Antony and Cleopatra

by William Shakespeare

  ACT 2 SCENE 2

  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.

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  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.

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  Lepidus, Agrippa, and Maecenas prepare to fight Pompey.

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  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.

  ACT 2 SCENE 6

  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.

  ACT 2 SCENE 7

  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.”

  ACT 3 SCENE 1

  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.

  ACT 3 SCENE 2

  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.

  ACT 3 SCENE 3

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

  ACT 3 SCENE 4

  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.

  ACT 3 SCENE 5

  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.

  ACT 3 SCENE 6

  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.

  ACT 3 SCENE 7

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bsp; Enobarbus tries to persuade Cleopatra that she should not accompany Antony into battle against Caesar. He explains that her presence will “take from” Antony’s heart and brain and “puzzle” him when he should be concentrating on war. Highlighting the tension between her roles as ruler and woman, Cleopatra insists that she will be there as the “president” of her kingdom and therefore will “Appear there for a man.” Antony arrives with reports of Caesar’s military successes. Despite advice from Canidius and Enobarbus, and a desperate plea by one of Antony’s soldiers, Antony and Cleopatra decide to fight Caesar at sea. They leave with Enobarbus, and Canidius comments bitterly that Antony’s soldiers are now “women’s men.”

  ACT 3 SCENE 8

  Caesar orders that his army shall not attack on land until the sea battle is finished.

  ACT 3 SCENE 9

  Antony places his squadrons on the hillside so they may view the sea battle.

  ACT 3 SCENE 10

  The noise of the sea battle is heard as Enobarbus enters, announcing that the Egyptian flagship has turned and fled, followed by all sixty Egyptian ships. Scarrus reports that this occurred just as they had victory in sight, and that, seeing Cleopatra flee, Antony followed, allowing Caesar victory. He blames Cleopatra, emphasizing her sexual power over Antony in unflattering terms as he describes her as a “ribaudred nag” and “a cow in June” and Antony as a “doting mallard.” This animal imagery suggests that Antony and Cleopatra have let their personal, sexual instincts overcome their reason and responsibilities. Canidius declares his intention to defect to Caesar, but Enobarbus decides to remain with Antony although it goes against his reason.

  ACT 3 SCENE 11

  Ashamed, Antony urges his followers to take his remaining gold and defect to Caesar. They refuse, but he urges “Let that be left / Which leaves itself” and his sense of having somehow “left” his true self shows his awareness of the divisions and contradictions in his identity. Cleopatra is led in by her attendants, who urge her to “comfort” Antony. Cleopatra begs his forgiveness for her “fearful sails” and claims that she did not know that he would follow, but Antony argues that she knew his heart was tied to her “rudder” “by th’strings.” He says that his sword was “made weak” by his “affection” for her, an acknowledgment of his emasculation. Seeing how upset Cleopatra is, however, he forgives her and asks if his messenger has returned.

  ACT 3 SCENE 12

  Dolabella comments to Caesar that Antony’s choice of messenger shows “he is plucked.” The Schoolmaster/Ambassador outlines Antony’s request that he might be allowed to live in Egypt, or if not, then as a “private man in Athens.” Cleopatra sends a message that she “submits” to Caesar’s might, and asks for the crown of Egypt. Caesar refuses Antony’s request and says that Cleopatra’s will only be granted if she either banishes or kills Antony. After the Ambassador leaves, he sends Thidias to “win Cleopatra” from Antony, relying on what he sees as her female weaknesses, as “Women are not / In their best fortunes strong.”

  ACT 3 SCENE 13

  Lines 1–42: Enobarbus reassures Cleopatra that it was not her fault that Antony followed her, arguing that “itch of his affection should not then / Have nicked his captainship,” emphasizing the tensions between personal emotions and public duties. Antony arrives, discussing Caesar’s response. He sends the Ambassador back with an offer to meet Caesar in single combat. In the first of several asides in this scene, showing his growing distance from Antony, Enobarbus observes that Antony’s judgment has decreased with his fortunes.

  Lines 43–233: In Antony’s absence, Caesar’s messenger suggests that Cleopatra “embraced” Antony out of fear rather than love. Cleopatra agrees with this and suggests her willingness to place herself in Caesar’s power, delivering flattering messages. As Thidias kisses her hand, however, Antony interrupts in a jealous rage, ordering that Thidias be whipped. He declares “I am / Antony yet,” in strong contrast to his confused sense of self in Act 3 Scene 11. Then he turns on Cleopatra. He insults her as a “boggler” and compares her to Octavia, “a gem of women,” ironically forgetting that this allegiance was born out of dire political necessity. Cleopatra manages to reassure him of her loyalty and fidelity. Antony forgives her, declaring that they will have a feast. Alone, Enobarbus decides that Antony has lost all reason and that he cannot stay loyal to his master.

  ACT 4 SCENE 1

  Though angry at Antony’s insults and his treatment of Thidias, Caesar merely laughs at Antony’s challenge. He prepares for a final battle.

  ACT 4 SCENE 2

  Antony receives Caesar’s refusal of single combat and declares that he will fight Caesar “By sea and land,” emphasizing that this is a matter of honor. He then morbidly bids farewell to his followers and Enobarbus chastises him for making them weep, saying “Transform us not to women,” again equating women with weakness. Antony rallies and declares that they will be victorious.

  ACT 4 SCENE 3

  Antony’s soldiers hear strange music and believe that it is the god Hercules abandoning their leader.

  ACT 4 SCENE 4

  This scene contrasts impending conflict with a gentle domesticity between Antony and Cleopatra, as she helps him to put on his armor. He leaves, confident, and giving her a “soldier’s kiss,” but her uncertainty as to the outcome becomes clear once he has gone.

  ACT 4 SCENE 5

  A soldier informs Antony that Enobarbus has defected to Caesar, but has left his “chests and treasure” behind. Antony does not blame Enobarbus, recognizing that his own declining “fortunes have / Corrupted honest men.” He magnanimously gives instructions that Enobarbus’ treasure is to be sent after him.

  ACT 4 SCENE 6

  Caesar orders that Antony is to be taken alive and that those who have defected are to be placed in the front of the attack so that Antony “may seem to spend his fury / Upon himself,” an image that reinforces the sense of Antony’s inner conflict. A soldier gives Enobarbus his treasure, observing that Antony “Continues still a Jove.” Overcome with shame, Enobarbus decides that he would rather die than fight against Antony.

  ACT 4 SCENE 7

  Caesar’s soldiers retreat, pursued by Antony and Scarrus. Scarrus refers to his “brave emperor,” restoring Antony to his previous reputation. Eros brings the news that Caesar’s armies are beaten and that victory is in sight.

  ACT 4 SCENE 8

  Antony praises his men, promising them victory the next day. Cleopatra arrives and he greets her lovingly, presenting Scarrus to her and asking her to commend him for his bravery. Cleopatra promises Scarrus a golden suit of armor. She and Antony go to parade in triumph through the streets of Alexandria.

  ACT 4 SCENE 9

  Two of Caesar’s sentries hear a noise and withdraw to watch. Enobarbus, in shame, begs to be allowed to die. With a cry of “O Antony!” he collapses, and when the sentries try to rouse him, they find that he has died.

  ACT 4 SCENE 10

  Antony sees that Caesar’s troops are preparing to fight by sea.

  ACT 4 SCENE 11

  Caesar prepares for battle.

  ACT 4 SCENE 12

  Antony leaves to watch the sea battle. Alone, Scarrus criticizes the condition of the Egyptian fleet. He dwells on the fortune-tellers’ reluctance to comment on events and Antony’s once-more divided self, that is both “valiant and dejected,” has “hope and fear,” and “has and has not.” Antony returns with news that “All is lost”: the Egyptian fleet has surrendered. He blames Cleopatra entirely: she is a “Triple-turned whore” who has “sold” him to Caesar. When she arrives, he threatens to kill her.

  ACT 4 SCENE 13

  Cleopatra and her attendants flee to her monument and she sends Mardian the eunuch to tell Antony that she is dead. Again, we see her in a role akin to that of the director of a play, as she gives Mardian his lines and tells him how he must deliver them: “word it—prithee—piteously.”