Abstract
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.
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