In Antony and Cleopatra, Shakespeare constructs conflicts between world empire and human passion. The sensual and wasteful opulence of the East, where "the beds are softer", contrasts with the cold and naked efficiency of the West. Egypt represents passion, sensuality and decadence, Rome represents duty, politics and austerity: the world of pleasure against the world of reason. The work in its entirety embraces a paradox, the two dualities of opposing worldviews are affirmed, the boundaries of the binaries dissolve and the political is made immediately transitory through the lyrical flights of the verses. It is a work fraught with conflict and contrast or, perhaps more precisely, contrasts that lead to conflicts between individuals, but against a broader background. This context pits the West against the East, in opposition to Rome (symbolized by Octavius ​​Caesar) and Egypt (embodied by Cleopatra), with Antony caught in the middle, so to speak. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essayCleopatra, who often calls herself "Egypt", is the emblem of the fertile, rich and fluid country. His first appearance is monumental in its essence; she enters in 'florilegio', with the ladies holding her 'train' and 'eunuchs fanning her'. The image of gender reversal, as males are subjugated and emasculated in his presence, forces the audience to feel awe of his stature and also to sympathize with Antonio's madness of falling in love with this lascivious and grandiose character. In her world, males come and go at her disposal. The lines "She seems asleep, as if she were capturing another Antony/In her strong labor of grace" once again affirm Cleopatra's magnificence, exalting her position and stature in the work. The captions 'Enter Demetrius and Philo' are then rendered completely colorless by comparison, making the differences between Roman and Egyptian culture clear. The challenge that Cleopatra poses as a cultural other is evident from the beginning through Philo's description of her with a "tawny brow", implying the difficulty the Romans experience in trying to do so. understand his character. Philo further attempts to limit and quantify Cleopatra in a way that the Romans can easily delineate by referring to her as a "trumpet" and a "gypsy"; such descriptions succumb to the Roman patriarchal archetype, which, limited in its very nature, harshly rejects Cleopatra's complexity with a term that reduces her to an object of male desire. Thus, the madness and sins of Antonio's infatuation with such a character are made palpable to the audience. The dignity and powerful and determined drive of Ottavio Cesare. and the Roman values ​​it represents emerge as a dominant source of influence. Caesar's language is short, sharp and overbearing - "declare", "speak", "bring" - and his speeches are articulated with absolute authority and confidence as he pursues that unwavering and unique drive towards supremacy. In the first speech of the play, Caesar refers to Antony as 'no more virile /than Cleopatra', 'nor Ptolemy's queen /more feminine than he'. On the surface, this speech pushes the audience to denounce Antony as he renounces notions of Roman valor and discipline. However, language itself breaks down and dissolves gender binaries, suggesting that man and woman, the Roman soldier and the Egyptian queen, have become one. More importantly, Antony's martial preeminence ("his captain's heart . . . burst the buckles on his chest") and Cleopatra's disembodied, enchanting nature (which is "enough to make the winds sick") have become only one thing. the resolution of the becomes clear.