Abstract
Sight is the prevailing perception in the first half of Antony and Cleopatra, yet images are almost always always equivocal. The Egyptian scenes offer a kaleidoscopic view and reveal the hyperbolic role of sight in the play. As the scene shifts from Egypt to Rome, images are replaced by words. Deprived of his mastery over image and speech, Antony suffers from a language disorder revealing the process of litteralisation also at work in Scarus. It is then Antony's very identity which is melting away, materializing the shift from an anamorphotic image to an amorphous one. The double suicide on stage of Eros and Antony signals the profound change in the status of images in the play, being the dramatic re- enactment of a well-known emblematic image.
Published Version
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