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Antony and cleopatra analysis
Antony and cleopatra analysis
Shakespeare's representation of Cleopatra
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William Shakespeare's Presentation of Cleopatra in Antony and Cleopatra The presentation of Cleopatra in Act three Scene thirteen is quite ambiguous. Her presentation in the rest of the play is also very contrasting and distinct. I believe Shakespeare concentrated on demonstrating Cleopatra's personality and ambiguity to emphasise that, being the only central female in the play, it is even more surprising that she manages to act the way she does, with such an alarming range of emotions, for example forging illness for attention and accusing Antony of leaving Egypt for the wrong reasons. 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. Shakespeare presents Cleopatra like this to prove that both her image and personality are very important to her because she is so desperate to know what Antonys opinion of her is. Here, Shakespeare's presentation of Cleopatra highlights her unique female qualities in a way that represents women throughout the play and Cleopatra as an individual. I believe this works well because the other main chara... ... middle of paper ... ... is repetition of certain features relating to collapsing and melting. (90.3.13) 'Authority melts from me', spoken by Antony, suggests that things arre gradually slipping away and eveything is falling apart. Overall, the way in which Cleopatra is presented by Shakespeare, through metaphors, form and language amongst other devices is very clear and portrays the feelings that he intended to show. I think Shakespeare has presented Cleopatra very carefully and has taken into account the stereotypical female life in the time that it was set. The characters are only creations designed to make an impression and although they are only this, Shakespeare has made them very impressionable and I think it gradually becomes clear that Cleopatra must use her female charms to survive and have any power in a male-dominated place.
After the assassination of Caesar, Cleopatra set her sights on Marc Anthony, who controlled the eastern Mediterranean. Her enemies labeled her a seductress, but seduction is part of diplomacy. Cleopatra knew how to entice, flatter and intimidate. When she goes to meet Mark Antony, she arrives in Tarsus on a barge dressed like Venus and surrounded by cupids. Newsweek describing the last queen of Egypt as an" independent, charismatic, ambitious woman. "She married her brothers when she needed them, she killed them when she was not," says Marie Arana in the Washington
...us, and various dignitaries enter the dining room, Goldenfall inserts a muted Italian aria, like one heard in a fine Italian restaurant. Considering the nature of the scene and the audience's knowledge of what is to be served, the aria serves to increase audience disgust. And as the beautiful music wafts through the background of the scene and Tamora eats the flesh of her own sons, the revulsion is intensified. It is almost a relief when the scene erupts into violence.
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)
The Romans were immensely furious with Cleopatra and had primary influence over what sources were left behind about her. So certainly this is going to lead to biases and inaccuracies in the depictions we have. Furthermore, we are all well aware of how Hollywood likes to dramatize and embellish stories in order to generate ticket sales and is not worried about the accuracy of the historical anecdote. Because of this and her popularity, our knowledge of Cleopatra has been flooded with twisted truths. When examining Cleopatra’s full reign beyond her love affairs, reveals Cleopatra put all of her effort forth in order to solve the conflict between Egypt and Rome and should be recognized for her masterminded and commanding leadership
The film 8 ½ centers on a filmmaker, Guido Anselmi, who struggles with the making of a new movie. Throughout the film, we see Guido’s fantasies, dreams, memories, and reality and often the line in between these moments is blurred. It is hard to indisputably tell whether a particular scene is truly happening in the reality of the film. What we do know, though, is that every scene is happening, either consciously or not, for Guido. Even if he does not really live in a house with all of the women in his life, that scene can reveal something about Guido since he is the one having the fantasy.
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...
At the start of Act 1, Scene 2, we soon learn that Caesar is of a
The first major difference between Eliot’s Parody and Shakespeare’s Antony and Cleopatra comes with the very first simile. In Shakespeare’s original the barge in which Cleopatra sits is compared to a burnished throne burning on the water, whereas in Eliot’s parody it is only a chair that she fills like a throne, glowing on the marble. Eliot’s character comes across, therefore, as far less ‘enormous’ and larger than life than Shakespeare portrays Cleopatra who seems very great, even in comparison with her barge, which she fills as if it were a throne - her majesty makes the barge seem tiny in comparison; Eliot’s character only makes a chair look like a chair. Again, with the water on which Cleopatra’s barge floats burning, and the marble on which the chair stands glowing, Shakespeare’s image if far greater than the one Eliot creates, being strange and somewhat mystical, as opposed to Eliot’s chair’s entirely possible glow.
Around 69 B.C, one of the most famous female rulers ever known was born, she was Cleopatra. She was the descendent of the Egyptian ruler, Ptolemy XII, and she would eventually became the queen of ancient Egypt herself. She was known for being extremely intelligent and very charming, and because of this many romans feared her and viewed her as a threat. When her father died the throne of Egypt was left to her and her brother, Ptolemy XIII, and rivalry formed between the two, making her even more determined to become the sole ruler of Egypt. Cleopatra had trained all her life to be the successor of Egypt and she hungered for power. Like her father, she tried to have peace with Rome and maybe even have power over them. She would gain her power by having Caesar one and only son, Caesarion, the loyalty of Marc Antony, a well-known general who was popular among the troops in Rome, and of course by using her intelligence and Egypt’s resources. Cleopatra was a successful ruler because she had a thirst for power.
Between the characters of Octavia and Cleopatra there exists a "moral contrast" (Bree 110) -a conflict of Roman ideals and Cleopatra's foreignness. Throughout the tradition of Cleopatra, authors, including Plutarch, Shakespeare, Dryden, and Fielding, as well as filmmakers such as Mankiewicz, have separated Cleopatra from Rome and Octavia because of her combination of political power and sexuality: "The notion of Cleopatra that we have inherited identifies her primarily as being the adversary, the Other. Her otherness is twofold. She is an Oriental, and she is a woman…" (Hughes-Hallett 4). If Cleopatra represents the 'Other', then Octavia exemplifies Rome itself. She embodies all of the characteristics of a proper Roman wife: beauty, grace, wisdom, and above all obedience to her husband. Octavia is Antony's celebrated wife throughout the literature although their relationship is dispassionate, while Cleopatra's "otherness" prevents her from attaining the respectable title of Antony's wife despite their love. Octavia acts as a character foil for Cleopatra, highlighting Cleopatra's foreign nature and her sexuality, which the Romans find unattractive and unacceptable in the character of a woman.
In his outright declaration of love to his queen after spending time away from her, Antony once more makes it evident that he cannot keep his identity as a general separate from his identity as a lover. Antony tells Cleopatra to leap “through proof of harness to [his] heart” (Act IV, scene 8, l.15). Antony is once more mixing his role in the army with his love for Cleopatra, reason and emotion. His declaration of love to her describing her reaching past his armor, which represents his status as general, and grabbing his heart shows that, though armor is meant to protect the chest and keep others out/away, his emotions surpass his reason and he is more than willing to allow her to do exactly what his armor is supposed to prevent. Towards the end of the play, after every subtle (or not so subtle) hint, Antony’s declaration of love including his armor demonstrates that he has come to understand that he does not need to choose between his two identities and constantly fight reason against emotion, but can instead live with both at the same
The play of ‘Antony and Cleopatra’ was written in 1606, and is mainly set in their respective worlds of Rome and Egypt. ‘Antony and Cleopatra,’ like Shakespeare’s other plays was written to be performed on the Jacobean Stage. In Shakespeare’s time there was a lack of scenery and stage props, but he compensated with his use of language that he gave to the audience, to assist them, bring to life the characters, plot and the setting in their own minds.
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.
Open, crowded, lots of natural light, no props. If asked to describe the Elizabethan Theatre houses some of those words and phrases could be used. In the Elizabethan Era, theater was a very large part of life. Everyone in Europe, who could afford to go to the theater, went. Whether one was a simple commoner or if one was Queen Elizabeth herself, they would have enjoyed going to the Globe to watch all the exciting and dramatic plays. Queen Elizabeth, who rose to the throne in England in 1558, loved watching all the plays that were performed all around England (Somerset Fry 164). The Theatre in the Elizabethan Era was greatly impacted on the different historical events that were in the Era and they were mirrored in many plays, specifically Shakespeare’s play, The Tempest.