𝑨𝒏𝒕𝒐𝒏𝒚 & 𝑪𝒍𝒆𝒐𝒑𝒂𝒕𝒓𝒂 | 𝐜𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫𝐢𝐳𝐚𝐭𝐢𝐨𝐧 (𝐏𝐚𝐫𝐭 𝟏) скачать в хорошем качестве

𝑨𝒏𝒕𝒐𝒏𝒚 & 𝑪𝒍𝒆𝒐𝒑𝒂𝒕𝒓𝒂 | 𝐜𝐡𝐚𝐫𝐚𝐜𝐭𝐞𝐫𝐢𝐳𝐚𝐭𝐢𝐨𝐧 (𝐏𝐚𝐫𝐭 𝟏)

In this video, I am talking about the character of Antony and the Character of Cleopatra in details. Cleopatra is a very interesting character in the play because it is complex. Cleopatra is one of the most complex Shakespearian characters because of the hale of ambiguity. She is described many times as being a strumpet which means a bad woman; a prostitute. She plays the art of harlotry or prostitution. Characters say that Cleopatra is a prostitute. But we also know that she is cunning, clever, devious, a charming woman, and Charismatic: there is a touch of magic in her character; something that draws you to her. The Charismatic person is the one that has got many admirers. Her character attracts people. She is quite a beautiful lady. Of course, she shows great emotion, and love towards Antony. She, sometime, appears to show sincerity through emotions. But, sometimes we mistrust her, we doubt whether she is sincere or not, be cause in some occasions she appears ambiguous. Most of her concern focuses on playing and acting with violence. This means that she is theatrical. She is extreme in her love and violence. The character of Antony: Throughout the play, Antony grapples with the conflict between his love for Cleopatra and his duties to the Roman Empire. In Act I, scene i, he engages Cleopatra in a conversation about the nature and depth of their love, dismissing the duties he has neglected for her sake: “Let Rome in Tiber melt, and the wide arch / Of the ranged empire fall” (I.i.35–36). In the very next scene, however, Antony worries that he is about to “lose [him]self in dotage” (I.ii.106) and fears that the death of his wife is only one of the ills that his “idleness doth hatch” (I.ii.119). Thus, Antony finds himself torn between the Rome of his duty and the Alexandria of his pleasure. The geographical poles that draw him in opposite directions represent deep-seated conflicts between his reason and emotion, his sense of duty and his desire, his obligations to the state and his private needs. Antony’s understanding of himself, however, cannot bear the stress of such tension. In his mind, he is first and foremost a Roman hero of the first caliber. He won his position as one of the three leaders of the world by vanquishing the treacherous Brutus and Cassius, who conspired to assassinate his predecessor, Julius Caesar. He often recalls the golden days of his own heroism, but now that he is entangled in an affair with the Egyptian queen, his memories do little more than demonstrate how far he has strayed from his ideal self. As he points out to Octavia in Act III, scene iv, his current actions imperil his honor, and without his honor—the defining characteristic of the Roman hero—he can no longer be Antony: “If I lose my honor, / I lose myself. Better I were not yours / Than yours so branchless” (III.iv.22–24). Later, having suffered defeat at the hands of both Caesar and Cleopatra, Antony returns to the imagery of the stripped tree as he laments, “[T]his pine is barked / That overtopped them all” (IV.xiii.23–24). Rather than amend his identity to accommodate these defeats, Antony chooses to take his own life, an act that restores him to his brave and indomitable former self. In suicide, Antony manages to convince himself and the world (as represented by Cleopatra and Caesar) that he is “a Roman by a Roman / Valiantly vanquished” (IV.xvi.59–60).