Opposites Attract

“’New Heaven, New Earth’: The Escape from Mutability in Antony and Cleopatra” by William D. Wolf states that this play is different in that, although it carries similar characteristics to the other tragedies, it is not as extreme and does not hold as much depth.  Most critics and commentators agree that Egypt and Rome represent polar opposites.  The scenes jump from one location to another and the language and inflection of each character is complemented by the local timbre.  Egypt – and Cleopatra – embodies feminine sexuality.  Cleopatra has a deeper emotional attachment to Antony than simply a sexual escapade and she can control Antony using the power of her emotions.  On the other hand, Rome – and Caesar – represents reason in that every action has a logical purpose and there is an absolute goal in mind.  Antony is betwixt and between, finding himself in a whirlwind between the ideals of Rome and the passion of Egypt. 

It is interesting that, the further I read Wolf’s text, the more I realized that Shakespeare did have a purpose for almost every line he wrote.  The word “sword” and its blatant yet ambiguous symbolism and visual imagery toward the beginning, are intentionally transformed into more earthly items such as a worm.  I had hoped that Wolf would have discussed in greater detail the use of symbolism; instead, he incorporates these major shifts of particular symbols and ideas and condenses the topic down to a small snippet.  Wolf interestingly points out how the imminent deaths of Antony and Cleopatra present glimpses of what their expected roles are in terms of each character’s demeanor: The Queen and The Mighty Soldier.