Domenico Lovascio
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Questioning the classics
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The conclusion briefly focuses on the recurrence of allusions to the Roman legend of Marcus Curtius in a number of plays in the canon as exemplifying Fletcher’s overall approach to classical texts, paradigms, and values as illustrated throughout the book, thereby rehearsing the main claims advanced in the previous chapters. It is argued that Fletcher’s predilection for the writings of the historians of Late Antiquity is decisive in shaping his bleak Roman world. The pessimistic vision of a disoriented imperial Rome that Fletcher offers in his dramatic works brings his Roman plays close to the Trauerspiel as described by Walter Benjamin, especially their grim depiction of a history devoid of purpose and transcendent meaning. Fletcher thus emerges as a more profound historical and political thinker than is traditionally acknowledged in scholarship. The conclusion also explores Fletcher’s irreverent classicism and his penchant for combining classical and contemporary texts and translations – as well as his fondness for using recently published books ¬– and how his approach to classical sources is connected with his broader attitude towards Roman exempla, especially as regards the women of classical antiquity, whose exemplarity he is not inclined to take at face value. Fletcher’s scepticism as to the passivity of the Roman women who populate his plays is also mirrored in his overall rejection of the precepts of stoicism, while his consistent de-solemnizing approach to the classics is even more excitingly exemplified by his treatment of Shakespeare as to all intents and purposes a classic.

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John Fletcher’s Rome

Questioning the Classics


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