Romean spectatorship measure identity by the relation between visual performance and ve... ... middle of paper ... ...s resonates. Caesar, after describing some of Antony's pleasurable immoderations, says that he "is not more manlike than Cleopatra,; nor the Queen of Ptolomy more womanly than he." Cleopatra recalls of the time, when she "drunk him to his bed; Then put my tires and mantles on him, whilst I wore his sword Philippan." Consequently, Antony is presented in several emasculated ways - as a eunuch, a pleasure-seeking boy, and cross-dressed as a woman. As a result of all these dynamics, the audience's deference to him is supplanted with disgust, that such a great man could allow himself to degenerate to such a position, of losing his identity and replacing it with an ineffectual one.
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.
Throughout the play, Shakespeare establishes a love-hate relationship between Antony and Cleopatra. In doing so, there are times when the lovers are characterized as stark opposites of each other as well as instances where these characterizations are reversed. The Romans, represented b... ... middle of paper ... ...defining Antony and Cleopatra’s equally oppositional relationship. The battles within her reflect Antony’s personal struggles, as well as the greater wars within their relationship. Thus, the dualities within Enobarbus’ speech reflect the oppositional relationships both within the play as a whole and within the greater context of Act II.ii.
This is a typical Roman view of Antony being subservient to Cleopatra, given to us from Philo a Roman soldier based in Egypt. The soldier also states from what a great height Antony has fallen; "The triple pillar of the world transform'd / Into a strumpet's fool." These two passages show us that even from the beginning the audience is made aware of Cleopatra's effect on Antony. The language Philo uses shows how he feel as "strumpe... ... middle of paper ... ...eath. "Not Caesars valour hath oer'thrown Antony,/But Antony's hath triumph'd on itself."
Question `Shakespeare doesn't organize his tragedy as a drama of love between Antony and Cleopatra, but as a drama of the rise and fall of Antony in the struggle for world leadership'. What is your view? Answer Fundamentally, I disagree with this interpretation of the play. Indeed we do see the fall of the great Marc Antony but the play never actually depicts scenes of his rise to prominence. `Antony and Cleopatra' is renowned as one of the greatest love stories of all time and I align myself with this conception.
Shakespeare presents Antony as a different man when in Rome and a different one when in Egypt. Shakespeare organises the plot of Antony and Cleopatra around the theme of conflict between Rome and Egypt immediately. In the opening scene the two soldiers Philo and Demetrius discuss Antony’s surrendering of his military duties to the exotic pleasures of Egypt and Cleopatra. Both Philo and Demetrius discuss the divide in world where one is governed by discipline and reason (Rome), and the other ruled by pleasure and love. Both Philo and Demetrius discuss and claim that Antony’s "captain's heart" now serves as, "The bellows and the fan / to cool a gypsy’s lust” This reflects their view of the world being divided into two entities.
Caesar was strict, honor based while Cleopatra was devious, emotion based. The same can be said for the places that they rule both Rome and Egypt reflect the qualities of their potentates. All leads up the the final controversy of men vs women and that Shakespeare obviously believed that men were the dominant gender and that women in power would lead to mans downfall. Works Cited Flamarion, Edith. Cleopatra: the life and death of a pharaoh.
In the tragedy “Antony and Cleopatra”, Shakespeare presents our protagonist Mark Antony as a tragic hero. He does this by using a number of dramatically effective methods, including language, staging techniques and structure. Aristotle defines a tragic hero as a character of noble stature who has a tragic flaw (usually hubris which is over confidence/arrogance) and suffers a downfall that is partially their fault but also due to factors beyond their control. The downfall they suffer exceeds the “crime” but the tragic hero gains some sort of self-awareness. Before the audience meets Antony, Shakespeare presents us with two soldiers discussing Antony’s current debauched life.
Dramatic tragedy classically explores the downfall and death of a protagonist from a high status. Shakespeare constructs the conditions for tragedy within Antony and Cleopatra through the protagonists’ conflicts. For example, Antony is pulled in different directions by two competing loyalties: his political duties and his love for Cleopatra. In Act One, Antony, “The triple pillar of the world”, has “become the bellows and the fan / To cool a gipsy’s lust.” Philo’s metaphor presents Antony as “the bellows” and “the fan”. On the one hand, Antony appears to be “cooling” Cleopatra’s lust, breaking free from her.
Caesar has returned, victorious over Pompey, and the treasury is full. Some noble Romans fear Caesar's great power may turn him into a tyrannical dictator. Some are jealous of him. Cassius: Why, man, doth he bestride the narrow world Like a Colossus, and we petty men Walk under his huge legs and peep about To find ourselves dishonorable graves. Men at some time are masters of their fates.