Download Antony and Cleopatra (Bloom's Shakespeare Through the Ages) by William Shakespeare, Sterling Professor of the Humanities PDF

By William Shakespeare, Sterling Professor of the Humanities Harold Bloom, Neil Heims PH.D.

Shakespeare's 'Antony and Cleopatra' has been noticeable at the one hand as a romance in regards to the transcendence of affection, and at the different as a lesson opposed to forget of responsibility. This learn consultant encompasses a number of feedback throughout the centuries at the play, in addition to a precis, research of key passages and a complete personality record.

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Additional resources for Antony and Cleopatra (Bloom's Shakespeare Through the Ages)

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In the political realm, however, she overreaches; her strength here does not equal the strength she can wield in the erotic realm. Antony’s resulting disgrace shows that Antony values her erotic power over his military prowess. QQQ 28 Antony and Cleopatra Act III, xi, 7–24 Antony: I have fled myself; and have instructed cowards To run and show their shoulders. Friends, be gone; I have myself resolved upon a course Which has no need of you; be gone: My treasure’s in the harbour, take it. O, I follow’d that I blush to look upon: My very hairs do mutiny; for the white Reprove the brown for rashness, and they them For fear and doting.

Avaunt! Cleopatra: Why is my lord enraged against his love? Antony: Vanish, or I shall give thee thy deserving, And blemish Caesar’s triumph. Let him take thee, And hoist thee up to the shouting plebeians: Follow his chariot, like the greatest spot Of all thy sex; most monster-like, be shown For poor’st diminutives, for doits; and let Patient Octavia plough thy visage up With her prepared nails. Before this scene, Cleopatra last appeared in Act IV, scene 8, celebrating Antony’s victory over Octavius Caesar and offering a suit of “armor all of gold” to one of his prized soldiers.

According to an entry in the Lord Chamberlain’s records of 1669, Antony and Cleopatra was “formerly acted at the Blackfriars,” the indoor theater that the King’s Men owned, in 1609 and 1642. From 1642 to 1661, however, the London theaters were closed by order of the Puritan Long Parliament. After the reopening of the theaters following the restoration of the monarchy, there is no indication that Shakespeare’s original version of Antony and Cleopatra was performed at all. In 1677, however, John Dryden’s reworking of the play, called All for Love, Or The World Well Lost, was first performed.

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