Abstract
This paper explores how Antony as a ghost in Act I of Étienne Jodelle’s Cléopâtre captive (1553) engages spectators in a reflection on history. By drawing on Walter Benjamin’s discussion of the ghost figure in the German mourning play, the paper reinterprets Antony’s ghost as a borderline figure both caught up in the dramatic action and a figure apt to reflect on the nature of history. This is done by firstly re-examining Jodelle’s creative merging of the protatic ghost found in Seneca’s Thyestes and Agamemnon and the ghostly dream vision from Pseudo-Seneca’s Octavia, and secondly by paying attention to Antony’s treatment of concepts such as God-given order and vicissitude.
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