Exploring Duality in Antony and Cleopatra
By Liz Armstrong
One of the most obvious themes of Shakespeare’s Antony and Cleopatra is that of the battle of reason versus emotion, something the Roman leader Antony grapples with as he falls deeper into his all-consuming love for Cleopatra. But there are a plethora of examples of duality threaded throughout the play, especially as Shakespeare’s flair for the dramatics intertwines with historical references.
Shakespeare vs Plutarch
In 1579, Sir Thomas North published the English translation of Plutarch’s The Lives of Noble Grecians and Romans. Shakespeare used this as his primary source, but zoomed in on Antony and Cleopatra’s relationship. Plutarch and Shakespeare had something in common: focusing not only on the politics but the complexities and personalities of the characters. The philosopher and playwright both approached history as a storyteller would––comprehensively.
But there are differences—and significant ones at that. One example is in Plutarch’s work, he lays down the facts and outlines Antony’s marriage to Octavia that lasts years and includes the children they have together. In Shakespeare’s play, he glosses over the marriage, making the reference to the “alliance” short-lived.
History vs Tragedy
Compared to Julius Caesar, Antony and Cleopatra dives deeper than the historical narrative, exploring family matters and reputations. This results in a play that is difficult to categorize in just one of the following genres: history, comedy, tragedy, or even Liebestod (a story about lovers dying for love). Folger Shakespeare Library suggests that it challenges “traditional notions of dramatic tragedy” with its very structure of “its profusion of short scenes and elimination of staged battles.” Folger Shakespeare Library continues:
“The arguments in Julius Caesar center on questions of political philosophy and civic duty, but in Antony and Cleopatra these issues are complicated by attention to spheres of erotic experience and family life that we now think of as private.”
In reference to its classification of a history, Folger Shakespeare Library notes that “Shakespeare seems peculiarly aware of the extent to which historical narratives are shaped by myths and legends.” While Plutarch often worked to separate myth and history, Shakespeare offers “mythic invocation alongside a chastening skepticism.”
Rome vs Egypt
Perhaps the most glaring contrast is that of Rome and Egypt’s culture. Folger Shakespeare Library describes the differences: “The play’s Rome, on the one hand, is a predominantly male social order encouraging individual discipline, valor, and devotion to the state. Egypt, on the other hand, is a looser society valuing sensual and emotional pleasure.”
Antony vs Cleopatra
Antony and Cleopatra reflect their culture through their characteristics. The irony cannot be overlooked, that while Antony’s complexity and reason are at odds with Cleopatra’s sensuality and charisma, their love makes them dependent on each other.
But there is also an intriguing level of irony in their very beings.
Antony, on one hand, is a political leader, and according to history, wielded immense power. Yet this power did not give him autonomy. Folger Shakespeare Library suggests that Antony has a “melancholic recognition that he does not own or control his existence.”
Torn between loyalty to Rome and his love for Cleopatra, Antony compares himself to a shape in the clouds, feeling “he cannot hold this visible shape.” Although he was known for commanding armies, the responsibility the power brought with his position ironically chained him to a life serving Rome.
The irony of Cleopatra is that although she was the Queen of Egypt, she was in fact, Greek. Although she was born in Egypt, she was the last monarch of the Ptolemaic dynasty. Unlike her Macedonian predecessors, however, she embraced Egyptian culture.
Lastly, Antony and Cleopatra’s fates illustrate a tragic dichotomy––that the passionate love they held for each other is what ultimately destroys them.
Antony and Cleopatra explores both the political clashes of Rome and Egypt and the internal struggles of lovers, creating a timeless message of the human experience—the battle between reason and duty versus desire and emotion.
This rarely-produced play is directed by Carolyn Howarth, and features returning actor Geoffrey Kent as Antony and Festival new-comer Kathryn Tkel as Cleopatra.
For tickets or more information, visit bard.org.
