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... innuendo) Cleopatra makes fun of him back, sarcastically mentioning his supposed decadence from Hercules How this Herculean Roman does become the carriage of his chafe Again, this language is typical of the couples playful arguments, though real issues between them are often underlying. It presents the other side of their relationship away from the hyperbole of their complimentary interchanges. If the language that portrays the world of love is picturesque and dreamy, then the political language is hard, bare and presented as narrative.
Where the world of love is seen as the unpractical microcosm of Alexandria, the world of politics represents reality, duty, and pragmatism. The language used introduces the concepts of diplomacy, patriotism, masculinity and authority. Antony is presented to the audience as a character set in a political, military and emotional context. His emotions for Cleopatra do not wholly override his political and military intelligence. We can see Antony, a trapped man, changing from one persona, the infatuated fan to cool a gypsy's lust, to the disciplined epitome of a masculine Roman hero, the man who didst eat strange flesh, which some did die to look on and didst drink the stale of horses, and the gilded puddle which beasts would cough at. Evidence of this can be seen in the opening scenes.
Antony is one moment cooing over Cleopatra, heaping metaphor upon metaphor over her in compliment, when he makes a brisk and business like transition into politics. The language used evokes the sense of order and discipline- gone is the poetic imagery and wordplay. Antony's words becoming formal and straight to the point. The messenger, afraid to tell him the bad news he brings less he receives blame is indecisive, saying the nature of the news infects the teller Antony, now in the political world answers disparagingly when it concerns the fool or coward Reputation and duty are, in my opinion, an integral factor to the language used in the political episodes of the play. Antony is always wary of the importance of his changing reputation, as well as that of his wife, urging his messenger speak to me home, mince not the general tongue. Later on, as he wrestles with self-doubt at the realization of his downfall, he proclaims, I am still Antony, what I believe to be words of a man trying to recapture.
the reputation he has lost. Caesar, in analyzing his opponents situation, applies an equal importance to reputation and general perception in his language. From Alexandria this is the news: he fishes, drinks, and wastes the lamps of night in revel; is not more manlike than Cleopatra. In questioning Antony's manliness, Caesar makes possibly the biggest criticism of possible of Antony, showing the aggression and competitiveness of politics in the play. This dissatisfaction with Antony's attitude is brought to the fore in Act two scene three, where the two men confront each other. The language used in this scene is perfect evidence of the manner in which Shakespeare creates the world of politics in the play, particularly in such contrasting fashion to the scenes of love.
Again, the language used is unembellished- but a new factor is present- that of diplomacy and political caution. The scene opens with Enobarbus and Lepidus talking about the situation. Lepidus is desperate to avoid conflict courteously, and somewhat indirectly, asks that Enobarbus ensure Antony be civil and calm. Enobarbus replies in a fashion typical of the style that is to follow- polite, plain, and clear in presenting his intentions. I shall entreat him to answer like himself to which Lepidus counters tis not a time for private stomaching (meaning to express ones personal feelings) this conversation is an excellent portrayal of the way language evokes the world of politics in the story. In sharp contrast to the heated spontaneity and exaggerated passion of Antony and Cleopatra's arguments, here we have two diplomats doing their best to suppress any evidence of emotion, and retain an air of neutrality, with Caesars representative urging the other it is not a situation to express oneself.
Once Antony and Caesar arrive on stage the language, and hence the mood, remain much the same. Both are polite and formal, addressing the other as sir and approaching the issue indirectly- when Antony asks what it matters to Caesar if he was in Egypt, Octavius replies n a typically over polite and diplomatic way no more than my residing here at Rome might be to you in Egypt The whole process feels unnatural and tense, especially with Lepidus attempting to mediate and reconcile the pair. Again, this atmosphere is obviously a device intended by the author, as a direct result of the language used. This is, in my opinion, symbolic of everything Caesar is in the play. He is calculating, manipulative and dispassionate where Antony is willful and generous (as we see in his reaction to Enobarbus defection) As a representative of the military and political power of Rome, Caesar is contrasted against Cleopatra, whose language is driven by passion, and (by no coincidence) rejects politics wholly, as can be seen by her total lack of appreciation for her lovers duties, and her disdain for any military advice in Act five. Thematically, the story centers on Antony's fall form grace, and whilst Caesar is left at the end of the play in complete political control, the audiences hearts lie totally with the dead lovers.
Shakespeare has essentially crafted two separate worlds, one of love, whose language is dominated by impulse, passion and individuality, and one of politics that uses words of order, reputation, and diplomacy. Antony is trapped between the two, unable to choose between them. Ultimately, the audience feels he chooses love, and the qualities that go with that have, in my opinion, been shown in a more sympathetic light throughout the play. Antony's decision is what makes the tragedy so memorable as a love story, rather than a lesson in political downfall, and what makes Caesars victory so hollow.
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Research essay sample on Love And Politics In Antony Cleopatra
