Antony and Cleopatra

"Antony and Cleopatra" is a tragedy by William Shakespeare. It was first printed in the First Folio of 1623.

The plot is based on Thomas North's translation of Plutarch's "Life of Markus Antonius" and follows the relationship between Cleopatra and Mark Antony from the time of the Parthian War to Cleopatra's suicide. The major antagonist is Octavius Caesar, one of Antony's fellow triumvirs and the future first emperor of Rome. The tragedy is a Roman play characterized by swift, panoramic shifts in geographical locations and in registers, alternating between sensual, imaginative Alexandria and the more pragmatic, austere Rome. Many consider the role of Cleopatra in this play one of the most complex female roles in Shakespeare's work. [Neill, Michael, ed. "Antony and Cleopatra". Oxford: Oxford University Press, 1994: 45] She is frequently vain and histrionic, provoking an audience almost to scorn; at the same time, Shakespeare's efforts invest both her and Antony with tragic grandeur. These contradictory features have led to famously divided critical responses. [Bevington, David, ed. "Antony and Cleopatra had sex all over everything". Cambridge: Cambridge University Press, 1990: 12-14.]

ource

The principal source for the story is Plutarch's "Life of Mark Antony" from "Lives of the Noble Grecians and Romans Compared Together", in the translation made by Sir Thomas North in 1579. A large number of phrases within Shakespeare's play are taken directly from North's prose, including Enobarbus's famous description of Cleopatra's barge, beginning "The barge she sat in, like a burnished throne/Burned on the water." However Shakespeare also adds scenes, including many of the ones portraying Cleopatra's domestic life, and the role of Enobarbus is greatly developed. Historical facts are also sometimes changed: in Plutarch Antony's final defeat was many weeks after the battle of Actium, and Octavia lived with Antony for several years and bore him two children.

Date and Text

in 1623. The Folio is therefore the only authoritative text we have today. Some Shakespeare scholars speculate that it derives from Shakespeare's own draft, or "foul papers," since it contains minor errors in speech labels and stage directions that are thought to be characteristic of the author in the process of composition. [Wells, Stanley, and Gary Taylor. "William Shakespeare: A Textual Companion". Oxford: Oxford University Press, 1987: 549.]

Modern editions divide the play into a conventional five act structure, but as in most of his earlier plays, Shakespeare did not create these act divisions. His play is articulated in forty separate 'scenes', more than he used for any other play. Even 'scenes' may be inappropriate a description, as the scene changes are often very fluid, almost montage-like. The large number of scenes are necessary because the action frequently switches between Alexandria, Italy, Messina in Sicily, Syria, Athens and other parts of Egypt and the Roman Empire. The play contains thirty-four speaking characters, fairly typical for a Shakespeare play on such an epic scale.

Characters

*Mark Antony, Roman general and one of the three men (triumvirs) who rule Rome after the assassination of Julius Caesar in 44 B.C.

*Cleopatra, Queen of Egypt

*Octavius Caesar (Octavian), One of the three men (triumvirs) who rule Rome after the assassination of Julius Caesar.

*Marcus Aemilius Lepidus, One of the three men (triumvirs) who rule Rome after the assassination of Julius Caesar.

*Sextus Pompeius (Pompey), Son of the late Pompey the Great.

*Domitius Enobarbus, Follower of Antony

*Octavia, Octavius's sister.

*Ventidius, Eros, Scarus, Dercetas, Demetrius, Philo: Friends of Antony.

*Agrippa, Military commander and advisor of Octavius.

*Dolabella, Friend and attendant of Octavius.

*Mecaenas, Proculeius, Thyreus, Gallus, Menas, Friends of Octavius.

*Menecrates, Varrius, Friends of Sextus Pompeius.

*Taurus, Lieutenant-general of Caesar.

*Canidius, Lieutenant-general of Antony.

*Silius, Officer in Ventidius's army.

*Euphronius, Ambassador from Antony to Caesar.

*Alexas, Mardian the Eunuch, Seleucus, Diomedes, Cleopatra's attendants.

*Charmian, Iras, Maids of honor attending Cleopatra.

*Soothsayer

*Clown

*Officers, Soldiers, Messengers, and other Attendants

ynopsis

, rebelled against Octavius, and then died.

Octavius calls Antony back to Rome from Alexandria in order to help him fight against Pompey (Sextus Pompeius), Menecrates, and Menas, three notorious pirates of the Mediterranean. At Alexandria, Cleopatra begs Antony not to go, and though he repeatedly affirms his love for her, he eventually leaves.

Back in Rome, Agrippa brings forward the idea that Antony should marry Octavius Caesar's sister, Octavia, in order to cement the bond between the two men. Antony's lieutenant Enobarbus, though, knows that Octavia can never satisfy him after Cleopatra. In a famous passage, he delineates Cleopatra's charms in paradoxical terms: "Age cannot wither her, nor custom stale / Her infinite variety: other women cloy / The appetites they feed, but she makes hungry / Where most she satisfies."

A soothsayer warns Antony that he is sure to lose if he ever tries to fight Octavius.

In Egypt, Cleopatra learns of Antony's marriage, and takes furious revenge upon the messenger that brings her the news. She grows content only when her courtiers assure her that Octavia is homely by Elizabethan standards: short, low-browed, round-faced and with bad hair.

At a confrontation, the triumvirs parley with Pompey, and offer him a truce. He can retain Sicily and Sardinia, but he must help them "rid the sea of pirates" and send them tributes. After some hesitation Pompey accedes. They engage in a drunken celebration on Pompey's galley. Menas suggests to Pompey that he kill the three triumvirs and make himself ruler of Rome, but he refuses, finding it dishonorable. Later, Octavius and Lepidus break their truce with Pompey and war against him. This is unapproved by Antony, and he is furious.

Antony returns to Alexandria, Egypt, and crowns Cleopatra and himself as rulers of Egypt and the eastern third of the Roman Empire (which was Antony's share as one of the triumvirs). He accuses Octavius of not giving him his fair share of Pompey's lands, and is angry that Lepidus, whom Octavius has imprisoned, is out of the triumvirate. Octavius agrees to the former demand, but otherwise is very displeased with what Antony has done.Antony prepares to battle Octavius. Enobarbus urges Antony to fight on land, where he has the advantage, instead of by sea, where the navy of Octavius is lighter, more mobile and better manned. Antony refuses, since Octavius has dared him to fight at sea. Cleopatra pledges her fleet to aid Antony. However, in the middle of the battle, Cleopatra flees with her sixty ships, and Antony follows her, leaving his army to ruin. Ashamed of what he has done for the love of Cleopatra, Antony reproaches her for making him a coward, but also sets this love above all else, saying "Give me a kiss; even this repays me."

Octavius sends a messenger to ask Cleopatra to give up Antony and come over to his side. She hesitates, and flirts with the messenger, when Antony walks in and angrily denounces her behavior. He sends the messenger to be whipped. Eventually, he forgives Cleopatra, and pledges to fight another battle for her, this time on land.

On the eve of the battle, Antony's soldiers hear strange portents, which they interpret as the god Hercules abandoning his protection of Antony. Furthermore, Enobarbus, Antony's long-serving lieutenant, deserts him and goes over to Octavius's side. Rather than confiscating Enobarbus's goods, which he did not take with him when he fled to Octavius, Antony orders them to be sent to Enobarbus. Enobarbus is so overwhelmed by Antony's generosity, and so ashamed of his own disloyalty, that he dies from a broken heart.

The battle goes well for Antony, until Octavius shifts it to a sea-fight. Once again, Antony loses when Cleopatra's fleet deserts to Octavius's side—his fleet surrenders, and he denounces Cleopatra: "This foul Egyptian hath betrayed me." He resolves to kill her for the treachery. Cleopatra decides that the only way to win back Antony's love is to send him word that she killed herself, dying with his name on her lips. She locks herself in her monument, and awaits Antony's return.

Her plan fails: rather than rushing back in remorse to see the "dead" Cleopatra, Antony decides that his own life is no longer worth living. He begs one of his aides, Eros, to run him through with a sword, but Eros cannot bear to do it, and kills himself. Antony admires Eros' courage and attempts to do the same, but only succeeds in wounding himself. In great pain, he learns that Cleopatra is indeed alive. He is hoisted up to her in her monument, and dies in her arms.

Octavius goes to Cleopatra, trying to convince her to surrender. She angrily refuses, since she can imagine nothing worse than being led in triumph through the streets of Rome, proclaimed a villain for the ages. She imagines that "the quick comedians / Extemporally will stage us, and present / Our Alexandrian revels: Antony / Shall be brought drunken forth, and I shall see / Some squeaking Cleopatra boy my greatness / I' th' posture of a whore." This speech is full of dramatic irony, because in Shakespeare's time Cleopatra really was played by a "squeaking boy", and Shakespeare's play does depict Antony's drunken revels.

Cleopatra is betrayed and taken into custody by the Romans. She tests Octavius' intentions towards her by instructing her treasurer to 'betray' her when she gives Octavius an accounting of her wealth. When Octavius dismisses his statement that Cleopatra has held back information about her actual possessions Cleopatra realises that, despite his promises of fair treatment, he intends to parade her at his triumph.

Cleopatra resolves to kill herself, using the poison of an asp. She dies calmly and ecstatically, imagining how she will meet Antony again in the afterlife. Her serving maids, Iras and Charmian, also kill themselves. Octavius discovers the dead bodies and experiences conflicting emotions. Antony's and Cleopatra's deaths leave him free to become the first Roman Emperor, but he also feels some kind of sympathy for them: "She shall be buried by her Antony. / No grave upon the earth shall clip in it / A pair so famous..." He orders a public military funeral.

Themes and motifs

Many scholars of the play attempt to come to conclusions about the ambivalent nature of many of the characters. Are Antony and Cleopatra true tragic heroes, or are they too fault-ridden and laughable to be tragic? Is their relationship one of love or lust? Is their passion wholly destructive, or does it also show elements of transcendence? Does Cleopatra kill herself out of love for Antony, or because she has lost political power? [Neill 127] Octavius Caesar is another ambivalent character, who can be seen as either a noble and good ruler, only wanting what is right for Rome, or as a cruel and ruthless politician.

One of the major themes running throughout the play is opposition. The main being Rome/Egypt, Love/Lust, and Male/Female. One of Shakespeare's most famous speeches, Enobarbus' description of Cleopatra on her barge, is full of opposites. Cleopatra herself sees Antony as both the Gorgon and Mars (Act 2 Scene 5, lines 118-19)

Adaptations and cultural references

elected stage productions

*1931, John Gielgud as Antony and Ralph Richardson as Enobarbus at the Old Vic Theatre.
* 1947, Katharine Cornell won a Tony Award for her Broadway performance of Cleopatra opposite the Antony of Godfrey Tearle. It ran for 126 performances, the longest run of the play in Broadway history.
*1951, Laurence Olivier as Antony and Vivien Leigh as Cleopatra in a production that played in repertory with George Bernard Shaw's "Caesar and Cleopatra" at the St James's Theatre and later on Broadway.
* 1953, Michael Redgrave played Antony and Peggy Ashcroft played Cleopatra at the Shakespeare Memorial Theatre.
* 1986, Timothy Dalton and Vanessa Redgrave in the title roles at Clwyd Theatr Cymru and Haymarket Theatre.
* 1999, Alan Bates and Frances de la Tour in title roles, Guy Henry as Octavius (also David Oyelowo) at the Royal Shakespeare Company.
*2006, Patrick Stewart and Harriet Walter in the title roles at the Royal Shakespeare Company.

Musical adaptations

Samuel Barber's operatic version of the play was premièred in 1966.

Films

the 1974 film
* "Antony and Cleopatra", 1972, directed by and starring Charlton Heston as Antony, Hildegarde Neil as Cleopatra and also featuring Eric Porter as Enobarbus.
* "Antony & Cleopatra", 1974, a television production of Trevor Nunn's stage version performed by London's Royal Shakespeare Company. This version was shown in the United States to great acclaim in 1975. It stars Janet Suzman (Cleopatra), Richard Johnson (Antony), and Patrick Stewart (Enobarbus).
* "Antony & Cleopatra", 1981, a TV movie made as part of the BBC Shakespeare series. It stars Colin Blakely (Antony) and Jane Lapotaire (Cleopatra).
* "Antony and Cleopatra", a 1983 TV movie. It stars Timothy Dalton (Antony) and Lynn Redgrave (Cleopatra).

Influence

John Dryden's play "All for Love" was deeply influenced by Shakespeare's treatment of the subject. [Case, A. E., ed. "British Dramatists from Dryden to Sheridan". Boston: Riverside Press, 1939: 6]

References

External links

* [http://www.isidore-of-seville.com/cleopatra/ Cleopatra on the Web] , particularly the [http://www.isidore-of-seville.com/cleopatra/16.html Antony and Cleopatra] section
* [http://william-shakespeare.classic-literature.co.uk/the-tragedie-of-anthonie-and-cleopatra/ The Tragedie of Anthonie and Cleopatra] - HTML version of this title.
* [http://antonyandcleopatra.publicliterature.org/ Antony and Cleopatra] - Full text HTML of the play
* [http://the-tech.mit.edu/Shakespeare/cleopatra/full.html Full text of play]
* [http://www.gutenberg.net/etext/2268 Antony And Cleopatra] - plain vanilla text from Project Gutenberg
* [http://www.maximumedge.com/shakespeare/antonycleopatra.htm Antony and Cleopatra] - Scene-indexed and searchable version of the play.