Antony and Cleopatra Study Guide

Discussion Guide
Antony and
Cleopatra
By William Shakespeare
Directed by Brian Isaac Phillips
Theater Etiquette
It is important to remember that the audience a vital
part of a theatrical performance. Without the audience,
there is no show. We respect our audiences and hope
that they respect the theatre, our staff, actors and crew. Your contribution of laughter, applause and attention is part of the
play.
Your students are representatives for your school when you are at the theatre. The pointers below will help you prepare
your students for their visit to The Cincinnati Shakespeare Company. Going to the theatre is a special occasion. If students
are prepared properly, it will be an experience
they will remember for years.
1. Arrive on time. The time posted is the
time the show actually starts... unlike
at the movies, there are no
commercials or previews! If you have
arrived after the performance has
begun you may be asked to wait to
take your seats until it is appropriate to
do so. We encourage schools to arrive
by 9:30, at least half an hour before
the show starts.
2. Keep the theatre clean We allow no
food or drinks in the theatre. However,
after the show you may picnic in
Washington Park or grab some Pizza
at Papa John's.
3. Be considerate of other audience
members Talking, whispering, shuffling about in your seats or rattling candy wrappers during a live performance
is disruptive to other audience members who are trying to enjoy the show.
4. Do not distract the actors. The actors can see and hear what goes on in the audience. While our actors appreciate
your enthusiasm for their performance, please do not attempt to interact with, talk to or touch them while they are
on stage or entering/exiting via the aisle. If you need to take notes for your class, please make sure you are not
seated in the first three rows as it can be extremely distracting to the actors. Your comments to one another (both
good and bad) can be heard by the actors. Please do not talk about their performances while the show is going on.
5. Turn off electronic devices Pagers, cell phones and electronic watches are disruptive and may interfere with the
theatre sound system. The lights from text messaging are distracting to the actors. Turn electronic devices off
completely during the show.
6. Remain seated during the performance (except for emergencies) Actors frequently enter and exit via the aisles and
so for safety reasons the aisles need to remain clear during the show. Be sure to use the washroom before the
show or during intermission.
7. No photographs or recording devices. For the safety of cast members, stage crew and the enjoyment of other
patrons, no photography (flash or no flash) or recording devices are permitted during the performance. It is also
illegal, since we are bound to the copyright rules of several labor and artists’ unions.
Avoid a situation in which the house manager might be forced to confiscate photographic equipment. With your
cooperation in preparing your students to follow theatre etiquette, rules and guidelines, we are sure you and your students
will have an enjoyable and entertaining theatre experience!
“There's beggary in the love that can be reckoned.”
About the Playwright:
William Shakespeare was born in April 1564 in the English town of Stratfordupon-Avon. The son of John Shakespeare, a successful glove maker and public
official, and Mary Arden, the daughter of a gentleman, William was the oldest
surviving sibling of eight children. Throughout Shakespeare’s childhood,
companies of touring actors visited Stratford. Although there is no evidence to
prove that Shakespeare ever saw these actors perform, most scholars agree that
he probably did. In 1582, at the age of 18, Shakespeare married Anne
Hathaway, the daughter of a farmer.
The couple had become parents of two daughters and a son by 1585. Sometime
in the next eight years, Shakespeare left his family in Stratford and moved to
London to pursue a career in the theater. Records show that by 1592, he had
become a successful actor and playwright in that city. Shakespeare joined a
famous acting group called the Lord Chamberlain’s Men, so named for their
patron, or supporter, a high official in the court of Queen Elizabeth I. One of
the first plays Shakespeare wrote for this company was Romeo and Juliet. In 1598 Shakespeare became part owner of a
major new theater, the Globe.
For more than a decade, Shakespeare produced a steady stream of works, both tragedies and comedies, which were
performed at the Globe, the royal court, and other London theaters. However, shortly after the Globe was destroyed by
fire in 1613, he retired and returned to Stratford. He died in Stratford in 1616.
Plot synopsis:
Mark Antony, one of the three rulers of the Roman Empire,
spends his time in Egypt, living a life of decadence and
conducting an affair with the country’s beautiful queen,
Cleopatra. When a message arrives informing him that his wife,
Fulvia, is dead and that Pompey is raising an army to rebel
against the triumvirate, Antony decides to return to Rome. In
Antony’s absence, Octavius Caesar and Lepidus, his fellow
triumvirs, worry about Pompey’s increasing strength. Caesar
condemns Antony for neglecting his duties as a statesman and
military officer in order to live a decadent life by Cleopatra’s
side.
The news of his wife’s death and imminent battle pricks
Antony’s sense of duty, and he feels compelled to return to
Rome. Upon his arrival, he and Caesar quarrel, while Lepidus
ineffectually tries to make peace. Realizing that an alliance is
necessary to defeat Pompey, Antony and Caesar agree that
Antony will marry Caesar’s sister, Octavia, who will solidify
their loyalty to one another. Enobarbus, Antony’s closest friend,
predicts to Caesar’s men that, despite the marriage, Antony will
surely return to Cleopatra.
In Egypt, Cleopatra learns of Antony’s marriage and flies into a
jealous rage. However, when a messenger delivers word that
Octavia is plain and unimpressive, Cleopatra becomes confident
that she will win Antony back. The triumvirs meet Pompey and
settle their differences without going to battle. Pompey agrees to
keep peace in exchange for rule over Sicily and Sardinia. That evening, the four men drink to celebrate their truce. One of
Pompey’s soldiers discloses to him a plan to assassinate the triumvirs, thereby delivering world power into Pompey’s
hands, but Pompey dismisses the scheme as an affront to his honor. Meanwhile, one of Antony’s -generals wins a victory
over the kingdom of Parthia.
Antony and Octavia depart for Athens. Once they are gone, Caesar breaks his truce, wages war against Pompey, and
defeats him. After using Lepidus’s army to secure a victory, he accuses Lepidus of treason, imprisons him, and
confiscates his land and possessions. This news angers Antony, as do the rumors that Caesar has been speaking out
against him in public. Octavia pleads with Antony to maintain a peaceful relationship with her brother. Should Antony
and Caesar fight, she says, her affections would be painfully divided. Antony dispatches her to Rome on a peace mission,
and quickly returns to Egypt and Cleopatra. There, he raises a large army to fight Caesar, and Caesar, incensed over
Antony’s treatment of his sister, responds in kind. Caesar commands his army and navy to Egypt. Ignoring all advice to
the contrary, Antony elects to fight him at sea, allowing Cleopatra to command a ship despite Enobarbus’s strong
objections. Antony’s forces lose the battle when Cleopatra’s ship flees and Antony’s follows, leaving the rest of the fleet
vulnerable.
Antony despairs, condemning Cleopatra for leading him into infamy but quickly forgiving her. He and Cleopatra send
requests to their conqueror: Antony asks to be allowed to live in Egypt, while Cleopatra asks that her kingdom be passed
down to her rightful heirs. Caesar dismisses Antony’s request, but he promises Cleopatra a fair hearing if she betrays her
lover. Cleopatra seems to be giving thought to Caesar’s message when Antony barges in, curses her for her treachery, and
orders the innocent messenger whipped. When, moments later, Antony forgives Cleopatra, Enobarbus decides that his
master is finished and defects to Caesar’s camp.
Antony meets Caesar’s troops in battle and scores an unexpected victory. When he learns of Enobarbus’s desertion,
Antony laments his own bad fortune, which he believes has corrupted an honorable man. He sends his friend’s
possessions to Caesar’s camp and returns to Cleopatra to celebrate his victory. Enobarbus, undone by shame at his own
disloyalty, bows under the weight of his guilt and dies. Another day brings another battle, and once again Antony meets
Caesar at sea. As before, the Egyptian fleet proves treacherous; it abandons the fight and leaves Antony to suffer defeat.
Convinced that his lover has betrayed him, Antony vows to kill Cleopatra. In order to protect herself, she quarters herself
in her monument and sends word that she has committed suicide. Antony, racked with grief, determines to join his queen
in the afterlife. He commands one of his attendants to fulfill his promise of unquestioned service and kill him. The
attendant kills himself instead. Antony then falls on his own sword, but the wound is not immediately fatal. He is carried
to Cleopatra’s monument, where the lovers are reunited briefly before Antony’s death. Caesar takes the queen prisoner,
planning to display
her in Rome as a
testament to the
might of his empire,
but she learns of his
plan and kills
herself with the help
of several poisonous
snakes. Caesar has
her buried beside
Antony.
About the
Play:
“In time we hate that which we often fear.”
The play opens in Cleopatra’s palace in Alexandria, Egypt.
But as the story continues, Antony’s political and social
duties take the action to Rome, Syria, Actium, Parthia
(modern-day Iraq), Athens, and various military camps
throughout Egypt. The thing is, Antony and Cleopatra
aren't very good at the whole despot-jetsetter lifestyle and
are constantly put in locations and situations where they
question each other's loyalty and love.
We won't give away too much, but the fact that this is a
tragedy should tell you a lot about how the play ends. The
ending serves as yet another example of how passion
mingled with power, treachery, and misunderstanding can
lead to a tragic end. We see this time and again in
Shakespeare’s great works.
Antony and Cleopatra constitutes Shakespeare’s return to
Roman history after an eight-year break. We would need a
break too—this stuff gets pretty heavy. It also gives him a
chance to explore the theme of Empire, which was a hot
topic in England then because it was a good time to run
around sticking a flag in any land you could find.
In other words, English colonial holdings were expanding. A big part of that colonial endeavor was making sure other cultures
accepted yours as superior. Shakespeare calls this practice into question by pointing out that different cultures had been living
successfully before the British arrived. Interestingly, Rome was successful as a conquering nation because it was more likely to
let people keep their way of life and just pay a tax to Rome, instead of making them give up their own culture entirely. How the
empire tax would be enforced in other nations was still in question, and it almost seems like Shakespeare was giving the people
of his time a history lesson, asking them to consider a different way of handling the whole empire issue.
Finally, there’s a reference to the future of Christianity in the play. The end of the Roman Empire marks the beginning of the
spread of Christianity throughout the world. When Caesar talks about the coming of universal peace, he means his reign, but it’s
a nod to Shakespeare’s Christian audience that Christ brought real universal peace, and saved us modern-day folks from the ills
of those ancient cultures. If it hadn’t been for Christ, he seems to be saying, we might still be in the constant wars that
characterized folks like the Romans or Egyptians. That's right, this play is basically one big "Thank you, Jesus!"
Whether or not you agree with Shakespeare's religious leanings, this play is full of love, adventure, dramatic empresses, and
poisonous snakes—what more could you ask for? So sit back, relax, and get ready to walk like an Egyptian—things are about to
get a little crazy.
“I' the east my pleasure lies.”
Themes:
Choices:
Sure, sex and passion are central to Antony
and Cleopatra, but you know what else is
even more important? The choices our titular
characters make. And honestly? These two
lovers make some pretty dumb decisions that
end up rippling into their personal and
political lives. Hey, we've all done something
stupid for love, right?
Passion is especially important when it comes
to decision-making in the play: decisions
made in haste are often foolish, or impermanent. The interplay between passion and reason is often at stake, and
Shakespeare seems to be suggesting that passion interferes with reason.
Contrasting Religions:
If we ignore all the characters for a hot second, we see that Antony and Cleopatra is, at its core, a play about an interaction
between Rome and Alexandria, Egypt. So, uh, who cares? We do. This is Shakespeare, after all. Everything is intentional.
The fact that the settings mirror each other is a convenient device to interpret the meaning of the characters’ actions.
Values, morals, and meanings change with each setting in the play, helping us understand the struggles that Antony has to
go through and the way Cleopatra acts and makes judgments. The contrasting regions keep us from getting too bored with
one setting and provide a lens of interpretation that is neither good nor bad, but depends on regional values and
differences.
Gender
Cleopatra is argued to be one of Shakespeare’s most fully developed female characters ever. As a woman in
power, she's unique from the get-go, and the play constantly questions whether gender identity is a central part
of how people act in powerful positions. Masculine identity is equally at stake, as we have to wonder whether
Antony forsakes his masculinity by allowing Cleopatra to be the commander of his heart.
Gender identity is at the core of the play. Antony and Cleopatra are in love because they are the quintessential
man and the quintessential woman, but it could be that the strength of their relationship erodes their respective
sexual identities (Cleopatra becoming more masculine, and Antony more feminine). This change alone might be
the one that presages their downfalls.
BETRAYAL:
Characters in Antony and Cleopatra often have to choose between being loyal to their ideals and being loyal to their
circumstances. Talk about being stuck between a rock and a hard place. Loyalty is central to a lot of the relationships in
the play, but betrayal always hangs in the background like an awkward guy at a school dance when so much power is at
stake—you know he'll eventually sneak up and try to dance with you. Characters’ loyalty to one another is constantly
called into question by their quick betrayals of one another, and the question of whether loyalty is an enduring feeling is
raised as a result.
LOVE:
Love can be a many splendored thing, but it certainly isn't here. Love is a central theme of Antony and Cleopatra because
it’s always in question. Unlike Shakespeare's more romantic plays—A Midsummer Night's Dream, Much Ado About
Nothing—the foundation of this play is tragedy. Though love ultimately fails in the end (because the lovers can’t be
together), it is upheld and honored by the lovers’ suicidal loyalty to each other. The characters’ actions and reactions to
one another are all informed by love’s effect on decision-making—specifically, love’s ability to blind people to reason
where love is concerned, and the constant fear of losing love.
POWER:
Power in Antony and Cleopatra is ostensibly a political force, as the play centers on the competition between Antony and
Caesar for dominance in Rome. Not just Rome, but the entire Roman Empire. Check out this map to get an idea of just
how huge of an area that is. But it has other facets, too, most notably the effect of love as an overpowering force. Antony
refuses to be dominated by Caesar, but he willingly submits his love and allegiance to Cleopatra. Power is thus a political
and a personal force, one that impacts the desires of individuals in both realms.
TRANSFORMATION:
Transformation is a tricky theme in Antony and Cleopatra. Because characters seem to transform at the drop of a hat, the
legitimacy of these transformations is always in question. That's right, it's the timeless question: Are they being real, or are
they being fake? In the end, we’re not sure if the characters have transformed, or merely acted rashly in accordance with
their passions. Further, we have to ask whether the characters want to transform, or whether they’re victims of their
circumsta
Shakespeare VS. Plutarch
Shakespeare's main source for Antony and Cleopatra was Plutarch's Lives, which was translated by Thomas
North in 1579. Shakespeare ignored many of the historical events reported in Lives, so that he could concentrate
on the relationship between Antony and Cleopatra. Plutarch spends much time elaborating on Cleopatra's
charms and, while Shakespeare does make a few changes to create a more fast-paced and exciting story, he
follows Plutarch's text very closely in this regard. Compare the following excerpt from Plutarch's Lives with
Enobarbus' description of Cleopatra and her pavilion:
She received several letters, both from Antony and from his friends, to
summon her, but she took no account of these orders; and at last, as if in
mockery of them, she came sailing up the river Cydnus, in a barge with
gilded stern and outspread sails of purple, while oars of silver beat time
to the music of flutes and fifes and harps. She herself lay all along under
a canopy of cloth of gold, dressed as Venus in a picture, and beautiful
young boys, like painted Cupids, stood on each side to fan her. Her
maids were dressed like sea nymphs and graces, some steering at the
rudder, some working at the ropes. The perfumes diffused themselves
from the vessel to the shore, which was covered with multitudes, part
following the galley up the river on either bank, part running out of the
city to see the sight. The market-place was quite emptied, and Antony at
last was left alone sitting upon the tribunal; while the word went through
all the multitude, that Venus was come to feast with Bacchus, for the common good of Asia. On her arrival,
Antony sent to invite her to supper. She thought it fitter he should come to her; so, willing to show his goodhumour and courtesy, he complied, and went. He found the preparations to receive him magnificent beyond
expression, but nothing so admirable as the great number of lights; for on a sudden there was let down altogether
so great a number of branches with lights in them so ingeniously disposed, some in squares, and some in circles,
that the whole thing was a spectacle that has seldom been equalled for beauty.
Compare also Enobarbus' description of the feast Antony held for Cleopatra with Plutarch's text:
The next day, Antony invited her to supper, and was very desirous to outdo her as well in magnificence as
contrivance; but he found he was altogether beaten in both, and was so well convinced of it that he was himself
the first to jest and mock at his poverty of wit and his rustic awkwardness. She, perceiving that his raillery was
broad and gross, and savoured more of the soldier than the courtier, rejoined in the same taste, and fell into it at
once, without any sort of reluctance or reserve. For her actual beauty, it is said, was not in itself so remarkable
that none could be compared with her, or that no one could see her without being struck by it, but the contact of
her presence, if you lived with her, was irresistible; the attraction of her person, joining with the charm of her
conversation, and the character that attended all she said or did, was something bewitching. It was a pleasure
merely to hear the sound of her voice, with which, like an instrument of many strings, she could pass from one
language to another; so that there were few of the barbarian nations that she answered by an interpreter; to most of
them she spoke herself, as to the Ethiopians, Troglodytes, Hebrews, Arabians, Syrians, Medes, Parthians, and
many others, whose language she had learnt; which was all the more surprising because most of the kings, her
predecessors, scarcely gave themselves the trouble to acquire the Egyptian tongue, and several of them quite
abandoned the Macedonian. Antony was so captivated by her that, while Fulvia his wife maintained his quarrels
in Rome against Caesar by actual force of arms, and the Parthian troops, commanded by Labienus (the king's
generals having made him commander-in-chief), were assembled in Mesopotamia...
Note that this particular translation of Plutarch was written by the master wordsmith, John Dryden. North's
translation is not as flowery, but he reports exactly the same scenario as we see above.
Moreover, in the Lives, Antony is the only tragic character. Plutarch was not concerned with Cleopatra's
thoughts or feelings in their own right; they were merely responses to Antony's suffering. Shakespeare,
however, makes Cleopatra every bit as tragic a
character as Antony, and gives her beautiful and
moving soliloquies befitting a queen. For this
development of Cleopatra's character, Shakespeare
likely consulted Samuel Daniel's play, Cleopatra,
written in 1594. In particular, Shakespeare
emulated Daniel's treatment of Cleopatra's final
moments and ultimate suicide.
The Real
Antony and
Cleopatra
One of the most famous women in history, Cleopatra
VII was the brilliant and beautiful last Pharaoh of
Egypt. Although she is often portrayed as a femme
fatale, Cleopatra was deeply religious and studied to be
a nun. An accomplished mathematician and gifted
linguist fluent in nine languages, Cleopatra was also
skilled politician popular with her people.
She married her younger brother, Ptolemy, and she
became the mistress of the Roman general Julius
Caesar. Following Caesar's death, Roman general Marc
Antony went to Egypt to advance the growing power of
Rome. Cleopatra captivated Antony. Their affair
scandalized Roman society and bothered Roman
politicians, who were suspicious of Egypt's power.
Yet despite the risks, Antony and Cleopatra married in 36 B.C. The couple planned to conquer Rome. But in 31 B.C. the
Roman general Octavian destroyed the combined forces of Antony and Cleopatra in the battle of Actium. Hearing a false
report that Cleopatra was
dead, Antony fell on his
sword. With no hope left,
Cleopatra induced a
poisonous asp to bite her.
Four thousand years of
glorious Pharaonic rule
was finally finished.
Egypt became a Roman
province. Octavian (later
Augustus) became the
first Roman Emperor,
launching a new era in
history.
Discussion Questions:
1. Is this play one of Shakespeare's tragedies or histories? What are the fundamental differences between
the two types of plays? What is the significance of Shakespeare’s reliance on Plutarch’s original texts?
2. Does it matter if Antony and Cleopatra is fictionalized? Can realistic histories be as inherently tragic as
dramas? Is it relevant that Shakespeare loaded ten years of material into one play that spans less than a
month?
3. Is it fair to consider Antony in this play as a continuation of Antony from Shakespeare’s Julius Caesar?
Do the same character flaws apply? Are we watching a man grow and develop personally over the
course of time, or is this just a new fictional character created for the purpose of this play?
4. Are Antony and Cleopatra in lust or love? Are they enamored of each other’s incredible power or by
each other as individuals? How is it that the two of them, so formidable in the political sphere, seem so
foolish and flippant when it comes to their affair?
5. Does Cleopatra kill herself because she can’t live without Antony, or because she is too proud to be
paraded around as Caesar’s trophy? Is one of these reasons more noble than the other?
Classroom Activities:
Activity 1- Map Antony’s Journey
Obtain images of the maps of the Roman Empire according to how it was divided amongst the three triumvirs. Note the
locations significant to the play, and then track the journey of Antony during the play’s duration. Perhaps even create a
travel log for his travels.
Activity 2- Shake and Bake:
Taking inspiration from The Reduced Shakespeare Company’s hilarious and brief The Compleat Wrks of
Wllm Shakespeare (Abridged) we present our own very concise version of Shakespeare’s Antony and Cleopatra.
1. Make eleven photocopies of this handout—one each for Antony, Cleopatra, and the nine other actors.
2. Have eleven volunteers take their places at the front of the room. Assign roles and let the actors read
through the script once, for rehearsal. Then get out your stopwatch and see if your students can make
or break the 30-second record. When the script indicates that a character dies, the actor must drop to
the floor.
3. Then select eleven more volunteers to see if the second group can beat the first group’s record. Again,
give them a practice run before timing, and cheer for the winners.
4. If you wish, ask your students, in groups, to create their own 30-second versions of one act from Antony
and Cleopatra. Along with selecting short and punchy lines to highlight the plot, they need to pick
the characters that they want to include in their scripts. For example, in “The 30-second Antony and
Cleopatra,” Actors 1-9 are, respectively, Philo, the Soothsayer, Agrippa, Menas, Enobarbus, Eros, and
the three Guardsmen.
30-SECOND ANTONY AND CLEOPATRA
ACTOR 1: The triple pillar of the world transformed into a strumpet’s fool.
CLEOPATRA: As I am Egypt’s queen,
ANTONY: Let Rome in Tiber melt
ACTOR 2: I make not, but foresee.
CLEOPATRA: O, never was there queen so mightily betrayed!
ACTOR 3: Rare Egyptian! Royal wench!
ACTOR 4: Wilt thou be lord of all the world?
ANTONY: If I lose mine honor, I lose myself
CLEOPATRA: I will not stay behind.
ANTONY: O, whither hast thou led me, Egypt?
ACTOR 5: I am alone the villain of the earth. (dies)
ACTOR 6: Farewell, great chief. (dies)
ANTONY: Let him that loves me strike me dead.
ACTOR 7: Not I. (exit)
ACTOR 8: Nor I. (exit)
ACTOR 9: Nor anyone. (exit)
(Antony dies)
CLEOPATRA: I will not wait pinioned at your master’s court. (dies)
Activity 3- Character Connections:
In this activity, middle school and high school students will use their creativity, artistic abilities, and imaginations to
explore the character relationships in Antony and Cleopatra. After students have seen the performance or read the play,
give them the list of characters from above. Ask students to choose ten characters and create a visual project that
illustrates the characters and their relationships to each other. This can be done using a character web, a diagram, in the
style of a family tree or photo album, or abstractly. Students can use different colors, textures, craft materials, magazine
images, cartoons or symbols, to represent the characters and how they are interconnected. Use the diagram above as an
example. Each visual project should be accompanied by an “Artist’s Essay,” a brief written summary that explains what
inspired their artistic choices.
“Age cannot wither her, nor custom stale
Her infinite variety.”
Sources:
http://www.bookrags.com/lessonplan/antonycleopatra/funactivities.html#gsc.tab=0
http://www.infoplease.com/spot/love1.html
Mabillard, Amanda. Shakespeare's Sources for Antony and Cleopatra. Shakespeare Online. 20 Aug. 2000. (4/29/16)
http://www.shakespeare-online.com/sources/antonysources.html.
http://www.shakespeare-online.com/quotes/antonyquotes.html
http://www.shmoop.com/antony-cleopatra/questions.html
http://www.sparknotes.com/shakespeare/antony/summary.html
http://www.sfstl.com/wp-content/uploads/2013/07/SFSTL-Curriculum-Guide-AC-11-05-14.pdf
Photos by Mikki Schaffner