Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Critical interpretations of Antony and Cleopatra
Representation of rome and egypt in antony and cleopatra
Critical interpretations of Antony and Cleopatra
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Critical interpretations of Antony and Cleopatra
The language Shakespeare uses in Antony and Cleopatra is concerned overwhelmingly with image and display. As Enobarbus describes the first meeting of the lovers we are drawn in to a world of colour and wealth, ‘The barge she sat in, like a burnished throne,/ Burned on the water’. Cleopatra herself is described in even more majestic – even divine – terms, ‘o’erpicturing’ the goddess Venus. Antony himself is ‘the crown of the earth’, whose eyes ‘glowed like plated Mars’, while Caesar is ‘a Jove’, whose ascendancy will bring ‘the time of universal peace’ – an allusion, Rene Weis suggests, to the everlasting kingdom of Christ. However, it is debatable as to whether the characters themselves share the intent of the grand words surrounding them, and if they are as committed to image as this quotation suggests. Antony, in fact, seems to surrender his public image completely for Cleopatra’s sake. The play opens with a comment on the received view, Antony has become a ‘strumpet’s fool’. Indeed, he is willing to sacrifice Rome and his worldly status in virtue of his love for Cleopatra, ‘let Rome in Tiber melt, and the wide arch/ Of the ranged empire fall’. Only absolute political necessity can draw him from Egypt, and even then he recognises that ‘i’th’East my pleasure lies’. His marriage to Octavia angers Cleopatra greatly, but it was enacted only to placate Caesar and is soon rendered useless as he returns promptly to Egypt. Furthermore, his heroic image [he was said by Plutarch to have been like Hercules] is damaged by his preferences, Caesar mocks him as ‘womanly’ while even Antony himself cries at Cleopatra’s servant ‘O, thy vile lady! She has robbed me of my sword!’ In a sense, it appears that Antony has been unmanned by his com... ... middle of paper ... ...d me my robes, put on my crown’ – shows her determination to make a memorable final tableau. On the other hand, and more likely given the divine undertones and implications in the language, she seeks Antony in a life beyond death, realising that life and politics – those ‘baser elements’ – are trivial compared to everlasting love. A conclusion can now be established. Antony is positively unconcerned with display, he sacrifices image and politics alike for the love of his Egyptian queen. Caesar is centred on image – the very nature of his role in power demands it, and his highly rhetorical speeches are testament to this aspect of his character. Cleopatra seems to develop as the play progresses from a character more comparable to Caesar to truly Antony’s lover, ultimately sacrificing the most precious gift – life itself – in favour of an afterlife in his company.
Changing social habits of a contemporary society have seen Cleopatra depicted in many different ways. Whilst few artefacts remain of the true image of Cleopatra, we see from her portrait on the coins (Fear, 2008, p, 21 Fig 1.4) that despite being no legendary beauty, she had the power to captivate two of the greatest Romans of her time. Cleopatra consummated her union with Julius Caesar, which strengthened her grip on the throne, following his assassination; she formed alliance with Mark Antony, in opposition to Octavian, a coalition that would lead to her downfall as both Antony and Cleopatra’s combined forces would be defeated against Octavian in the battle of Actium in 31 BCE. (Fear, 2008, p.7)
Similar to the 1963 film Cleopatra, in Plutarch's The Life of Antony, sexism is maintained in the passage and compatible with its message. Through the author's portrayal of Cleopatra and Antony, he spreads the message that obsession with power is bad and the idea that manipulation and attempts at domination are signs of a bad ruler. Sexism is compatible with such messages because as indicated by Plutarch, Cleopatra utilizes sexist expectations of women in order to manipulate Antony through her aspirations of domination. Therefore, similar to the films Cleopatra and Quo Vadis, because Cleopatra is unsuccessful as she commits suicide in the end and is found "lying dead upon a golden couch," as well as is portrayed as an immoral ruler in Plutarch's Life of Antony, sexism is portrayed in the passage as a negative quality that leads to failure. (Plutarch, Life of Antony, 85) However, Plutarch differs in his treatment of sexism and attitude towards Cleopatra to the extent that he appears to place the fault with Cleopatra. While he maintains that sexism is a negative quality through his portrayal of Cleopatra playing into sexist expectations, by casting Cleopatra as a manipulative woman, Plutarch appears to be blaming Cleopatra for her own weaknesses as a ruler as well as for Antony's downfall. Although the film Cleopatra displayed how Cleopatra got power by using her sexuality and having Caesar and Antony fall in love with her, Plutarch Life of Antony portrays her as even more of a manipulator of men. For example, the author mentions that Cleopatra "pretended to be passionately in love with Antony herself, and reduced her body by slender diet; she put on a look of rapture when Antony drew near, and one of faintness and melancholy when h...
In conclusion, The Aeneid’s lovers and Antony and Cleopatra are both tragic tales with many connections to each other. They share a common theme of a patriotic, heroic man having to choose between duty to his country and the passionate love of a beautiful, foreign and strong queen. Then on the otherside, they both depict a powerful and noble queen who is able to overcome the rampant patriarchy in their cities and rule with a firm loyal hand.
... and the passionate love of a beautiful, foreign and strong queen. And, they are connected through the historical figure Augustus Caesar, for whom The Aeneid honors and Antony and Cleopatra portrays.
In Shakespeare?s play 'Antony and Cleopatra' Caesar, while he displays remarkable tactical skills, is calculating and cold hearted. Antony on the other hand embodies many admirable qualities and emotions which make him the greater of the two. Firstly I will look at Caesar?s military victories before examining Antony?s great human qualities.
William Shakespeare's Presentation of Octavius Caesar in Antony and Cleopatra Shakespeare portrays Octavius Caesar as a very complex character in 'Antony and Cleopatra.' Shakespeare shows the audience how he has very strong feelings about War, leadership, the relationship between Antony and Cleopatra, and his sister Octavia. These attitudes can be seen as being too rational, too ambitious, and too efficient. However it is these characteristics which in some ways, form the particular contrast with Antony, which shows us his complex character, which also contributes to the conflicts which arise in the play. Shakespeare is very clever in the portrayal of Caesar; he uses Caesar as a foil for Antony, however he is a character in his own right.
Their infants quartered with the hands of war’. This shows the extent of the anarchy he will unleash on Rome. Furthermore Antony’s funeral oration is important as it follows Brutus’s speech in the play, where he has turned public opinion around to favour him, as he has been able to persuade and convince the crowds, through his rhetoric and oratory that Caesar ... ... middle of paper ... ...
I think that Shakespeare wanted her character to be spontaneous, dramatic and attractive towards men so that the audience would build up very strong opinions of her, whether they are good or bad. Throughout the play so far, Cleopatra has been presented as a very confident woman who adores playing numerous tricks with Antony. By Shakespeare creating the sense that Cleopatra controls Antony through her witty actions and words, it re-enforces her role in the novel as an independent, slightly deceitful woman. (1.1.14) ' If it be love indeed, tell me how much', this displays Cleopatra's clear determination in wanting to know how she is thought of by Antony.
Turgut introduces the character of Cleopatra in Shakespeare's version of the play as suffering from two burdens; the burden of being a woman in a patriarchal society and being an orient character in a western play and Shakespeare's treatment of her as an Other (9). Shakespeare in his dramatizing of Antony and Cleopatra, the only character that he dehumanized is Cleopatra and in more than one circumstance and by using the tongue of more than one character he calls her a strumpet and a whore, while in the same play he has never accused Fulvia, Antony's first wife, of being lust or whore even when she flamed the war against Octavius and fought against him with Antony's brother. On the other hand, Sedley has not accused Cleopatra of being a cunning person or questioned her love to Antony, and I believe that in order to avoid the matter of dehumanizing the other, Sedley has started his play after the war of Actium and, as known to the reader, Cleopatra left the battle and retreated then Antony followed her which causes his defeat in the battle, Antony has not questioned her faithful love to him. Sedley in his adaptation to Shakespeare's play gives the reader a voice to the silenced by giving the space to the Egyptians to represent their refusal to be ruled by
Antony was born the son of “a man of no great repute in public life, nor illustrious, but kindly and honest, and particularly a liberal giver.” Some fifty years later, Mark Antony died in the arms of one of the most famous and stirring women in history. He had served at the highest positions attainable in the politically savage world of the Roman Empire after the chaos that ensued with the death of Julius Caesar. Plutarch’s Antony tells the tale of not only one of the most pronounced and controversial figures in Roman history, but delineates Antony’s personality, character, and nature along with his mighty accomplishments, which some may say were achieved in spite of his traits not because of them. Plutarch’s message, however truthful, leans
Shakespeare presents the audience with a number of character interactions between the Roman soldiers to show Antony’s former greatness, rank and stature. They regularly use imagery of...
I begin my study of the comparison of Cleopatra and Octavia with Plutarch's The Life of Marcus Antonius, a so-called "historical text." Although Plutarch's writing is perhaps our most trusted source on Cleopatra, his "factual" manuscript is by no means unbiased. Plutarch, as we will see with Shakespeare, Mankiewicz, Dryden, and Fielding in the ensuing pages, presents Cleopatra as the opposite of Octavia. While Octavia represents the Roman ideal of a woman, Cleopatra is a self-seeking Egyp...
One of the biggest internal struggles in Shakespeare’s Antony and Cleopatra is Antony’s struggle between reason and emotion. One of the times this is shown is when Antony turns his ships around after noting that Cleopatra has done so in Act III scene 10. Shakespeare decided to show Antony’s internal struggle by having him follow Cleopatra to emphasize how strongly his emotions and reasoning lead him to mix business with pleasure, intertwining his role of general with his role of lover. From turning his ship around mid-battle to dressing himself after spending the night to outright stating his feelings, Antony shows over and over the unavoidable mutual existence of his roles as general and lover.
Antony. Shakespeare proves this play a tragedy by selecting characteristics of ill-fated lovers in Antony and Cleopatra. Poor Antony turns victim to Cleopatra's enslavement, and forgets his duties in Rome. Antony is a disgrace to his Roman self, and "loses" himself to dotage" of Cleopatra. He also forgets of his marriage to Caesars sister Octavia flees back to Egypt, to Cleopatra.
...in the play. On one occasion, Cleopatra herself becomes over sentimental, saying that Nature had intended her as "a wife, a silly, harmless house hold dove, fond without art and kind without deceit." In Act V, she bewails (laments) the curse of doting (loving) on her lover. The play indeed brings out the catharsis of the feeling of pity. Characters are responsible for their calamity and misfortunes. Their suffering and deaths here are entirely due to the faults in the characters - hero and heroine. They had not control over their illicit passion because fate had made Antony and Cleopatra, in capable of any control.