In addition, drama is created through the relationship of Antony and Cleopatra. From the outset, Cleopatra’s manipulative, provocative manner toward her lover is apparent from her flirtatious taunting, such as at lines 33 and 34 of Act 1 Scene 1 at which she teases Antony that “thy cheek pays shame/When shrill-tongued Fulvia scolds” rousing within the hero mixed emotions of anger and passion towards Cleopatra. This devotion for Cleopatra also creates a schism between himself and Caesar, as his obsession with the Egyptian queen leads him to neglect his military obligations. Further personal tensions are aroused between the two lovers as a result of Cleopatra’s unpredictable behaviour, which is evident from her numerous outbursts in Act 1 Scene 3 during which she accuses Antony, among other things, of lying and betrayal.
Further conflict develops in the opening two acts through the clashing of Roman ideals and Egyptian values. Consequently, Antony’s attempt to merge these two incompatible lifestyles leads to hostility and drama in the play, primarily between Caesar and the tragic hero. This is illustrated in Act 1 scene 4, where Caesar describes Antony in an extremely negative light, claiming he is, “A man who is the abstract of all faults that men follow.” Antony’s inability to fulfil the Roman ideals of masculinity and his submission to the pleasures and decadence of Egyptian life strike a note of discord with Caesar, who, it is evident, is concerned chiefly with military issues.
Friction between the two triumvirs (Antony and Caesar) emanates not only from their clashes of values, but is also apparent on a personal level. Despite the fact that Caesar appears to hold Antony in high regard for the sensational strife he endured (as described in Act 1 Scene 4 lines 56 to 72), there may also be traces of jealousy within Caesar’s character. The delicate balance of power within the triumvirate also provides a basis for Caesar to guard his position closely, as although it is never mentioned openly, it may be possible that he feels threatened by Antony and the distinguished reputation he has cultivated over the years. Furthermore, it is feasible that Caesar is unable to accept the fact that he needs the help of Antony, a man who, to him, has failed to conduct himself in the proper Roman manner. The contempt he maintains towards the irresponsible lifestyle Antony has been leading is therefore expressed as antagonism towards the tragic hero.
Furthermore, tension is shaped as the characters are forced to choose between their desires and their obligations. It is evident with Antony, for example, that his principal inclination is to stay in Egypt and continue his passionate affair with Cleopatra. However, he faces a moral dilemma in that he recognises he has made an oath to the triumvirate to fulfil his duty as a military commander, and so is forced to leave the pleasures of the east. This creates drama within his relationship with the Egyptian queen, as she mocks him for being under the command of Caesar, claiming that when Caesar sends his mandate Antony must yield to the whims of the triumvirate. Consequently, this contributes to the hostility between the two triumvirs, as Antony appears to purposely disregard his military responsibilities as a show of masculinity and autonomy to Cleopatra.