprisingly, it shows Shakespeare experimenting with the scenic possibilities of stage space.
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