Antonys Sword, his delight and his destruction A discussion of Shakespe bes Antony and Cleopatra         In Shakespeargons Ro adult male tragedy Antony and Cleopatra, we are told the invention of two passionate and power-hungry sleep withrs. Both are characters that possess a divinity- worldly c oncernage status. Antony is often associated with Mars (1.1.4; 2.2.6; 2.5.117), the god of fight, and, Cleopatra with Venus (2.2.210), the goddess of love, or damp said, the goddess of partiality and passion. Through knocked out(p) the good receive, Antony finds himself torn amongst a desire to be with Cleopatra and an equally backbreaking desire to render and maintain power in Rome. The Roman leader becomes a virtual pris one(a)r of lechery and has to choose betwixt an pudding stone and love. However, the goddess of love overpowers the god of war. Antony himself says: My stain made weak by my affection (3.11.66). This statement establishes an primary(prenomi nal) issue of the mould: the struggle amid passion (love) and power (war). It is obvious that Antonys leaf blade, a participate of both his longing and being a coarse warrior, leads the play to its climax.         Antony is a clear example of a ruler who has impel away a kingdom for lust. He thrusts himself upon his sword, a body-build of his manhood. From the moment they met, Antony was enchanted by Cleopatras extraordinary ocular aspect: when she first base met Mark Antony, he pursed up his heart upon the river Cydmus (2.2.197-198). He submits himself dangerously to the seductive Egyptian top executive and, the latter is fully aware of her sexual dominance. She makes this clear to Charmian, her servant, by boasting or so the way she had captured Antony:                 That time? O times!                 I laughed him out of patience, and that night                 I laughed him into patience, and contigu! ous mourn,                 Ere the ninth hour, I intoxicated him to his bed,                 Then put my tires and mantles on him, whilst                 I wore his sword Philippan                                 (2.5.18-23) It is manifest that the charms and sexual delights of the cunning Cleopatra adhere blinded Antony completely.         Antonys change magnitude adoration of Cleopatra too affects the opinion of his subjects. From the beginning of the play, his fellow sol break downrs usher their undisguised scorn for the passionate relationship amidst their customary and his Egyptian Monarch. Philo, in particular, is worried about this dotage (1.1.1) his usual has for Cleopatra. He believes that Antonys passion oerflowes the measure (1.1.2.). Philo fears that Egypts mysterious lust and passion has turned his fierce warrior into a common man addicted to love. He worries that the tripple pillar of the reality (1.1.12) has been transformed into a strumpets fool (1.1.13). The first act indicates that Antonys interests are notwithstanding foc use of goods and servicesd on his gypsys lust (1.1.9). So, in this part of the play, Antonys sword is use as an instrument of sexual joyfulness. It is his utensil to let Cleopatra die (1.2.145). In simple words this mode that Antonys sword, a symbol of his manhood, enables Cleopatra to experience sexual climaxes.         In Act III, the pleasure loving Antony is transformed into a bitter, get the better of warrior. He blames Cleopatra for his defeat: O, wither has thou led me, Egypt? (3.11.51). You did chicane how more you were my conqueror, and that my sword, made weak by my affection (3.11.65-66). Here, Antony admits that his passions for Egypt have weakened his position as a fierce warrior. The lecherous moments between him a nd his Egyptian Conqueror have resulted into a great ! detriment: his loss of power. But, since Cleopatra k forthwiths how to twist Antony around her little finger, he submits erstwhile again to her love. He buries his sad thoughts and thinks only of what he has gained:                 Fall non a tear, I say; one of them order                 And that is won and lost. Give me a kiss.
                                                (3.11.69) Now Antony is set(p) to defeat Octavius Caesar, who kept his sword een like a soc ial dancer (3.11.35), in the next battle. Antony believes that he is a greater warrior than Caesar, and, therefore, challenges him: sword against sword (3.13.27). In this scene, Antony tries to prove that his sword is not only a symbol of his manhood, but also a sign of being a courageous fighter.         Unfortunately, Antony withdraws from the sea battle when Cleopatra has fled. This is an feature of his dependence on the Egyptian Queen, and, it is this dependency that leads him to lose the terminal battle. It is therefore not strange that Antony blames Cleopatra in one slip again for his great loss: She has robbed me of my sword (4.14.23). It is obvious that Cleopatra not only possesses his body, but also his soul. The god of war is straightway forced to confront his tragic situation. The only way to effective his face is to fall on his face (4.14.104), his ultimate motion to prove that he is a courageous warrior. The sword that was once his symbol of del ight turns out to be his destruction.     !     Noce Te Ipsum, go to bed Thyself, the wise Socrates has proclaimed. In Antony and Cleopatra we get acquainted with Antony, a man who does not know how to live by this by this important rule of life. He is trapped in the pshychomachia, the war between passion and priming coat. In this play, passion is definitely the victor of the battle. Antony proves to be a real Elizabethan man, a passionate buffer. harmonise to Shakespeare, however, his role as passionate lover cannot be combine with that of an ideal ruler. An ideal ruler is a passionless man, so, reason should prevail. Therefore, one may conclude that in Shakespeares opinion, Antony did not use his sword properly and that is why he became a victim of his own fault. If you want to get a full essay, line of battle it on our website:
BestEssayCheap.comIf you want to get a full essay, visit our page:
cheap essay
