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Dragana Custic
Dr. Lindroth
EN 417
4 May 2015

Baktir, Hasan. Cleopatra as a Complex Character. Journal of Language and Literature

Education. 2.7 (2013): 59-70. ProQuest Central. Web. 22 Apr. 2015.
Baktirs article provides a very detailed and focused interpretation of the complexity of
the character of Cleopatra from the play Antony and Cleopatra. He takes many different
approaches ranging from Cleopatra displaying contradictory qualities to her undergoing a
transformation in attitude. On one hand, she is charming, beautiful and adorable; on the other
hand, she is a seductress, tricky, and destructive (Baktir). The author also reflects on the
perceptions other characters in the play have of Cleopatra as she experiences that change. Baktir
concludes his article by stating that Shakespeare is not fond of allowing anyone in his plays to
speak with an omniscient voice. Instead, Shakespeare allows things to be interpreted from
various angles and lets the audience decide what motivates each characters actions. Cleopatras
character symbolizes humanity since human nature is a very complex thing. This diverse and
complex technique of presentation makes Shakespeares dramatic characters more humane
(Baktir). Each character fuses with the plot and corresponds to the entirety of the character of
Cleopatra.
The article supports the recognition of Cleopatra as both a ruler and a lover in the play.
Cleopatra is a queen who deals with politics, but she is also a woman who holds a strong passion

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inside of her and that passion is her love for Antony. This is reflected in the article when the
author states She is a queen, but she does not seem to have control over her passion. She is
more like a woman who plays acts, who is under the influence of her emotions and enjoys love
affairs more than politics (Baktir). Cleopatra engages in a lot of playacting when it comes to
Antony because she is very insecure. In the play, Antony is married to Fulvia and when she dies,
Antony does not care and marries Octavia. This sparks fears in Cleopatra and her insecurity level
rises. Cleopatra is the leading cause of Antonys downfall through her seductive and enchanting
ways. Even though, Cleopatra plays around with Antonys mind, he still cannot let go of the love
he feels for her. The article says But even after he gets married to Octavia he cannot forget his
strong passion for Cleopatra. Cleopatra is a woman who leads Antony to duplicity and causes
disaster, and occupies his mind consistently (Baktir). When Antony loses the battle to Caesar, he
is confident that Cleopatras infidelity is the leading cause of his loss. He is persuaded by the fact
that she betrayed him with Octavius Caesar. Cleopatra decides the only way to challenge Caesar
and prove her love for Antony is through suicide. The article puts emphasis on this particular
scene and describes Cleopatras change, condemnation of Caesars victory, and depth of love for
Antony in her unwillingness to remain alive. She begins to understand the agony of Antony and
wants to show that she is loyal and devoted to him; therefore she challenges Caesar by
committing suicide. She justifies her love for Antony and refuses to live (Baktir).
In the articles argument, Cleopatra is viewed as a complex character by Antony, Philo,
Demetrius, Scarus, Caesar, and Pompey. On the contrary, the woman in the play are the only
ones who have sympathy for her. Cleopatra exemplifies a queen, a vigorous seducer, but beyond

all that she is the essence of a passionate lover. Agrippas speech about Cleopatra was not
mentioned. In
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the play he stated, Royal wench!/She made great Caesar lay his sword to bed; he plowed her.
And she cropped (2.2.236). This speech goes to show how other characters perceived Cleopatra.
Agrippa was one of the other men who viewed Cleopatra as a whore because of her previous
relationship with Caesar. He did not look past that and used that image to shape his perception of
her. His negative attitude towards her only heightened the complexity of her character. Agrippa is
not able to recognize Cleopatras true human quality of being a passionate and genuine lover. He
perceives her through her appearance and affair with Caesar. This also proves another valid point
that the article mentioned which stated that these characters who judge her do not know
everything about her. Every character perceives her a little differently than the other. It is fairly
obvious what motivated Agrippa to deliver this condemning speech about her; her previous
relationship and her opposing qualities that caused various disputes throughout the article and the
novel.
Read, David. Disappearing Act: The Role of Enobarbus in Antony and Cleopatra. Studies in
Philology. 110.3. (2013): 562-583. ProQuest Central. Web. 22 Apr. 2015.
This article examines the significant death scene of the character of Enobarbus in Antony
and Cleopatra. The author argues that Enobarbuss death lacked a physical cause. Enobarbus
wills himself to die in the absence of any obvious physical cause (Read). The author also brings
to light how he believes that Enobarbus and Cleopatras deaths are symbolically linked with one
another, both being characterized as easy deaths. Enobarbus functions in the play as a kind of

harbinger of Cleopatras fate (Read). Enobarbuss death also gave him the opportunity to refrain
from the chaos that ensues at the end of every tragic drama. The author concludes his argument
on Enobarbus by highlighting that the play demonstrates the constant appearance of unsuitable
loose ends, even in the nature of action. Enobarbus is the character who is closely tied to that
loose end.
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In the play, the audience learns that Enobarbus leaves Antony and that the guilt and
shame he feels after is what seems to kill him. He prayed to the moon and wished he would die.
His heart breaking soliloquy proved Enobarbus to be the epitome of melancholy. The article went
more into depth on this. Critics were left wondering why such an unusual death had occurred.
The article talks about how Enobarbus joined Caesars side and how this made him feel like he
was disloyal to Antony. The author argues that Enobarbus was left with no other option, but to
disappear and escape the judgments he would face because of his actions. Under these dire
circumstances the most attractive option-one enabled by Enobarbus's breaking heart-is to step out
by the side door as it were: to disappear from the scene, fore-stalling further judgments about the
meetness of his actions (Read). In the play, Enobarbus was one of the characters that was not
captivated by Cleopatras beauty and charm. However, the article points out that Enobarbus and
Cleopatra were connected. Both characters removed themselves from the upcoming chaos that
would ensue. The author raises an interesting point when he states that Enobarbus and Cleopatra
die in the same general style. The agency is different, the outcome, the same: a death that is easy
as thinking (Read). They both depart from the world through easy deaths. Both imagine
themselves dying and Enobarbus shapes the expectations that will surround Cleopatras death
after his own. This article gave me the chance to discover the importance of Enobarbus in

Antony and Cleopatra. I was confused when reading the play about what exactly happened to
him since Shakespeare did not include much on his death. This article made me realize how he
was misunderstood and not properly evaluated. His disloyalty and shame triggered the emotional
conflict he faced, and eventually led to his demise.

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The articles argument focuses on how Enobarbuss heartbreak and shame in joining
Caesars side and betraying Antony, caused him to displace himself and die without any apparent
physical cause. Enobarbuss undying love for Antony can be compared to Eross love for him.
Antony requested that Eros kill him when he heard that Cleopatra committed suicide. Eros
refused to kill Antony, a man he respected and loved so much. Eros could not bear the grief that
would consume him after Antonys death. Instead of killing Antony, he kills himself to dispose of
the sorrow that employed his heart. This is very similar to Enobarbuss situation. Enobarbus was
very loyal to Antony just like Eros, and his departure from Antony caused his heartbreak. He
could not bear to think about the pain Antony felt after he left him. His own sorrow caused him
to drop on the floor and die, just like Antonys sorrow towards Cleopatra caused him to fall on
his sword.
Javed, Tabassum. As You Like it: A Journey from the Known to the Unknown. The Journal of
Humanities and Social Sciences. 20.2. (2012): 27-36. ProQuest Central. Web. 22 Apr.
2015.

Javeds article focuses on the perspective of the known and the unknown. It analyzes the
characters of Rosalind and Orlando from the Jungian point of view. He focuses on the shift from
an Urban setting, which he labels as the conscious to the Woods, which is compared to the
unconscious. He argues that this change in setting is significant in that it allows them to integrate
the conscious and the unconscious in order to become a part of the whole picture. Rosalind and
Orlando have to move into a more fluid space to be able to get in touch with their unconscious
(Javed). The author also reflects on the roles of Duke Ferdinand and Oliver who are portrayed as
emitting negative energy, making people want to leave the court, and Duke Senior who resides in
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the woods and emits all the positive energy since all the characters wind up in that setting. The
characters moving towards the forest interact with him and gradually start moving towards selfrealization (Javed). The author concludes his article with the Jungian view that male and female
attitudes toward one another and the society around them are damaged by issues that arise from
unbalanced psychological attributes. Rosalind and Orlando overcome their imbalance because
their conscious is not united with their unconscious.
In my understanding of the play, Rosalind was banished from the court by Duke
Frederick and disguised herself as Ganymede to enter the woods. Orlando, on the other hand, left
the court because he learned that his brother Oliver wanted to burn his house down with him
inside of it. Both Rosalind and Orlandos situations forced them to go into the Forest of Arden.
The article states that this forceful shift leads to a change in their attitudes. Both of them are
forced to move from the court to the woods and during their stay in the Forest of Arden, they
experience a transformation of attitude (Javed). Here is where the author introduces the notion
of the unconscious and conscious. I felt that this was really significant because it deepened my

understanding of the play by giving me the opportunity to observe Rosalind and Orlando from a
psychological perspective. He goes on to speak about how their love matures in the Forest of
Arden. They move from the unconscious into the conscious. In the Forest, their personalities lie
on the same level, they are balanced. To be able to get in touch with the unconscious, Orlando
and Rosalind have to move into the Woods which is symbolic of establishing connection with the
unconscious (Javed). The author made another great point when he talked about Orlandos
frustration with his brother Oliver, who took the rights he rightfully deserved away from him.
His imbalance caused his inability to fight back against Oliver. Instead of recognizing the true
potential
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of his strength, Orlandos love for Rosalind gets in the way. Rosalind giving him her chain
symbolizes her passing of an energy which they are both unware of at the time. It is the energy
from her chain that drives Orlando into the Forest. Just like in the play, Rosalinds disguise
creates the unification that takes place between the two lovers. Her false appearance paves the
way for the anima-animus integration between Orlando and Rosalind (Javed). This article was
very useful because it examined the characters of Rosalind and Orlando more closely through a
psychological viewpoint. It used the shift from two different settings as the focal point of the
balance they would both find within each other.
The articles argument is centered on the change of setting from urban to the forest and
how that allowed Rosalind and Orlando to harmonize their conscious and unconscious to become
a part of the society as a whole. Jacques melancholy nature and refusal to take part in the society
were not alluded to in the article. He provides both the conscious and unconscious view of
human nature through his actions. He places himself outside of society, yet he represents the

grief that contrasts every human joy. Oddly enough, at the end of the play, Jacques goes off the
join Duke Fredericks monastery. I feel as though something encouraged him to join society and
it is through the monastery that Jacques will find balance or peace within himself. Also his
melancholy and Touchstones humor serve to balance each other out, just like Rosalind and
Orlando.
Iser, Wolfgang. The Dramatization of Double Meaning in Shakespeares As You Like It.
Theatre Journal. 35.3 (1983): 307-332. Literature Resource Center. Web. 22 Apr. 2015.
In his article, Iser explores the dramatic language that is represented in As You Like It,
regarding the recurring theme of doubling, the double meanings present in the play, character
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doubles through disguise, and the doubled worlds that are introduced. The author argues that the
political world is portrayed through two parallel levels: Olivers double is his brother Orlando,
and Duke Frederick has the double of his brother Duke Senior. In both cases the presence of the
double is regarded as a threat which can be removed only by means of separation (Iser).
Secondly, the Forest of Arden is the barrier between the two worlds. The conflicts that occur in
the political world keep reappearing in the pastoral world. The characters of Rosalind and Celia
assume roles opposite themselves becoming Ganymede and Aliena. The author argues that the
characters are all blinded by the pragmatic aims of their dialogue (Iser). The author wraps up
his argument by expressing that the imaginary can transform into an experience only when
something besides itself, works on shaping it.
This article was very significant when it came to my understanding of the play because it
gave me more of an insight on the different doubles that existed in the play. When I first read the

play, I recognized that Orlando, Oliver, Duke Frederick and Duke Senior all had something in
common. They were all brothers, who at first hated one another, but slowly grew to develop
genuine, loving relationships. In order to develop those relationships, they had to separate from
their double. Orlando longs to find something to take away all the sadness his brother Oliver has
brought upon him with his cruel nature. The article indicates that Oliver is fond of speaking in
soliloquies and he uses his words to get Charles to fight Orlando so that Oliver can get rid of
him. Orlandos speeches seem to be silenced and he seems to be present in something that he is
not. Orlandos speech appears to be negated as alien meanings institute themselves into what he
says (Iser). The unspoken and the spoken are always connected in the political world. The
Forest of Arden on the other hand is an escape from all the things that seem so unreal in the
political world.
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It is a place specifically designed for those who seek freedom. Rosalind and Celias disguises
reflect the opposite of who they truly are. Disguise and real character function as reciprocal
reflections (Iser). Originally, Rosalind planned on disguising herself to protect her womanhood,
but once she entered the pastoral realm, she decided to examine the validity of Orlandos love.
Through disguise, the characters represent double meanings of themselves and therefore one type
of language usually dominates another.
The articles argument is based upon the concept of doubles in As You Like It.
Finish this
Bamford, Karen. Imogens Wounded Chastity. Essays in Theatre. 12.1 (1993): 51-61.
Literature Resource Center. Web. 22 Apr. 2015.

Bamfords article examines the damaged purity of Imogen in Cymbeline. The author
argues that Imogen is a mirror of Lucretia, a Roman woman who committed suicide. Iachimos
sneaky entrance into Imogens bedroom signifies the descent of her honor as he rapes her.
Iachimo has access to Imogens body without her consent, and thus because he can prove this
access publicly he steals her honour, just as a rapist steals the chastity of the woman he
rapes (Bamford). Imogen is innocent because she is asleep, but she is also indifferent towards
the situation. The author states that Iachimos ability to get inside of her bedroom signifies her
decline, as he goes on to spread lies about her fake surrender. Iachimos slanderous description
of Imogen's adultery continues her degradation. Even though we know that Iachimo is lying
about Imogen's surrender (Bamford). The authors last point revolves around Imogens
willingness to let Posthumus kill her. Her physical death is prevented, yet spiritually she is far
more damaged. The

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author concludes the article by affirming that Imogens heroism is significant to the play and that
she endures punishment for her beauty and sexuality.
In my understanding of the play, I saw Imogen as an innocent victim, but also as very
vulnerable. She trusted Iachimo way too quickly and that caused unexpected consequences for
her from all sides. The article states Iachimos penetration of her room figuratively, the walls
of her dear honour follows directly (Bamford). Iachimo slowly eased his way in and once he
knew that he would succeed and get her to trust him, he went along with his plan. By entering
her bedroom, Iachimo destroyed her honor by raping her. He knew that he had to get proof to

convince Posthumus that they shared a bed together. In order to do so, he gives her a trunk that
he says contains gifts. Using his conniving ways, he convinces her that they do not have
anywhere safe to put it, so she agrees to put it in her bedroom, not knowing what was going to
happen next. This is where her vulnerability is brought to light. Also, even though the play does
not directly say that Iachimo rapes Imogen, the article explains that the audience is able to
determine that through the way of Iachimos comparison of his sexual movements to those of
Tarquins, Lucretias rapist. Iachimo himself arouses expectations of a rape by comparing his
movements to Tarquins (Bamford). Also, in my interpretation of the play, I was able to
determine that Imogens constant loneliness and isolation were because of the consistent torment
she faced from her evil stepmother, her heartless father and her wicked husband. The articles
touches on the corrupt government Imogen is surrounded by and how the queens son is the
literal symbol of it. The article also brings up an interesting point when it says Imogens spirited
virtue prompts her vocal defiance of both her father and Cloten and her flight from the prison of
Cymbelines court (Bamford). The spirituality that she carried inside of her allowed her to rebel
against her father and leave the prison she had been imprisoned in for way too long. Interestingly
enough, the article goes on to explain that her spirituality meant nothing when it came to
Posthumus. She decided that she wanted to experience suffering, instead of escaping from him as
well. This article was very useful in that it explored every aspect of Imogens wounded chastity.
The author used several examples to support her point and even compared Imogen to Lucretia.
The author also focused on religion through her statement about the spirituality in Imogen.
The articles argument is based on how Imogens purity and moral virtue were damaged.
Finish this

Colley, John S. Disguise and New Guise in Cymbeline. Shakespeare Studies 7. (1974): 233252. Literature Resource Center. Web. 22 Apr. 2015.
Colleys article analyzes Shakespeares use of disguise, costumes, and false appearances
in Cymbeline. The author argues that Cymbeline is the only play that Shakespeare focuses so
heavily upon disguise and costumes. She explains that disguise is prevalent in every aspect of the
theme, as well as in every action that takes place. Developing characters are seen going through
a series of costume changes, while static characters remain in their ordinary dress (Colley). The
author discusses that the noble men of the court mask their faces as a type of disguise to hide
their true feelings about the situations around them. Dramatic irony is a feature that is intensified
by disguise. The characters are portrayed so directly that their roles depend less upon visual
images than do the roles of the more problematic characters such as Imogen and Posthumus
(Colley). The author concludes his argument by making clear that people can easily be fooled by
disguise, and that mans true nature can only be found within himself.
This article broadened my understanding of the various hidden disguises and clothes that
each character wore in Cymbeline. The good people were usually the ones who dressed the
simplest, while the evil characters were the ones dressed in fancy clothing. This makes a lot of
sense, especially when I think about Iachimo and Imogen. Iachimo was so convincing through
his disguise, not even noble Imogen was able to see through it. Shakespeare developed the
dramatic irony in the play through his poetic use and change of clothes. The audience is
constantly asked to note contrasts and ironies that are reflected in a characters appearance
(Colley). When I was reading the play, I was not too focused on the clothes that each character
wore, mostly on their actions. This article has shown me that their clothes are reflections of their
actions. When I think about the bedroom scene with Iachimo and Imogen, I think about Imogen

wearing a white night gown to represent her purity. When I thought of Iachimo on his way to
Imogen, I imagined him in clothes that were not of daily use for him. Imogen falls for Posthumus
who does not wear the best clothes because she likes what is on the inside, not on the outside.
Imogen recognizes Posthumuss innate worth (Colley). The article also communicates the
theme of inner versus the outer. When Imogen disguises herself as a man, she becomes a real
man. Since she acts like a man, people perceive her to be a man. Clothes are determinants of
gender in this play.
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