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Although some of Shelley's Victorian critics—notably Forman—believed The Cenci to be an acting play, it now seems to have become a settled dictum of Shelley scholarship that it is a closet drama. Woodberry in his edition of the play and Bates in his study of it both conclude that it is unsuitable for stage production, Bates summarizing his views as follows: From all these facts it should be sufficiently clear what answer must be given to the question, how far is “The Cenci” an acting drama? As a whole it is not an acting drama at all. A play, one of whose acts fails to advance the plot in the least, ten of whose scenes are purely conversational and without action, and four-fifths of whose speeches are of impossible length, is surely not to be called an acting drama.
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