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critical interpretations of antony andf cleopatra
compare and contrast king julius caesar and shakespeare's julius caesar
critical interpretations of antony andf cleopatra
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The Character of Enorbarbus in William Shakespeare's Antony and Cleopatra Enobarbus’s character can be seen as the most striking invention of Shakespeare. As the lieutenant of Antony, he contributes to the drama in a number of ways. He is sympathetic to Antony from the start, loyal and fellow feeling. Instead of agreeing with Antony at the beginning where he says he wishes he had never met Cleopatra, Enobarbus replies that, had that been the case, Antony would have missed “a wonderful piece of work”. (I.2.154-5). He does not share the perspective of his fellow Roman soldiers Philo and Demetrius in the opening scene, in fact he seems to enjoy life in Egypt contributing with appreciative comments on Cleopatra. “Age cannot wither her, nor custom stale her infinite variety. (149 II.2.245) When Antony says of Cleopatra, “She is cunning past man’s thought”, Enobarbus disagrees, “Alack, sir, no: her passions are made of/ nothing but the finest part of pure love” (I.2.146-8). In their conversations at the beginning and in his role throughout, Enobarbus seems to represent an ordinary reflection of something in Antony himself, as in a mirror. His humour in response to the announcement of Fulvia’s death, anticipate the jovial side of Antony that will manifest itself in the galley scene. Before the triumvirs meet, the diplomatic Lepidus tries to persuade Enobarbus to keep Antony calm. Enobarbus however refuses saying that he much prefers that Antony should speak his mind. He reminds Antony and Caesar that there will be time enough to quarrel after they have disposed of Pompey. To Antony’s criticize, “Thou art a soldier onl... ... middle of paper ... ...ssenger. In a soliloquy “Now he’ll outstare the lightning” (III.13.194-200) he sees through Antony’s bombastic rhetoric and comes to his decision to leave Antony. As Antony addresses his servants as if for the last time, Enobarbus protests that he is “onion-eyed (IV.2.35). Antony’s reaction to his desertion, “O, my fortunes have Corrupted honest men!” (IV.2.35) and his decision to send his treasure to him confirm all that is said of Antony’s “bounty”. The guilt felt by Enobarbus and his subsequent depression and loss of will are clearly shown. “No honourable trust. I have done ill, of which I do accuse myself” (239.IV.35) But his death in mental torment and the consciousness of disgrace are proof of the fact that Antony’s “fortunes have/ Corrupted honest men” give a wider dimension to the tragedy of the protagonists.
In life, people and things are not always as they appear. William Shakespeare displays this idea throughout his play, Julius Caesar. The play portrays the historical murder of one of ancient Rome's most precious leaders, Julius Caesar. The play takes its readers through the minds of the conspirators as they plot this massive murder and deal with the responsibilities of its consequences. During the aftermath of Caesar's death, Octavius talks to Antony about how they should bring peace back to Rome. He states, "And some that smile...have in their hearts...millions of mischiefs" (4.1.50-51). Here, Octavius is referring to the false appearance of the conspirators. He says that they might appear harmless, but behind their false smiles is a heart full of dirty tricks. He is also saying that someone's outward appearance doesn't always symbolize how he or she feels inside. This theme of appearance versus reality can be seen various times throughout Julius Caesar. It is developed through the personalities and actions of Antony, Brutus, and Cassius. These characters deceive their friends and add to the intriguing plot of the play.
Shakespeare’s complex play The Tragedy of Julius Caesar contains several tragic heroes; a tragic hero holds high political or social esteem yet possesses an obvious character flaw. This discernible hubris undoubtedly causes the character’s demise or a severe forfeiture, which forces the character to undergo an unfeigned moment of enlightenment and shear reconciliation. Brutus, one of these tragic heroes, is a devout friend of the great Julius Caesar, that is, until he makes many execrable decisions he will soon regret; he becomes involved in a plot to kill the omniscient ruler of Rome during 44 B.C. After committing the crime, Mark Antony, an avid, passionate follower of Caesar, is left alive under Brutus’s orders to take his revenge on the villains who killed his beloved Caesar. After Antony turns a rioting Rome on him and wages war against him and the conspirators, Brutus falls by his own hand, turning the very sword he slaughtered Caesar with against himself. Brutus is unquestionably the tragic hero in this play because he has an innumerable amount of character flaws, he falls because of these flaws, and then comes to grips with them as he bleeds on the planes of Philippi.
Cleopatra. Dir. Joseph L. Mankiewicz. Perf. Elizabeth Taylor, Richard Burton, and Rex Harrison. Twentieth Century Fox Productions, 1963.
The definition of a tragic hero is perceived as on who is neither wicked nor purely innocent, one who “is brave and noble but guilty of the tragic flaw of assuming that honorable ends justify dishonorable means”. In The Tragedy of Julius Caesar, Brutus takes the role of the tragic hero. Brutus’s honor, nobility, and self-righteousness makes him “a tragic figure, if not the hero” (Catherine C. Dominic).
A tragic hero, as defined by Aristotle, is a man who is great but also terribly flawed, who experiences misfortunes while still remaining admirable to the audience at the end of the play. One of Aristotle’s favorite works, Oedipus the King, a play by Sophocles, is a play that above all others, defines the meaning of what a true tragic hero really is. In the play, Oedipus the King, the story unfolds after Oedipus unintentionally kills his own father and goes on to marry his mother. The events of the play are tragic, but it is the way that Oedipus handles the tragedies that make him a tragic hero.
The second part of the play consists mainly on “the increasing political and military unrest […] the growing isolation of Brutus, the swift ascent and yet almost programmed decline of Antony against […] Octavius, the climatic battles […] and the final submission of Brutus”.
The two writers in tragedy showed what many writers couldn’t throughout the Greek tragedian era. Sophocles, who wrote “Oedipus Rex”, portrayed Jocasta as a caring mother who soon turned into a wife of her own son, while Shakespeare, who wrote “Hamlet”, used the same Greek tragedian tools and portrayed Gertrude as a naïve mother who made one decision that separated her son, Hamlet, from her. Gertrude was similar to Jocasta in that both were naïve but protective of their own sons. However Jocasta was more aware of the actions she took, even after the prophecy was told.
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.
Tragedies have been written, told, and acted out for a number of years. Aristotle defined in his book, Poetics that a tragedy is to arouse the emotions of pity, fear, and finally a catharsis, or purging of emotions. A tragic play that perfectly completes this cycle of emotions is Oedipus the King by Sophocles. This play follows a king of the town of Thebes through his journey of the emotions of pity, fear, and finally a catharsis. It is a tale of a man who unknowingly kills his father and fathers the children of his mother as well. The audience is pulled into the play and experiences the plot along with Oedipus.
The simplicity of the Jacobean Stage and its lack of scenery focused the audiences’ attention on the actors. Discuss how Shakespeare created the grandeur of the Worlds of Rome and Egypt, and the magnificence of the protagonists, through his use of imagery in ‘Antony and Cleopatra’.
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...
Tragedy is like a roll of the dice. Although you may feel like you are in control, there is nothing you can do to control the outcome. Fate cannot be changed, and in Sophocles’ Oedipus the King, Oedipus Rex learns this the hard way when he tries his best to avoid and change the tragedy that was prophesied when he was born. Oedipus ends up living a life full of fear of a prophecy he cannot stop, however, he ends the play nobly and tries to fix the wrongs he had done by giving himself punishment by gouging his eyes out and exiling himself from his own kingdom, as well as ensuring that his daughters will not follow the same fate that he did.
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.
Tragedy of Antony and Cleopatra Antony bears the guilt. Shakespeare writes'Antony and Cleopatra'in a way where the reader places the blame on Cleopatra. Cleopatra brings the downfall of Mark.
Aristotle, in his work The Poetics, tries to delineate the idea of a tragedy. Throughout his work Aristotle says that the hero, or at least the protagonist in a tragedy must be substantially good, almost godlike. This hero must bring upon themselves their downfall, due to their fatal flaw. If the hero is not at a high point, an audience will not care about them, and won’t notice their fall. One must fall a long way in social class in order for it to be noticed by the outside man. Oedipus perfectly exemplifies a tragedy, in relation to modern society, effectively showing how too much pride can often lead to downfall or doom.