Antony and Cleopatra


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Antony and Cleopatra

victims of conflict between political ambition and love. [Br. Lit.: Antony and Cleopatra]
References in periodicals archive ?
In bringing together Antony and Cleopatra following the sea disaster, Eros may be seen as pandering their affair, assuring heterosexual love; but it could equally be argued that Eros is in competition with Cleopatra for Antony's love, as they squabble over who should arm him.
There, in 31 B.C., Agrippa's fleet defeats Antony and Cleopatra's.
In Antony and Cleopatra, Shakespeare uses these familiar strategies to present the deaths of Enobarbus and Cleopatra.
Kent Hieatt, it has come to be accepted that Shakespeare was influenced by Spenser's Ruines of Rome.(7) Even though Ellrodt finds that Hieatt may have 'overstated' his case, he concedes that Spenser's sequence is part of the 'background' of the Sonnets.(8) John Kerrigan agrees that it 'left clear traces in Shakespeare's memory'.(9) To add Antony and Cleopatra to this list confirms that such influence was not merely a phenomenon of the 1590s but extended well into the Jacobean phase of Shakespeare's career.
The often-noted chilliness of this vision finds a counterpart in the Rome of Antony and Cleopatra; and, less predictably, the fluctuating bundle of contradictions which is Cleopatra may be seen as a specifically anti-Stoic exhibition, rather than just the usual apotheosis of `feminine' mutability.
Shakespeare's gargantuan scope in Antony and Cleopatra is, in fact, as controlled as it is extreme.
The initial diplomatic exchange between Caesar and Cleopatra takes place when Antony and Cleopatra, following their defeat at sea near Actium, send an emissary to Caesar, Antony petitioning to live the life of a private citizen, Cleopatra asking to keep "the circle of the Ptolemies for her heirs" (3.12.18).
This essay will likewise argue that Antony and Cleopatra lends itself to an approach indebted to the new history.
In Antony and Cleopatra Shakespeare is not bound by the Aristotelian unities.
Linley presents students, academics, and researchers with an investigation of the various possible influences that an audience may have brought to understanding ShakespeareAEs Antony and Cleopatra when it was first produced in 1608.
And now he's flown in from his US home in Topanga Canyon, LA, to play Mark Antony in a new stripped down, transatlantic production of Antony and Cleopatra at the RSC's Swan Theatre.
From there Jonathan has returned to Stratford-upon-Avon to play warrior Mark Antony in Antony and Cleopatra, an international co-production between the RSC, New York's Public Theater, Miami's GableStage and Ohio State University.