Don't have too much chilling out this holiday (see below). Here's the home work which you must do for the first lesson back:
1.
List
the 5 most important ideas you gained from our reading yesterday of Acts 4 and
5.
2.
(IMPORTANT!!)
Re-read the play: even if you just skim through what you’ve underlined in
class, this is better than nothing. We will be working on what you’ve gained
from re-reading the play on the first lesson back!
a. The play has no moral value whatever.
b. The play is about the most magnificent love affair the world has ever known.
c. ‘Antony and Cleopatra is at last not about tawdry middle-aged lovers but about the power of imagination to place an Egyptian puppet and a drunken Antony on stage and, by poetry, to make the audience forget their smaller-than-life reality.
d. The play isn’t so much a love story: it’s about power.
e. The play dramatizes mythical encounter between Venus (the principle of love) and Mars (the god of war).
f. The play dramatizes the encounter between the pleasure principle and the desire for order, duty and boundaries.
5 important ideas from Acts 4 and 5:-
ReplyDelete1. Differing use of age references and their importance - ie. 'boy' used for Caesar, Cleopatra's shock at Octavia's age (pauses after) etc.
2. Constant juxtaposition between male and female roles - ie. Antony's raising by women (raised to expectations), Cleopatra's masculine power (speaks with Caesar as leader of Egypt - equal but unequal)
3. Importance of the view of the public - Caesar's citing at end of play
4. Importance of Enobarbus' change from prose to verse
5. Role of deceit - Caesar's deceitful ploys to Cleopatra, Cleopatra's deceit to Caesar about her escape
Yes - the point about Antony being 'raised' both physically and through language at the end of the play is interesting. The fact that it is by women makes me wonder about Shakespeare's proto-feminism. Arguably women destroy Macbeth, but is the reverse true in this play?
DeleteStatements:-
ReplyDeletef,d,c,e,b,a
f.'The play dramatises the encounter between the pleasure principle and the desire for order, duty and boundaries'
I strongly agree that this statement can be related the most to the play.
It is clear that even from the offset, this can be applied to the play. The first 3 scenes explain how Antony’s pleasure seems to rule his mind and possesses him to try and separate himself away from Rome; leading him to exclaim ‘let Rome in Tiber melt’. This is juxtaposed, then, in the following scene to Caesar longing for order and wanting Antony to come back. This countering view of proceedings illustrates how different the two sides of the argument are; perhaps we can label Egypt with pleasure and Rome with order, duty and boundaries.
Antony seems to become two different people when in Rome and Egypt; seemingly the stout roman who is obsessed with power and duty, yet also the man love struck and ready to do anything for his new love. The opposition is reflected clearly as, in Egypt, Cleopatra admits to wearing ‘his sword Philippan’ while Antony ‘put my tires and mantles on’, yet, in Rome, Antony is known to ‘eat strange flesh’. Even in the Egyptian description of Antony, we can see the loss of duty, and perhaps, the switch of gender roles. The romans must be roman; Antony is likened to the God or War, Mars, not to a woman. Philo’s introduction to the play highlights how Antony has now got his pleasures and duties mixed up.
Antony and Cleopatra’s relationship can be compared to Antony and Octavia’s. In such a case, it is clear that the opposing ideas of pleasure and duty can be labelled to either relationship. Antony’s desire to live in a pleasurable state with Cleopatra is obvious as ‘I’th East my pleasure lies’, he cites. However, Antony and Octavia’s marriage is an ‘act of grace’ and Agrippa proposes that the marriage to make all problems between Caesar and Antony ‘then be nothing’. Antony’s longing to be with Cleopatra only fragments his marriage with Octavia and it is clear that its only suggested to keep relations within the triumvirate calm.
Even this encounter between pleasure and duty can be expanded to compare both the women. Octavia is ‘holy, cold and still conversation’, whilst Cleopatra is described as:
‘she did make defect perfection,
And, breathless, pour breath forth’
And
‘age cannot wither her, nor custom stale
Her infinite variety. Other women cloy
The appetites they feed, but she makes hungry
Where most she saitisfies; for vilest things
Become themselves in her, that the holy priests
Bless her when she is riggish’
These descriptions epitomise Cleopatra as the beauty she was. Octavia, seemingly a roman woman, would not have had such characteristics. This is also the first instance in which Enobarbus changes to speak in verse rather than prose. This suggests the effect that Cleopatra has had on him; the fact that her beauty, power and influence have even changed the view of the ‘voice of reason’, fully illustrates this Egyptian woman. Maecenas, another roman, tries to take the side of Plutarch, in which Octavia is described as having ‘grace, wisedom and honestie’ [as Maecenas uses ‘beauty, wisdom and modesty’]. However, it seems even then, the ‘blessed lottery’ Octavia can give Antony’s heart, is incomparable to the power of beauty that even changes the voice of reason. Maecenas’ view builds on the idea that Octavia may be a satisfactory woman for Antony, but underpins the duty and political aspect of the marriage. The fact that his view immediately follows the ‘barge speech’, tries to rubbish the attraction of Cleopatra Enobarbus sets out. This also foreshadows the wedding of Antony and Octavia, further highlighting the failure the marriage will soon fall through. This then depicts the opposition between pleasure and duty; the fact that the play becomes Antony’s inevitable decision between pleasure and duty.
ReplyDeleteAntony soon realises that his heart lies in Egypt, with the help of the soothsayer, telling Octavia that ‘if I lose mine honour, I lose myself’. Antony appears to show roman qualities, during his time in Rome, but only uses that as a justification to return to Egypt. His honour and duty has now become Cleopatra, and has become to fulfil and pursue the passions in the East.
Other minor characters also feature this conflict between pleasure and duty, most comically with Madian, and perhaps this is why Shakespeare adds him to the play; to subtly hint at the real conflict in the play in the shape of one man. In fact Mardian is a key character in this opposition. For example, he brings up the topic of ‘what venus did with mars’. The theory behind the story may not be relevant but the idea of using the goddess of love (pleasure) and the god of war (duty) juxtapositions Antony’s decision in a single line and hints at how the play could continue. Furthermore, Mardian is constantly put into situations where pleasure and duty cannot occur. His reply to Cleopatra’s suggestion to ‘play’ of ‘as well as I can’, only epitomise how his duty to her, to entertain her, cannot end in pleasure for either party. This, and other examples, highlights the fact that there is a constant encounter between pleasure and duty.
Enobarbus also has a similar problem. Enobarbus seems to die of a broken heart, and reminisces on his duty to Antony and his ‘revolt’ as the source of the saddening feeling. He appears to have confused pleasure and duty; the pleasure of winning wars and not dying was put over his duty to serve Antony, a mistake he shouldn’t have made.
ReplyDeleteCaesar is obsessed with duty and honour. Being a roman, his interest lies in public opinion of him and his fellow roman powerhouses, therefore, strives for ostentatiousness whenever appropriate. The fact that ‘the wife of Antony should have an army for an usher and the neighs of horses to tell of her approach’ epitomises this. However, honour doesn’t seem to be solely a roman attribute. This idea Caesar speaks about is also seen in the ‘barge speech’ with the arrival of Cleopatra, as ‘the city cast her people out upon her, and Antony enthroned I’th’ market-place, did sit alone’. The fact that Octavia does not have such an entrance, but Cleopatra does, would only show why Antony picks her over Octavia. If Antony is a roman and looking for the type of duty and honour Caesar suggests, then he would have no choice but to pick Cleopatra. Moreover, Cleopatra even attributes honour and nobility to Rome, stating ‘what’s brave, what’s noble, let’s do it after the high Roman fashion’. Yet, in her death, she stays true to herself and word, going against Rome, a noble death. Caesar’s description at the end, again, suggests a noble death; maybe the Egyptians can be noble when they want to.
The fact that Antony, Cleopatra and Enobarbus die suggests that the pursuit of pleasure is stricken with bad consequences. However, this does not take away from the fact the play is about the opposition of duty and pleasure. Perhaps the drive and pursuit of pleasure, and that, in most cases with the Egyptian parties, it is put above duty and honour, separates the two peoples. Cleopatra is soon referred to as ‘Egypt’, Antony becomes an honorary Egyptian and Enobarbus’ transition possibly supplements this claim. Caesar’s firm choice to stick to his roman roots and not side with his pleasures allows him to survive, and suggests that we should all take a leaf out of his book and side more with duty and honour; the last line of the play epitomises this duty and honour again.
Of course there are other instances where pleasure and duty appear together, yet these are just some i've picked out.
I am impressed with your knowledge of the play - you back up your argument with lots of apt quotes and I especially like that you're interpreting some of the more comic moments (Mardian's for instance) in a way that draws out more serious connotations. I think it's difficult to endorse the irresponsible hedonism of Antony, but as ever Shakespeare refuses to allow his audience the comfort of a 'black and white' reading of this issue: Caesar's mean-spirited attitude to both his sister and his soldiers is hardly more appealing.
DeleteWell done - I think the next stage is to look at some of the AO3 critical viewpoints and build them into your arguments. Also, bear in mind the historical context: this conflict between hedonism and duty was very relevant in the light of James 1.
5 most important ideas from Acts 4 and 5:
ReplyDelete1. Juxtaposition of male and female roles.
2. Cleopatra's apparent willingness to betray her lover: the opening scenes of act 4 confirm and build upon such impressions from act 3.
3.Antony seemingly undone by the treachery of his own behaviour, as he manages to burden his men with sadness rather than rouse them for battle, while several soldiers hear an otherwordly music they believe portays the destruction of the once great general and his forces.
4.Change of Antony and Cleopatra's characters: decidedly Roman perspective has dominated the presentation of Cleopatra as a wanton gypsie and Antony as her fool. The day of the battle however brings victory to Antony and restores him to good reason; at least for a moment. Antony displays the martial abilities that forged his reputation. In these scenes, both Antony and Cleopatra display depths of character that cannot be reduced to the respective fool and strumpet. For instance Antony's decision to return to Enobarbus his abandoned treasures.
5. Enobarbus's defection to Caesar's side; underscornes one of the play's main concerns; the mutability of human character. Once one of Antony's closest allys (bros), Enobarbus becomes a man ruined by his guilt over disloyalty.
I like how you are picking up on mutability and change. This is clearly a key idea in a play in which nearly everything is changing shape and refusing to allow stability.
DeleteImportant ideas from Act’ 4 and 5:
ReplyDelete1. The Roman principle of honour being linked to death. Enobarbus dies of guilt due to his dishonourable act of abandoning Antony. Both Antony and Cleopatra experience honourable deaths through suicide. Also Caesar honourably allows the two lovers to be buried next to each other.
2. Enobarbus as my favourite character. He acknowledges the beauty of the East, as presented in the barge speech and is at times a sensitive character. For example, when he becomes “onion eyes” after Antony makes a speech expressing gratitude to his soldiers in Act 4 scene 2. However alongside this quality he remains the ‘voice of reason’. Despite abandoning Antony, which he soon regrets: “this blows my heart”, Enobarbus manages to maintain a balance of the two polar opposites. He is dutiful, similar to Caesar, but is sensitive and at times poetic, presenting an understanding of both the Eastern and Western worlds.
3. Ominous language. For example, Act 4 Scene 3 in which the soldiers hear music and claim that “Tis the god Hercules whom Antony loved Now leaves him”. Hercules being the embodiment of manly strength is an attribute Antony cannot afford to lose in a time of battle.
4. How the metadrama increases. Cleopatra is almost aware of her character being played in the play: “I shall see Some squeaking Cleopatra boy my greatness I’th’ posture of a whore”. Shakespeare is perhaps mocking the theatres traditions as indeed a “squeaking Cleopatra boy” would have said this line on stage.
5. How Shakespeare manages to use humour in what you would expect to be a serious scene. For example, in Act 5 scene 2, the Clown presents Cleopatra with the snakes that will bring her to her death. However, instead of the scene consisting of an emotional dialogue, it is full of sexual puns: “I wish you joy o’th’ worm.” This brings humour to what could have potentially been a melancholy scene. In doing this, Shakespeare has cleverly presented Cleopatra’s personality in her final actions; they are full of both humour and theatricality.
I really like what you say about Enobarbus: yes, I think he does maintain a balance between the two polar opposites of Rome and Egypt - until, he realises that the co-existence of these two world views is impossible to sustain.
DeleteGood points too about metadrama/comedy.
F – the play dramatizes the encounter between the pleasure principle and the desire for order, duty and boundaries
ReplyDeleteThis statement highlights a key theme in Antony and Cleopatra, and is presented in both geographical positions and characters. From the offset, Antony is recognised as the embodiment of this conflicting encounter. The plays opening scene presents Philo talking of his “dotage”. Philo in fact summarises Antony’s actions when he professes “our general’s O’verflows the measure”; Antony has not only rejected the Roman desire of order, duty and boundaries, but has become incapable of maintaining a balance between duty and pleasure, he appears to have exceeded the limit and has drowned in his pleasures. Furthermore Antony is aware of his inner struggle, he is aware he could “lose [him]self in dotage”, but cannot tear away from his Egyptian queen.
Thus the conflicting encounter is mainly represented in Antony. However, it can also be understood or sympathised by other characters. For example, Enorbabus, despite being the ‘voice of reason’ also appears to appreciate the pleasure principle. In the barge speech, he speaks in verse and admires Cleopatra for her “infinite variety”; he understands the attraction of the East, whilst other Roman’s recognise Cleopatra as a whore and the life she leads as immoral. Furthermore, in Act 2 scene 7 in which Pompey and the triumvirs feast, Enobarbus encourages the party to continue: “Shall we dance now the Egyptian Bacchanals And celebrate our drink?” whereas Caesar discourages it: “Our graver business Frowns at this levity”. Differing to Caesar, Enobarbus is a loyal supporter of Antony and is thus influenced and partly enchanted by the pleasures of the East as Antony is. However Enobarbus remains dutiful, and as a Roman he presents a healthy balance between reason and sensitivity for pleasure.
Caesar on the other hand, as just presented, contrasts with Antony and partly Enobarbus, as he appears to experience no conflict in the pleasure principle because he is wholly focused on duty and what is honourable. Even his own sister defies his desire for order, duty and boundaries, for example, when Caesar is appalled that she has been sent back to Rome without ostentation, she does not agree with his words but instead professes I “did it on my free will”; the lack of honourable Roman tradition doesn’t appear to bother her.
Furthermore, Cleopatra is almost Caesar’s opposite in terms of the principle in which they relate to. However in her death there is a representation of both pleasure and duty which represents a moment where the two opposing ideals are finally in harmony. To die by Antony is her pleasure, but also a duty as a wife as she says “Husband, I come!” Cleopatra does embody the pleasure principle but is seen at times to also be dutiful.
In addition, the order of the scenes is also relevant to this statement. Shakespeare often juxtaposes scenes so that the deep political issues of Rome and the triumvirate are present next to the beauty and pleasures of Egypt. By juxtaposing them in such a way, the audience can recognise the extremities in both worlds. For example, in Act 2 scene 2 Enobarbus talks of Cleopatra on her barge, presenting the beauty of the East, the next scene however features the entrance of Antony and Caesar with “Octavia between them” and later the ominous Soothsayer, which suggests both the forced alliance and the deep political issues that remain in the triumvirate. The juxtaposition of such scenes emphasises the seriousness in Rome. Shakespeare doesn’t give a clear cut suggestion of what principle is superior, but presents the human nature that can undergo such a conflict between the two.
Great comments again. In one sense, Shakespeare doesn't give a clear cut suggestion of which principle is superior, although structurally he does seem to invite us to be 'seduced' by Egypt more than Rome (the play being book-ended by Egyptian scenes, or the overt theatricality of Egypt - being the more fun place for us to hang out). But as you cleverly say, Cleopatra discovers a sense of 'duty' and nobility in the final act which makes her apotheosis (look up this word if you don't know it!) powerful and convincing.
DeleteF, e, b, c, d, a
ReplyDelete1) At the start of the Act 4, the lead up to the battle, Shakespeare presents religious symbolism. There are references to Christ like images, which echo the last supper.
ReplyDeleteAntony: "You have served me well And kings have been your fellows" "Let's to supper, come, then drown consideration"
2) "They place themselves in every corner of the stage"
Shakespeare's use of stage directions in Act 4:3 emphasises the supernatural//4 corners of the stage is symbolic to the 4 corners of the earth. This is an important scene in the play because I think it makes references to the three witches in Greek mythology - for a moment in the play the audiance are able to almost digest what has happened so far and what is yet to come.
3)[Act 4:6] Enobarbus' death is highly significant due to the guilt that he is feeling as he joins Ceaser's army.
"No, I will go seek some ditch wherein to die"
The reference to 'ditch' represents a place of not feeling wanted, a tragedy as a broken heart has led him to kill himself.
4)[Act 4:14] Cleo's jealousy, resulting her to fake her own death is significant as it shows how childish and pathetic she has become in order to gain more attention from Ants.
A:"I made these wars for Egypt, and the Queen-
Whose heart I thought I had, for she had mine"
"She, Eros, has packed cards with Ceaser, and fable played my glory"
- This 'relationship'is nothing but a game. It's hard to tell whether Ants has true feelings for Cleo, or if it is just a constant battle for attention between the two.
Cleo's last words being "Most noble Antony" is ironic as this was part of Enobarbus' speech too. Perhaps Cleo is false in saying this, as all she wants is a reaction from Antony, yet E felt the guilt upon hime.
She has performed a higher, more noble act in addition so does Eros. (A: "Thrice nobler than myself")
5) Ceaser: "My brother"//"my competitor"//"my mate in Empire"//"friend and companion"//"The arm of mine own body"//"Our stars"//"Our equalness" - Ceaser's speech to Antony is presented as an act of equality, yet the question raised her is whether we should believe Ceaser?
With any political battle I think Ceaser is presenting himself in public to be the good guy who sees Ants as another equal yet it is all a facade.
Some very good points Francesca. Thanks. I'm pleased you pointed out the 'last supper' imagery which is associated with Antony. It's very strange, since in the beginning of the play he is hardly Christ-like - remember his 'new heaven, new earth' is all about hedonism rather than spiritual or moral qualities. Yet as the play progresses, and as Antony loses so much, his generosity and sense of equality or communion with his soldiers is emphasised. We even have Enobarbus as a Judas figure...Like so much of the play, Shakespeare seems to be asking us questions rather than delivering solid viewpoints.
Delete1. Think it accentuates a religious tone quite often. Antony is portrayed as much more generous towards the end of the play. For instance, when Enobarbus abandons him, Antony decides to "send his treasure after." He shows another act of generosity after he is abandoned by Cleopatra: "I have a ship Laden with gold. Take that, divide it." Although he could be dramatising his own failure in war. Later on however he repeats the word 'pray' and this certainly brings forth the idea of Christianity in the play. And this idea is surely affirmed after Octavius Caesar asserts "The time of universal peace is near" signifying, unconsciously of course, Christ's coming.
ReplyDelete2. The role of gender obviously becomes more apparent. I do like that idea of Shakespeare proposing this sort of proto-feminist idea in his work. Cleopatra certainly takes the more dominant role. Even towards the end she resists the humiliation of Caesar and kills herself to retain her dignity.
3. It is tragically comic when Antony attempts to kill himself but is abhorred at the fact that it does not happen quickly enough. And when they attempt to lift him to Cleopatra the stage directions add to a subtle black comic element: '[They begin lifting]' ... 'They heave Antony aloft to Cleopatra.' Shakespeare does not take a Romantic cliché on the matter of suicide in this instance which is in contrast with Romeo and Juliet.
4. The strange supernatural side to Shakespeare... To elucidate, it is interesting that he has this anomaly of a scene (Act IV: Scene 3) in the play where the 4 soldiers - in each corner of the stage - witness the strange music. One soldier reckons "the god Hercules whom Antony loved Now leaves him." Perhaps this adds to the case that the latter half of the play signifies an end to the pagan religion that gives rise to the 'universal peace' - Jesus Christ.
5. The unsettling conclusion of power triumphing over love. Does Shakespeare mean for this to be the case in the play? Obviously the events of Antony and Cleopatra's destruction would all have had to occur. However perhaps he was disappointed in this destruction of the love of two people and their lives, and illustrates this in Caesar's marginally generous speech at the end: "No grave upon the earth shall clip in it A pair so famous." Or perhaps he is conveying love itself as a power-struggle. This is shown much more perspicuously in Cleopatra's dominant role in the relationship between her and Antony, and Antony's occasional dubious attitudes as to whether he should remain in that state despite of its damage on his reputation. Is love all about power?
Very interesting comments - I agree that the issue of gender is one of the most fascinating aspects of the play. Without wishing to put down other playwrights like John Ford, Shakespeare is so much more provocative and profound, I think, in his exploration of gender. In general, I'm more swayed by critics like Harold Bloom (who argues that Shakespeare's females always marry down to their intellectual inferiors - men) or James Shapiro (who calls Shakespeare 'the greatest feminist of them all) celebrating his forward-thinking treatment of women, than critics who point out the misogyny within the plays.
DeleteYou ask 'is love all about power?' And again, I think this is a valid question (also asked in Macbeth), rather than an answer provided by the play.
d. The play isn’t so much a love story: it’s about power.
ReplyDeletef. The play dramatizes the encounter between the pleasure principle and the desire for order, duty and boundaries.
e. The play dramatizes mythical encounter between Venus (the principle of love) and Mars (the god of war).
a. The play has no moral value whatever.
c. ‘Antony and Cleopatra is at last not about tawdry middle-aged lovers but about the power of imagination to place an Egyptian puppet and a drunken Antony on stage and, by poetry, to make the audience forget their smaller-than-life reality.
b. The play is about the most magnificent love affair the world has ever known.
The concept of power is central in the play and much of the themes that appear in it. The struggle for power divides the characters and constantly creates rifts in the play through which Shakespeare is able to tell his narrative. The theme of power is perhaps the reason why Shakespeare sets his play across the globe - the story could have been so easily told from the perspective of a single state whereby the leaders are struggling for power. However with Antony and Cleopatra this is not the case, Shakespeare uses the entire world as a stage to use as a catalyst in intensifying the struggle for power. At the same time he also manages to show the audience the magnitude and the sheer power these leaders yield only making the play more breathtaking, it’s as if his characters are almost like gods playing with the world. As a consequence Shakespeare is also able to show that the world is vulnerable to the corruption due to the obsession with power. Even the love story narrative in the play between Antony and Cleopatra is only fuelled with an attraction for each other’s power, not only over the kingdoms they rule, but the power over each other and playing the game of who controls each other.
The most prominent power struggle in the play is between that of the leaders – most importantly Caesar and Antony and to a lesser extent Lepidus. Menas refers to them as “These three world sharers, these competitors.” And indeed these three are in constant competition with each other despite having to rule equally together. Lepidus’ continuous over flattery of the other two constantly referring to one of them as “noble” (“noble Antony”, “noble friends”, “noble partners”) almost hints at an ulterior motive. Indeed during the threat of Pompey Lepidus’ rule was threatened and therefore required the cooperation of the other two leaders to maintain his position. Perhaps the most significant exhibition of a power struggle is that between Caesar and Antony’s exchange of greetings when they first meet.
“Welcome to Rome.”
“Thank you.”
“Sit.”
Sit, sir.”
Nay then.”
These exchanges show the struggle between Antony and Caesar offering to get the other to sit first out of politeness. However this is far more symbolic than that, it creates and tense and almost awkward meeting between the two powerful leaders ahead of their battle against Pompey. Two leaders who are meant to be cooperating are clearly shown to be an imperfect match for each other. The abrupt full stop at the end of their lines makes for a quick and short scene in which both of them are shown to be domineering – together they will be a combination with catastrophic consequences for the world.
Even with Antony and Cleopatra both maintain power over one another by seducing one another. Cleopatra’s dramatic scenes in which she continuously expresses her love for Antony to the public during his absence she only succeeds in showing her as a needy character. However whenever Antony is present there seems to be a lack of affection to which she prefers being chased after. Thus even the love story of the play is tainted by this power struggle that dominates the play. Antony constantly refers to Cleopatra as his “Egypt” while Cleopatra often calls Antony her “Emperor,” even towards the end of the play Cleopatra declares she is “his fortune’s vassal.” There always seems to be a reference that one owns the other, they never in the play refer to each other as each other’s equals and this is perhaps the reason for their downfall. There is an obsession between the both of them to be more superior than the other and it is this obsession that leads to their consequent deaths. Cleopatra pretends to be dead in the hopes that Antony will once again fall in love with her and fawn all over her - with disastrous consequences.
DeleteHowever it seems that these characters are somewhat aware of the idea that power and hunger for power controls their actions. They are subject to their duties for their countries and for Antony this is a constant strain on his pleasure in the east. Antony declares “Let Rome in Tiber melt” and Cleopatra declares “Melt Egypt into Nile.” Both characters seem to make a declaration of the relieving of their duties to their respective kingdoms. It’s not a call for the end of the world but the melting away of the lovers’ power over their realms. Shakespeare gives them this through their deaths – Cleopatra’s final words being “O Antony” contemplating what it will be like meeting him in the afterlife finally relieved of the corrupt power they once yielded.
Yes - the scene with Antony and Octavius engaged in a power struggle about who's sitting down first can be played for laughs (like much of the play), but also points to something deeper. Shakespeare always seems to make his characters human - and I can quite imagine world leaders at some G8 summit engaging in similarly petty power games.
DeleteIt's interesting too that you write about the deaths of the two lovers. Their suicides can also be seen, as you point out, as being about power: about triumphing over Rome and finding their place in eternity. Afterall, as Emma Smith points out, there will be no play about Octavius...
Good points Joshua.