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Antony and Cleopatra

Part of Modern Library Classics

Author William Shakespeare
Edited by Jonathan Bate, Eric Rasmussen
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Random House Group | Modern Library
On sale Apr 14, 2009 | 256 Pages | 978-0-8129-6918-4
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  • English > Literature > British Literature – Shakespearean Plays
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Written at the pinnacle of Shakespeare’s career and featuring his most soaring poetic idiom, Antony and Cleopatra is both an immortal love story and a political drama played out on a global scale.

Under the editorial supervision of Jonathan Bate and Eric Rasmussen, two of today’s most accomplished Shakespearean scholars, this Modern Library series incorporates definitive texts and authoritative notes from William Shakespeare: Complete Works. Each play includes an Introduction as well as an overview of Shakespeare’s theatrical career; commentary on past and current productions based on interviews with leading directors, actors, and designers; scene-by-scene analysis; key facts about the work; a chronology of Shakespeare’s life and times; and black-and-white illustrations.

Ideal for students, theater professionals, and general readers, these modern and accessible editions from the Royal Shakespeare Company set a new standard in Shakespearean literature for the twenty-first century.
Introduction


Shakespeare probably wrote Antony and Cleopatra in 1606 or 1607; it was registered for publication on May 20, 1608, and apparently influenced a revision of Samuel Daniel’s Cleopatra that was published “newly altered” in 1607. Antony and Cleopatra was thus roughly contemporary with King Lear and Macbeth. Yet the contrast between those two tragedies and Antony and Cleopatra is immense. Unlike Macbeth, with its taut focus on a murderer and his wife, Antony and Cleopatra moves back and forth across the Mediterranean in its epic survey of characters and events, bringing together the fates of Pompey, Octavius Caesar, Octavia, and Lepidus with those of the protagonists. King Lear gives proper names to fourteen characters, Macbeth to eighteen, Antony and Cleopatra to thirty-four. The Roman play requires no fewer than forty-two separate scenes, of which most occur in what modern editors label Acts 3 and 4, although no play is less suited to the classical rigors of five-act structure, and these divisions are not found in the reliable Folio text of 1623. Indeed, it is as though Shakespeare resolved at the height of his career to show that he could dispense entirely with the classical “rules,” which had never taken serious hold of the English popular stage in any case. The flouting of the unities is so extreme that John Dryden, in his All for Love, or The World Well Lost (1678), undertook not so much to revise Shakespeare as to start afresh on the same subject. Dryden’s play is restricted to the last few hours of the protagonists’ lives, at Cleopatra’s tomb in Alexandria, with a severely limited cast of characters and much of the narrative revealed through recollection. Although a substantial achievement in its own right, All for Love surely demonstrates that Shakespeare knew what he was doing, for Dryden has excised a good deal of the panorama, the excitement, and the “infinite variety” (2.2.246).

Shakespeare departs also from the somber tone of his tragedies of evil. He creates, instead, a world that bears affinities to the ambiguous conflicts of the other Roman plays, to the varying humorous perspectives of the comedies, and to the imaginative reconstructions of the late romances. As protagonists, Antony and Cleopatra lack tragic stature, or so it first appears: she is a tawny gypsy temptress and he a “strumpet’s fool,” a once-great general now bound in “strong Egyptian fetters” and lost in “dotage” (1.1.13; 1.2.122—3). Several scenes, especially those set in Egypt, are comic and delightfully bawdy: Charmian learning her fortune from the soothsayer, Cleopatra practicing her charms in vain to keep Antony from leaving Egypt or raunchily daydreaming of being Antony’s horse “to bear the weight of Antony” (1.5.22), Cleopatra flying into a magnificent rage at the news of Antony’s marriage to Octavia and then consoling herself with catty reflections on Octavia’s reported low voice and shortness of stature (“I think so, Charmian. Dull of tongue, and dwarfish,” 3.3.17). In its comic texture, the play somewhat resembles Romeo and Juliet, an earlier play about a younger pair of lovers, although there the bawdry is used chiefly to characterize the lovers’ companions and confidants, whereas in Antony and Cleopatra it is central to our vision of Cleopatra especially. In any case, the later play is a tragedy about lovers who, despite their quarrels and uncertainties and betrayals of self, are reconciled in a vision of the greatness of their love. In its depiction of two contrasting worlds, also, Antony and Cleopatra recalls the movement of several earlier comedies from the realistic world of political conniving to a dream-world of the romantic and the unexpected. We can endorse neither world fully in Antony and Cleopatra, and, accordingly, the vision of life presented is often ambivalent and ironic as much as it is tragic. The contrast of values separating Egypt and Rome underscores the paradox of humanity’s quest for seemingly irreconcilable goals. The ending is neither a triumph nor a defeat for the lovers but something of both. If Antony and Cleopatra seem in one way too small to be tragic protagonists, in another way they seem too large, creating imaginative visions of themselves and their union that escape the realm of tragedy altogether. Our attention is focused less on the way in which the protagonists come to understand some meaningful relationship between their character and the fate required of them by a tragic universe than on the almost comic way in which the absurdities of Roman worldly striving and Egyptian dissipation are transfigured in the world of the imagination.

The Roman point of view opens the play and never entirely loses its force. At first, it may seem superior to that of Egypt. Demetrius and Philo, who invite us to view the play’s first encounter between Antony and Cleopatra (1.1) from the perspective of the professional Roman soldier, lament the decline of Antony into Circean enslavement. Their tragic concept is of the Fall of Princes, all the more soberly edifying because of the height from which Antony has toppled. “You shall see in him / The triple pillar of the world transformed / Into a strumpet’s fool” (1.1.11—13). Egypt is enchanting but clearly enervating–a bizarre assemblage of soothsayers, eunuchs, and waiting- gentlewomen who wish to be “married to three kings in a forenoon and widow them all” (1.2.28—9). Their mirth is all bawdry, tinged with practices, such as transvestitism, that Roman custom views as licentious. The prevailing images are of procreation in various shapes, sleep (mandragora, Lethe), the oriental opulence of Cleopatra’s barge (a golden poop, purple sails, silver oars, divers-colored fans), Epicurean feasting, and drinking. As Enobarbus says, “Mine, and most of our fortunes tonight, shall be–drunk to bed” (1.2.47—8).

Antony, for all his reckless defiance of Rome, agrees in his more reflective moments with what Demetrius and Philo have said. “A Roman thought hath struck him,” Cleopatra observantly remarks, and Antony has indeed determined that “I must from this enchanting queen break off” (1.2.88, 135). His later return to Cleopatra is at least in part a surrender, a betrayal of his marriage vows to Octavia and his political assurances to Caesar. In the ensuing battles, Antony submits himself dangerously to Cleopatra’s governance, and this inversion of dominance in sexual roles, as conventionally understood by the Roman patriarchal world, is emblematic of a deeper disorder within Antony. As Enobarbus concludes bitterly, Antony “would make his will / Lord of his reason” and so has subverted his “judgment” (3.13.3—4, 37) to passion.

From the beginning, Cleopatra has sought dominance over Antony in the war of the sexes. When Antony first came to her on the River Cydnus, we learn, he was so overcome in all his senses that he was “barbered ten times o’er” (2.2.234). Cleopatra boasts that she “angled” for Antony on many occasions, catching him the way fishermen “betray” fish, and that, when she had “drunk him to his bed,” she “put my tires and mantles on him, whilst / I wore his sword Philippan” (2.5.10—23). Caesar, affronted by such transvestite debauchery, charges that Antony “is not more manlike / Than Cleopatra, nor the queen of Ptolemy / More womanly than he” (1.4.5—7). During the battle scenes, Antony’s followers complain that “Photinus, an eunuch” (probably Mardian), and Cleopatra’s maids manage the war: “So our leader’s led, / And we are women’s men” (3.7.14—15, 70—1). Antony confesses too late that they were right. He becomes a “doting mallard,” one whose heart is “tied by th’ strings” to Cleopatra’s rudder when her ships retreat in the first naval engagement (3.10.20; 3.11.56). In the mythic images used to raise their relationship to heroic proportions, Antony is like Mars to Cleopatra’s Venus (1.5.19), in both a positive and a negative sense. The image has positive connotations of the way in which, as Milton puts it, the “two great sexes animate the world,” the masterful soldier and his attractive consort complementing one another in a right relationship of martial prowess and beauty, bravery and love, reason and will; however, to the Renaissance, the myth of Mars and Venus could also be read in a destructive sense, as an adulterous relationship in which reason is subverted to appetite. In another mythic comparison, Antony is like Hercules, not in his prime, but with the shirt of Nessus on his back–a poisoned shirt given to Hercules by his wife in a mistaken hope of thereby assuring his love for her (4.12.43). Antony’s soldiers understandably believe that the god Hercules has deserted his reputed descendant and onetime champion (4.3.21—2).

Despite Antony’s shameful violation of manhood, honor, attention to duty, self-knowledge, and all that Rome stands for, however, the end of his story is anything but a one-sided endorsement for the Roman point of view. The actual Rome, disfigured by political conniving, falls far short of the ideal. Antony has a point when he protests that “Kingdoms are clay” (1.1.37). Alliances are unstable and are governed by mere political expediency. At first, Antony’s wife Fulvia and his brother Lucius have fought one another until forced to unite against the greater threat of Octavius Caesar. Similarly, Antony and Caesar come together only because Pompey has become dangerously powerful at sea and has won the favor of the fickle mob, “Our slippery people” (1.2.192). This détente is not meant to last. As Enobarbus bluntly puts it, “if you borrow one another’s love for the instant, you may, when you hear no more words of Pompey, return it again” (2.2.109—11). Enobarbus is rebuked for his unstatesmanlike tone, but no one denies the validity of what he says. In this cynical negotiation, Octavia is a pawn between husband and brother, shabbily treated by both. Caesar coldly bargains away the happiness of the one person of whom he protests that “no brother / Did ever love so dearly” (2.2.159—60). Antony, although hating false promises and resolving to be loyal to Octavia, knows within himself that it won’t work. To make matters worse for the fair-minded Antony, he has received great favors from Pompey that he must now uncharitably repudiate in the interests of politics. Pompey does not miss the opportunity to remind Antony of his ingratitude, but the prevailing mood is not so much of bitterness as of ironic futility. Old friendships must be sacrificed; no one seems wholly to blame, and no one can stop the game. Pompey is as much in the wrong as anyone and as powerless. Despite his idealistic hope of restoring republican government to Rome, he has had to ally himself with pirates who offer him sinister temptations. He could be “lord of all the world” (2.7.62) if he would only murder on occasion, but Pompey is destined to be trapped between lofty ends and ignoble means. Lepidus is still another dismaying victim of political callousness, used condescendingly by Caesar and permitted to drink himself into oblivion, until he is cashiered on a trumped-up charge and imprisoned for life.

Octavius Caesar embodies most of all the ironic limits of political ambition. He has avoided enslavement to passion at the very real cost of enslaving himself to his public career as general, triumvir, and future emperor. His ideal warrior is one who, driven by military necessity, would “drink / The stale [urine] of horses and the gilded puddle / Which beasts would cough at” (1.4.62—4). As a general, he is Antony’s opposite in every way. He attacks only when he has the advantage and places those who have deserted Antony in his own front lines so “That Antony may seem to spend his fury / Upon himself” (4.6.10—11). He controls his supplies cannily, believing it a “waste” to feast his army (4.1.17). He, of course, declines Antony’s offers of single combat. Antony meantime recklessly accepts Caesar’s challenge to fight at sea, feasts debauchingly in one “gaudy night” after another (3.13.186), and generously refuses to blame or penalize those who leave him. His sending Enobarbus’s belongings after him into Caesar’s camp convinces that honest soldier he has made a fatal error, for, however imprudent Antony’s chivalry may be, it is unquestionably noble and great-hearted. Caesar is a superb general and political genius, but he is also a military automaton, a logistical reckoner, a Machiavellian pragmatist. In his personal life, he is no less austere and puritanical. He deplores loosening his tongue with alcohol. About women, he is deeply cynical, believing that “want will perjure / The ne’er-touched vestal” (3.12.30—1). Between him and Cleopatra, there is a profound antipathy, based in part on his revulsion at her earlier affair with his namesake and adoptive father, Julius Caesar (3.6.6). Cleopatra may entertain briefly the notion of trying to seduce this new Caesar (3.13.46 ff.), for like Charmian she loves long life “better than figs” (1.2.34), but, if so, she soon discovers that she and Caesar are not compatible. All that he represents she must instead grandly repudiate, choosing death and the fantasy of an eternity with Antony as her way to “call great Caesar ass / Unpolicied” (5.2.307—8).
Copyright © 1988 by William Shakespeare. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
William Shakespeare (1564–1616) was a poet, playwright, and actor who is widely regarded as one of the most influential writers in the history of the English language. Often referred to as the Bard of Avon, Shakespeare's vast body of work includes comedic, tragic, and historical plays; poems; and 154 sonnets. His dramatic works have been translated into every major language and are performed more often than those of any other playwright. View titles by William Shakespeare

About

Written at the pinnacle of Shakespeare’s career and featuring his most soaring poetic idiom, Antony and Cleopatra is both an immortal love story and a political drama played out on a global scale.

Under the editorial supervision of Jonathan Bate and Eric Rasmussen, two of today’s most accomplished Shakespearean scholars, this Modern Library series incorporates definitive texts and authoritative notes from William Shakespeare: Complete Works. Each play includes an Introduction as well as an overview of Shakespeare’s theatrical career; commentary on past and current productions based on interviews with leading directors, actors, and designers; scene-by-scene analysis; key facts about the work; a chronology of Shakespeare’s life and times; and black-and-white illustrations.

Ideal for students, theater professionals, and general readers, these modern and accessible editions from the Royal Shakespeare Company set a new standard in Shakespearean literature for the twenty-first century.

Excerpt

Introduction


Shakespeare probably wrote Antony and Cleopatra in 1606 or 1607; it was registered for publication on May 20, 1608, and apparently influenced a revision of Samuel Daniel’s Cleopatra that was published “newly altered” in 1607. Antony and Cleopatra was thus roughly contemporary with King Lear and Macbeth. Yet the contrast between those two tragedies and Antony and Cleopatra is immense. Unlike Macbeth, with its taut focus on a murderer and his wife, Antony and Cleopatra moves back and forth across the Mediterranean in its epic survey of characters and events, bringing together the fates of Pompey, Octavius Caesar, Octavia, and Lepidus with those of the protagonists. King Lear gives proper names to fourteen characters, Macbeth to eighteen, Antony and Cleopatra to thirty-four. The Roman play requires no fewer than forty-two separate scenes, of which most occur in what modern editors label Acts 3 and 4, although no play is less suited to the classical rigors of five-act structure, and these divisions are not found in the reliable Folio text of 1623. Indeed, it is as though Shakespeare resolved at the height of his career to show that he could dispense entirely with the classical “rules,” which had never taken serious hold of the English popular stage in any case. The flouting of the unities is so extreme that John Dryden, in his All for Love, or The World Well Lost (1678), undertook not so much to revise Shakespeare as to start afresh on the same subject. Dryden’s play is restricted to the last few hours of the protagonists’ lives, at Cleopatra’s tomb in Alexandria, with a severely limited cast of characters and much of the narrative revealed through recollection. Although a substantial achievement in its own right, All for Love surely demonstrates that Shakespeare knew what he was doing, for Dryden has excised a good deal of the panorama, the excitement, and the “infinite variety” (2.2.246).

Shakespeare departs also from the somber tone of his tragedies of evil. He creates, instead, a world that bears affinities to the ambiguous conflicts of the other Roman plays, to the varying humorous perspectives of the comedies, and to the imaginative reconstructions of the late romances. As protagonists, Antony and Cleopatra lack tragic stature, or so it first appears: she is a tawny gypsy temptress and he a “strumpet’s fool,” a once-great general now bound in “strong Egyptian fetters” and lost in “dotage” (1.1.13; 1.2.122—3). Several scenes, especially those set in Egypt, are comic and delightfully bawdy: Charmian learning her fortune from the soothsayer, Cleopatra practicing her charms in vain to keep Antony from leaving Egypt or raunchily daydreaming of being Antony’s horse “to bear the weight of Antony” (1.5.22), Cleopatra flying into a magnificent rage at the news of Antony’s marriage to Octavia and then consoling herself with catty reflections on Octavia’s reported low voice and shortness of stature (“I think so, Charmian. Dull of tongue, and dwarfish,” 3.3.17). In its comic texture, the play somewhat resembles Romeo and Juliet, an earlier play about a younger pair of lovers, although there the bawdry is used chiefly to characterize the lovers’ companions and confidants, whereas in Antony and Cleopatra it is central to our vision of Cleopatra especially. In any case, the later play is a tragedy about lovers who, despite their quarrels and uncertainties and betrayals of self, are reconciled in a vision of the greatness of their love. In its depiction of two contrasting worlds, also, Antony and Cleopatra recalls the movement of several earlier comedies from the realistic world of political conniving to a dream-world of the romantic and the unexpected. We can endorse neither world fully in Antony and Cleopatra, and, accordingly, the vision of life presented is often ambivalent and ironic as much as it is tragic. The contrast of values separating Egypt and Rome underscores the paradox of humanity’s quest for seemingly irreconcilable goals. The ending is neither a triumph nor a defeat for the lovers but something of both. If Antony and Cleopatra seem in one way too small to be tragic protagonists, in another way they seem too large, creating imaginative visions of themselves and their union that escape the realm of tragedy altogether. Our attention is focused less on the way in which the protagonists come to understand some meaningful relationship between their character and the fate required of them by a tragic universe than on the almost comic way in which the absurdities of Roman worldly striving and Egyptian dissipation are transfigured in the world of the imagination.

The Roman point of view opens the play and never entirely loses its force. At first, it may seem superior to that of Egypt. Demetrius and Philo, who invite us to view the play’s first encounter between Antony and Cleopatra (1.1) from the perspective of the professional Roman soldier, lament the decline of Antony into Circean enslavement. Their tragic concept is of the Fall of Princes, all the more soberly edifying because of the height from which Antony has toppled. “You shall see in him / The triple pillar of the world transformed / Into a strumpet’s fool” (1.1.11—13). Egypt is enchanting but clearly enervating–a bizarre assemblage of soothsayers, eunuchs, and waiting- gentlewomen who wish to be “married to three kings in a forenoon and widow them all” (1.2.28—9). Their mirth is all bawdry, tinged with practices, such as transvestitism, that Roman custom views as licentious. The prevailing images are of procreation in various shapes, sleep (mandragora, Lethe), the oriental opulence of Cleopatra’s barge (a golden poop, purple sails, silver oars, divers-colored fans), Epicurean feasting, and drinking. As Enobarbus says, “Mine, and most of our fortunes tonight, shall be–drunk to bed” (1.2.47—8).

Antony, for all his reckless defiance of Rome, agrees in his more reflective moments with what Demetrius and Philo have said. “A Roman thought hath struck him,” Cleopatra observantly remarks, and Antony has indeed determined that “I must from this enchanting queen break off” (1.2.88, 135). His later return to Cleopatra is at least in part a surrender, a betrayal of his marriage vows to Octavia and his political assurances to Caesar. In the ensuing battles, Antony submits himself dangerously to Cleopatra’s governance, and this inversion of dominance in sexual roles, as conventionally understood by the Roman patriarchal world, is emblematic of a deeper disorder within Antony. As Enobarbus concludes bitterly, Antony “would make his will / Lord of his reason” and so has subverted his “judgment” (3.13.3—4, 37) to passion.

From the beginning, Cleopatra has sought dominance over Antony in the war of the sexes. When Antony first came to her on the River Cydnus, we learn, he was so overcome in all his senses that he was “barbered ten times o’er” (2.2.234). Cleopatra boasts that she “angled” for Antony on many occasions, catching him the way fishermen “betray” fish, and that, when she had “drunk him to his bed,” she “put my tires and mantles on him, whilst / I wore his sword Philippan” (2.5.10—23). Caesar, affronted by such transvestite debauchery, charges that Antony “is not more manlike / Than Cleopatra, nor the queen of Ptolemy / More womanly than he” (1.4.5—7). During the battle scenes, Antony’s followers complain that “Photinus, an eunuch” (probably Mardian), and Cleopatra’s maids manage the war: “So our leader’s led, / And we are women’s men” (3.7.14—15, 70—1). Antony confesses too late that they were right. He becomes a “doting mallard,” one whose heart is “tied by th’ strings” to Cleopatra’s rudder when her ships retreat in the first naval engagement (3.10.20; 3.11.56). In the mythic images used to raise their relationship to heroic proportions, Antony is like Mars to Cleopatra’s Venus (1.5.19), in both a positive and a negative sense. The image has positive connotations of the way in which, as Milton puts it, the “two great sexes animate the world,” the masterful soldier and his attractive consort complementing one another in a right relationship of martial prowess and beauty, bravery and love, reason and will; however, to the Renaissance, the myth of Mars and Venus could also be read in a destructive sense, as an adulterous relationship in which reason is subverted to appetite. In another mythic comparison, Antony is like Hercules, not in his prime, but with the shirt of Nessus on his back–a poisoned shirt given to Hercules by his wife in a mistaken hope of thereby assuring his love for her (4.12.43). Antony’s soldiers understandably believe that the god Hercules has deserted his reputed descendant and onetime champion (4.3.21—2).

Despite Antony’s shameful violation of manhood, honor, attention to duty, self-knowledge, and all that Rome stands for, however, the end of his story is anything but a one-sided endorsement for the Roman point of view. The actual Rome, disfigured by political conniving, falls far short of the ideal. Antony has a point when he protests that “Kingdoms are clay” (1.1.37). Alliances are unstable and are governed by mere political expediency. At first, Antony’s wife Fulvia and his brother Lucius have fought one another until forced to unite against the greater threat of Octavius Caesar. Similarly, Antony and Caesar come together only because Pompey has become dangerously powerful at sea and has won the favor of the fickle mob, “Our slippery people” (1.2.192). This détente is not meant to last. As Enobarbus bluntly puts it, “if you borrow one another’s love for the instant, you may, when you hear no more words of Pompey, return it again” (2.2.109—11). Enobarbus is rebuked for his unstatesmanlike tone, but no one denies the validity of what he says. In this cynical negotiation, Octavia is a pawn between husband and brother, shabbily treated by both. Caesar coldly bargains away the happiness of the one person of whom he protests that “no brother / Did ever love so dearly” (2.2.159—60). Antony, although hating false promises and resolving to be loyal to Octavia, knows within himself that it won’t work. To make matters worse for the fair-minded Antony, he has received great favors from Pompey that he must now uncharitably repudiate in the interests of politics. Pompey does not miss the opportunity to remind Antony of his ingratitude, but the prevailing mood is not so much of bitterness as of ironic futility. Old friendships must be sacrificed; no one seems wholly to blame, and no one can stop the game. Pompey is as much in the wrong as anyone and as powerless. Despite his idealistic hope of restoring republican government to Rome, he has had to ally himself with pirates who offer him sinister temptations. He could be “lord of all the world” (2.7.62) if he would only murder on occasion, but Pompey is destined to be trapped between lofty ends and ignoble means. Lepidus is still another dismaying victim of political callousness, used condescendingly by Caesar and permitted to drink himself into oblivion, until he is cashiered on a trumped-up charge and imprisoned for life.

Octavius Caesar embodies most of all the ironic limits of political ambition. He has avoided enslavement to passion at the very real cost of enslaving himself to his public career as general, triumvir, and future emperor. His ideal warrior is one who, driven by military necessity, would “drink / The stale [urine] of horses and the gilded puddle / Which beasts would cough at” (1.4.62—4). As a general, he is Antony’s opposite in every way. He attacks only when he has the advantage and places those who have deserted Antony in his own front lines so “That Antony may seem to spend his fury / Upon himself” (4.6.10—11). He controls his supplies cannily, believing it a “waste” to feast his army (4.1.17). He, of course, declines Antony’s offers of single combat. Antony meantime recklessly accepts Caesar’s challenge to fight at sea, feasts debauchingly in one “gaudy night” after another (3.13.186), and generously refuses to blame or penalize those who leave him. His sending Enobarbus’s belongings after him into Caesar’s camp convinces that honest soldier he has made a fatal error, for, however imprudent Antony’s chivalry may be, it is unquestionably noble and great-hearted. Caesar is a superb general and political genius, but he is also a military automaton, a logistical reckoner, a Machiavellian pragmatist. In his personal life, he is no less austere and puritanical. He deplores loosening his tongue with alcohol. About women, he is deeply cynical, believing that “want will perjure / The ne’er-touched vestal” (3.12.30—1). Between him and Cleopatra, there is a profound antipathy, based in part on his revulsion at her earlier affair with his namesake and adoptive father, Julius Caesar (3.6.6). Cleopatra may entertain briefly the notion of trying to seduce this new Caesar (3.13.46 ff.), for like Charmian she loves long life “better than figs” (1.2.34), but, if so, she soon discovers that she and Caesar are not compatible. All that he represents she must instead grandly repudiate, choosing death and the fantasy of an eternity with Antony as her way to “call great Caesar ass / Unpolicied” (5.2.307—8).
Copyright © 1988 by William Shakespeare. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

Author

William Shakespeare (1564–1616) was a poet, playwright, and actor who is widely regarded as one of the most influential writers in the history of the English language. Often referred to as the Bard of Avon, Shakespeare's vast body of work includes comedic, tragic, and historical plays; poems; and 154 sonnets. His dramatic works have been translated into every major language and are performed more often than those of any other playwright. View titles by William Shakespeare

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  • Antony and Cleopatra
    Antony and Cleopatra
    William Shakespeare
    978-0-307-80798-4
    $5.99 US
    Ebook
    Bantam Classics
    Jul 10, 2013
  • Antony and Cleopatra
    Antony and Cleopatra
    William Shakespeare
    978-1-58836-834-8
    $2.99 US
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    Antony and Cleopatra
    William Shakespeare
    978-0-553-21289-1
    $6.95 US
    Mass Market Paperback
    Bantam Classics
    Jan 01, 1988
  • Antony and Cleopatra
    Antony and Cleopatra
    William Shakespeare
    978-0-307-80798-4
    $5.99 US
    Ebook
    Bantam Classics
    Jul 10, 2013
  • Antony and Cleopatra
    Antony and Cleopatra
    William Shakespeare
    978-1-58836-834-8
    $2.99 US
    Ebook
    Modern Library
    Aug 04, 2009
  • Antony and Cleopatra
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    $8.00 US
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  • The Beautiful and Damned
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  • As You Like It
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    978-0-8129-6923-8
    $9.00 US
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    Modern Library
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    978-0-8129-6926-9
    $8.00 US
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    The Merchant of Venice
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    $9.00 US
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  • The Adventures of Tom Sawyer
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  • The Canterbury Tales
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    William Shakespeare
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    Modern Library
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    The Essential Writings of James Weldon Johnson
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  • Paradise Lost
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    Modern Library
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    William Shakespeare
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    Modern Library
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    The Tempest
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    978-0-8129-6910-8
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    Modern Library
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  • A Midsummer Night's Dream
    A Midsummer Night's Dream
    William Shakespeare
    978-0-8129-6912-2
    $8.00 US
    Paperback
    Modern Library
    Aug 12, 2008
  • Richard III
    Richard III
    William Shakespeare
    978-0-8129-6913-9
    $8.00 US
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    Modern Library
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  • Love's Labour's Lost
    Love's Labour's Lost
    William Shakespeare
    978-0-8129-6914-6
    $9.00 US
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    Modern Library
    Aug 12, 2008
  • Georges
    Georges
    Alexandre Dumas
    978-0-8129-7589-5
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    Modern Library
    Jun 10, 2008
  • Anne of Green Gables
    Anne of Green Gables
    L. M. Montgomery
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    Modern Library
    Jun 10, 2008
  • Nada: Una novela
    Nada: Una novela
    Carmen Laforet
    978-0-8129-7771-4
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    Modern Library
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  • The Prince
    The Prince
    Niccolo Machiavelli
    978-0-8129-7805-6
    $14.00 US
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    Modern Library
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  • Jacques Futrelle's "The Thinking Machine"
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    The Enigmatic Problems of Prof. Augustus S. F. X. Van Dusen, Ph. D., LL. D., F. R. S., M. D., M. D. S.
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    Dec 18, 2007
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    Modern Library
    Dec 18, 2007
  • Representative Men
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    Ralph Waldo Emerson
    978-0-307-43169-1
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    Modern Library
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    Modern Library
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    978-0-307-43287-2
    $2.99 US
    Ebook
    Modern Library
    Dec 18, 2007
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    Hermann Hesse
    978-0-8129-7478-2
    $15.00 US
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    Modern Library
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  • The Essential Feminist Reader
    The Essential Feminist Reader
    978-0-8129-7460-7
    $20.00 US
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    Modern Library
    Sep 18, 2007
  • Northanger Abbey
    Northanger Abbey
    Jane Austen
    978-0-307-38683-0
    $8.00 US
    Paperback
    Vintage
    Sep 04, 2007
  • Emma
    Emma
    Jane Austen
    978-0-307-38684-7
    $9.95 US
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    Vintage
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  • Sense and Sensibility
    Sense and Sensibility
    Jane Austen
    978-0-307-38687-8
    $6.95 US
    Paperback
    Vintage
    Sep 04, 2007
  • Mansfield Park
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    Jane Austen
    978-0-307-38688-5
    $9.00 US
    Paperback
    Vintage
    Sep 04, 2007
  • The Essential Words and Writings of Clarence Darrow
    The Essential Words and Writings of Clarence Darrow
    Clarence Darrow
    978-0-8129-6677-0
    $17.00 US
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    Modern Library
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  • Life on the Mississippi
    Life on the Mississippi
    Mark Twain
    978-0-375-75937-6
    $13.00 US
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    Modern Library
    May 29, 2007
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    978-0-14-313223-3
    $9.00 US
    Paperback
    Penguin Classics
    Apr 10, 2018
  • The Two Gentlemen of Verona
    The Two Gentlemen of Verona
    William Shakespeare
    978-0-14-313224-0
    $10.00 US
    Paperback
    Penguin Classics
    Apr 10, 2018
  • Henry VI, Part 1
    Henry VI, Part 1
    William Shakespeare
    978-0-14-313225-7
    $11.00 US
    Paperback
    Penguin Classics
    Apr 10, 2018
  • Henry VIII
    Henry VIII
    William Shakespeare
    978-0-14-313226-4
    $10.00 US
    Paperback
    Penguin Classics
    Apr 10, 2018
  • Coriolanus
    Coriolanus
    William Shakespeare
    978-0-14-313227-1
    $9.00 US
    Paperback
    Penguin Classics
    Apr 10, 2018
  • The Sonnets
    The Sonnets
    William Shakespeare
    978-0-14-313171-7
    $10.00 US
    Paperback
    Penguin Classics
    Nov 14, 2017
  • Troilus and Cressida
    Troilus and Cressida
    William Shakespeare
    978-0-14-313175-5
    $10.00 US
    Paperback
    Penguin Classics
    Nov 14, 2017
  • Henry IV, Part 2
    Henry IV, Part 2
    William Shakespeare
    978-0-14-313176-2
    $9.00 US
    Paperback
    Penguin Classics
    Nov 14, 2017
  • Antony and Cleopatra
    Antony and Cleopatra
    William Shakespeare
    978-0-14-313172-4
    $10.00 US
    Paperback
    Penguin Classics
    Jul 25, 2017
  • Measure for Measure
    Measure for Measure
    William Shakespeare
    978-0-14-313173-1
    $10.00 US
    Paperback
    Penguin Classics
    Jul 11, 2017
  • The Winter's Tale
    The Winter's Tale
    William Shakespeare
    978-0-14-313174-8
    $10.00 US
    Paperback
    Penguin Classics
    Jul 11, 2017
  • As You Like It
    As You Like It
    William Shakespeare
    978-0-14-313023-9
    $10.00 US
    Paperback
    Penguin Classics
    Jun 13, 2017
  • Henry V
    Henry V
    William Shakespeare
    978-0-14-313024-6
    $10.00 US
    Paperback
    Penguin Classics
    Jun 13, 2017
  • Richard III
    Richard III
    William Shakespeare
    978-0-14-313025-3
    $10.00 US
    Paperback
    Penguin Classics
    Jun 13, 2017
  • Much Ado About Nothing
    Much Ado About Nothing
    William Shakespeare
    978-0-14-313018-5
    $10.00 US
    Paperback
    Penguin Classics
    Apr 04, 2017
  • Titus Andronicus
    Titus Andronicus
    William Shakespeare
    978-0-14-313019-2
    $10.00 US
    Paperback
    Penguin Classics
    Apr 04, 2017
  • Henry IV, Part 1
    Henry IV, Part 1
    William Shakespeare
    978-0-14-313020-8
    $10.00 US
    Paperback
    Penguin Classics
    Apr 04, 2017
  • The Merchant of Venice
    The Merchant of Venice
    William Shakespeare
    978-0-14-313022-2
    $10.00 US
    Paperback
    Penguin Classics
    Mar 14, 2017
  • Richard II
    Richard II
    William Shakespeare
    978-0-14-313021-5
    $10.00 US
    Paperback
    Penguin Classics
    Mar 07, 2017
  • Julius Caesar
    Julius Caesar
    William Shakespeare
    978-0-14-312860-1
    $10.00 US
    Paperback
    Penguin Classics
    Nov 01, 2016
  • The Tempest
    The Tempest
    William Shakespeare
    978-0-14-312863-2
    $10.00 US
    Paperback
    Penguin Classics
    Nov 01, 2016
  • The Taming of the Shrew
    The Taming of the Shrew
    William Shakespeare
    978-0-14-312862-5
    $10.00 US
    Paperback
    Penguin Classics
    Oct 11, 2016
  • Othello
    Othello
    William Shakespeare
    978-0-14-312861-8
    $10.00 US
    Paperback
    Penguin Classics
    Oct 04, 2016
  • A Midsummer Night's Dream
    A Midsummer Night's Dream
    William Shakespeare
    978-0-14-312858-8
    $10.00 US
    Paperback
    Penguin Classics
    Jul 05, 2016
  • Twelfth Night
    Twelfth Night
    William Shakespeare
    978-0-14-312859-5
    $10.00 US
    Paperback
    Penguin Classics
    Jul 05, 2016
  • Hamlet
    Hamlet
    William Shakespeare
    978-0-14-312854-0
    $10.00 US
    Paperback
    Penguin Classics
    Mar 29, 2016
  • King Lear
    King Lear
    William Shakespeare
    978-0-14-312855-7
    $10.00 US
    Paperback
    Penguin Classics
    Mar 29, 2016
  • Macbeth
    Macbeth
    William Shakespeare
    978-0-14-312856-4
    $10.00 US
    Paperback
    Penguin Classics
    Mar 29, 2016
  • Romeo and Juliet
    Romeo and Juliet
    William Shakespeare
    978-0-14-312857-1
    $10.00 US
    Paperback
    Penguin Classics
    Mar 29, 2016
  • Macbeth #killingit
    Macbeth #killingit
    William Shakespeare, Courtney Carbone
    978-0-553-53881-6
    $9.99 US
    Ebook
    Random House Books for Young Readers
    Jan 05, 2016
  • A Midsummer Night #nofilter
    A Midsummer Night #nofilter
    William Shakespeare, Brett Wright
    978-0-553-53882-3
    $9.99 US
    Hardcover
    Random House Books for Young Readers
    Jan 05, 2016
  • srsly Hamlet
    srsly Hamlet
    William Shakespeare, Courtney Carbone
    978-0-553-53547-1
    $9.99 US
    Ebook
    Random House Books for Young Readers
    May 26, 2015
  • YOLO Juliet
    YOLO Juliet
    William Shakespeare, Brett Wright
    978-0-553-53548-8
    $9.99 US
    Ebook
    Random House Books for Young Readers
    May 26, 2015
  • Romeo and Juliet
    Romeo and Juliet
    William Shakespeare
    978-0-449-81847-3
    $5.99 US
    Ebook
    Delacorte Press
    Oct 08, 2013
  • Five Revenge Tragedies
    Five Revenge Tragedies
    The Spanish Tragedy; Hamlet; Antonio's Revenge; The Tragedy of Hoffman; The Reve nger's Tragedy
    William Shakespeare, Thomas Middleton, Thomas Kyd, John Marston, Henry Chettle
    978-0-14-119227-7
    $16.00 US
    Paperback
    Penguin Classics
    Nov 27, 2012
  • Hamlet
    Hamlet
    William Shakespeare
    978-0-14-241917-5
    $7.99 US
    Paperback
    Puffin Books
    Jan 06, 2011
  • The Sonnets and a Lover's Complaint
    The Sonnets and a Lover's Complaint
    William Shakespeare, Coralie Bickford-Smith
    978-0-14-119257-4
    $23.00 US
    Hardcover
    Penguin Classics
    Sep 28, 2010
  • Three Early Comedies
    Three Early Comedies
    Love's Labor's Lost, The Two Gentlemen of Verona, The Merry Wives of Windsor
    William Shakespeare
    978-0-307-42454-9
    $4.99 US
    Ebook
    Bantam Classics
    Aug 26, 2009
  • The Sonnets and Narrative Poems - the Complete Non-Dramatic Poetry
    The Sonnets and Narrative Poems - the Complete Non-Dramatic Poetry
    William Shakespeare
    978-0-451-53089-9
    $7.95 US
    Mass Market Paperback
    Signet
    Apr 01, 2008
  • The Two Gentlemen of Verona
    The Two Gentlemen of Verona
    William Shakespeare
    978-0-451-53063-9
    $5.95 US
    Mass Market Paperback
    Signet
    May 01, 2007
  • Pericles/Cymbeline/The Two Noble Kinsmen
    Pericles/Cymbeline/The Two Noble Kinsmen
    William Shakespeare
    978-0-451-53035-6
    $8.95 US
    Mass Market Paperback
    Signet
    Nov 07, 2006
  • The Merry Wives of Windsor
    The Merry Wives of Windsor
    William Shakespeare
    978-0-451-52996-1
    $6.95 US
    Mass Market Paperback
    Signet
    Jan 03, 2006
  • All's Well That Ends Well
    All's Well That Ends Well
    William Shakespeare
    978-0-451-53001-1
    $6.95 US
    Mass Market Paperback
    Signet
    Oct 04, 2005
  • Henry VI (Parts I, II and III)
    Henry VI (Parts I, II and III)
    William Shakespeare
    978-0-451-52984-8
    $7.95 US
    Mass Market Paperback
    Signet
    Jul 05, 2005
  • Titus Andronicus and Timon of Athens
    Titus Andronicus and Timon of Athens
    William Shakespeare
    978-0-451-52956-5
    $6.95 US
    Mass Market Paperback
    Signet
    Jan 04, 2005
  • The Portable Shakespeare
    The Portable Shakespeare
    William Shakespeare
    978-0-14-243794-0
    $36.00 US
    Paperback
    Penguin Classics
    Sep 28, 2004
  • Love's Labor's Lost
    Love's Labor's Lost
    William Shakespeare
    978-0-451-52950-3
    $5.95 US
    Mass Market Paperback
    Signet
    Sep 07, 2004
  • King John/Henry VIII
    King John/Henry VIII
    William Shakespeare
    978-0-451-52923-7
    $5.95 US
    Mass Market Paperback
    Signet
    Feb 03, 2004
  • The Complete Pelican Shakespeare
    The Complete Pelican Shakespeare
    William Shakespeare
    978-0-14-100058-9
    $80.00 US
    Hardcover
    Penguin Classics
    Oct 01, 2002
  • Henry IV, Part II
    Henry IV, Part II
    William Shakespeare
    978-0-451-52853-7
    $5.95 US
    Mass Market Paperback
    Signet
    Sep 03, 2002
  • Troilus and Cressida
    Troilus and Cressida
    William Shakespeare
    978-0-451-52847-6
    $8.95 US
    Mass Market Paperback
    Signet
    Aug 01, 2002
  • Coriolanus
    Coriolanus
    William Shakespeare
    978-0-451-52843-8
    $5.95 US
    Mass Market Paperback
    Signet
    Jul 01, 2002
  • The Comedy of Errors
    The Comedy of Errors
    William Shakespeare
    978-0-451-52839-1
    $4.95 US
    Mass Market Paperback
    Signet
    Jun 01, 2002
  • The Merry Wives of Windsor
    The Merry Wives of Windsor
    William Shakespeare
    978-0-14-071464-7
    $9.00 US
    Paperback
    Penguin Classics
    Feb 26, 2002
  • All's Well That Ends Well
    All's Well That Ends Well
    William Shakespeare
    978-0-14-071460-9
    $12.00 US
    Paperback
    Penguin Classics
    Aug 01, 2001
  • Pericles
    Pericles
    William Shakespeare
    978-0-14-071469-2
    $10.00 US
    Paperback
    Penguin Classics
    Aug 01, 2001
  • Henry VIII
    Henry VIII
    William Shakespeare
    978-0-14-071475-3
    $10.00 US
    Paperback
    Penguin Classics
    Aug 01, 2001
  • Henry VI, Part 1
    Henry VI, Part 1
    William Shakespeare
    978-0-14-071465-4
    $9.00 US
    Paperback
    Penguin Classics
    Dec 01, 2000
  • Henry VI, Part 2
    Henry VI, Part 2
    William Shakespeare
    978-0-14-071466-1
    $12.00 US
    Paperback
    Penguin Classics
    Dec 01, 2000
  • Henry VI, Part 3
    Henry VI, Part 3
    William Shakespeare
    978-0-14-071467-8
    $12.00 US
    Paperback
    Penguin Classics
    Dec 01, 2000
  • Troilus and Cressida
    Troilus and Cressida
    William Shakespeare
    978-0-14-071486-9
    $9.00 US
    Paperback
    Penguin Classics
    Dec 01, 2000
  • The Comedies of Shakespeare
    The Comedies of Shakespeare
    William Shakespeare
    978-0-679-64188-9
    $4.99 US
    Ebook
    Modern Library
    Nov 01, 2000
  • The Histories and Poems of Shakespeare
    The Histories and Poems of Shakespeare
    William Shakespeare
    978-0-679-64189-6
    $5.99 US
    Ebook
    Modern Library
    Nov 01, 2000
  • The Tragedies of Shakespeare
    The Tragedies of Shakespeare
    William Shakespeare
    978-0-679-64190-2
    $6.99 US
    Ebook
    Modern Library
    Nov 01, 2000
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