Abstract
AMUEL Daniel's closet drama, The Tragedie of Cleopatraif considered as a possible secondary influence upon Antony and Cleopatra-provides an explanation of Shakespeare's daring use of two climaxes and of his conception of Cleopatra as the embodiment of a love transcending worldly obligations. The Tragedie of Cleopatra, which first appeared in I594, has of course received some consideration as a minor source of Shakespeare's drama, and critics have come quite close to seeing it in that light. Hardin Craig, in reviewing the dramatic versions of the Antony-Cleopatra theme prior to Shakespeare's, notes that the fifth act in Antony and Cleopatra corresponds in contents roughly to Daniel's whole play and has the same dramatic theme.' R. H. Case and, more recently, Willard E. Farnham have listed many of Shakespeare's verbal echoes from The Tragedie of CleopatraY Furness is likewise aware of Shakespeare's imitations of Dainel's phrasing, but writes off their importance by saying:
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