Inside Shakespeare’s mind - Antony and Cleopatra

More than one scholar has questioned Shakespeare’s accuracy in European History especially in Antony and Cleopatra over the numerous Egyptian and Roman characters that dot this tragedy. One must understand that when the playwright chose to right a classic such as this drama, he chose not to stand rigidly by historical authenticity.

He was not concerned with the shackles of time; all what he had in his mind was a plot from history that he was going to write to suit his way of looking at it.

Was he right or was he wrong?

Antony and Cleopatra is a very penetrating psychological, historical drama with the whole of Roman allegory providing a sort of apotheosis.

No one could deny its many complications that gave the impetus to his contemporaries to ridicule his knowledge.

Some of them were known as the ‘University wits’ and there were many such as George Chapman, Jonson, Dekker, John Morsten, Thomas Heywood, Thomas Middleton, Cyril Tourne, John Webster, John Flether, etc. Most of whom jeered his works until they were hard-hit on their writing as Shakespeare over-ran them.

They were reduced to shame and humiliation while to Shakespeare time and space matters little.

His quoting of history by large, was mostly accurate but not in all plays.

He had to be cautious especially in Antony and Cleopatra as so many royals down the line are quoted, descending from Emperor Julius Caesar.

Shakespeare pick on Antony and hoist him upon a pedestal making the tragedy magnificent. He is mourned as non other man had been in the world’s drama. Antony who betrayed his people for the love of a queen, immortalized by Shakespeare at his death for no reason other than making him a hero.

Cleopatra – O’ sun, Burn the great sphere thus (Antony borne by the Guard) mov’st in Darkling stand.

The varying shore o’ th’ world. Antony; Antony; Help, Charmain; help Iras help. Help friends – below; Let’s draw him hither.

Antony – Peace; Not Ceaser’s valour hath triumph’d on itself.

C. - So it should be, that none but Antony should conquer Antony; but woe ‘tis so.

A. - I am dying, Egypt dying. Only I here importune death a while until. Of many thousand kisses the poor last I lay upon thy lips.

C. - Dear my Lord, pardon I dare not. Lest’ I be taken.

Not th’ imperious show of the full-fortune’d Ceasar ever shall Be brooch’d with me.

If knife, drugs, serpents, have. Edge, sting conclusions, shall acquire no honour.

Demurring upon me.

But come, come Antony. Help me my women. We must draw thee upon. Assist good friends.

A. - O, quick, or I am gone...............(still later)

C. - Noblest of men, woo’t die? Hast thou no care of me? Shall I abide in this dull world, which in thy absence is no better than a sty. O, see me women (Antony dies)

Chapter IV, Sc. XV

At this point, Shakespeare moves into make Antony a coward by his act and Cleopatra woefully helpless, pleading with the dying Antony. What was in Shakespeare’s mind to let the Gurad carry the dying Antony instead of finishing him off and perhaps keep an anxious Cleopatra waiting for him.

By delaying with time factor and beating Cleopatra at her own game of trying to kill herself, Ceasar could have dragged her across the streets to shame and humiliate her as he had planned.

He averted this opportunity to climax their love and beat Caesar at his own game.

Possible but not appropriate:

As Cleopatra gets ready to die, she was not aware that earlier Antony had fallen on his sword willfully to die but was mortally wounded when he was carried to Cleopatra in her mausoleum. She orders the asp to be brought to her royal chamber. She was going to die as a queen.

Cleopatra – Give me my robe, put on my crown; I have immortal longings in me. Now no more.

The juice of Egypt’s grapes shall moist this lip. Yare, yare, good Iras; quick me. Methinks I hear Antony call I see him rouse himself, to praise my noble act.

I hear him mock. The luck of Caesar which the gods give men to excuse their after wrath. Husband, I come. Now to that name my courage prove my title. I am fire and air; my other elements I give to baser life. So, have you done. Come then and take the last warmth of my lips. Farewell kind Charmaine. Iras, long farewell.

(kisses them as they fall and die)

After her final goodbys to them, Cleopatra applies the asp to her body, first to the breast and then to the rest of herself and dies. However, in the final scene, Shakespeare delays Charmain’s death long enough for her to reprimand a guard as comes face to face with her;

Guard – What work is here, Charmain, is this well done?

Charmaine – It is well done and fitting for a princess, descended of so many royal kings. Ah’ soldier;....... Act. V Sc. 11

Thereafter, Ceasar makes a very emotional oration though unlikely of him.

‘O noble weakness; If they had swallowed poison ‘twould appear by external swelling but she looks like asleep. As she would to catch another Antony in her strong toil of grace...........

She hath pursued conclusions infinite of easy ways to die. Take up her bed and bear her women from the monument.

She shall be buried by her Antony. No grave upon the earth shall clip in it, a pair so famous.

High events as these strike those that make them; and their story is. No less in pity than his glory which brought them to be lamented.

Our army shall in solemn show attend this funeral and then to Rome. Come, Dolabella, see high order in this great solemnity’

(Exeunt)

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