Antony and Cleopatra
Love and politics are two themes central to the story of 'Antony and Cleopatra.' Antony, the hero of the tragedy, is seen as a man caught between two worlds- the fantasy microcosm of Alexandria, and the titanic responsibilities and honours of the triumvirate, whilst his lover Cleopatra is the ruler of Egypt. Between them, they have political authority over half the known world, so theirs is a relationship embroiled in political significance. The language that Shakespeare uses to portray these two principle dimensions of the play is therefore integral, in order to evoke the tragedy the author intends. For Antony and Cleopatra's tragedy explores almost a crown on death, a total, unprecedented political collapse. The two extremes, love and death, seem to unite in speech. The culmination of the play sees to die as symbolic of total love. Conversely, to love is also to die. Enobarbus, Charmian, Iras, Cleopatra and Antony all die at the height of their love or loyalty. Clearly such tragedy of political and romantic importance requires a diverse and complex deployment of language, and it is this technique that I now seek to explore. The language of love in 'Antony and Cleopatra' is one of the plays greatest pleasures. The magnificen
" The audience can see the way the two enjoy and cherish every moment they spend together through the language Cleopatra recalls it in. The language used in this scene is perfect evidence of the manner in which Shakespeare creates the world of politics in the play, particularly in such contrasting fashion to the scenes of love. Antony is one moment cooing over Cleopatra, heaping metaphor upon metaphor over her in compliment, when he makes a brisk and business like transition into politics. This is, in my opinion, symbolic of everything Caesar is in the play. Later on, as he wrestles with self-doubt at the realisation of his downfall, he proclaims "I am still Antony", what I believe to be words of a man trying to recapture . "From Alexandria this is the news: he fishes, drinks, and wastes the lamps of night in revel; is not more manlike than Cleopatra. The messenger, afraid to tell him the bad news he brings less he receives blame is indecisive, saying "the nature of the news infects the teller" Antony, now in the 'political world' answers disparagingly "when it concerns the fool or coward" Reputation and duty are, in my opinion, an integral factor to the language used in the political episodes of the play. The argument the two have in Act One scene three reinforces this concept of friendly teasing and word play. It is majestically exaggerated- take the picture of Cleopatra on her barge sailing down the river Cydnus to meet Antony, w hich ends in a praise of her "infinite variety" she herself envisages Antony as "the demi-Atlas of this earth. " Her dream of Antony after he is dead "his legs bestrid the ocean" is similarly grand. Lepidus is desperate to avoid conflict courteously, and somewhat indirectly, asks that Enobarbus ensure Antony be civil and calm. It presents the other side of their relationship away from the hyperbole of their complimentary interchanges. His emotions for Cleopatra do not wholly override his political and military intelligence. When he thinks she has been flirting with Caesar's messenger, he flies into a rage "You were half blasted ere I knew you: ha? Forborne the getting of a lawful race, and by a gem of women, to be abus'd by one that looks on feeders" displaying jealousy of his lover, anger at her, and a level of hurt and insecurity in the reaction.
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