William Shakespeare’s play, “Antony and Cleopatra”, was published in 1623. The title immediately reveals key details about the protagonists – Antony, a Roman triumvir, and Cleopatra, the renowned queen of Egypt. Additionally, the title suggests a central theme of duality, highlighting both the potential for conflict and the possibility of a harmonious partnership. After triumphing over Caesar in a previous terrestrial battle, Antony suffers a naval defeat and places blame on Cleopatra.
Surprisingly, Antony emerges victorious in the climactic battle in Act IV, defying the play’s dramatic structure and defying expectations of his impending death. Prior to this, Antony’s flight from battle in Act III and Cleopatra’s apparent betrayal had given the impression that all hope was lost for them. The opening scenes of Act IV only served to confirm and emphasize this sense of despair. In these scenes, Antony expresses his desperation and laments Cleopatra’s treachery, which causes him to lose his identity as a soldier. Shakespeare intricately explores the complete deconstruction of Mark Antony’s persona in this particular scene.
Antony, in a state of despair after losing a significant battle and feeling betrayed by the woman he loved and sacrificed everything for, encounters Eros. They discuss nature, a topic fitting for someone contemplating suicide. Antony compares his sense of self to a cloud that transforms as it moves across the sky. Just as the cloud can take on various forms, Antony feels like he has shifted from being a renowned conqueror to a fallen victim. He asks Eros if he is still visible and recognizable, despite his diminished appearance.
The text highlights Antony’s struggle to maintain his legendary status due to his unusual defeats in both love and battle. Additionally, Cleopatra is portrayed as the manipulative queen, with loyalty and betrayal being prominent themes throughout the play. Antony suspects that Cleopatra has conspired with Caesar, metaphorically comparing their relationship to a game of cards. This betrayal not only damages Antony politically but also emasculates him. The characters’ loyalty towards each other is constantly questioned through their quick betrayals, leading to the question of whether loyalty can truly endure. Finally, Antony discovers that Cleopatra has not betrayed him, only to be betrayed by her apparent suicide. Despite her claims of devotion, Cleopatra is never truly loyal to Antony.
Throughout the play, Cleopatra’s constant manipulation of Antony reveals her readiness to betray him whenever it is convenient for her, whether politically or emotionally. Eros, on the other hand, emerges as Antony’s loyal ally. In the beginning, Antony confides in Eros about his thoughts on dissolution and uses him as a naive audience. In his discussion of self-dissolution using the cloud metaphor, he points out Eros. However, Eros, being a devoted servant, would rather take his own life than harm Antony or witness his death.
Eros, by killing himself, contemplated his place in history: “by brave instruction got upon me a nobleness in record.” Additionally, Eros addresses Antony with great respect, calling him “my captain” and “my emperor.” In game 2, Cleopatra pretends to be dead. Mardian arrives with the false news that Cleopatra has committed suicide. She tells him that Cleopatra, who loved Antony, is dead and that her last words were “Antony! Most noble Antony!”
Cleopatra’s attempt to gauge Antony’s reaction to her faked death demonstrates immaturity. She should have recognized the potential for his suicide as a consequence, instead of dramatically proclaiming her death with his name on her lips. Antony, in his conversation with Eros about Cleopatra’s love and the battles fought in its name, employs the metaphor of a desert mirage, specifically likening his perception of his honor and Cleopatra to an optical illusion, akin to the false appearance caused by imagination. Additionally, he uses the term “pageant,” synonymous with spectacle or theatrical representation, highlighting Cleopatra’s prominent role in his perception. Yet, upon discovering the news of Cleopatra’s alleged suicide, Antony once again finds himself in darkness without the guiding presence of Cleopatra, referred to as his “torch.” Finally, time becomes another obstacle to their love.
Time plays a crucial role in this scenario. Cleopatra’s messengers arrive too late, after the news of his death has been sent, but before Antony actually dies, thus maximizing the tragic impact. It may seem unrealistic that Antony takes so long to die, as most people who commit suicide do not make prolonged speeches about it. However, in opera and Shakespeare’s dramas, this is often the case. Another aspect of time is highlighted when Antony states that “All length is torture”, indicating that life without Cleopatra is not worth living. He can only restore his Roman identity by physically destroying himself, as he becomes “A Roman by a Roman / Valiantly vanquished”. The ultimate outcome: SUICIDE
Cleopatra may be held responsible for Antony’s suicide—the only option he feels he has left. We might assume it is her fault… or was it simply a matter of destiny, where neither person can be blamed? Antony, betrayed by his lover and defeated in war against Caesar, contemplates deeply on the link between one’s character and their circumstances. As his fortune deteriorates, he believes his moral integrity follows suit from honorable to dishonorable. Even his final action betrays him.
Antony cannot bring himself to have his man kill him; instead, Eros kills himself. Antony, in desperation, tries to kill himself with his sword, but misses his target. Antony has chosen to commit suicide because he sees no other options. He is only accustomed to winning and has little understanding of defeat, both in battle and love. As a Roman, Antony has a strict perception of himself: he must either live as a victorious hero or not live at all. Without his military power or Cleopatra, Antony loses his sense of identity.
Instead of being defeated like Antony, he chooses to take his own life. In the end, he clings to the image of himself as an undefeated hero in order to accomplish this final task: “there is left us ourselves to end ourselves” (line 21). The staging of Eros and Antony’s suicides is drawn out by Shakespeare, but it is likely that the same impact would not have been achieved with fewer lines. In the Elizabethan era, suicide was seen as a noble act. Therefore, Antony’s decision to make and carry out his determination reveals a level of maturity that has been severely lacking and criticized in his character up until this point.
Antony calls upon Eros to kill him, fearing that he will be captured and disgraced by Caesar. Eros, hesitant at first, agrees after Antony pleads with him. Antony turns away as Eros takes his own life, bidding farewell to Antony. This scripted scene demonstrates Eros’s insistence on Antony not witnessing the act. Antony, blinded by his trust in Eros, is shocked by his sacrifice. Upon hearing of Cleopatra’s supposed suicide, Antony regrets his lack of trust and vows to join her in death. Antony’s expressions of love for Cleopatra throughout the play suggest his motivation to die alongside her. Believing Cleopatra to be dead, Antony promises to join her in the afterlife.
Antony’s temper can be calmed, and he can be brought back to thoughts of reconciliation. By taking his own life, Antony imagines that he will be with his love in the afterlife. He says, “I come my queen, stay for me, where souls do couch on flowers we’ll hand in hand, and with our sprightly port make the ghost gaze” (line 50). Both Cleopatra and Antony do not see their death as a permanent end. Therefore, the ending of this play is not tragic. Instead, death leads to a happier existence where they will be reunited in heaven and regain the sublime happiness they experienced on earth.
This consummation in death of their love drives the couple towards their ultimate triumph over Caesar and the Roman Empire. In conclusion, this scene showcases the repercussions of Antony’s lack of judgment and distrust. Thinking that he had lost everything, his courage as a soldier and his beloved Cleopatra, he made an impulsive decision to take his own life, only realizing later that he acted too hastily. Cleopatra, not fully grasping the anguish of her Roman lover, hastened his demise through her dramatic and manipulative acting.
However, Cleopatra exhibits a lesser susceptibility to psychological vulnerability and remains strongly driven by a narcissistic desire to survive. This is demonstrated in her ultimate betrayal of Antony, as she pretends to be dead in order to startle him into forgiving her, despite not betraying him in the final battle. However, she later realizes that she has underestimated Antony’s deteriorated state and that her actions have pushed him towards the self-destruction of suicide. The portrayal of Antony’s suicide is the most poignant moment in the play, partly due to the utter futility of his action.
