A Road to Shakespeare’s Antony and Cleopatra

Reading Shakespeare is my childhood dream, when a day long ago I read an excerpt biography of Shakespeare in the back cover of my classmate’s book. I was interested somehow since reading English drama might be the coolest thing that I, a villager far from crowd, could do to prove the way I was. It derived from my inferior sense I think. To compensate my physical weakness, I do the best to improve my non-physical ability. I was then scrutinizing the Shakespeare’s Anthony and Cleopatra at the end of my college life. Aside my childhood dream, the character’s name was also similar to mine, Anton. It’s my hidden agenda, but not scientific enough and acceptable to be written in my bachelor paper background of study. Therefore, I wrote this to introduce you to flash background of Anthony and Cleopatra.

Roman stories and characters are among several themes, which attract Shakespeare’s attention to be the source of his drama. Johnston (1999) pens his notes that Shakespeare wrote several so-called Roman plays throughout his career, Titus Andronicus, Julius Caesar, Antony and Cleopatra, and Coriolanus (pp.1).

It might be due to the reason that playing Roman drama avoided him to involve sin concept, since its age is so-called pre-Christian era. Thus, he could free his characters from Christian doctrines, ignoring the use of Christian judgement on how the characters are characterized (Johnston, 1999:6). Afterward, his plays might be aimed at producing luxuries of erotic and interesting stories, which grasped wide-acceptance in that age without taking potential risk in dealing with contemporary characters.

Whatever the Shakespeare’s reasons in writing the drama, most of his drama were accepting wide popularity among London society’s in his age. Among several drama, the focus of the discussion is Antony and Cleopatra (To ease, it will simply be abbreviated into AC). This drama is, for me, the most glorious drama for it presents the history of the East, Egypt in a side and the West, Rome in the other side more dazzlingly than that of other historical tragedy drama.

This drama acknowledges an extol from major critics, for his beautiful drama script, which was believed to be the same as his real history of two noble men from Grecian and Roman. Coleridge, the critic and the poet, states that “(One can find) scarcely any of which he has followed history more minutely…perhaps none in which he impresses it more strongly,” (Coleridge, 1819 as cited by Adrews, 1999:299). It seems to suggest that among some historical tragedy drama, which had ever been written, it is the only which follows the plot of history more vividly and realistically.

However, Antony and Cleopatra was written based on narrative sources, Sir Thomas North’s 1579 English translation of Plutarch’s Lives of the Noble Grecians and Romans (Andrews, 1993: xviii). Plutarch himself is a Roman and Grecian biographer, who worked under the commands of existing commander. It raises the slight doubt on the truth of the story, since it was written through the lens of Romans. He perhaps ignored the use of Egyptian glasses in seeing Cleopatra’s personality and behaviour. Whether Cleopatra is seen as seductive, ambitious, and immoral persons from Egyptian or East view is left-unanswered since no accurate data could be found. At least, based on my understanding.

As prior-description, the age where Shakespeare lived and played the story was preceded by the green and France revolution, which in some ways can be referred to as the rise of the West, and the descent of the East. The East, generally referred to as Mid-West and Asia region, was purposed to be dominated by the West. This play in some senses were the way the West dominates the East. To make it picturesque, it was made in form of drama, which dominated literary activities that time. It was not intentional in my opinion, since Shakespeare itself is not but a real poet.

Reading the translation, Shakespeare was inspired to write its scripts and play. He might read it not long after the translation version was published in 1579. His other historical tragedy drama i.e. Julius Caesar, which was based on the same source of historical version, was played in 1599 (Randall, 1993). So, it seems that he read sometime between 1579 or 1579.

Andrews, editor of the everyman’s Shakespeare library, tells AC itself was written in late 1606 or early 1607, shortly after he finished Machbeth, as well as before he began directing most of his own drama tragedies in the stage (1993). It seems that it was the third play, telling the Roman’s themes, preceded by Titus Andronicus, Julius Caesar, and then Anthony and Cleopatra.

The drama tells the story of two lovers i.e. Antony and Cleopatra, which was self-dramatizing, ironic, and unfortunate. In sum, it is tragic. Shakespeare presents antithetical construction of story by comparing the East and the West, Egypt seductive woman and Roman chaste woman, young expertise and ancient heroism, and Machiavellian fox and the Old Lions.

The story itself is the sequel of Julius Caesar, one of Shakespeare’s former works. The play began in Cleopatra’s palace, when they were discussing their love. Shortly after, one messenger from Rome informed him that his wife, Fulvia, was dead. It forced him to go home to Rome.

Let’s read below short details to make us understand the play better:

PLOT SUMMARY

Adopted mostly from Everyman’s Shakespeare

I.1	In Queen Cleopatra’s palace in Alexandria, Egypt, two of Antony’s men discuss his behaviour. He enters talking with Cleopatra, and dismisses a messenger from Rome, being more concerned to continue swearing his love to Cleopatra.
I.2	The next day, Cleopatra’s attendants talk amongst themselves. CL enters, looking for Antony. But when he comes in, CL orders everyone to leave with her. Antony learns, from a series of messengers, of the troubled political situation in Italy and Rome. This has in part been brought about by his wife and brother unsuccessfully attacking Octavius Caesar, who, with Lapidus and Antony, is one of the triumvirs who share the rule of the Roman empire. His wife has subsequently fallen ill and died. Antony resolves to leave Egypt.
I.3	A little later, Antony takes his leave of CL, promising that his heart will remain with her.
I.4	Caesar, in his house in Rome, complains to Lepidus of Antony’s dissolute behaviour in Alexandria at a time when the triumvirs’s rule is threatened by Pompey’s forces.
I.5	In her place, CL talks of Antony to her attendants. A man of Antony’s, Alexas, arrives with Antony’s parting promise to the Queen that she will be mistress of the Eastern Kingdoms.
II.1	Pompey, at his house in Messina, discusses tactics with his colleagues. News is brought to him that Caesar and Lepidus, contrary to his expectation, have an army in the field, and that Antony is expected in Rome.
II.2	Lepidus, Antony and Caesar, along with the men of each, meet in Rome. Antony answers the grievances Caesar levels against him, and they put aside their differences. To maintain their friendship, Antony agrees to marry Caesar’s sister, Octavia. They then discuss how to deal with Pompey. When they have gone, Enobarbus, a close friend of Antony, describes CL’s beauties to Maccenas and Agrippa, and states his belief that Antony will never leave her.
II.3	At Caesar’s house, Antony says goodnight to Caesar and Octavia. A soothsayer advises him to return to Egypt, and, he is alone, Antony resolves to return.
II.4	On a street, Lepidus urges Mecenas and Agrippa to make sure Caesar and Antony follow him with their armies.
II.5	In her palace, CL learns that Antony has married Ocavia. She strikes the messenger.
II.6	Near Misena, where his ships are anchored, Pompey meets with the Triumvirs. He accepts their offer of Sicily and Sardinia in return for peace, and leads them off to feast on his galley. Enobarbus remains behind with Menas, one of Pompey’s men. Enobarbus believes Antony will leave Ocatvia for CL. His marriage to Octavia will thus destroy, not maintain, Antony’s relationship with Caesar.
II.7	On the galley, toasts are being drunk. Menas draws Pompey aside and asks him if he wants the Triumvirs killed. Pompey refuses to give the order, though he wishes it done. Lepidus is carried off drunk, and the others sink and drink. Caesar brings the main feast to an end, asking Antony to leave with him.
III.1	Ventidius, a Roman commander serving Antony, conquers the Parthians. He does not press home his advantage in case his success makes Antony envious.
III.2	At Caesar’s house in Rome, Agrippa and Enobarbus discuss the triumvirs’ peace with Pompey and mock Lepidus. Caesar and Lepidus enter with Antony and Octavia, who take their leave of them and depart for Athens.
III.3	In her palace, CL asks the messenger for information about Octavia’s appearance and manner.
III.4	Now arrived in Athens, Antony is angry when he learns that Caesar has both talked badly of him and attacked Pompey. Octavia sets out from Rome, to try to bring about reconciliation between the two men.
III.5	Later, Enobarbus and Eros, another of Antony’s men, also discuss Caesar’s successful attack on Pompey, and his subsequent imprisonment of Lepidus.
III.6	In Rome, Caesar describes Antony’s and CL’s enthronement in Alexandria with his friends, Mecenas and Agrippa. Octavia arrives, and Caesar tells her that Antony is now returned to Egypt and CL. Both sides are preparing to war.
III.7	At Antony’s camp near Actium, CL dismisses Enobarbus’s request that she be absent from battle. Antony enters with Camidius, his Lieutanat-General, and declares, against advice, that they will fight Caesar at sea.
III.8 &9	Nearby, Caesar gives orders that no land-battle takes place till the sea-battle is over. Antonym draws up his army.
III.10	Later, Enobarbus and Scarrus, another of QAntony’s friends, describe how, at the critical moment of the battle, CL’s ship fled, and Antony followed her. Cammidius and Scarrus decide ti switch sides.
III.11	Antonym enters with attendants, deeply ashamed of his flight. Charmian and Eros urge CL to go to cheer him up. She does so, and Antony puts on a braver face.
III.12	In his camp, Caesar rejects Antony’s ambassador’s request that Antony be allowed to live as a private man in Egypt or Athens. He sends Thidias to persuade CL to betray Antony.
III.13	At CL’s palace, Enobarbus tells the Queen that Antony not she, was a fault of fleeing. Antony receives Caesar’s response and, annoyed, leaves to write a massage challenging Caesar to a duel. Thidias arrives and tells CL that Caesar holds her free of blame, and wishes to be of service to her. Enobarbus, who left when Thidias was allowed to speak, returns with Antony, who orders Thidias whipped. Antony accuses CL of betraying him. Thidias is brought back in, and Antony sends him back to Caesar. CL insists on her innocence, and her love for Antony, and he, believing her, is satisfied. He looks forward for the next battle, and he and CL leave to enjoy a night of celebration. Enobarbus decides to leave Antony’s service.
IV.1	Caesar, in his camp, scorns Antony’s challeng, and orders a feast for the army.
IV.2	At CL’s palace, Antony bilds farewell to some of his friends and servants, making them cry.
IV.3	Nearby, Antony’s sentries hear the sound of music, which they think may be the God Hercules leaving Antony.
IV.4	Next morning, Eros and CL help Antony put his armour on. Antony leaves when his Captains and soldiers arrive.
IV.5	Shortly before battle, Antony learns from Eros that Enobarbus has gone over to Caesar. Antonym sends Enobarbus’s treasure after him.
IV.6	Caesar orders his Captains and armies to take the field. Enobarbus, regretting the he has left Antony, learns of the arrival of his treasure.
IV.7	Antony’s forces, conquering in the field, pursue Caesar’s forces.
IV.8	Antony returns in vistorius, praising his men. CL comes to meet him, and they leave to celebrate.
IV.9	Later in the evening at Caesar’s camp, Enorbabus, again full of regret for his betrayal of Antony, kills himself.
IV.10 &11	Next morning, Antony and Caesar give orders to their armies and navies. Caesar will not attack by land, unless forced to.
IV.12	Antony, from promontory, sees his navy defeated and decides that CL has betrayed him. He gives orders for his armies to disband. CL enters and, having been threatened and cursed by Antony, leaves
IV.13	In her palace, CL, frightened for her life, sett off to take refuge in her monumental tomb, ordering Mardian, her eunuch, that she has killed herself.
IV.14	Antony expresses his sense of loss to Eros. Mardian comes and tells him that CL died with Antony in her lips. Antony takes his armour off, and asks Eros to kill him. Eros takes his own life instead. Antony tries to follow suit, but only wounds himself seriously. Diomedes, CL’s attendants, comes to tell Antony that she is still alive. Antony orders his guard to carry him to her.
IV.15	CL and her attendants, fearing to go outside, draw Antony up and into the monument. Antony tells CL to seek safety with Caesar. CL grieves.
V.1	In his camp Caesar expresses regret at Antony’s death. A messenger from CL arrives to ask Caesar what he wishes the queen to do. Caesar, who wants CL included in triumphal procession in Rome, sends Procleuis to promise CL whatever is necessary to prevent her killing herself.
V.2	In her monument, CL receives Procleuis. As they are talking, Roman soldiers seize control to the monument. Procleuis stops CL stabbing herself, and puts her under guard. Dolabela comes and tell Procleuis that wants to see him, and he leaves. Dolabela tells CL that Caesar intends to bring her to Rome. Caesar enters and promises that she will be well treated if she complies with his wishes. She gives him a list of treasury’s content, which her treasurer, Seleucus, refuses to swear to, admitting to Caesar that the Queen has concealed at least half of what she has. Caesar refuses any money, and declares that again he is CL’s friend, and leaves. CL, not trusting Caesar’s promise, has Charmian send for a rural fellow, and when she returns, sends her Iras, another maid, to fetch her most regal dress. The rustic clown arrives, carrying a basket of figs which conceal asps. Charmian and Iras help CL dress as a queen. She kisses her attendants good bye. Iras dies, and CL clutches an asp to her own breast, a second to her arm. She dies. The guard comes in, and Charmian, having also led an asp to herself, dies. Caesar returns, to see his plan foiled. He orders that CL be buried next to Antony, and that a pair be given a noble funeral.

Language and Gender

To different degrees, gender influence someone on their language use. In fact, linguistic forms used by men and women contrast-to some degrees-in all spech communities. Gender differences in society is just one aspect of more pervasive linguistic differences in the society reflecting social status or power. In some communities, there is a shared language between men and women, but some features are only used by women. It is another word to say that some forms of language are more women-exclusive, while some men-exclusive. Generally, It is in that men's forms are restricted to casual context to be considered macho or coarse, while women tend to use more standard language. To explain why women tend to use more standard language, some explanations can be given. They are as follows:

1. social status expalanation: women are more concious-status than men, they are more aware of the way that speech signals reflect different class in society.

2. women's role as guardian of society: the society tends expect the women to have better language behavior than men. It is the fact that little boy have more freedom to do a mistake, while little girls are usually corrected soon after their mistake.

3. Subordinate groups must be polite: It is common to say that ones from subordinate must be more polite. And it is women in subordinate position in society.

Now, we turn the question into why men tend to use non-standard language or vernacular language. One possible explanations is that vernacular language express machoism. Men tend to use it by the fact that vernacluar language carry macho connotations of masculinity and tougness. The inverse of the claim then say that standard language is associated with female values and femininity . It's just scratch, right? Give your opinion!