Cleopatra, a Much Puzzling Character in Antony & Cleopatra - Essay Example

of the of the Concerned 7 November Cleopatra, a Much Puzzling Character in ‘Antony & Cleopatra’ Taken in a historical context, Cleopatra does command the honour of being an amazingly fascinating character in the annals of Western history. Yet, in a commensurate proportion, she also stands to be one of Shakespeare’s most puzzling and tantalizing heroine. On many occasions in the play, she manages to inspire respect and confusion, in more than one way, until surprisingly she deviates towards the former virtue through her death in the end (Deats Ed. 115). Cleopatra indeed appears to be a conundrum of a character, when one considers her “infinite variety.” Yes, Cleopatra does qualify to be called Shakespeare’s well wrought achievement in the sense that she stubbornly refuses to fit into the mould of a docile, royal bimbo or a glorified strumpet. In that way, she manages to keep the readers in awe till the end of the play. In fact, throughout the play, she could be figured out to be a strumpet and a saint at one and the same time, till the saint in her decides to achieve a full blown maturity through her death. It is almost impossible to grasp the character of Cleopatra, without respectfully recognizing her matchless versatility, stunning charm, disturbing apprehensions, unwavering confidence and a sharp wit (Deats Ed. 171). The character of Cleopatra definitely appears to be treacherously fickle or even positively pernicious, unless she is judged in the light of the times and circumstances in which she is placed (Schanzer 181). On the outside the conflict seems to be between two men that are Octavius Caesar and Mark Antony. But, at a deeper level, the conflict issues forth from a clash between two inherent masculine tendencies within Antony that are love and power (Cahn 236). No doubt, these are the two most potent forces that unexceptionally always have an immense influence on an ambitious man. More than one half of the play revolves around the theme of power. Interpreting the character of Cleopatra in such a scenario, justifies her whimsicality. But, for her boyish exuberance, and seemingly vile ways, she would have ended up as just one another woman in Antony’s life, who at some time is conveniently bypassed or forgotten in the larger quest for power over the coveted Roman Empire (Loomba 143). Her ability to keep Antony baffled and hinged to her was perhaps the only possible way of sustaining her status and existence. It was necessary for Cleopatra to keep Antony’s political power within manageable limits. Her ability to keep the fire of passion within Antony, always burning, was the single plausible recourse left to her, to keep this sporty stakeholder in the Roman Empire tagged to her. Enobarbus, a shrewd critic and observer, aptly delineates this ability of Cleopatra, when he says, “Age cannot wither her, nor custom stale Her Infinite variety. Other Woman cloy The appetites they feed, but she makes hungry Where most she satisfies; for vilest things Become themselves in her, that the holy priests Bless her when she is riggish” (Act II: Scene II. Lines 227 to 282) Persistently stunning and placating Antony remains the only recourse left for Cleopatra to make her name come often on the lips of Antony. Even Octavius is curious about Cleopatra. He remains impervious to her charms, courtesy his automaton like allegiance to power, even at the cost of shunning his basic human instincts. From the first to the last Act, the play unfolds in the backdrop of two worlds. One world is that of beauty and charm defined by nights of revelry, palm trees and Nile that is Egypt. Cleopatra is an inhabitant of this world. The other world is that of power, warfare, duty, marital alliances and a soldier like death that is Rome, the world from which Antony comes. Cleopatra being an exceptionally sharp woman well understood the fact that her status quo, Antony’s life and his fascination for her depended to a large extent on the world which his lover choose to inhabit (Kahn 155). In a conflict between a world of love and political power, anytime, Antony could have deviated in favour of the later (Kahn 155). So, it was a must for Cleopatra, to dilute Antony’s soldier like tendencies, political authority and soldierly courage, so as to keep him close to Egypt and herself. Cleopatra appeared to be mad in her ways, but there was a method and a purpose to her madness. Till the end, she managed to achieve, what she aspired for. In the very first Act, Philo bemoans the victory of Cleopatra in that aspect. “ Nay, but this dotage of our general’s O’erflows the measure. Those his godly eyes, That o’er the files and musters of the war Have glow’d like plated Mars, now bend, now turn, The office and devotion of their view Upon a tawny front.” (Act I: Scene I. Lines 1 to 6) Thus her so called depravity, quizzicality and unpredictability were but a well thought of ploy to save her love and a way of life that she cherished. Her predilection for being a tease or a capricious autocrat in the first four Acts was but the part of a well thought strategy to achieve well meditated upon ends. Under her so called confusion lied a character that was resolute, sharp and reflective (Leggatt 128). The times, social mores and the fact of her being a woman left very few options open to her (Leggatt 130). Yet, she well managed those few till the end. In the last Act, Cleopatra appears to be particularly noncommittal and timid, as she refused to come out of the monument to see her dying lover. Yet, it is normal for individuals to succumb to momentary cowardice in times of distress and turmoil. However, it is the death of Antony that makes Cleopatra divest herself of the self-created aura of ambiguity and confusion surrounding her character. While Antony was alive, Cleopatra went to the extent of considering a peace deal with Octavius. However, Antony’s death finally convinced her that there was no need to carry on with her facade of complexity (Leggatt 137). It is then that the readers eventually realize that it was her love for and life with Antony that made her what she was. Not to say, she used her ingenuity till the end to manage the jewels act so as to fool Octavius into believing that she intended to live. Actually she was well aware right from the start that sans Antony, she had no life or a future. “...Saucy lictors Will catch us like strumpets ............................................. Antony shall be brought drunken forth, and I shall see Some squeaking Cleopatra boy my greatness I’th’ posture of a whore.” (Act V: Scene II. Lines 254 to 261) In her last moment, she finally feels free to reclaim her true identity as Antony’s better half. “Husband, I come Now to that name my courage prove my title.” Critics do blame Cleopatra of being the most puzzling figure in the play. The fact it is that had Cleopatra been so direct and simpleton in the time and situation in which she was placed, it would have soon degraded her status to that of an ordinary concubine to a Roman general. This was not acceptable to Cleopatra. Perhaps, she may not have been an exceptionally intelligent woman, but no doubt, she was really good at dealing with men who were exceptionally intelligent and powerful. Cleopatra lived as a queen and she died as a queen. Works Cited Cahn, Victor L. Shakespeare the Playwright: A Companion to the Complete Tragedies, Histories, Comedies and Romances. London: Praeger, 1996. Print. Deats, Sara Munson (Ed.). Antony and Cleopatra: New Critical Essays. New York: Routledge, 2005. Print. Kahn, Coppelia. Roman Shakespeare: Warriors, Wounds and Women. London: Routledge, 1997. Print. Leggatt, Alexander. Shakespeare’s Political Drama. London: Routledge, 1989. Print. Loomba, Ania. Shakespeare, Race and Colonialism. Oxford: Oxford University Press, 2002. Print. Schanzer, Ernest. The Problem Plays of Shakespeare. New York: Shocken Books, 1965. Print. Read More