The Symbolic Significance of a Tragic Hero - Essay Example

A recent critic has d "Upon Antonys death, Cleopatra assumes the symbolic significance of a tragic hero..."By closely examining the dramatic presentation of Cleopatra, show to what extent you agree that she is ultimately presented by Shakespeare as a tragic heroine Cleopatra and Antony is a play written in early 16th century by Shakespeare, essentially revolving around the progression of relationship between Cleopatra and Antony, from the era of Parthian War up to the time of Cleopatra’s suicide. Cleopatra’s character is much entangled one; into the fifth act there are multiple paradoxical impressions created by Shakespeare, which makes it very difficult to access the motives and self-awareness of Cleopatra in comparison to a typical tragic hero. After the death of Antony, Cleopatra was left at the mercy of Caesar. Initially Cleopatra resisted to surrender to Caesar, but he leaves Cleopatra with no choice but to succumb to his demands after he says, “If you apply yourself to our intents, Which towards you are most gentle, you shall find a benefit in this change; but if you seek to lay on me a cruelty, by taking Antonys course, you shall bereave yourself” (“Antony and Cleopatra”). A true hero fights to his utmost to retain his power until he is completely forced to give up, and in this case Cleopatra to some extent did project that quality. Cleopatra gave up all her wealth to Caesar, but later she was betrayed by her treasurer, who accused of her withholding her assets from Caesar. On Caesar’s inquiry Cleopatra confessed, “Be it known, that we, the greatest, are misthought, for things that others do; and, when we fall, we answer others merits in our name, are therefore to be pitied” (“Antony and Cleopatra”). Mentioning this incidence in his book “Shakespeare the playwright”, Victor L. Cahn, Professor of English at Skidmore College, quotes this speech as an impersonation of the true nature of a tragic hero, whose life affects many others under his rule and whose stature appears somewhat from the survival through pain and trials (236). Even after letting go of all her wealth, Cleopatra learns that Caesar intends to show her are his triumph parade as a spoils of war. This scenario is explained by Courtni Crump Wright in her book, The women of Shakespeare’s plays. The author says that besides all her womanly love of Antony and misery as his death, Cleopatra is a proud ruler who even after being defeated refuses to be disgraced and paraded as a spoil of war (Wright 153). As Antony could not allow his idea of self to expand to incorporate his defeats, then Cleopatra, taking inspiration from his love, could not allow hers to be stripped to the image of a whore. Although Cleopatra differs from a traditional tragic hero as she had unpardonable faults, but at certain instances she has embodied the character of a hero. The events subsequent to Antony’s death shows how her love effected her decisions, and to act more wisely. Although Cleopatra differs from a traditional tragic hero as she had unpardonable faults, but at certain instances she has embodied the character of a hero. The events subsequent to Antony’s death shows how her love effected her decisions, and to act more wisely. Cleopatra’s initial character is portrayed of nothing but a flirtatious gypsy. Her interference in Antony’s war matters ultimately leads up to his defeat and eventual despair. But after Antony’s death she takes more of a mature role, and begins to pride in her persona and stands up for her honor. Another critic L.T. Fitz, remarked on the faulty tendency of commentators to view this play as a play revolving mainly around Antony, without acknowledging Cleopatra as a tragic hero in her own right (“Antony And Cleopatra Vol. 27”). Although many view as Cleopatra a character full of childish acts and feminine wiles, others comment that by the end of the play Cleopatra surfaces as a character with a gained sense of wholeness. Instead of being disgraced as a trophy, she chose to give up her life. In the last act, Cleopatra shows the intensity of her love for Antony when she takes the second poisonous asp to her arm and says, “As sweet as balm, as soft as air, as gentle,--O Antony!--Nay, I will take thee too” (“Antony and Cleopatra”). The passion of her love for Antony is elevated to a whole new degree. She dies with her lover’s name on her lips and also honors him by preserving her own honor. This beyond doubt shows how Cleopatra was true to her heart and the tremendous love she contained within it for Antony. Shakespeare hands over the whole last act to Cleopatra, how she suffers and how she ultimately sacrifices herself for her own persona. In the play, Shakespeare makes Cleopatra every bit as tragic a character as Antony; he gives her striking and moving soliloquies befitting the character of a queen. Cleopatra and Antony continue to be regarded as one of the most mythical characters of Shakespeare’s plays. The reason why this play is a special piece of work is because it is a cross between two different types of plays. The play is generally classified as a Roman play, but it has characteristics of a tragedy. There are various places in the play where it can be related to the par of tragedies such as Romeo and Juliet; however, the question arises that what element is present in the play that unfolds itself as tragic in the plot. According to Vignier, the characteristics of a tragedy can be cited throughout the play. Cleopatra and Antony both have a high rank in their respective environments, attributed to the fact that they are presented as outstanding characters. The concept of tragedy is embedded throughout the length of the play, since there is “no hope of a happy ending” (Vignier). At the end of the play, Shakespeare presents Cleopatra as a tragic hero because there is no transcendence in action even at the end of the play. The play is characteristic of a malfunction in the achievement of human freedom. This failure is embodied in the destiny of the character as a determinism, which can be classified as the core of tragic literature (Vignier). The heroes of the play are ones that have a high rank and are at a higher political and authoritative positioning than the common person. This forms one of the main attributes of a tragedy. Even though Cleopatra has not been presented as a person with an elevated sense of morals, she is acknowledged for her royal rank. Her looks, wittiness and her bravery establish her high on the spectrum of royal positioning. In the play, Enobarbus implies how Cleopatra is an individual with charisma, as he relates the story of her being brought to Antony in a carpet. The sense of honor of the Cleopatra and her regard for dignity sets her in a class separate from other women. Despite the fact that she is scared of death, she has an intense regard for her dignity. In the play, she is willing to give up her life rather than be a witness to the triumph of Caesar. The character of a tragic hero is not perfect; on the contrary, it is marked with flaws. The perfect hero is one who is guilty of some flaw, and deserves the fate that accompanies it. This view was first proposed by Aristotle. According to Aristotle, “who is very far from asking us to create perfect heroes, on the contrary wants tragic characters, the ones whose unhappiness is the theme of the tragedy, to be neither all good nor all wicked” (Vignier). In this regard, the Egyptian queen reflects a mixture of both virtuous and flawed traits. Another attribute of tragic heroes is that the fate tragic heroes elicit feelings of both compassion and terror from the readers, which is the essence of a true tragedy. The resistance that Cleopatra faces by Antony’s soldiers exemplifies the lack of acceptance that she has to bear. Therefore, in conclusion, Shakespeare does present Cleopatra as a tragic hero, as illustrated by her high ranks, and tragic fate. Works Cited Antony and Cleopatra. MIT, n.d. Web. 15 Dec. 2010. Antony And Cleopatra Vol. 27- Introduction. Enotes.com, 2010. Web. 15 Dec. 2010. Cahn, Victor L. Shakespeare the playwright: a companion to the complete tragedies, histories, comedies, and romances. 2nd ed. Greenwood Publishing Group, 1996. Print. Vignier, Isabelle. ShakespeareThe Tragic in Antony and Cleopatra. Literature-Study-Online, 2004. Web. 15 Dec. 2010. Wright, Courtni Crump. The women of Shakespeares plays: analysis of the role of the women in selected plays with plot synopses and selected one act plays. University Press of America, 1993. Print. Read More