Destructive Power Relationships in Antony and Cleopatra
Antony and Cleopatra's “love” is not really about love at all. Their interaction can only be considered a sort of immature lust-power relationship. Their relationship is shallow, self-centered, irresponsible and destructive. Their attraction for each other centers around infatuation and a sort of egoistic rush that they are more important than the world. Just as a man or woman of today may attempt to control the desires of his or her intended, Cleopatra wants to manipulate Antony into wanting her:
Cleopatra. See where he is, who's with him, what he does:
I did not send you: if you find him sad,
Say I am dancing; if in mirth, report
That I am sudden sick. Quick, and return.
Romeo and Juliet's relationship was sweet and beyond life. Cleopatra and Antony's relationship is a very worldly one (we do not even know if Cleopatra "applied the asp" because she wanted to be with Antony in death or if she simply could not stand being left with Caesar in life).
G.W. Knight of the Aesthetic school of critics says of Cleopatra that she is "a metaphysical, not moral, good--a good of totality. She is good in the same large way one might say life is good, or the universe is good, not because it contains no suffering or bad times, but because from restropect even these experiences are worth having. Her perfection flowers from totality, not exclusion." You end up liking Cleopatra in this play because she is so robust and sensual and unpredicable and capable of so many strong emotions. Here she bursts out at the messager after he reported that Antony had married:
Cleopatra. What say you? Hence,
Horrible villain! or I'll spurn thine eyes
Like balls before me; I'll ...
... middle of paper ...
...and the first stone
Drop in my neck: as it determines, so
Dissolve my life! the next Caesarion smite!
Till by degreees the memory of my womb,
Together with my brave Egyptians all,
By the discandying of this pelleted storm
Lie graveless, till the flies and gnats of Nile
Have buried them for prey!
The hand of death hath raught him.
. . . let Patient Octavia plough thy visage up
With her preparéd nails.
. . . fill our bowls once more:
Let's mock the midnight bell.
A 1759 quote about a performance of this play stated that it "did not seem to give ye Audience any great pleasure or draw any applause." I can imagine that. It is not one of the best of Shakespeare's plays, but it does give you a fair share of history, tragedy, and poetry. I think this play would be perfect for a more modern reinterpretation analyzing destructive power relationships.
In one of Shakespeare’s most masterful pieces, he depicts a tragic love story in which love conquers all…but at what cost? The truth is in this play, love is the victor, but with horrible consequences. Love lives on, love survives, but only at the loss of life. Not only in this play, but in many other Shakespearean works, the constant theme stands that any kind of marriage or deep emotional bond which is solely based on love ends tragically. Othello’s passionate love for Desdemona is the same passion that causes him to end her life. Antony, under the suspicion that Cleopatra has died, tries to commit suicide to only find out soon after that she is alive and in hiding, but all in vain for the fatal wound has already pricked it’s victim. Shakespeare constantly relates love with tragedy, stating that love is in fact fleeting and impermanent. The only way for love to live forever is if it dies young.
Feminine sexuality and power has been a controversial topic since the dawn of time. In many ancient societies, females exist as the lesser beings. They were meant only to bear children, and to stay loyal to their husband. Cleopatra VI became one of the first prominent females to exert her power. She reigned as queen of the entire Egyptian kingdom and bowed to no one. Cleopatra used her beauty to get what she wanted and needed for her country, and by doing this, she conquered some of the most politically important men of the Roman republic. Yet for many years, the life of this formidable queen was left unrecognized. The story of Cleopatra VI came back into intrigue with the production of three films: Cleopatra by Cecil B. de Mille in 1934, Cleopatra by Joesph L. Mankiewicz in 1963, and Cleopatra Jones by Jack Starrett in 1973. Each of these productions represents the historical Cleopatra in modern glory and power. They meant to appeal to both men and women; to the woman’s want and need for power in a still male-dominant world, and to the man's lust for an intellectual, and beautiful woman. All three of these films served their purpose accurately; they maintained a close connection to the historical context of Cleopatra, yet successfully attracted their target audience.
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.
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
... 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.
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
The quest for knowledge, a topic often contemplated in philosophy, remains persistent with mankind seeking to understand the uncertainty in the world surrounding him. Epistemology is the branch of philosophy that raises questions and provides answers about what constitutes knowledge and justifies belief. The main concerns of knowledge in epistemology are how it is defined, what the source is, how it’s acquired, what its limitations are, and what kind of knowledge is necessary. Three very well known philosophers of their time offer their different ideas on the subject of knowledge and epistemology.
Cleopatra is most often remembered as the lover of two Roman consuls, Julius Caesar and Mark Antony, thereby forever connecting the Egyptian queen to the history of Rome. The stories of her relationships with the two men do not always paint a flattering picture of Cleopatra, as her reported promiscuity and presumption give her a colorful reputation. Cleopatra is also sometimes seen as a misunderstood woman, someone who was never given a fair opportunity to be accepted as the wife of Marc Antony nor the mother of Caesar's child. Some historians and authors use the issue of Cleopatra's race as a reason that she was ostracized from Roman society, saying that the Romans were prejudiced against Egyptians, and despite Cleopatra's Greek background, would never accept her as a suitable mate for a Roman consul. This theory, however, is far outweighed by the numerous justifications the Roman people had for their distaste of Cleoaptra. It is not surprising that Cleopatra never found acceptance in Rome, as she offered nothing to the relationship between Egypt and Rome, she stood for everything they were against, and little by little, she succeeded in destroying parts of the society that the Roman people had worked to build.
Gaensbauer asks the questions: When exposed to a traumatic event, what does the infant understand about what is happening? Does he or she form an internal representation of the experience? Is the experience retained in memory? If so, for how long and in what forms (2002)? Gaensbauer gives several examples of how trauma memory is retained. In one case, an infant as young as three days old was having trouble taking to his mother’s breast. A very aggressive...
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.
In this research paper I will be writing about Cleopatra VII. Her early life, family and her relationships’. Cleopatra VII was born around 69 BC and was the daughter of Ptolemy XII Auletes and Cleopatra V of Egypt. Her parents got married in the year 79 BC. Her father Ptolemy XII Auletes was the king of Egypt during 80-58 B.C. and 55-51 B.C. He was born in 117 BC and was also known as the “Piper” because he played the flute. He died in 51 BC, Alexandria, Egypt from being exiled. Her mother Cleopatra V was the queen of Egypt, born in 95 BC. She vanished around the time of Cleopatra’s birth in 69 BC then died in 57 BC. Some people believe she was either murdered or that she may have died while giving birth. (“Cleopatras Family”)
First of all, it is important to note that the first few challengers to a gender role are seen as novelties. In the film 'Dare to Compete', many early woman athletes were co-opted into male teams to attract more fans. Baseball managers would often employ stunts to raise their ticket sales, with one black team – the Clowns –putting on a vaudeville show during the game. The Clowns did have a female player, but she was not publicized to grab more attention at first. Later, advertisements would announce her presence as astounding that a woman could play as well as a man. She was a novelty within a novel team. In the all-female league during World War 2, the managers would have the girls wear short skirts and put on makeup to look like "ladies". Men would come hoping for a striptease in the middle of the game, because women were placed in the same category of sports as the black leagues. That is, they were only to entertain and not actually compete.
Every country in the world has its own cultural uniqueness. What makes Canada even more unique than other countries is the fact that it is a melting-pot of many other cultures. What happened when all these cultures came together and started having contact with each other is that each culture proved itself exclusive but somewhat compatible with the other cultures. That may have caused people of different ethnic groups not to bond in such successful ways; nevertheless there still exists a strong attachment between an individual and their roots. That fusion and unity of the different cultures in this country makes its economy unique.
...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.
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.