As Antony is a frequent source of conversation, different character’s opinions of him become apparent and are influential to the audience. For example, Scarus refers to him as a “Noble ruin” that “claps on his sea wing, and like a doting mallard, leaving the fight in height, flies after her”, which suggests Antony considers his sexual engagements to be priority over his role of a “world” ruler. Scarus is a follower of Antony’s, meaning that he is likely to make such remarks out of concern or pure observation, rather than out of disapproval, therefore increases the probability that it is true. Through Caesar’s complaints that Antony “fishes, drinks, and wastes the lamps of night in a revel-is not more manlike than Cleopatra, nor the Queen of Ptolemy more womanly than he”, we can gather from a Roman point of view, Antony is not favoured in his reputation, and the insulting language used about Antony’s behaviour implies that Antony is foolish. The “Herculean Roman” image is also insulted here, by being compared as “not more manlike than Cleopatra”, which leaves no element in defence of Antony. Pompey, who is further away at most, shows his awareness that Antony is not performing as he should perhaps:
“I know they are in Rome together, looking for Antony”
The fact that Pompey assumes that the whereabouts of Antony is not known indicates to the audience that Antony is a hindrance when serious matters like war arise, and cannot be found when he is needed.
Antony’s lasting pride throughout the play, contributes to the foolish title, by ignoring wise and practical advise from Enobarbus:
“Your ships are not well manned. Your mariners are muleteers, reapers, people engrossed by swift impress… No disgrace shall fall you for refusing him at sea, being prepared for land.”
In this situation Antony fulfils the image of a strumpet’s fool, as he knows his skills lie fighting on land, but his pride leads him to accept the challenge by sea, only to lose to Caesar.
Cleopatra talks about Antony as if he were her prey and she his predator:
“My bended hook shall pierce their slimy jaws and as I draw them up, I’ll think them every one an Antony, and say “Ah, ha! Y’are caught!”
This imagery of Antony as a defenceless fish mocks him in front of the audience, and creates the sense that Cleopatra is totally in control over him. This is continued through the way Cleopatra tells the tales of her times with Antony:
“I laughed him out of patience”, “and that night I laughed him into patience”
“I drunk him to his bed”
“Whilst I wave his sword Philippan”
Cleopatra is constantly the active part in her speech, which suggests that everything is done for Antony, as he is the indirect object in each case.
Shakespeare cleverly displays Antony’s many attempts to attract Cleopatra’s attention:
“I am sorry to give breathing to my purpose-“
“Now, my dearest Queen-“
“The God’s best know-“
“Cleopatra-“
“Most sweet Queen-“
“How now lady!”
“Hear me, Queen.”
Here Antony is put up against Cleopatra, and we as the audience see him dominated, or rather ignored by her majesty, which from an observing eye would seem as if he were inferior or unable to be heard. This situation would be quite ridiculous, for “the triple pillar of the world” to be granted so little respect, therefore making him a laughing stock, and a “strumpet’s fool”.
Compared to Caesar, Antony appears to be always behind and considerably slower in his actions, and this can be seen through a number of areas. Firstly, when making preparations to go to war, Antony is amazed to discover that “Caesar has taken Toryne”, thinks “Tis impossible” and “strange that his power should be.” Secondly, when Antony finally arrives in Rome on the brink of war, he reveals his ignorance of the situation by asking Caesar the following information about Pompey:
“Where lies he?”
“About the Mount Misena”
“What is his strength?”
“By land, great and increasing; but by sea he is an absolute master.”
Thirdly, we learn from the text that Caesar has even been with Cleopatra before Antony:
“A certain Queen to Caesar in a mattress.”
From this information Antony’s manhood is damaged, as the impression is felt, that Antony has Caesar’s leftovers, illustrating him as once again a strumpet’s fool.
Certainly the historical view of Antony would have been of a man potentially virtuous, but ultimately seduced by the charms and wiles of Cleopatra, thus the
strumpet’s fool. This is probably the way Plutarch would have him painted. But it could also be argued that, by portraying Antony in such complex and contradictory terms Shakespeare ensures that he sustains a nobility throughout the play. Certainly to the audience of the day the apparent paradox of this man would have appeared intriguing and attractive. The fact that several of the leading characters sustain their loyalty to Antony throughout goes to uphold this view. For example, Eros is asked by Antony to carry out his sworn duty to kill his master after the debacle of the failed military campaign. Eros, however, commits suicide rather than fulfil his duty out of loyalty to Antony, an act that would serve to ennoble him to an Elizabethan audience.
Also Antony’s relationship with Enobartus, although ultimately tragic, reflects the latter’s deep respect for his nobility. When Enobartus realises that Antony has lost all reason in embarking on the final battle, he is forced to leave his friend and leader:
“Now he’ll outstare the lightning. To be furious
“Is to be frightened out of fear, and in that mood
“The dove will peck the estridge”
The fact that Enobartus later dies of grief for the failure of it all would have generated a huge amount of sympathy from the audience.
To conclude, the view that Mark Antony is a triple pillar of the world transformed into a Strumpet’s fool “is only a partly accurate view. The “Marcus Antonius “of Plutarch’s works may well be just that, but Shakespeare evolves the character into a much more tragic and human persona, ultimately ennobled by the loyalty of his friends and servants.
