Essay on Opposites Attract in Antony and Cleopatra

Cleopatra was years ahead of her time in terms of political agenda and intellectual warfare. Cleopatra should be known as an important individual in history because of her influence in the direction of Egyptian history. She was extremely intelligent, calculating, and a master of manipulation. She used her power of sexual appeal to benefit herself and her status with society. Cleopatra had strong relations with powerful men of the era, but she still managed to surpass them with her superior intellect, and abuse their lustful obedience. Her beauty was a subject and also an inspiration for art in popular Western culture. Cleopatra’s importance in Europe should be known because she greatly impacted social development.

The name Cleopatra invokes a striking image in your mind. The Egyptian queen who took on the might of Rome. The way we see Cleopatra’s character changes in the way she has been depicted in movies and television across the years. With each different portrayal she reflects contemporary issues regarding society, the role of women and the historical knowledge available.

Mark Antony, in the play The Tragedy of Julius Caesar, was a brave, intelligent, pleasure-loving, and cunning man. He was loyal to his friend, Caesar, whom he considered a true friend. He looked at life as a game in which he had a signified part to play, and played that part with excellent refinement and skill.

In the story Antony uses many things to connect to his audience on an emotional level. His best example was when he said “This

Although conflicting perspectives are present in Shakespeare’s “Julius Caesar”, the composers bias is still evident. Shakespeare’s “Julius Caesar” is a play which reflected the anxiety of England over succession of leadership. When the play was written in 1599, intense censorship prevailed and Shakespeare chose Caesar’s story in order to convey significant ideas and messages to the Elizabethan audience about the

The topic of leadership in Shakespeare’s Julius Caesar has been discussed and argued ever since the play was written. The most prevalent discussion of leadership in the play revolves around Shakespeare’s tragic hero, Marcus Brutus, and the cause of his downfall. According to Shakespeare critic James Bundy, “Brutus... is a man whose affections sway more than his reason, in whom there is this tragic confederacy of passion and imagination against reason” (qtd. in Palmer 402). Ernest Shanzer, however, says that Brutus is “by no means devoid of political shrewdness and practical wisdom”, but he is a “bad judge of character” (Shanzer 1). Although both critics’ descriptions of Brutus have merit, Brutus’ shortcoming, as well as the success of the opposing leader, Mark Antony, is more accurately explained using the observations of Niccolo Machiavelli in The Prince. In this book Machiavelli outlines the characteristics of a successful leader. When using The Prince as a lens to read Julius Caesar, the correlation between a leader’s Machiavellianism and their success becomes very apparent. Marcus Brutus is undoubtedly an honorable and respectable man, but his morality prevents him from adhering to Machiavelli’s principles. Due to his lack of princely virtues, Brutus is doomed to fail, while Antony, a much more Machiavellian prince, successfully seizes power.

Almost every pharaoh-queen was named Cleopatra, yet only one is ever thought of, Cleopatra Thea Philopator VII, “The Goddess and Beloved of her Father”. Every moment of her life from 69 BCE until August 12, 30 BCE was a story larger than life, epic in scale, and over the top in its grandeur. As the last reigning pharaoh of the Ptolemaic Dynasty in Ancient Egypt, she is remembered for her ability to rule as a political genius and a strong female leader living in a male-dominated world despite all odds being against her. Firstly, Cleopatra grew up in the Ptolemaic palace living a life of luxury, yet her subjects worshipped and even felt connected to her as more than just their queen. Secondly, after Cleopatra was exiled by her incompetent brother, Ptolemy XII, she came back with an army of mercenaries and took back Egypt to be its sole and more qualified ruler. Lastly, Cleopatra went to any means to secure her power and to ensure her nation’s financial and political strength; therefore what started off as a strategic alliance with Rome slowly became her dominance over most of the ancient world.

The tragic and untimely death of Julius Caesar, a condemned Roman tyrant, triggered William Shakespeare's creativity. In his play Julius Caesar Shakespeare writes of the treacherous conspirators, Marcus Brutus and Caius Cassius, and their plans to assassinate their Roman leader, Julius Caesar. The story continues to explain how Caesar's loyal friend, Marc Antony, helps avenge the brutal murder. After Antony receives soldiers to fight his battle, his character begins to change. The  fair and faithful Marc Antony transforms to a darker and more deceitful character. Marc Antony is not suitable to rule Rome because he holds a grand desire of great power, his conceit

After Brutus finishes his speech, Antony speaks about his opinion on the issue; unlike Brutus, Antony acts slyly and communicates a very manipulative tone to persuade the Romans to rebel. Because of Antony's use of parallelism, he creates vivid reasoning for his speech. He states, “ I come here to bury Caesar, not to praise him” (III.ii.44). By using this device, he shows the people of Rome that he isn't praising Caesar, he is putting the leader to rest. This particular line creates a very manipulative tone, because his speech is all about what great this Caesar has done and how he wants to rebel against the conspirators. Further more, Antony uses a lot of irony to slyly get his point across. One example that he uses throughout the speech is “Yet Brutus says he was ambitious, and Brutus is a honorable man” (III.ii.44). Because of the repitition of this ironic statement, the meaning of it changes and intensifies. At first, his tone was sincere, but as the speech progresses, you can see his sarcastic tone increases. Antony does this because he has to use this device to surpass the regulations of Brutus, as well as make the romans listen. Lastly, he uses personification to give life and further meaning to a word. Early in the speech, Antony says, “The evil

In Antony and Cleopatra, West and East collide, but it does not in spite of Caesar’s conquest over the land of Egypt, defeat it. Cleopatra’s suicide implies that a touch of the East’s character, the freedoms and fervour that are not signified in the play’s notion of the West, cannot be listed by Caesar’s victory. The play proposes that the East will survive on as a perceptible and invincible counterpart to the West, bound as inseparably and everlastingly as Antony and Cleopatra are in their mausoleum. As the play develops, Antony continues to occupy contradictory characteristics that play out the struggle between motive and feeling.

Such an assertion--that the danger of Cleopatra's sexuality lies in her Egyptian surroundings--requires further detail here. The Orient represented a strange, but terrifyingly fascinating world to the Elizabethans. While it was decidedly inferior and politically weak, the Orient also held a dangerous mystique. As Lucy Hughes-Hallett attests, poets, playwrights, historians and artists have found the idea of Cleopatra's foreignness, or otherness, a suitable method by which to explain away her dangerous sexuality. In other words, the fact that Cleopatra effectively seduced and influenced two powerful Roman men baffled Western thinkers who could only explain it by attributing it to her foreignness or "otherness." Not surprisingly, Shakespeare succumbs to a similar artistic temptation. In the first ten lines of the play, the surrender of Roman dignity to Egyptian passion is made clear. Philo regretfully tells Demetrius how

Deliberately falsifying information for personal gain causing an ensuing conflict is a motif clearly contrived within William Shakespeare’s tragedy Antony and Cleopatra. Deception is represented within the protagonist, the queen of Egypt, Cleopatra, a tempting seductress who has a false relationship with Antony only for personal motives. Within the play Cleopatra fabricates illnesses, deceives Antony’s love through her betrayal at sea and likens Caesar to a god, Antony’s enemy, all to achieve attention and advance politically. Created in 1606 during the Elizabethan era the characters within the play are based on an imaginary and partially real concept of historical characters. Shakespeare showcases Cleopatra as a woman unlike many of the time, holding power over man. In the visual representation a mask, ships on a stormy sea and a serpent are used to represent the act of deception. Antony’s fatal attraction to the queen, and Cleopatra’s hidden desires bind the two together to create a falsified love on public display that is fueled by deception.

William Shakespeare, one of the most profound writers in all of history, skillfully used the character of Mark Antony in his play, Julius Caesar, in order to verify true the theme that loyalty and respect are two of the most extremely convincing tactics. He demonstrates the power of speech as he is manipulating words in order to prove a certain point in the speaker’s favor, whoever that may be. Mark Antony was a man who enjoyed spending the majority of his time at extravagant parties and receiving everything he wanted at his sudden demand. Shakespeare created Antony to be an expert in speech manipulation, which ended up making Julius Caesar to be what

The following study is based on the plays Antony and Cleopatra which is written by William Shakespeare and All for Love which is written by John Dryden. Both writers are the most prominent playwrights in the history of English literature. We can see that both writers through their respective works have focused on the relationship between two prominent characters of the ancient world- Marc Antony, who was a Roman ruler and Cleopatra- who was considered the most beautiful woman in the world and who was also the queen of Egypt.

Another soldier calls him “the god of Jupiter” which elevates Antony’s status to that of a great leader, because Jupiter was the leader amongst all the other gods. Philo compares him to Mars, the god of war, which shows elevates his stature to be one of equal rank with a god. Caesar recalls Antony’s excellent soldiership and “virtus” qualities. “Virtus” was the Roman ideal of male force and energy: military prowess coupled with devotion to one’s honour and fame. Antony had to “drink/the stale of horses” and eat “strange flesh” and “the bark of trees” in order to stay alive and he was “borne so like a soldier that thy cheek…lanked not.” These striking images paint an unfathomable scene of heroic endurance which the audience respects and admires.