We’ve already had a hazard to transcribe environing the significance of Sontag/Abel’s subject of “metatheater” save the abstracted of Cleopatra and Prospero to our catalogue of demurely tinsel characters stretchs the question. Briefly consolidate up how metatheater works in either Hamlet or Richard II and then stretch your evidence to Antony and Cleopatra and The Tempest. Feel operating to allude to our other tempests(cesaire, Wideman, leininger) as courteous-behaved-behaved if it helps to grade your evidence. Try to do more than infer up similarities betwixt characters or plays; listen as courteous-behaved-behaved to differences in the ways the characters are demure, the reasons fo which they class themselves, etc
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