With six of its seven scenes set in the West, the second act of William Shakespeare's "Antony and Cleopatra" is largely about the politics of Rome. The second act is important in further developing the characters of Antony, Octavius, Cleopatra, and Ahenobarbus. Within this act we find, overall, a more negative portrayal of the eponymous characters through their own words and actions. We find similar images of Octavius ​​and Enobarbus in the first act: of men characterized respectively by their stoicism and wisdom. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essayThe change of setting from Egypt to Rome brings with it a change in Antony: we witness his "Roman" side more clearly. From Antonio's point of view, this act is dominated by concerns of power. Shakespeare places him in a political context and allows the audience to more thoroughly determine his political identity and status through his interaction with the other triumvirates. The most interesting and ultimately crucial representation in these scenes is that of her relationship with Ottavio. It is through this relationship that Shakespeare explores Antony's lust for power, with the friction between the two men indicating that they both desire the same thing: supremacy. It has been argued that the following words subtly imply this underlying tension, uttered as the two men meet once again in Act 2, Scene 2: Octavian: "Sit down." Antonio: "Sit down, sir." These lines portray the fight between the two men as petty and selfish: their arguments are not about Rome, but have the potential to harm It. This potential is recognized by Ahenobarbus later in the scene, when he urges them to momentarily forget their differences in order to confront Pompey. This indicates that the real source of the struggle between Octavius ​​and Antony is not a differing opinion on Roman politics, but personal pride. It is through Antony's interaction with Octavius, and the political hunger he betrays, that Shakespeare suggests the true reason for his return. to Rome and, consequently, his reluctance to permanently give in to Egyptian hedonism. Where Egypt brings him pleasure, it does not provide him with the reputation he values; ultimately, he seems to prefer the Roman side of himself. The importance of reputation for Antony is underlined in the following words, in which he feels grateful to Pompey for forcing him to return to Rome: "...I must thank him only so that my memory does not suffer from a bad reputation" These lines indicate that, while he wants Egypt, he wants the image of Rome. It seems, therefore, that it is not for Rome or its people that Antony returns: he does not appreciate the responsibility, but, rather, the name and status that it grants him. Indeed, this is an act that presents Antonio as a character who does not care much about responsibility. This can be seen most prominently when he agrees to marry Octavia in an attempt to solidify his relationship with Octavius, a promise made illogical and irresponsible when we learn of his plans to return to Egypt at the end of scene 4."...I will in Egypt; and even if I make this marriage for my peace, in the East my pleasure is everything." Here, Antonio makes no attempt - or pretense - to sustain any kind of allegiance. To the audience, Antonio's lack of foresight is surprising. It is clear that the marriage to Ottavia is intended to repair her tenuous relationship with Ottavio, but that being unfaithful to Ottavio's sister would only harm him further; Antony does not seem to realize that, by returning to Egypt, he completely puts aI jeopardize his "peace". However, where these lines serve to seriously question Antony's judgment, the audience cannot help but recognize the pure adoration underlying his actions: he simply cannot resist the pull of Egypt. Antony's marriage to Octavia is also crucial to exploring Octavius' character in the Act. 2. Octavius' account of the function of marriage and Octavia herself in Act 2 scene 2 is particularly telling: "...Let her live To join our kingdom and our hearts; and never fly away from our loves again! " Here, Ottavio clearly uses his sister as a political tool, an intention that seriously calls into question his claim that she is a sister "whom no brother / has ever loved so tenderly." Ottavio uses these words in an attempt to convey the depth of his investment in the political relationship, but the investment only serves to question the validity of the words. Octavia's role as a pawn within the play is supported by her distinct lack of physical description: she seems faceless and characterless in comparison to Cleopatra, on whom Shakespeare dedicates great speeches and soliloquies. Octavia's role within the play helps illustrate the all-encompassing nature of the Roman political game in the lives of its actors, with public life spilling over into personal life and vice versa. Ottavio is a character, more than all the others in the work. , set by this game. Politics is his main and singular concern, in stark contrast to Antonio's duality. This gives him the authority to criticize Antonio for his neglect of state duty, something of which he tells him "you will never have / language to accuse me of". Octavian lacks the penchant for hedonistic pleasure of many of his fellow characters, shown most clearly in Act 2, Scene 7, when he refuses to take part in his peers' drunken celebrations. When Antonio encourages him to "be a child of time," he responds that he would rather "own it," illustrating Ottavio's need for control. The awkward formality of Ottavio's language throughout the Act helps to further convey his rigid and rational nature. In direct contrast to Octavius' rigidity, our impression of Cleopatra as a character who embodies pure emotion and passion is only strengthened. Through his actions in this act, however, we see these traits from a more consistently negative angle, particularly in scene 5, where his emotion seems to overwhelm any sense of reason or nobility. This lack of rationality, which clearly distinguishes her from Roman characters, is exposed upon the arrival of a messenger. Rather than reward him for telling her the honest truth, Cleopatra vows that if he gives her good news she will "make it rain gold and hail on you" and if he gives her good news she will "strike you before you speak." '. This contrasts sharply with Antonio's insistence on truth in the first act; where Cleopatra wants to hear only what will satisfy her emotional desires, Antony tells his messenger to "mince no words" when told of Fulvia's death. This illustrates the great, irresolvable divergence and conflict between the rationality of Rome and the emotion of Egypt, and explains and guarantees the tragic end of the work. It is in Cleopatra's response to the truth in this scene that Shakespeare paints her most damning portrait. away, culminating when he declares "Rogue, you've lived too long!" and 'pulls out a knife'. Here his lack of self-control is unforgivable; where in certain circumstances Cleopatra's emotion may seem like a refreshing change from the rigidity of Rome, in this scene it simply makes her spoiled and out of touch. The.