Antony And Cleopatra: The play,

contrasting the West (Rome) and the

East (Egypt).

Submitted by Bhawana Nath

B.A.(Hons.) English (2nd year)

2010/1021

Antony and Cleopatra is a tragedy of fatal attraction. It shows various conflicts

between two individuals, and within themselves, against a bigger backdrop which
again shows a clash between the cultures of Rome and Egypt. Rome is symbolized
by Octavius Caesar and Egypt by Cleopatra, and Antony, caught in between, it
would seem.
The play opens to internal conflict and an open argument. Cleopatra seems jealous
about Antonys decision to return to Rome. From her perspective, Antony would be
returning to his wife, who is as hard headed as herself, if not more. News of
Antonys wifes death had just reached them. But this justifies the cause of
Antonys journey and Cleopatras argument is rendered moot. Antony had begun to
feel that he had gone soft, and that he had lost his previous authority of a general.
He had been enjoying a life of pleasure for too long and was ensnared by
Cleopatras ardor. He expresses his urge to leave Egypt in a monologue. Only after
receiving news from Rome, does the roman spirit awaken in him to rebel against a
life of pleasure and amour. He rebels against this emasculating mistress (the
theme of virility is prominent in the play and belonged to the Roman side).
Shakespeare is anachronistic, while putting racist comments about Cleopatra in
Roman mouths like tawny front, etc. Racism actually emerged with colonialism
and was compounded by the 19th century. But in olden times, racism was ignored.
Cultures and nations were judged by cultural superiority and inferiority (which
obviously differed with perspectives). The western psyche, by the 19th century, had
rooted in it, this idea of inferior races. Its important to keep this in mind while
reading the play.

Civil war was brewing in Rome, and Antony was justified in his wish to return to
Rome. The news that had been delivered from Rome was very bad indeed. Young
Pompey was spreading the idea of the needing to avenge his father (even though he
had hidden motives). This posed a threat to the triumvirate, especially to Caesar
and Lepidus. Also, Pompey was popular in Rome and knew the seas well. Thus
Antonys skills as a strategist were the sole need of the hour in Rome.
As soon as Antony is back in Rome, a conference is organized by the triumvirate in
a hurry. It seemed like a diplomatic fencing of sorts between Caesar and Antony.
Either age or the leisure-filled life of Antony in Egypt, had softened him. This was
exactly in accordance to Pompeys wish. Antony was much more cunning in
Julius Caesar, while Octavius, though a political novice, was learning fast. But
now, Caesar is clearly the one dominating the meeting and the shrewdest strategist
there is. Antony simply bickers about his late wife, and the disrespecting of some
clause in their alliance. He is then cornered by Caesar. He does not realize then that
he is needed by the other two desperately, whereas he has no particular interest in
Romes civil strife (he admits this later). To him, Alexandria is far off, and should
he ever beat Caesar and Lepidus, he could always strike a deal with Pompey and
be at peace.
Caesar then brings out the big guns. He expresses dissatisfaction with the alliance
and shows willingness to give it up. He seems nonchalant about the threat that
Pompey poses and says that there were too many differences between Antony and
himself (clauses of Romannes and generation gap). Just when Caesar is
expressing his desire to break the alliance, one of his advisors intervenes. This
advisor comes up with a solution to resolve the conflicts between these two men.
He proposes that Antony marry Octavia, Caesars dear own sister, who would be
the perfect Roman wife to him. As audience, we are made to guess that all this had

been arranged beforehand. Antony reluctantly agrees to this arrangement. But he

had let himself be trapped in a grave situation without realising it. After settling
this, they went on to discuss the business of the day, which was Pompey. Antony
flippantly suggests that they should settle the marriage business as soon as
possible. Thus, Caesar invites Antony to his sisters view. This is a completely
political move, and Caesars expression evokes the idea of farmers having
bargained for a cow.
Married women in Rome were considered a necessary nuisance. Women were
simply agents for reproduction and thus, marriage laws in Rome were very lax.
The marriages were simple and free unions, and could be terminated easily (mutual
or unilateral) or repudiation. There was no religious binding with oaths of till
death do us part in those days. People were open about sexual relations, and
sexual permissiveness was common even in Julius Caesars time. It was common
for men to exchange or lend their wives, sisters, and daughters. But Shakespeare
probably wasnt aware of this. Even then, there is a sharp contrast drawn between
Octavia, who is submissive and religious and the erotic, fiery spirited Cleopatra.
Through Antonys marriage to his sister, Caesar planned to have a hold over
Antonys loyalty to Rome, bring him back into the Roman fold, in a way. But then
we also see how he might have had ulterior motives. Especially because right after
this summit conference, we see hear Enobarbus hyperbolic description of the
magnificence of Egypt ad her queen, Cleopatras. The various seductions held by
the East, though it may be soft, fascinated the supposedly grim and unsmiling
Romans. Antony begins to feel ill at ease in Rome and around Caesar. He,
encouraged by his soothsayer, wishes to return to Egypt as soon as possible. He
accepted the marriage simply to gain time, but his real pleasures and attentions
were still held by Egypt. After having tasted the spices that is Egypt, or rather

Cleopatra, there are doubts if a dutiful Roman wife will hold his fancy. Enobarbus,
knowing his master well is set in his opinion that Antony would never enounce
Cleopatra.
To a modern viewer or reader of the play, Antony seems to be having an identity
crisis. He was feeling alienated. While in Alexandria, he wanted to escape the
pleasure filled life in Egypt, scared on being entrapped by the charms that
Cleopatra held for him. He wished to escape that seductive and dangerous web
woven by Cleopatra. But then, once he is in Rome, he begins to long for the life in
Egypt and long for Egypts queen. It appears to us that Antony has finally decided
that Egypt and Cleopatra are what he truly needs (even as he had stated right from
the start). In a way, going native. For better, but mostly, for worse.
At this point, several oppositions have been made between Rome, which
symbolizes the west for us and Egypt, which symbolizes the East for us. Rome
stands for virility, politics, order, austerity, imperialism, virtue, etc. In contrast, the
East stands for pleasure, wealth, gluttony, feminine softness, vice, decadence, etc.
These oppositions are not that pronounced. Rome is torn by the threat of Civil War
and weak in position.
As for austerity and virtue, the drinking scene on Pompeys ship shows that Rome
and Egypt share certain features and for once Antony feels at home, much more
than stern Caesar (or poor Lepidus for that matter, who collapses dead drunk under
the table): no practiced drinker himself, he puts an abrupt end to the feast. Could
it be that the seeds of decadence are already slowly infesting Rome? Besides,
Cleopatra is not particularly soft, and will prove (albeit disastrously) quite a match
for Antony (who appears the weaker of the two, after all) and even for Caesar, in
her own way, ultimately foiling his plans. All the same: according to the criteria

mentioned above, superiority is clearly on the Roman side and history will
confirm this verdict.
And the rest of the play will but support these oppositions. For the political
match has solved nothing. Caesar starts (deliberately ?) to provoke Antony, who
has a thin skin for taunts. Soon threats of war are hurled between imperialistic
Rome and flamboyant East. Antony (now residing in Athens) therein finds an
opportunity to get rid of virtuous Octavia, and to rush back to Cleopatra. It is both
typical and ironical that the formers discreet arrival in Rome stirs her brothers ire.
First he takes the thing very personally, as if he had been insulted. Then he blames
Antony for the paucity of her escort, demanding for her the kind of pageantry he
finds distasteful in Antony and Cleopatra, who sit publicly enthroned in Alexandria
with their children, amidst a lavishness of gold and pomp, Cleopatra even dressed
as Isis (which by the way was nothing scandalous according to Egyptian mentality
and customs: after all, since Ramses II, pharaohs were more or less considered
incarnations of their main god, Amon-R, and were frequently represented like him
in frescoes and statues). Is Caesar genuinely shocked, or is he searching for any
excuse for a war? Rather the second, one should think. Yet Caesar will later show
himself rather miserly: he will allow a banquet for his troops, since, says he, they
have earnd the waste. This can be compared with Antonys over-generosity, as
evoked by Cleopatra, which no doubt would make thrifty Caesar wince.
In any event, war soon breaks out, and Caesars army and navy reach Egypt
with amazing speed (another sharp contrast with Egyptian sloth). And Antonys
decline and submission to Cleopatra quickly appear. Against all common sense
and pleading from his men (his legions are very good on land, the Egyptian navy is
a shambles), he chooses to fight by sea, according to Cleopatras wish (or rather
decision for the latter, considering that she finances the war, is now meddling

with strategy, despite Enobarbuss sensible objections). Worse: when Cleopatras

galley turns tail right in the thick of the raging battle, Antony abandons his men
and follows her, which leads to his disastrous defeat at Actium. Indeed, as he will
reproach her after the battle, she has not only stolen his heart, but his sword (that is
his manhood) as well which here again means his Romanness (however,
according to Enobarbuss lucid opinion, he is the one to blame which only
confirms the previous remark). So that the nightly tune signalling that his tutelary
god (Hercules) is abandoning him may be more than just an ill omen : it may, at a
more subtle level, symbolize Antonys estrangement from Roman culture and
community : he is now a traitor to his homeland, an outcast soon to become a
pariah.
After one last (glorious but vain) stand, Egypts, Antonys and Ceopatras
loss is complete: Caesar has invested Alexandria, and is not disposed to show any
clemency towards Antony he had previously tried to induce Cleopatra to give
him up or kill him. Last irony, and final contrast: Antony tries to commit suicide
Roman fashion, but lamentably botches the attempt here again he pathetically
shows himself a true Roman no longer. While Cleopatra, learning of Caesars
intention to bring her to Rome to enhance his triumph, also takes her own life but
(typically) chooses a painless way (the worm , or: the Epicurean pleasure
principle even in death), thus foiling Caesars plans. It is also interesting to note
that her vision of an after-life has nothing to do with Egyptian religion, but
strongly refers to the Roman Elysian fields doubtless Shakespeare did not know
precisely about the ancient Egyptians religious beliefs, yet the result is there: in
the play, Cleopatra has been Romanized. Then Caesar quickly orders the dead
lovers burial side by side (contrary to Egyptian customs, here again), before

hurrying back to Rome and business not even taking time to admire the famous
pyramids.
Not surprisingly, Antony and Cleopatra is a Shakespearian play, not a
historical one, as many details above have shown. Thus, according to historians,
who are no great romantics, Cleopatra simply used Julius Caesar, then Mark
Antony, to try to save her kingdom from Romes clutches. Besides, as we have
seen, his Romans are more mythical, stereotyped even, than authentic. Still, her
death (she was the last queen of Egypt) meant the end of the pharaonic dynasties,
and that of the Oriental dream (which, by the way, left Octavius Caesar a true
Roman utterly cold): henceforth, it would just be a Roman province. As for
Shakespeare, it is worth noting that he sends these two incompatible cultures back
to back: the play suggests that a cold, ruthless, bureaucratic Rome is hardly any
better than an easy-going, fatuous Orient, with all its excesses, refined but
decadent. And also, perhaps, that Antony, despite his cynicism, is a figure of the
past: the future belongs to technocrats (and autocrats) like young Caesar just as
Renaissance man more or less rejected the world and values of the Middle-Ages.
The Romans see the Egyptians as immoral as they act on their emotions. Therefore
the Romans see Egypt as being chaotic, disordered, and indulgent. The Romans
believe that Egypt, and its queen, are over-sexualized, and distracting Antony from
his important duties. On the other hand, The Egyptians think that Rome is boring,
strict and duty bound. They think that the Romans follow strict rules which allow
little passion or creativity. John Giles, a critic, has argued that, It is only from the
vantage point of Egypt that Rome actually seems Roman. When we look very
closely, in the play, the differences between them merge.

Bibliography
-://angellier.biblio.univ-lille3.fr/ressources/articleantonyandcleopatra.html
- http://www.slideshare.net/Jj-Aragonite/antony-and-cleopatra-east-versus-west
- http://muse.jhu.edu/journals/cdr/summary/v043/43.1.crane.html