How The Followers of Mark Anthony Opposed His Friendship with Queen Cleopatra as Depicted in William Shakespeare's Antony and Cleopatra

Introduction

40BC was a time in which power politics dominated the world, with major competitors constantly opposing one another, trying to pursue individual motives and further their own cause. This tumultuous period is vividly captured in William Shakespeare's play, Antony and Cleopatra, which delves into the complex interplay of personal passion and political ambition.

Antony's Followers' Opposition

The first opposition we’re faced with while starting the play is the opposition Antony faces from his followers regarding his actions motivated by his love for Cleopatra. Rome symbolizes order, conduct, and governance. Adrian Goldsworthy (2010) claims, "Antony risks it all to follow his heart." As far as lifestyles in 40BC are concerned, Mark Antony, as an elevated political and military leader, lived a lavish and cushioned lifestyle. Choosing to leave for Egypt and abandoning his duties, leaving behind the privileged life he had earned, was a decision clearly motivated by passion. Philo claims Antony was the "triple pillar of the world, transform’d into a strumpet’s fool" (Shakespeare, 1623). The metaphor of "triple pillar" demonstrates Antony’s position in the triumvirate, the three leaders of Rome. Paralleling this with "strumpet’s fool," translated as "whore's jester," acts as a tragic convention as Cleopatra is conveyed as his hamartia, or tragic flaw, supporting his followers' disappointment at his decision to pursue Cleopatra and abandon his native home. Keith Linley's opinion that "Antony gives into his feelings and neglects his duties" is supported historically by Antony leaving Rome for Egypt (Linley, 2015).

His followers comment on the unusual nature of his emotions, claiming his passion "O’erflows the measure" (Shakespeare, 1623). This hyperbole enhances the appearance of the feelings Antony has towards Cleopatra, supported by the John Munby 2014 production of Antony and Cleopatra in which this excess of passion is portrayed by Antony being subservient to Cleopatra, following her on and off set, inclining his body towards her at every given moment. After Cleopatra’s abandonment of Antony during the battle at sea against Antony, his followers state, "Had our general/Been what he knew- himself- it had gone well" (Shakespeare, 1623). This paradoxical statement demonstrates how the people of Rome oppose the relationship between Antony and Cleopatra, believing she has somehow poisoned his mind, making him not himself and unable to rule. This is also historically accurate, with several accounts being discovered written by Romans who tried to create a smear campaign against Cleopatra, making excuses for why their leader suddenly became weak, blaming it not on infatuation but sorcery.

Political Opposition

There is also an abundance of oppositions against Antony politically. Adrian Goldsworthy (2010) claims, "the younger generation were more forceful in politics." The quote, "When we debate/ Our trivial difference loud, we do commit/ Murder in healing wounds" (Shakespeare, 1623) supports this idea, showing Antony’s passiveness to turmoil as he tries to calm the other politically aggravated members of the triumvirate. The fact Antony was older than the other two members, Lepidus and Octavius, further supports Goldsworthy’s statement. The opposition politically is further portrayed through Lepidus being referred to in the quote, "They are his shards and he their beetle" (Shakespeare, 1623). This anthropomorphism degrades Lepidus to an insect, creating imagery of him tirelessly working while they do nothing. The word "shards" can be translated to "cow pats," demonstrating Enobarbus’ view that Antony and Octavius are worthless, and the driving power in the triumvirate is the "beetle"—Lepidus. This is a traditional historic view as Lepidus earned the name "the people’s ruler" for his friendly and approachable persona.

Cleopatra's Opposition

Opposition to Antony even stems from Cleopatra herself. In Act 3, Scene 13, Thidius enters Cleopatra’s palace to relay a message from his master, Octavian. While exchanging formalities, Cleopatra says, "I kiss his conquering hand" (Shakespeare, 1623). John Dryden states that upon Antony seeing his lover say this, his "pride is offended" (Dryden, 1678). John Munby’s 2014 production of Antony and Cleopatra strongly supports this statement, as Cleopatra pauses as demonstrated by the inserted ellipsis: "I kiss his... conquering hand" (Shakespeare, 1623). This adds a promiscuous, suggestive tone to the statement. The scene being post-abandonment at sea enhances the situation, as it’s illustrated that she, that he sacrificed his glory and empire, should already begin to court the favor of the conqueror. Cleopatra had a history of being seductive—before Antony, she had married Caesar, Rome’s greatest individual power, seducing him by being snuck into his private chambers wrapped in a carpet dressed in gold. This demonstrates how Shakespeare assembles his play around a number of oppositions, as even Antony’s lover is presented as an opposition at intervals in the play.

Conclusion

Shakespeare assembles his play Antony and Cleopatra around a number of oppositions, most significant being Antony’s followers' opposition towards his relationship with the temptress queen Cleopatra, and Antony’s opposition politically, most interesting of which being the opposition which arises between himself and the individual he claims to be "bound" to, Cleopatra. These conflicts highlight the tension between personal desire and public duty, a theme that resonates throughout the narrative.

References

• Dryden, J. (1678). All for Love.
• Goldsworthy, A. (2010). Antony and Cleopatra. Yale University Press.
• Linley, K. (2015). Shakespeare's Tragedies: A Reader's Guide. Bloomsbury Publishing.
• Shakespeare, W. (1623). Antony and Cleopatra. In First Folio.