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Britany Powell
Ms. Scott
ENG4U-01
December 1__th, 2013
A Character Analysis of Cleopatra to Illustrate her Independence of and Power Over Men
Over the centuries, the balance of men and women’s respective roles in society has
become increasingly equal. Although a woman’s current niche in society is almost
always undifferentiated from that of a man, this societal transformation towards total
acceptance of gender equality is in fact a relatively new concept. The significant
evolution of gender roles is a highly discussed topic in literature, as an arbitrary
collection of works across the ages will undoubtedly illustrate the transformation of the
female figure. With such a substantial selection of plays to his name, Shakespeare boasts
an immense study of societal changes, from which one might easily analyze the role of a
woman over time. A famous tragedy of his in particular, titled Antony and Cleopatra,
takes the audience back to first century Egypt, where a young queen successfully defied
fundamental female conventions. Made queen at just 18 years of age, Cleopatra must
rule in a time when men rightly hold authority over women and a woman is seen as
undeserving of any title whatsoever. Her epic reign is catalogued by Shakespeare’s
Antony and Cleopatra as one attributed to her steadfast resistance against the supremacy
of men. An analysis of Cleopatra’s character finds that her use of sexuality as leverage,
her pride, and her dramatic nature serve as principal contributors to her ultimate
resilience to male dominancy. She consistently seduces and manipulates men throughout
the play so as to simply live life on her own terms as well as to elucidate Shakespeare’s
intended standpoint on the politics of the time period.
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Dealing in love and in politics, Cleopatra resists the wills of men by owning her
femininity and using her sexuality to her advantage. Cleopatra has a keen eye for ways in
which she may gain authority in her position and she recognizes that the single trait
setting her apart from the men is her sexuality. Where men have the upper hand,
Cleopatra wields her femininity as a tool of control rather than a pretext for submission.
Act Two Scene II highlights a principal demonstration of her exclusive edge. Lepidus,
the meek third member of the triumvirate, hosts Caesar and Antony in Rome and acts as
the mediator in Caesar’s confrontational address of Antony’s dwindling allegiance to
Rome. They conclude that their problems might be resolved should Antony, recently
widowed, take the hand of Caesar’s beloved sister, Octavia. The noblemen exit, leaving
the servants to chatter liberally amongst themselves. Antony’s most loyal supporter,
named Enobarbus, describes the enchanting Egyptian figure, Queen Cleopatra,
chronicling the period that Antony recently spent basking in her magnetism. One of the
three in the room reckons Antony must cease his Egyptian preoccupation in order to
assure Caesar that he plans to honour his bond to Octavia as well as his duty to Rome. In
response, Enobarbus disagrees, declaring,
ENOBARBUS
Never. He will not.
Age cannot wither her, nor custom stale
Her infinite variety. Other women cloy
The appetites they feed, but she makes hungry
Where she most satisfies; for the vilest things
Become themselves in her, that the holy priests
Bless her when she is riggish (AC 2.2.245-250).
With Enorbarbus’ metaphors come direct revelations of Cleopatra’s potent sexuality.
He confidently foresees that Antony will never leave his Egyptian obsession. The air
with which Enobarbus proceeds to describe Cleopatra in a spiritual, animalistic manner
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implies that Antony might remain drawn to Egypt not solely because he loves Cleopatra
but because her seductiveness is impossible to draw away from. As the passage
illustrates, Cleopatra seems to have mastered her temptress ways. She is like a black
widow, devouring prey that guilelessly enters into her deceiving trap. In a parallel sense,
Cleopatra incited Antony’s tragic downfall by utilizing her femininity as leverage to
advance her motives ahead of the rest. Enobarbus effectively summarizes Cleopatra’s
principal means of manipulation and how it is particularly significant in her effective
disregard for male dominancy.
Further analysis of Cleopatra’s character suggests that she is equally intelligent, if not
more intelligent than her male counterparts. For that reason, she believes that her
participation in equal responsibilities is essential. The Queen of Egypt takes her role
seriously, and is too proud to forgo her duties. By addressing men in a bold manner
atypical of women in Shakespearean times, Cleopatra catches men looking foolish and is
thus able to capitalize on these consequential moments of temporary male weakness to
further her own desires. In Shakespeare’s opening scene, the Queen sets her forward tone
by demanding that Antony express his love for her. Antony’s friend, Philo, looks on at
the couple, remarking that Cleopatra has already clouded Antony’s judgment as Roman
triumvir. Cleopatra demands, “If it be love indeed, tell me how much… I’ll set a bourn
how far to be beloved”(AC 1.1.14,16). Antony remains coolheaded in the face of his
mistress’s frank request by casually dismissing her logic; however, he is discretely taken
aback by the manner with which she addresses him since her speech resembles that of a
Roman soldier: direct and powerful. Neither women of Cleopatra’s era nor women of
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Shakespearean times would be permitted to speak in such a way to a man. Cleopatra,
however, violates societal normality because she regards herself as a competent
competitor in the political field. Although quite subtle, Cleopatra thereby establishes her
individual strength and resistance to men.
Cleopatra again defies the acceptable behaviour of a woman in Act 3 Scene 7, when
discussing the Battle of Actium with Enobarbus. She surprises him by expressing her
intention to go to the battle with Antony and his troops. Enobarbus could not fathom her
partaking in such masculine duties. To his greater dismay, Cleopatra responds,
CLEOPATRA
Sink Rome! And their tongues rot
That speak against us! A charge we bear i’ th’ war,
And as the president of my kingdom will
Appear there for a man. Speak not against it.
I will not stay behind (AC 3.7.16-20).
Essentially refusing to stay out of the battle, Cleopatra demonstrates that the pride she
holds for her position as Queen of Egypt – as “president” – would be disparaged if she
were to forgo the less favourable duties of her role. Being a woman simply does not
matter in regards to her duties. From the first scene of the novel, throughout the rising
action and into the close, Cleopatra clearly proves that she thinks independently. She is
not put off by the fact that men might react with distaste, nor is she willing to submit to
their commands. Through this second crucial trait, Cleopatra solidifies her character’s
determination to be live life on her own terms.
An additional quality that allows Cleopatra to act independently is her dramatic and
capricious nature, which onlookers within the text excuse as being socially acceptable,
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thus empowering her to do as she pleases. For example, whilst Antony is away in Rome
– Act 2 Scene 5 – Cleopatra occupies herself by reminiscing with her servants about
particular memories she enjoys pertaining to her time with Antony. In the following
quotation, a messenger interrupts and enters with word from Rome that Antony has
married Caesar’s sister, Octavia. In a bout of fury, angry at the fact that Antony has
married somebody other than herself, Cleopatra yells, “The most infectious pestilence
upon thee”(AC 2.5.62), and proceeds to beat the messenger. “Thou shalt be whipped
with wire and stewed in brine,”(AC 2.5.67) she threatens as she strikes him. The
messenger flees when she draws a knife after which the only subsequent interference
comes from Cleopatra’s handmaid, Charmian, who suggests politely, “Good madam,
keep yourself within yourself”(AC 2.5.77). Cleopatra does not appear to surprise her
servants by acting this way, as Charmian’s nonchalant demeanor demonstrates here.
Cleopatra’s handmaids are not so much intimidated by their ruler’s temperament, as they
are accustomed to it.
In fact, by conducting herself in an impulsive and rash manner, which increases as the
play progresses, Cleopatra exudes an unusual sense of bravery: she acts as if her
spontaneous ways and feminine theatrics hold the power to shield her from downfall.
Cleopatra embraces the tragic circumstances that befall her and acts accordingly. Her
subsequent behaviour seems often to be justified by her place of authority. Even in
death, Cleopatra utilizes drama to enhance her position among men. In Act 5, she is left
alone with her two handmaids before having to face terminal defeat at the hands of
Caesar. Deciding to commit suicide before being taken to Rome, she places a snake upon
her chest, willing it to bite death into her. In her final moments, she says:
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CLEOPATRA
Have I the aspic in my lips? Dost fall?
If thou and nature can so gently part,
The stroke of death is as a lover’s pinch,
Which hurts, and is desired (AC 5.2.290-293).
The Queen resorts to theatrics to glorify the act of suicide. When finally given a moment
alone from Caesar and his servants, she jumps on the opportunity to defy the will of man
once more. She will not allow herself to be disgraced by Caesar, thereby bravely turning
to death instead. As she indicates in the quotation’s final line, her death is bittersweet:
Cleopatra feels that she is disgracing her name by having to come to this final decision,
yet she also finds satisfaction in the idea that Antony will be waiting in the afterlife and
that she is consequently preventing Caesar from getting his way. Whatever message she
believes she left in taking her own life, Cleopatra undoubtedly calls upon her bravery as
well as her dramatic nature to attest to her pro-feminine character. Due to the respect she
earns from her melodramatic actions, Cleopatra ultimately ends her life having lived the
way she wished.
There is little doubt that Queen Cleopatra is one of the most legendary female figures
of all time. An affirmation of historical recollection, Shakespeare’s Antony and
Cleopatra depicts a strong woman who does not submit to the wills of men, but who
instead finds ways to live of her own accord. Analyzing Shakespeare’s depiction of
Cleopatra leads to the supposition that of all contributing character traits, Cleopatra most
successfully utilizes her sexuality, her bold pride, and her dramatic nature to resist male
dominancy. She is undoubtedly a significant driving force behind Shakespeare’s tragic
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series of events in Antony and Cleopatra as well as his greater address: an intended
message to audiences past, present, and future.
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Works Cited and Consulted
Crowther, John, ed. “No Fear Antony and Cleopatra.” SparkNotes.com. SparkNotes
LLC. n.d.. Web. 30 Oct. 2013.
Shakespeare, William. Antony and Cleopatra. Ed. Michael Neill. New York: Oxford
University Press Inc, 1994.
Shmoop Editorial Team. "The Tragedy of Antony and Cleopatra
Summary" Shmoop.com. Shmoop University, Inc., 11 Nov. 2008. Web. 21 Nov.
2013.