Complex Fusion of Virtues and Faults: Shakespeare’s Antony as a ‘Manliest’ Man
Abstract
Shakespeare’s Antony and Cleopatra presents a rigorous challenge in terms of character analysis since the central characters of the play, Antony and Cleopatra, are not unified figures acting in accordance with a recognizable personality. The characters’ complexity is enhanced by their limited action and reliable words. The words in the play are hardly trustworthy and the characters are too sophisticated to conceive as such making the interpretation of the characters more difficult. Thus, arguing that Mark Antony who can be praised or attacked remains questionable, this paper deals with the conflict between what Antony thinks about himself, what he does, and what the others think about him in order to demonstrate the multiplicity and complexity in his character.
References
Shakespeare Quarterly, 32.3 (1982): 295-304.
Clark, S. (Ed.) The New Century Shakespeare Handbook. New Jersey: Prentice Hall
Inc. 1974.
Dollimore J. “Antony and Cleopatra: Virtus under Erasure.” The Roman Plays. G.
Holderness (Ed.). London: Longman. 1996.
Harrier, Richard C. “Cleopatra’s End.” Shakespeare Quarterly, 13.1 (1962): 63-65.
Jones, Emrys. (Ed.) “Introduction.” Antony and Cleopatra. William Shakespeare.
London: Penguin. 1988.
Kaula, David. “The Time Sense of Antony and Cleopatra.” Shakespeare Quarterly,
15.3 (1964): 211-223.
Michael, Payne. “Erotic Irony and Polarity in Antony and Cleopatra.”
Shakespeare
Quarterly, 24.3 (1973): 265-279.
Schwartz, Elias. “The Shackling of Accidents: Antony and Cleopatra.” College
English, 23. 7 (1962): 550-558.
Shakespeare, William. Antony and Cleopatra. The Complete Works of William
Shakespeare. London: DKY Editions. 1990.
Spevack, M. (Ed.). A New Variorum Edition of William Shakespeare, Antony and
Cleopatra. New York: The Modern Language Association. 1990.
Wolf, William D. “New Heaven, New Earth”: The Escape from Mutability in
Antony and Cleopatra.” Shakespeare Quarterly, 33.3 (1982): 328-335.

