Antony and Cleopatra: Heroic Act, Post Heroic Age
Q: Describe Antony and Cleopatra as a ballsy act accounting in a post-heroic age. Antony and Cleopatra is a adverse comedy accounting by William Shakespeare; embodying the basal notions of best of the Jacobean tragedies that occurred during the administration of King James the aboriginal of England. The adventure follows a actual apery of the contest that occurred during the administration of the Egyptian and Roman Ascendancy beneath the ability of Cleopatra of Alexandria and the Triumvirs i. e. Ceaser, Antony and Lepidus of Athens.
Antony, one of the capital Triumvirs of Rome, avalanche in adulation with the Queen of Egypt, Cleopatra, active up an activity seeped in political agitation and war. Antony, broken afar amid his duties to his commonwealth and his adulation for Cleopatra, finds himself in the bosom of the adverse afterthought of abounding of Shakespeare’s arch macho characters like Othello, Kind Lear, and Macbeth etc. A man, destined appear an alarming end due to one appropriate drawback, one baleful flaw. To acquire the affair of “Heroism” and “Post Heroism” one charge go aback to the agent of the “Tragic Play”.
The abstraction of tragedy comes from the Aristotelian academy of thought. Tragedy as an art form, from the age-old works of Western comedy writes like Homer and Sophocles; derives itself from a agnostic mind, allotment to accouter the problems of the assured in heroic, noble, aloof individuals. It is a amount of ‘masculinity’, blue-blooded warriors, angry for a distinct minded, abstract socio political motive, bare of the scepticism, affection and free ideologies that abide today.
It is additionally associated with myth, cede and rituals, adhering to the rules and absolute area of the alone on a higher, abstruse platform. Adherence to a religious, or god like following. Examples of puritan account of tragedy are: Antigone, Agamemnon, Oedipus etc. Antony and Cleopatra was accounting in the backward 16th aeon AD, during the administration of King James the first, authoritative it a generalised Jacobean drama. Yet, the comedy is awfully altered than any of its contemporaries, be it from addition comedy writes of the time, as able-bodied as Shakespeare’s own tragedies.
It is altered from its aeon by demography characters from a historical, ballsy appearance of the apple and giving it the characteristics of an Aristotelian tragedy, not assuming the situations in their corresponding time periods. Best of the addition Jacobean dramas chase alone the already absolute angle of socio political norms in their appropriate reality. It surpasses the law of time and amplitude continuum as scenes animation aback and alternating amid altered places (Alexandria, Pompey, and Athens) and altered time spheres not apprehension to the Aristotelian abstraction of drama.
Also, it is alone in Antony and Cleopatra, does Shakespeare acquire characters that beset an credo themselves, defining their identity. Cleopatra, as a character, embodies an addition idea, the abstraction of the “other”’ the exotic, sexual, over feminised appearance of the Orient. Antony, the abstraction of the adverse hero, the collapsed lover. Octavius Ceaser, the abstraction of duty, power, discipline. The bald actuality that, the political ideologies of the ancestral addition is cogent in the play, aback strategies and diplomacy go above the Eurocentric angle of assignment and adjustment is in itself a marvel.
The challenges met by the masculine, western adjustment of the apple goes above borders to the alien orient, disqualified by a able woman who dominates the absolute comedy ; makes abounding critics amusement Antony and Cleopatra as a transgressive comedy of the time. Yet, it cannot fit the authentic abstraction of the classical tragedy either. It lacks the all-powerful ascendancy of Aristotelian tragedy, not accusatory itself too abundant to predestination. It is bare of rituals and blue-blooded sacrifices etc. The sacrifices made, for example, by Antony and Cleopatra was not for abstinent duties to anyone else, but fuelled by their affection for one another.
Cleopatra, as a character, is cardinal to the play. She is either actuality announced of, or to in the adventure and holds the best ability amidst any of the addition characters. A woman, actuality the centre of chat and drive, is not befitting to a classical tragedy. Hence, Antony and Cleopatra lies about in between, authoritative abounding critics amend the abstraction of the Jacobean ball itself as able-bodied as comparing and allegory the comedy with its aeon to ability a college compassionate of why it was accounting as such.
From this aberration is aloft the catechism of the aberration in era and time with affiliation to the angle of honour, boldness and column heroism. Boldness is declared as a blazon of war; the activity of which is based on a distinct man’s “heroic” socio-political motives. Hence, boldness in a arcane sense, translates to a ball based aloft the wanting’s of one or few men. The Iliad, by Homer is an accomplished archetype of boldness in affecting form. The war adjoin troy, instigated by claimed ambitions of a few men. Achilles’s appetite of “glory” (another ballsy notion), Menelaus’s animus adjoin Paris, and Agamemnon’s adventure for power.
Heroism is begin to be the bedrock abject of about all the tragedies of the age-old western world. Homeric and Aristotelian tragedies abject their motives aloft the easily of a distinct person’s claimed agenda. A war is caused, bags is bodies are beatific to their deaths over decades, to win a activity for one man’s honour. Based on allegory and sacrifice, adhering to ability of age-old civilisations. Antony and Cleopatra, based on the history of civilisations, dating aback to about 69 BC, accounting by William Shakespeare built-in during the renaissance, Elizabethean age dating to 14th aeon AD, provides a circuitous apparatus of thinking.
C. L. Barber quotes: “There was a abatement in honour amidst elite due to professionalism of warfare. “Heroism” no best existed by the end of the 17th century. “ Thus comes the catechism of why a comedy such as Antony and Cleopatra, abounding of nobility, honour and the angle of “Heroism” was accounting during a post-heroic age. The content, befitting to an Aristotelian drama, is accounting in a subversive, moralistic appearance provided by the assured abolition of the aspect to which it is formed.
The appearance of Antony is declared as an free figure, with claimed drive and passions. Octavius Ceaser on the addition hand, performs his duties appear his ascendancy after abashing himself in claimed dilemmas. And the appearance of Cleopatra, of course, renders to the capital problem. That is; Cleopatra encompasses the political and claimed problem, Antony the collapsed lover circuitous in the problem, and Ceaser, and the authorial amount who in the end, stamps his ethics as the champ and survivor of the situation.
Ironically, it is the actual abject of age-old boldness that becomes Antony’s baleful flaw. By the additional bisected of the drama, Antony is trapped aural his own ego, whilst Ceaser dissuades his honour. In Act 3, arena 12, Ceaser alike foretells Antony’s self-destruction, in a chat with Thidias aloft the account of Antony constant to Egypt exhausted from his duties; “Observe how Antony becomes his flaw, And what thou think’st his actual activity speaks, In every ability that moves. Shakespeare, reveals the activity of the comedy from Ceasers perspective; the angle of the column ballsy age of assignment and noncombatant ascendancy adjoin that of claimed celebrity and ambition. This biasness shows the ambience with which the comedy was written; from a Eurocentric, adult objectivity. Right afore Ceaser and Antony go to war with their corresponding armed forces, Antony challenges Ceaser to a one on one, swordfight to actuate their fates. This “heroic” action is again verturned with Ceaser abnegation to acquire the challenge. In Act 4, arena 1, Ceaser seems to beam off his Antony’s proposal. “He calls me boy, and chides as he had ability to exhausted me out of Egypt. My agent He hath aerated with rods; dares me to claimed combat, Ceaser to Antony. I acquire abounding addition means to die, meanwhile beam at his challenge. ” Ironically, the Antony seems to be a ballsy appearance apprenticed by his “honour”, his “virtus”, yet it is this appropriate itself, that Shakespeare has askance into a baleful flaw.
The appearance of Antony is destroyed because Shakespeare makes his claimed heroism, his alone drawback. Odd, as claimed celebrity and passion, two man bifold ship, etc. , was admired in the ballsy date of Aristotelian drama, in which historically, the comedy is located. Perhaps, constant by the aphorism of King James the first, Shakespeare bare to attach to amusing norms, by exoticising the east, and by accusatory Antony’s boldness to afterlife constant by the Jacobean age which was bare of such fantasy.
By demography the accountable of Antony and Cleopatra, Shakespeare acutely reverses the accomplished abstraction of the myth, and transforms it to amuse and babysitter the masses of 14th aeon England. Antony and Cleopatra appropriately becomes one of the best absorbing pieces of Shakespeare as able-bodied as Jacobean drama, by abuse itself absolutely from a heroic, materialistic, apple to the aurora of the new age of political stability, capitalism and sensibility.
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