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Octavia cleopatra character traits
The portrayal of female characters in Shakespeare's plays
The portrayal of female characters in Shakespeare's plays
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Proculeius and Cleopatra (lower to higher class)
Proculeius is a friend of Octavius Caesar sent by the latter to ensure Cleopatra does not kill herself so he can parade her in the streets of Rome. Considering the fact that Proculeius is aware of her fragile state of mind, it seems unusual that he would address her with thee/thou especially as the default pronoun here should be you. However this is how he greets her in Act 5 Scene 2:
‘Caesar sends greeting to the Queen of Egypt;
And bids thee study on what fair demands
Thou mean'st to have him grant thee.’
There are different possible reasons for his choice of address. On one hand he might be aiming to make Cleopatra aware that she has lost and that Octavius Caesar is now in power. Another possibility could be that he is trying to create intimacy between them, as he aims to get her to trust him so he can take her to Caesar. One last possibility is that he is trying to be respectful to her and address her as if she were a God.
What complicates the analysis even further is the fact that once Cleopatra finds out who he is, after initially addressing him with thee/thou, she switches to you. This switch occurs whilst she is saying that Antony told her that she could trust him. Her switch of pronoun, therefore, may indicate that she now regards him as an equal or as an inferior. Alternatively she could be creating distance between them as she is unsure of Caesar’s intentions for her.
The switch in pronoun by Cleopatra is then transferred to Proculeius who also starts addressing her with you. This may be deliberate to mirror her own switch. Now that he feels he has won her trust, he begins to address her as an equal or does not need to show empathy but simply reassurance, espec...
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...e Family, Sex and Marriage in England 1500-1800, (Harmondsworth: Penguin Books, 1979) pp.69-88
Suzuki, Mihoko, ‘Gender, Class and the Social Order in Late Elizabethan Drama’, Theatre Journal, Vol. 44, No. 1, (March 1992), pp.31-45
Thorton Burnett, Mark, Masters and Servants in English Renaissance Drama and Culture. Authority and Obedience., (Basingstoke, Hampshire: Macmillan Press Ltd, 1997)
Toole, W.B., ‘The Nurse’s “Vast Irrelevance”: Thematic Foreshadowing in “Romeo and Juliet”’, South Atlantic Bulletin Vol. 45, No. 1, (1980), pp.21-30 accessed via JSTOR on 09/12/2007.
Tvordi, Jessica, ‘Female Alliance and the Construction of Homoeroticism in As You Like It and Twelfht Night’ in Maids and Mistresses, Cousins and Queens. Women’s Allicances in Early Modern England, ed. by Frye, S. and Robertson, K., (Oxford: Oxford University Press, 1999) pp.114-129
Though was Rome perhaps the most cosmopolitan place in the world of that day, it still didn 't take kindly to foreigners. And so Cleopatra and her son had to leave. If Caesar could not eve convince his people to accept his girlfriend, how could he be expected to convince his people to fully trust him to rule over them. He was not the traditional Republican politician that was expected during this time, even though he was an excellent politician, and a skilled writer, some of his lifestyle choices like his girlfriend and his child born out of wedlock, probably did not completely sit well with the Roman
Dash, Irene G. "Wooing, Wedding, and Power: Women in Shakespeare Plays". The Critical Perspective Volume 2. Ed. Harold Bloom. New York: Chelsea House Publishers, 1986. 825-833.
Dash, Irene. Wooing, Wedding, and Power: Women in Shakespeare’s Plays. New York: Columbia University Press, 1981.
Warren, Roger. Shakespeare Survey 30. N.p.: n.p., 1977. Pp. 177-78. Rpt. in Shakespeare in the Theatre: An Anthology of Criticism. Stanley Wells, ed. England: Oxford University Press, 2000.
"Elizabethan Theatre Audiences." Elizabethan Theatre Audiences. Strayer University, 16 May 2012. Web. 24 Mar. 2014.
Howard, Jean. "Cross-dressing, The Theatre, and Gender Struggle in Early Modern Eng- land." Shakespeare Quarterly 39 (1988): 418-40.
Antony deceives Brutus and the other conspirators with his keen wit and his sweet talk. After a brief minute of expressing sorrow, Antony goes right into saying "Friends am I with you all, and love you all" (III, I, 42). Antony is using flattery in order to get Brutus on his good side so he can speak in the order of Caesar's funeral. Antony asks Brutus if he can, Brutus agrees without hesitation.
So right at the outset the reader/viewer respects the lord chamberlain as a very fluent spokesman of the language, and respectful of his superior, the king. Later, in Polonius’ house, Laertes is taking leave of his sister, Ophelia, and, in the process, giving her conservative advice regarding her boyfriend, Hamlet.
In his play Julius Caesar, Shakespeare employs various rhetorical strategies such as direct address, repetition, and apostrophe in Antony’s eulogy to convince the crowd into believing that Caesar was a good ruler. His excellent use of rhetoric begins before he starts his speech through the establishment of familiarity. Before Antony begins his speech, he refers to the crowd as “friends, romans, [and] countrymen” to establish a personal connection, indicating the use of direct address (3.2.82). By referring to the crowd as “friends,” Antony removes any separation between him and the audience, establishing a close bond by choice. As it came first on his list, it emphasizes the importance of his friendship with the audience as friendship implies
Studies in English Literature, 1500-1900, Vol. 34, No. 2, Elizabethan and Jacobean Drama (Spring, 1994), pp. 341-356 Published by: Rice University http://www.jstor.org/stable/450905
The Elizabethan Stage, 4 vols. Oxford: Oxford University Press, 1923. Clark, Eleanor G., 1941. Ralegh and Marlowe: A Study in Elizabethan Fustian.’ New.
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.
Have you ever had someone betray you or stab you in the back? How about act like they like you, and want to suspend around you? Well that’s how Caesar probably felt like when Brutus executed Caesar. Many of the Rome peoples you’re traumatized that this had transpired. Once Antony received about the news of his friend’s decease, He came to give a speech about the passing of his friend Caesar.
Elizabethan and Jacobean Drama. N.p.: Rice University, 1982. 223-38. Vol.
Throughout Shakespeare's play Hamlet, the main character; Hamlet displays his contemplative side and his sexual deviancy wrapped up in his enigmatic character that makes for a thought provoking play with many interesting twists and turns to keep the reader on their toes. Hamlet’s creative character allows for the viewer and the characters in the play alike to search deeper into the meaning of Hamlet’s words hoping find something more about Hamlet than meets the eye. As for Hamlet’s sexual deviancy, his dirty jokes and interest in his mother’s sex life are just another loop Shakespeare employs to get the reader engrossed and slightly disgusted in the story. Hamlet’s philosophical and contemplative side involves the reader in Hamlet's quest to find and accept the whole truth however hopeless it is, due to Hamlet’s love of questions that cannot be answered with certainty.