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Shakespeare’s exemplary Roman plays
Modern England (Philadelphia, PA: University of Pennsylvania Press, 2004), 103–39. 48 Incidentally, I suggest elsewhere that The False One may have been designed primarily for the Blackfriars (Lovascio, ‘Introduction’, forthcoming). If that were the case, Fletcher and Massinger might have decided against having a black Cleopatra at least partly on the grounds that the light of candles in an indoor playhouse would have had an