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The claim that Shakespeare's .fu!t11.r Cae . .-ar is profoundly, though by no means exclusively, concerned with praise is a claim that hardly needs much argument to b e accepte d. As a Roman play, it draws attention to the rich rhetorical tradition of praise in Classical I\ntiqum •, beginning, in a sense, with i\ri stotle but also flour ishin g in Cicero 's Latin oratory; as an E lizabe th an play, it in vites us to turn to the Renaissance appr opr iati on of the Classical heritage or, to givedoi:10.53720/asfw4684 fatcat:qceooy5etndprj3t4y3pw57dwe