Antony and Cleopatra (23 page)

Lines 1–13:
In Egypt, two Roman soldiers, Demetrius and Philo, discuss Antony’s infatuation with Cleopatra. Philo comments that Antony used to be “like plated Mars,” one of many comparisons that are made between Antony and Cleopatra and Mars and Venus respectively, representing the opposing forces of war and love. Both Antony and Cleopatra struggle to find a balance between their public and private selves, their roles as leaders and their personal desires and weaknesses. Tension between opposites is a significant element of the play, between and within characters and the countries that they represent, as well as via more thematic contrasts (actions versus words, reason versus passion, male versus female). Philo argues that Antony has lost his respected status as a leader and a soldier because of his “dotage” over the “gipsy” Cleopatra, which has turned him from “The triple pillar of the world” to “a strumpet’s fool.” Philo’s invitation to “Behold and see” is directed potentially at the theater audience as well as Demetrius, establishing the recurrent presence of self-conscious theatricality in the play, through the dual audience and the element of “performance” that seems an essential part of Cleopatra’s character.

Lines 14–68:
As Cleopatra encourages Antony to say “how much” he loves her, a messenger arrives from Rome. Antony is uninterested, but Cleopatra mockingly suggests that it might be from his wife, “shrill-tongued Fulvia,” or from “scarce-bearded Caesar,” and that he should return to Rome as they wish. Antony refuses. His language reveals the sexual passion in his relationship with Cleopatra as he describes how he is “stirred” by her and inquires “What sport tonight?” He also emphasizes the multifaceted nature of her character when he comments that everything “becomes”
her: “to chide, to laugh, / To weep.” They leave, and Philo and Demetrius, whose comments frame this scene, deplore Antony’s attitude toward Caesar.

Lines 1–85:
Charmian asks for the Soothsayer in the fulsome language that reflects the Egyptian court. The Soothsayer, a character who draws attention to the importance of fate, reads the fortunes of Charmian and Iras. During a comic, bawdy exchange he reveals that both of their pasts are better than their futures and that they will both “outlive” Cleopatra. Cleopatra arrives, searching for Antony. She reveals that he was “disposed to mirth” but then was struck by “A Roman thought,” emphasizing the reason and discipline that characterize Rome. Antony arrives and, despite her previous desire to find him, Cleopatra decides that she will not “look upon him” and leaves in a manner characteristic of her capricious nature.

Lines 86–199:
Antony’s messenger describes the unsuccessful battle fought against Caesar by Fulvia and Antony’s brother, Lucius, and the advances of the Parthian army. Antony muses on his responsibility for these events and decides that he must break “These strong Egyptian fetters” or be lost in “dotage.” Another messenger brings news of Fulvia’s death and Antony says that although he “desired it,” he now wishes it were not so. Hearing Antony’s news, Enobarbus initially replies in a lighthearted way, but is typically direct and honest in his appraisal of events. Antony says that there must be “No more light answers” and confirms his intention to return to Rome.

Cleopatra sends Alexas to find Antony and “directs” her servant in what he is to say. Antony arrives and Cleopatra pretends to faint, claiming that she knows Antony will return to Fulvia, as she herself has “no power” to keep him. As he tries to interrupt, she complains
that she is “betrayed.” He finally tells her of Fulvia’s death and she accuses him of failing to grieve, saying that he will be equally unmoved by her own death. Reassuring Cleopatra that he does love her, Antony leaves for Rome.

The scene shifts to Rome. Caesar complains to Lepidus of Antony’s laziness and excess in Egypt, where he “fishes, drinks and wastes / The lamps of night in revel” at the cost of his responsibilities to Rome. Caesar feels that this behavior makes Antony less “manlike,” reinforcing the association of male and female with, respectively, Rome and Egypt, Europe and the exotic Orient. As Lepidus attempts an ineffectual defense of Antony, a messenger brings news that the rebels Pompey, Menecrates, and Menas are gaining strength at sea. Caesar wishes for the Antony of the past and recalls his feats of greatness and honor.

As Cleopatra pines for Antony, Alexas brings a message from him. Antony has sent a pearl, which he kissed before departing, promising to “mend the petty present” by piecing Cleopatra’s “opulent throne with kingdoms.” Alexas inquires why Cleopatra has assembled “twenty several messengers” and she declares her intention to send a letter to Antony every day, even if she has to “unpeople Egypt.” Charmian teases Cleopatra about her previous love for Julius Caesar and is threatened by the queen with “bloody teeth” if she continues to do so, showing a harsher side to her character.

The action moves back to Sicily, heightening the contrast between the two countries as, in place of the emotionally charged language of the Egyptians, we are presented with the more direct, military debate of Pompey, Menecrates, and Menas. Pompey is confident in his
popularity and military strength, claiming that his “powers are crescent.” Part of his confidence stems from the belief that Antony is still in Egypt, while Caesar “gets money” and “loses hearts,” and Lepidus, the third member of the ruling triumvirate, merely “flatters both.” Menas informs him that Caesar and Lepidus have gathered a “mighty strength,” but Pompey refuses to believe him, saying that they are still “looking for Antony.” Demonstrating the predominant Roman attitude that defines Cleopatra through her sexual behavior, he hopes that she keeps Antony away through combining “witchcraft,” “beauty,” and “lust.” Varrius brings the news of Antony’s return to Rome, and Pompey realizes that the triumvirate will put aside their differences to unite against him.

Lines 1–138:
Lepidus asks Enobarbus to tell Antony to use “soft and gentle speech” when dealing with Caesar, but Enobarbus says that Antony will “speak as loud as Mars” if he needs to. The theme is sustained throughout the scene, as Lepidus encourages Caesar and Antony to talk, and to touch “the sourest points with sweetest terms.” This emphasis on “speech,” as opposed to action, reinforces the application of reason associated with Rome, but it also raises issues of metatheater. Antony and Caesar remain polite as they discuss Caesar’s accusations, but their antagonism is evident. Caesar blames Antony for Fulvia and Lucius’s “wars upon” him and claims that he ignored his messengers, which Antony denies. Maecenas suggests that they forget their differences to deal with “the present need,” the threat of Pompey. This is backed up in plainer terms by Enobarbus, but he is silenced by Antony, causing him to comment “That truth should be silent,” acknowledging and reinforcing his characteristic honesty.

Lines 139–206:
Agrippa suggests that Antony marry Octavia, Caesar’s “sister by the mother’s side,” as a means of uniting the two men “in perpetual amity.” Octavia is established as the antithesis of Cleopatra, meeting Roman ideals of womanhood in her “virtue” and “general graces.” Antony agrees to the match.

Lines 207–287:
Maecenas and Agrippa question Enobarbus about Egypt and he narrates how Cleopatra first met Antony, evoking the sensuous richness and enchantment of Cleopatra, reinforcing images of her as a goddess, “O’er-picturing that Venus.” His description of the whole city watching Cleopatra enthroned on her barge, while Antony “i’th’market-place, did sit alone,” emphasizes the public nature of the relationship. Cleopatra’s careful staging of herself also demonstrates her awareness of theater and performance. Enobarbus says that Antony will never leave Cleopatra, dwelling on her contradictory and thus fascinating character, her “infinite variety.” Maecenas insists that Octavia has “beauty, wisdom,” and “modesty” which will “settle / The heart of Antony,” emphasizing the differences between the two women and their associated countries.

Antony warns Octavia that he will sometimes have to be away, but reassures her that, unlike in the past, he will behave “by th’rule.” After Octavia and Caesar have said goodnight, the Soothsayer approaches Antony and predicts that he will return to Egypt, saying that Caesar’s fortunes will rise higher than Antony’s and warning him that Caesar’s presence weakens his luck and strength. Antony dismisses him, but thinks that by “art or hap” the Soothsayer has spoken the truth and that he should return to Egypt, where his “pleasure lies.” His various changes of heart in the last few scenes show that his character is as complex and elusive as Cleopatra’s. He sends Ventidius on a military expedition to Parthia.

Lepidus, Agrippa, and Maecenas prepare to fight Pompey.

A Messenger brings Cleopatra news of Antony’s marriage and, enraged, she strikes him. He runs away and Charmian urges Cleopatra to be calmer. The Messenger reluctantly returns, and, despite
Cleopatra’s disbelief, repeats that Antony is married. Cleopatra collapses and is led away, sending Alexas to find out more.

The triumvirate and Pompey negotiate terms for peace, and the emphasis is again on reasoned speech, contrasting with Cleopatra’s impulsive violence in the previous scene. Pompey explains that he wants revenge for his father’s defeat by Julius Caesar, and Antony points out that although Pompey is strong at sea, the triumvirate will “o’er-count” him on land. Pompey explains that he was willing to accept their offer of Sicily and Sardinia, but that he was offended by Antony, who failed to acknowledge Pompey’s recent hospitality to his mother. Antony apologizes and Pompey accepts their terms and invites them all aboard his galley. Enobarbus and Menas discuss the treaty, and Menas criticizes Pompey. Enobarbus reveals Antony’s marriage to Octavia, but predicts that Antony will return to Cleopatra: “He will to his Egyptian dish again,” with the result that Octavia’s sighs will “blow the fire up in Caesar” and they will be enemies again.

The Romans come from their feast, with Antony describing various aspects of Egypt. Comedy is generated by Lepidus’ foolish inquiries about Egyptian crocodiles and Antony’s deliberately nonsensical responses, as well as the increasing intoxication of Lepidus as the others ply him with alcohol. The tensions beneath this light-heartedness are evident, however, particularly in the asides between Menas and Pompey. Menas suggests to Pompey that they kill the triumvirate while they are on board. Pompey argues that Menas should have done this without telling him: once he knows about the plot, his sense of honor will not allow him to participate in it. For Pompey, honor is a matter of appearance. He returns to the others. Disgusted, Menas vows to leave Pompey. The Romans join in drunken dance and song, but Caesar remains focused, claiming that their “graver business / Frowns at this levity.”

The first of many brief scenes that comprise the next two acts, as the action moves swiftly between sets of characters and locations, heightening tension.

Ventidius has been successful in his wars at Parthia on Antony’s behalf. Silius encourages him to fight on and gain more glory. Ventidius explains that if he did, he would lose favor with Antony for being overambitious.

As in Act 1 Scene 1, the action of this scene is framed by the observations of two Roman followers, updating us on current events and expressing opinions as well as creating another dual audience. Enobarbus and Agrippa reveal that Pompey has left, that Antony and Octavia are about to depart for Athens, and that Octavia and Caesar are sad at parting. They report that Lepidus has “the green sickness,” a comment on his worship and flattery of the two other triumvirs (and perhaps also to his hangover from the party). Caesar says farewell to Octavia, describing her as the “cement” of the relationship between himself and Antony. He warns Antony that she must not become “the ram to batter / The fortress of it.” Antony reassures him.

The frightened Messenger is questioned by Cleopatra. Diplomatically, he describes Octavia as unattractive, and Cleopatra, pleased, rewards him and apologizes for her previous harshness.

In Athens, Antony is angry with Caesar for waging “new wars gainst Pompey” in his absence and for speaking “scantly” of him in public. Octavia begs that he will not believe everything that he hears and struggles with divided loyalties between her husband and her brother. Antony grants her request to act as a go-between, but warns that he will continue to “raise the preparation of a war” against Caesar.

Eros reports that Pompey is dead, and that Caesar, accusing Lepidus of plotting with Pompey against him, has deposed and imprisoned him. Antony is furious and is ready for war with Caesar.

Lines 1–43:
In Rome, Caesar is angered that Antony has returned to Cleopatra. The decadence and theatricality of Egypt are contrasted unfavorably to the strict reserve of Rome, as Caesar recounts how Antony and Cleopatra “were publicly enthroned” “in chairs of gold” in the marketplace of Alexandria, a public declaration of their personal relationship and their power as leaders. Cleopatra, dressed as “the goddess Isis,” was made Queen of Egypt, Syria, Cyprus, and Lydia by Antony, who also entailed the monarchy on their illegitimate children. Caesar reports that Antony is demanding a share in the lands captured from Pompey, but that he has demanded a portion of Antony’s “conquered kingdoms” in return.

Lines 44–111:
Octavia arrives and Caesar deplores the insulting lack of ceremony that attends her. Realizing that Octavia is unaware of Antony’s whereabouts, he bluntly informs her that he is in Egypt and has “given his empire / Up to a whore.” Octavia is “wretched,” but Caesar and Maecenas assure her that she is loved and pitied by all of Rome.