Antony & Cleopatra Essay Example

subordinate to Cleopatra, attentively catering to her every whim with fans of various colors. This highlights her unquestioned dominance over those around her and makes it evident that she can have anything she desires. Unsurprisingly, Antony quickly fell under Cleopatra's spell and was left helpless and smitten. However, Shakespeare brings us back to reality by referring to their supper as 'ordinary,' which creates a stark contrast with Cleopatra's magnificence.

Enobarbus's speeches are a real treat for Antony's eyes, and it is clear that he has completely succumbed to her enchanting power. Enobarbus's language is utilized with overall effectiveness, as seen in the persistent use of sentences that start simply with noun subjects, such as 'hop forty places'. Although repetition of a similar pattern is typically avoided, this creates a rather spectacular monotony in this passage. As the passage progresses, the location of noun subjects remains relatively unchanged, providing the impression of direct confirmations that require no logical or temporal links.

Enobarbus describes Cleopatra as opulent and almost unnatural, implying that too much of her would be decadent. Despite this, he affirms Antony's desire for her. Enobarbus uses 'wh' words, such as 'invisible perfume' and 'enthroned', to emphasize and give prominence to each aspect of Cleopatra. This is significant because Enobarbus usually approaches events rationally, but when describing Cleopatra, he becomes poetic, highlighting her magnetic aura. He uses hyperboles, similes, and paradoxes to do so. Enobarbus's language is both Roman-style and Egyptian-style, with rhythmic nouns and elaborate adjectives. His language depicts a golden world where imagination triumphs over nature. It's as though remembering the sight of Cleopatra in her barge transforms Enobarbus into a feminine, emasculated state.

Enobarbus opens

by introducing the image of Cleopatra on a throne and concludes with Antony being "enthron'd," drawing a connection between the two and implying a special relationship. However, the exaggerated language used to extol Cleopatra could also suggest that she is too good to be true, as excessive opulence has negative connotations of decadence. This creates a sense of foreboding, as it implies that Antony has surrendered everything for an extravagant fantasy and is already besotted with Cleopatra, highlighting his vulnerability and lack of control. Enobarbus enhances the scene by emphasizing sensory details such as smell, touch, and temperature, which evoke intimacy and realism. Even inanimate objects like the barge, wind, oars, and air are given actions and motivations. There are also numerous references to precious metals like "beaten gold," "silver oars," and "cloth of gold," which evoke the preciousness of Cleopatra and Egypt. Agrippa's remark of "O, rare for Antony" emphasizes this comparison to precious metals.

Describing Cleopatra as a valuable metal creates a sense of warmth and aroma, giving life to non-living objects. This imagery depicts Cleopatra as the desired object over whom the "dimpled boys" obsess. The underlying connotation of precious metals also adds a sexual tone to the scene, suggesting themes of heat, smoke, and metal. Despite these sensual descriptions, Enobarbus does not directly portray Cleopatra, instead associating her with food and appetite at times. This could be due to his reluctance to idealize her in this context or because he wishes to justify her using poetic and beautiful imagery.

Although she is present and being worked on, the reader is unable to directly see Cleopatra, only through those around her. Enobarbus may

be protecting the reader from the overpowering sight of her. However, later in the passage, he describes her hopping in the street which shows her humanity and perfection, even in her inability to breathe. The passage illustrates how anyone who laid eyes on Cleopatra worshipped her and she could even persuade holy priests to bless what others would condemn.

Despite defying traditional unifying traits of time and place by having multiple settings spanning several weeks, Antony and Cleopatra are the central characters that hold the play together. Even though they do not appear on stage together, their presence is openly discussed throughout the analyzed passage. The play's structure revolves around the contrast between Egypt and Rome, with Enobarbus providing a captivating description of Cleopatra following the tension at the triumvirs' meeting in Rome and Lepidus' efforts to maintain peace.

Enobarbus employs language, form, and structure to evoke contrasting imagery of their political world and two ancient lands. The vivid and elegant description of Egypt stands in stark contrast with the short and direct sentences used to describe Rome's harsh realities. Despite this, Enobarbus manages to infuse Rome with the vibrancy, warmth, and beauty that Egypt embodies. In essence, throughout his speech, Enobarbus uses language, form, and structure to create a powerful effect on the reader.

By employing the active verb "burned," the author elevates the metaphorical description of the barge in flames, emphasizing its importance over a simple simile that would compare it to a "burnished throne." This strategy of prioritizing the metaphorical over the literal enhances the reader's experience and brings the text to life.

Enobarbus' use of beautiful, poetic language depicts Cleopatra's power over men.

As a commentator throughout, he presents the truth of how Antony has fallen in love with her. This metaphorical reality dominates the description, leaving men powerless at her feet. The reader trusts Enobarbus' truthful and cynical portrayal, knowing he may be inspired or lamenting his own passions vicariously through Antony's eyes.