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antony and cleopatra critical analysis
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Opposites Attract in Antony and Cleopatra
William Shakespeare's Antony and Cleopatra is a play that is centred around a pair of historical lovers from two distinct cultures, Mark Antony from Rome and Queen Cleopatra from Egypt. The Roman and Egyptian cultures have vastly different norms and social ideas that are almost complete polar opposites in nature. These conflicting views are instrumental in the way that Cleopatra and Antony act. These two characters are so great in their respective societies that they serve as models to look to, although Antony may not be everybody's perfect vision of what a Roman should be. It is also important to look at not only what these two characters think of their cultures, but what cultural outsiders think as well. Through all of this, it will be shown how these primarily opposite cultures can function together, and bring together two of the most prominent lovers in all of Shakespeare, if not in all of recorded western history.
Cleopatra and Antony cannot be seen as average human beings. Never are they described in the same manner as Shakespeare would describe others in this play. "Each truly is all but everything in himself and herself, and knows it, and neither fears that he or she is really nothing in himself or herself, or nothing without the other" (Bloom, Modern Critical Interpretations 1). These two are magnificent and mighty characters, in very grand roles, both in this play and in history.
Antony, as one of the triumvirs, is much more than an individual Roman soldier. He is one of the three who hold the entire known world in a powerful authoritative grip. Antony, acknowledges the force and magnitude of his and Cleopatra's personalities when he sends a messa...
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...rs, 1988. 109-35.
Barton, Anne. "'Nature's Piece 'Gainst Fancy': The Divided Catastrophe in Antony and Cleopatra." Modern Critical Interpretations: William Shakespeare's Antony and Cleopatra. Ed. Harold Bloom. New York: Chelsea House Publishers, 1988. 35-55.
Bloom, Harold, ed. Introduction. Modern Critical Interpretations: William Shakespeare's Antony and Cleopatra. New York: Chelsea House Publishers, 1988.
---. Shakespeare: The Invention of the Human. New York: Riverhead Books, 1998.
Kittredge, George Lyman. Introduction. Antony and Cleopatra. By William Shakespeare. Waltham, MA: Blaisdell Publishing Company, 1966.
Markels, Julian. The Pillar of the World: Antony and Cleopatra in Shakespeare's Development. Ohio: Ohio State University Press, 1968.
Shakespeare, William. Antony and Cleopatra. Ed. John Wilders. London: Routledge, 1995.
Shakespeare, William. “The Tragedy of Julius Caesar.” Elements of Literature: Kylene Beers. Austin: Holt, 2009. 842-963. Print.
When one man dies, there is grief, when a hundred men die, there is mourning, and when a man such as Caesar falls, there is chaos. In Shakespeare’s play, The Tragedy of Julius Caesar, Caesar is a great ruler whose image is portrayed differently by Decius Brutus and Marc Antony. At the great funeral of Caesar, Marc Antony and Brutus both share their portrayals of the great ruler. Brutus displays Caesar as a ruler whose ambition clouded his judgement and made him dangerous, thus he deserved to die. Antony portrays Caesar as a noble ruler who helped Rome and was killed wrongly. Ultimately, Antony’s logical and genuine portrayal of Caesar is more legitimate than Brutus’, as shown through Caesar’s livelihood and actions in 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.
William Shakespeare's Antony and Cleopatra In the play Antony and Cleopatra, the character of Cleopatra is one of
Shakespeare, William. Julius Caesar. Elements of Literature. Ed. Edwina McMahon et al. New York: Holt, Rinehart and Winston, Inc., 1997.
Bloom, Harold. William Shakespeare's Julius Caesar. Chelsea House Publisher; Connecticut, New York, & Pennsylvania. 1988, Pg. #33 - 36
Shakespeare, William. “The Tragedy of Julius Caesar”. Elements of Literature. Ed. Deborah Appleman. 4th ed. Texas: Holt, Rinehart, and Winston, 2009. 843-963.
Heller, Agnes. "Julius Caesar." The Time Is Out of Joint: Shakespeare as Philosopher of History. Lanham, Md.: Rowman & Littlefield Publishers, 2002. 311-335. Rpt. in Shakespearean Criticism. Vol. 115. Detroit: Gale, 2009. Literature Resource Center. Web. 16 Dec. 2010.
The artistic representation of Enobarbus is most apparent through the juxtaposition of truth and cynicism, a paradox that can be attributed to most of his speeches. Enobarbus at his introduction appears to be an opulent man who is found in Cleopatra’s court expressing in erotic banter: “most of our fortune tonight, shall be/drunk to bed” (I.ii.46-47), obscures his appearance as a worldly man whose prudence nevertheless averts his practice of cynicism. This is most particularly manifested against the general Roman attitudes towards Cleopatra that are revealed in Philo’s opening exaltation, Enobarbus’ shares a completely different view of the queen of Egypt—“ her passions are made of nothing but/the finest part of pure love” (I.ii.148-49)—though we recognize that his reaction to the death of Fulvia is indeed cynical, as is pointed out by Antony, “no more light answers” (I.ii.178). From this, the readers are shown with a wittily humorous character who is nevertheless a credible guide in offering an insight to the common sense in private matters in the tragedy’s shifting moods. Readers also realize that despite his wit and humor, Enobarbus is subtle and not at all unreasonable. This is evident in his words w...
In the play Julius Caesar, written and preformed by William Shakespeare, there are many characters, but two, Brutus and Cassius, stood out. The play begins in Rome where a celebration of Julius Caesar's victory over the former ruler of Rome, Pompeii. The victory leads to Caesar's betrayal by his jealous companions. Senators and other high status figures are jealous of Caesar's new and growing power, while others, like Brutus, fear the tyrannical rule Caesar could enforce. The conspirators, Brutus and Cassius being the most important, assassinate Julius Caesar and Marcus Antonius, better known as Antony, and Octavius Caesar, Caesar's heir to the thrown, revenge Caesar's death. Antony convinces the Roman populous to destroy the conspirators and eventually begins a war with Cassius and Brutus' armies. Both Cassius and Brutus commit suicide to save their honor and Antony and Octavius win the war. The characterizations of Brutus and Cassius show a distinct contrast in their character traits and motives for the assassination of Julius Caesar.
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...
Knight,G.Wilson. “The Shakespearean Superman: An essay on The Tempest.” The Crown of life: Essays in Interpretation of Shakespeare’s Final Plays. Oxford: Oxford University Press, 1947. 203-255
It cannot be ignored that Antony's decline and struggle for power is a theme in the play, but I feel that Shakespeare is not emphasising on this theme but on the love between Antony and Cleopatra. Here we have two people whose extraordinary love affair defied public opinion and gave meaning and transcendence to their lives in a dark time. I feel that theme of love is central to a lot of what happens in this play. Antony flees Actium to follow Cleopatra, because he is trapped by his feelings towards her. The play begins with the Triumvite in a weak state; this is because of Antony's debauchery in Egypt with Cleopatra. Caesar wages war with Antony because Antony was disloyal to Octavia as he still had feelings for Cleopatra. I feel that the theme of love triumphs over the theme of the struggle for power.
...n overall negative impression. The audience feels, by the end of the play, that Antony got what was coming to him, and his downfall was nobody’s fault but his own. Granville-Barker agrees, he claims that Antony (and Cleopatra) “themselves do not kindle pity and admiration to the full.” This kindling of pity and admiration is one of the key elements of being a tragic hero and as they do not fulfil this prerequisite, the audience is unable to view them in such a way.
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.