Another example of how Shakespeare presents the opposition between Egypt and Rome can be found in the description that Enobarbus gives of Cleopatra. In this description, he includes the paradox: “A bird on the water,” which illustrates the power of Cleopatra’s presence and the way in which it is a contradictory term can also reflect Cleopatra’s character. The two main female characters in the play are Cleopatra, who represents Egypt and Octavia who represents Rome. There is a stark contrast between the two women, therefore showing the distinction between the two worlds. Cleopatra is hyperbolic, self-righteous and temperamental, whereas, even though the audience does not see a lot of Octavia, we get the impression that she is calm, peaceful and obedient. Due to her submissive nature, Octavia finds herself inferior to Antony; however Cleopatra is regarded as an equal, or sometimes superior to Antony. Therefore, this portrays the difference between Roman and Egyptian women and culture.
An additional way that Shakespeare presents these oppositions between the East and West can be shown through the fast moving juxtaposition of the scenes. This is a device, which Shakespeare has used and it can clearly show the differences between the ‘political West’ and the ‘decadent East’. Events are seen at many different perspectives, enabling the audience to not only see the narrative series from more than one view point, like in Plutarch, but to also get a good sense of the history which is being created by the two competing nations, and their ideals of life – both personally and politically. Juxtaposing the scenes also helps to make the oppositions between the two populations a great deal more visible to the audience and to Charles R. Lyons; the plays ambiguity lies in the ‘violent juxtaposition’ of creation and decay. Through the combination of the scenes, we can see the stark differences between the two countries because they both hold their own morals and neither can be judged as right or wrong.
Shakespeare has got a large number of characters involved in this play, which do not come from Plutarch’s ‘Lives of the Noble Grecians and Romans’. Plutarch has a slight reference to the inclusion of Enobarbus, however Shakespeare has developed on the character of Enobarbus and he becomes one of the key characters in the play. Imagery of both worlds develops with the help of language. Enobarbus uses prose in a complicated and sophisticated manner, which often sets the comments of others against a particular context or background. On other occasions, Enobarbus changes from prose to poetry, as when he describes Cleopatra’s barge on the river Cyndus. Enobarbus is given a significant amount of freedom in what he can say. At the start of this scene, Enobarbus makes it clear to Lepidus that he has not the slightest intention of trying to restrict what Antony might say and that he, like his master, will ‘answer like himself.’ Therefore, Enobarbus interrupts the triumvirs’ conversation with home truths at so many times, that Antony requests that he ‘speak no more’. Enobarbus responds fearfully with this quotation: ‘Age cannot wither her, nor custom stale Her infinite variety…’
As well as learning from the main characters of the play, Shakespeare also offers a substantial amount of importance to the minor characters. For example, the Roman soldiers, Philo and Demetrius are ‘caught’ gossiping about the conflicts and issues between Rome and Egypt, at the beginning of the play. This powerful technique allows the audience to understand that the Antony-Cleopatra affair is the ‘talk of the town’ and that even the men, who are expected to be on Antony’s side, are gossiping about their leader. It is structured so that the love affair is seen from a Roman perspective and framed by Roman disapproval. Also, the lesser characters play their part at the time of Cleopatra’s death. The clown, adds a comic note with his verbal errors and coarse innuendo, while Cleopatra’s maidservants, with their loyalty and affection, help to give a human touch and to acclaim Cleopatra in Charmian’s moving tribute as a ‘lass unparalleled’ (Act4.2.3)
One interpretation we can take of the ‘decadent’ Egypt is that Shakespeare does not portray Cleopatra as entirely decadent. Many people of both Rome and Egypt look down on her for having illicit affairs with both Caesar and his father. Many people see her to be a harlot who has been with many men. Both the Romans and the Egyptian people think that this is a passing phase for Cleopatra and that Antony is being naïve about the affair. On the other hand, there are many admirers of Cleopatra, e.g. Enobarbus. In Act 2, Scene 3, Enobarbus delivers a very long speech about the beauty and adoration Cleopatra possesses. There is much poetry and linguistic skill in this extract, as we see how men become attracted to her. However, Shakespeare portrays another side of Cleopatra and the audience can see this in Act 5, Scene 2. She is completely aware of Caesar’s intentions to make a vulgar theatrical display of her in his Roman triumph, Cleopatra plans her own regal spectacle by which she will defeat his goal and retain her dignity. Her death is, in fact, accompanied by the ceremonial ritual associated with a coronation. Here, Cleopatra is able to synthesize her sense of being a Queen with her feelings towards the after-life. An example of this is: “Give me my robe; put on my crown; I have
Immortal longings in me” (5.2.279-80)
Shakespeare shows that despite the luxuries and decadence that she lived by, Cleopatra still had human emotions and desires which can only be fully understood at the time of her death.
Although Shakespeare, with the help of Plutarch, approaches the oppositions between Rome and Egypt, it may seem that Shakespeare is a lot more subtle. The love between Antony and Cleopatra seems to be the key issue and the opposition between the two nations emerges as secondary. This is further emphasised through the vividness of the scenes of love, sex and war, all of which present a very strong and, in some cases, very different feelings. Striking scenes such as these pose very theatrical images. In Shakespeare’s tragedy, there is a lot of room for interpretation, which can be presented in different ways on stage. Shakespeare presents love and desire in a very persuasive and vivid manner throughout the whole of the play and at many points in the tragedy; we see how love is a contrast to war. In Act 4, Scene 4, there is a vivid scene of the sexual passion between the two when Antony wakes up and Cleopatra is dressed in the armour. The sexual passion calms down and love takes over the remainder of the scene, as we see the stark contrast between love and war yet again. Cleopatra helps Antony with his armour and remains as his reassurance. Antony is in good spirits, however his power is decreasing and this is highlighted through his language. His words contain not a metaphor, but a simile – he is but ‘like’ a man of steel.
“I’ll leave thee Now like a man of steel” (4.4.33-34).
The scenes of love are very intense in the play although at the start of the tragedy, their love is questionable. It is not until the end of the play when Cleopatra commits suicide that the pure love between the two is recognised by the others. In Act 3, Scene 7, we see how Cleopatra supports Antony’s decision to fight by sea even though his generals do not support him. Enobarbus tries and fails to persuade Cleopatra not to be present in Antony’s camp because he thinks she will be a distraction, but she does not listen.
Shakespeare shows large differences between the virtuous Rome and decadent East. Act 2, Scene 2 is able to show these differences clearly; when the triumvirs call a truce and Antony agrees to marry Octavia. In the same scene, Enobarbus describes Antony’s first meeting with Cleopatra. The contrasting worlds of Egypt and Rome are very much dramatically juxtaposed. There is an immense sense of life and art during the description of Cleopatra, which Shakespeare has cleverly placed after the tense political decisions, which had just taken place.
By exploring Antony and Cleopatra, we are able to see the differences that Shakespeare makes between the East and the West. However, most of the people are affected due to influences from both countries. An audience at that time may not be able to have distinguished the influences of both countries as easily as a modern day audience because of prejudices within the play, such as racism and sexism. A Jacobean audience may have appreciated Rome more because of their moral values, whereas the occurrences of Rome would be viewed as offensive for a modern audience. Therefore, we can come to a conclusion that Shakespeare does not fully present Plutarch’s differences because Shakespeare is also concerned about the fact that both countries are not totally hostile to one another. Opposition lies between the two countries, however it lies more so within the characters of the play and we could understand that an audience of Shakespeare’s time and a modern day audience would be aware of this.
Word count: 1947
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- Sowerby, Robim: “ York Notes Advanced – Antony and Cleopatra”
(York Press – 2000)
