Abstract
This paper discusses the depictions of Antony's and Cleopatra's respective conflicts, and how those depictions portray the value of romantic love. The discussion begins with Antony's conflict, which is a struggle between reason and emotion, mind and heart. This conflict is a central theme to the play and is even manifest in a geographic and political sense as the struggle between the Western world of Rome and the Eastern world of Egypt. The discussion moves to Cleopatra and shows that she is at the center of the same struggle and is motivated, just as Antony, to choose between political power and love. The paper concludes with an examination of Shakespeare's message about the value of romantic love.

From the Paper
"Cleopatra is portrayed to us as a woman of sublime beauty. She is seductive to such a degree that she is considered an enchantress and is referred to as a witch. Her majesty is described in vivid terms in a narration by Enobarbus; one of Antony's most trusted lieutenants (II.ii.196-210). He describes the golden decks of her barge, purple sails and silver oars. He compares her visage to Venus, and mentions her as surrounded by young servant boys and ladies. His description brings to us the enchanting quality of Cleopatra's presence, and her subsequent hold upon Antony."

Tags:romantic, love, east, west

Abstract
Shakespeare wrote 'Antony and Cleopatra' towards the end of his career, around 1600. Some scholars support that its historical nature has more to do with Shakespeare's own time than with the Roman era in which it is set (McJannet). These scholars claim Shakespeare is reconstructing English or Roman history from the perspective of his own historical moment.

From the Paper
"But the hero who has distinguished himself, what shall be done to him? In the first place, he shall receive honour in the army from his youthful comrades; every one of them in succession shall crown him. What do you say? (Plato 195). Shakespeare wrote Antony and Cleopatra toward the end of his career, around 1600-1607 ("William Shakespeare (1564-1616)"; "Shakespeare Timeline"), and some scholars support that its historical nature has more to do with Shakespeare's own time than with the Roman era in which it is set (McJannet)."

Tags:shakespeare, antony, cleopatra

Abstract
This paper illustrates how, in Shakespeare's "Antony and Cleopatra", a climax is reached within the ancient Greek themes of creation and destruction that mirrors the distinctions between love and war, and the explicit and implicit communication of love to oneself and another, seen in the play's rendition of male and female love. The writer argues that "Antony and Cleopatra" offers a Christian-mystic-community-pagan parallelism centered around more ancient themes, and that, in the play, fate is in constant countermotion with freedom, which tragically can lead to neurosis, or positively to a romantically balanced catharsis. The writer contrasts the emotive content of the play with its cognitive content, the blurring and refocusing of which create the play's subjective ethical implications.

Outline:
Abstract
Introduction
The Contrast between What is and What Could be: Antony's Neurosis
Contrast Between the Written and Spoken Word
Intertextual Interpretations and Influences
The Intertextuality in Antony and Cleopatra: Hercules and Masochism
Hercules as Christian/Pagan Intertext
The Egyptian Other and the Roman Self

From the Paper
"One priority in discussing things as complex as works of art, especially plays, is to acknowledge certain presuppositions about the nature of the subject matter. Is the philosophy of literature the same as literature that contains philosophy? While this has been widely debated, I think the issue lies in the distinction between the two, which if blurry, expresses an overlap such that literature can serve as philosophy, somewhat in the way that later Heidegger believed that poetry was the highest form of philosophical thinking."

Tags:self-love, interaction, kabbalah, hermeneutic, metaphor, interpretation

Abstract
This paper examines how William Shakespeare intermingled imperialistic tones with gender terminology in his tragedy "Antony and Cleopatra." The reviewer cites that the playwright described Rome and Egypt in terms of gender, as well as East versus West. According to the paper, imperialistic assumptions underline the gender identities. This idea is supported with various quotes from literary criticism as well as the text of the play. The reviewer concludes that Antony is not 'manlike' and holds almost an inferior position in the relationship with the 'enchanting queen'.

From the Paper
"On the contrary,Cleopatra is not "more womanly than" Antony suggests that masculine traits in Cleopatra. Cleopatra holds Egypt by power and 'rights' made secure by Antony. When she is threatened,she attempts to secure some possessions. She believes in her own royal priviledge; her government is hierarchical and she is an absolute ruler.Some instances that prove her not so 'womanly' behaviour are when she involves in physical violence with the messenger who brings the news of Antony's marriage with Octavia and the other is her decison to go to the war to help Antony."

Tags:Levant, tragedy, ancient Egypt, ancient Rome

Abstract
By analyzing William Shakespeare's play, "Antony and Cleopatra," the paper focuses on images from Roman culture such as gods (Mars, Venus), heroes (Aeneas, Dido), Antony's sword. The paper then explores the images from Egyptian culture such as Isis and Osiris, serpent of the Nile. Finally it shows how these images are a reflection of both characters' ideologies and beliefs.

From the Paper
"The spectators of Anthony and Cleopatra are inevitably overwhelmed by the splendor of imagery and the richness of images in the speeches of the characters. Opposition and juxtaposition of the images from Roman and Egyptian cultures contribute much to this effect. The use of these images is very intense; it reflects the battle of the ideologies that is fought on the stage. The central thematic conflict in Anthony and Cleopatra evolves from the opposing claims upon Anthony of the values and attitudes symbolized by the Roman and the Egyptian worlds."

Tags:tragedy, North-African, Mardian, Aphrodite

Abstract
This paper examines the relationship between Marcus Agrippa, Maecenas, and Octavius Caesar in Shakespeare's "Antony and Cleopatra". The author emphasizes how the interaction of these three characters provides insight into their characters. The author feels that this play depicts excess ambition.

Abstract
Throughout "Antony and Cleopatra" by William Shakespeare there is a sharp contrast between the bawdy humor and entertainment of the east and the stern morality and politics of the west. The paper shows that this is best seen in Antony's downfall; his death is caused by a romantic but illogical attempt at conquering Rome. Alsom the battle of Actium shows the decadent Egypt destroyed and the sensible Rome victorious. The paper shows that in Rome, Antony was at his best as a man, a soldier and a statesmen, whereas, as Antony says, "in the East my pleasure lies," as does his downfall.

From the Paper
"Charmian: "My arm is sore. Best play with Mardian.
Cleopatra: As well a women with a Eunuch played as with a woman."

This short exchange presents Egypt as a place of sexual innuendo and entertainment. Such conversations never take place in Rome, and this shows the more impertinent nature of Egypt. There is also a contrast in the treatment of tragic events between Egypt and Rome. In Rome, they are taken very seriously (for example the military aggression of Pompei), but in Egypt they are often given a comic undertone, for example when Cleopatra is speaking to Antony about the death of his wife, Fulvia. At a point of sadness and tragedy, Cleopatra remarks "Can Fulvia really die?" The word die has a secondary meaning in Elizabethan English, to reach sexual climax. Shakespeare illustrates the more irreverent nature of Egyptian life by treating such a tragic issue with bawdy humor."

Tags:Octavius, Caesar, eunuch, actium

Abstract
The paper introduces and analyzes the topic of Cleopatra, Queen of Egypt. Specifically it discusses the motive for her love affairs with Julius Caesar and Mark Antony. The paper relates that Cleopatra ruled Egypt as a result of her father's death and,at the age of 17, she took over the rule of Egypt until she was ousted from power and fled the country. The paper relates the numerous love affairs she was involved in, her goal being to regain the throne and her power.

From the Paper
"Cleopatra's first infamous love affair was with Julius Caesar, who had conquered Egypt and was attempting to decide who should reign over the country in Rome's behalf. Cleopatra wanted the job, and did not want to arouse suspicion in her brother's guards, so to meet with Caesar she had herself rolled up inside a carpet and delivered directly to him. Cleopatra seduced him, and they became lovers. In return, she gained the power and the throne in Egypt, and spent time in Rome with Caesar, as well. One historian notes, "Cleopatra was politically brilliant and secured Caesar's loyalty, certainly not only through sexual pleasure, but through manipulation of her own" (Editors). Cleopatra bore Caesar a son, further ingratiating herself to him, and she used him to regain her power and prestige in Egypt. It is not clear if she really loved him or not, but it is clear that she was shrewd and recognized that this powerful Roman would be a sound ally and advisor. "

Tags:Cleopatra, Caesar, love, affairs

Abstract
Cleopatra was a queen of Egypt during ancient times, and is also known for her associations with the Roman empire during the time of Augustus and Mark Antony. Officially, her title was Cleopatra VII Philopator, and although she was an Egyptian queen, she had a Greek or Hellenic background. In this paper, a brief biography of Cleopatra is given, including her association with the early Roman empire through Mark Antony, her achievements and contemporary effects of the times, and her famous death by the suicide poison of an asp.

From the Paper
"Cleopatra became queen at a very young age, being only eighteen when she ascended to her high position, and because according to the laws and customs of the time, a female ruler had to have a brother or son as a person of interest in their high court, she had to be married to her brother. Such arrangements were not all that uncommon in royal monarchies of ancient times, as they were often based on complicated systems of bloodline purity and genetics understanding, which led to some amount of intermarriage and often, in one of the unfortuante side effects of such a system, inbreeding. Cleopatra, however, was in no way dominated in her relationship to Ptolemy XII, as he was only twelve years old and she was eighteen. Instead, she effectively took power and control on her own."

Tags:Mark, Antony, Philopator, Egypt

Abstract
Cleopatra, the last pharaoh of the Macedonian dynasty , is legendary for her seductive ways, her force, astuteness, and relationships with powerful men. She has even been called "'the most illustrious and wise of women'" by John, Bishop of Nikiu in Upper Egypt in the 7th century A.D.; and "'the last of the wise ones of Greece'" by the Arab historian Al-Masudi. Hughes posits that Cleopatra may have been noticeably darker than the Romans she came into contact with, which may have exaggerated the conflict she experienced with Rome and others. She developed amorous relationships with both Julius Caesar and Marc Antony, while invoking the ire of Octavian, Caesar's adopted son (the son of his niece, and the brother of Octavia, Antony's wife) who accused Antony of repudiating Rome due to his lust for the Egyptian queen. She has been seen as the most prolific seductress of her time gaining vast expanses of land and property from her powerful lovers.

From the Paper
Cleopatra: Her Relationship with Rome and the Powerful Men Who Gave Her Love, Sex, and Clout Introduction Cleopatra, the last pharaoh of the Macedonian dynasty, is legendary for her seductive ways, her force, astuteness, and relationships with powerful men. She has even been called "'the most illustrious and wise of women'" by John, Bishop of Nikiu in Upper Egypt in the 7^th century A.D.; and "'the last of the wise ones of Greece'" by the Arab historian Al-Masudi. Hughes posits that Cleopatra may have been noticeably darker than the

Tags:cleopatra, antony, caesar