Antony and Cleopatra - Duty

Does Cleopatra feel any duty to Antony? Does Antony feel any to Cleopatra? How is duty reflected in their actions toward each other?

Does Enobarbus die because he has betrayed his friend, or because he is ashamed of his own actions? Does Antony consider Enobarbus to be a friend? Is the relationship between military men and the men who lead them best characterized as friendship?

Hue hue... Duty

Anyway, here's my super late blog post about duty in Antony and Cleopatra.

I don't think Cleopatra feels any kind of duty toward Antony. I mean she left him at sea for fucks sake! She feels that her only duty is toward herself and Egypt, leaving a legacy, and becoming more powerful. I'm actually starting to doubt whether or not she even cared about Egypt in the first place. I'm also not sure if Antony feels any kind of duty toward Cleo. He definitely is lustful after her, but I don't think that can equate to duty. I think the only way that duty is reflected in their actions to one another is through their sexual favors. 

What pisses me off about this play is that Antony's duty should be toward Rome. He has all this power and influence, and he fucking loses it all because he can't fucking keep it in his pants. Literally he's a coward and weak willed. I don't care if I'm being hypocritical, because I don't know what I'd do in his situation, but certainly not that. He had the power and influence to get just about anything he wanted, be it in Rome or Egypt. He just needed to stop thinking with the wrong fucking head. 

Literally go fuck yourself Antony.

Ok, tangent over. Anyway, I think Enobarbus dies because he had to betray his friend. I don't think he would have died from betraying Antony for another reason, but it was due to Antony's total loss of reality and priorities, combined with the fact that he betrayed him. I am sure Antony considers Enobarbus as a friend. You don't rely on someone for so long without forming some kind of relationship with them (be it sexual ;) or otherwise). I think you also need to be friendly, if not brotherly, with the people that you fight and die with.

Anyway, that's my really late Antony and Cleopatra Blog. 

The Namesake - Relationships

Throughout The Namesake, Gogol had a few different girlfriends. What was Gogol looking for in each of these women? What attracted Gogol to them? Analyze all three of Gogol’s relationships. Why was each woman right for Gogol at the time, and why didn’t these relationships last? Hint: Think about his evolution as a character.

Ok so here's what I'm going to do: I'm just gonna have three separate sections for each of his girlfriends (and in one case, wife).

Ruth:
Ruth was his first serious girlfriend. I think what attracted Gogol to Ruth (and Maxine for that matter) is that they weren't anything like his parents. Ruth was white, independent, bookish, and everything his parents wouldn't have wanted in a partner (some other traits shared with Maxine). I think, at this stage in Gogol's life, he was rebellious, and though he might not have really thought about it, he knew that his relationship with Ruth was a bit of rebellion against his Indian heritage. I honestly can't say what Gogol was thinking about when he started dating Ruth, but I don't think it was anything serious or long term. I guess you could say he was "putting his toe in the water" with this one. I think it didn't work out because England changed Ruth. I'm gonna go out on a limb here, and also say that the distance between them reminded him of his parents and the distance between them and their Indian family. Ultimately, I think Ruth was good for Gogol because he finally got the chance to see what kind of woman could work for him.

Maxine:
Like Ruth, Maxine was a departure from normal. She also marks a huge transition in Gogol's character development. In the beginning of their relationship, he's attracted to her for the sex (and the booze, obviously). However, he slowly falls in love with her way of life. The carelessness and ease she goes about doing things. Every decision, whether whimsical or personal, is made with a sense of self-realization that Gogol does not possess. It think this also is what makes Maxine attractive for Gogol. In this relationship, Gogol was definitely looking for something: a way out. Whether from his Indian roots or something else, Maxine and her closely-knit family represented an familiarity with their place in the world that Gogol hoped would rub off on him. Unlike Ruth, Maxine stayed in New York, where he was, and did not depart to a foreign country to ultimately change. Ultimately, I actually think Maxine was bad for him. I think she was just fine, but I think their relationship confused Gogol even more, especially after his fathers death. He realized that his time with Maxine meant less time with his own family. I mean he literally spent his birthday with them, and didn't even call his mother. That's cold, man. 

Moushumi:
I think Moushumi's a bitch. There, I said it. However, Gogol did marry her, so I guess she can't be completely bad. I just still think about the ease at which she revealed Gogol's secret to her college friends while drunk, and the apparent absence of any remorse or how they would affect Gogol, and it pisses me off. Anyway, I think Gogol was looking, at this point in his life, to become closer with his family and his heritage. His father's death really fucked him up in that way. I think what attracted Gogol to her mainly, though, was her seeming indifference toward Indian tradition. As she said in the book, she wasn't a "good Indian housewife." Though she is Indian, this fact appealed to Gogol and, like his previous relationships, was what ultimately drew them apart. Though he was beginning to embrace the heritage of his family, she was not having any of that bullshit. I think it's pretty obvious why this one didn't last: she was fuckin on the side. But seriously, this one was all on Moushumi. She was the one going through the identity crisis. She was the one who was too tied to the roots she had sewn in France. 

In conclusion, Gogol's fucked. His relationships all end in shit, and I think he's going to die alone. 

Just kidding. But seriously I think these failed relationships are all signs that he:
a) needs to get out more
b) needs to date a traditional Bengali girl

The Namesake - Identity

In The Namesake, characters experience the interior conflict and tug-of-war between cultures and traditions. In an AICE Literature length response, discuss how the struggle of identity plays a major role in the novel.

Obviously the main character, Gogol, has a inner struggle of identity. This plays a role in Gogol's relationship with his parents, Maxine, and Moushumi. 

With Ashima, her identity is defined by her family. As she realizes that her family is leaving her, living their own lives, and "fighting the system," she realizes the inevitability of it, as it is the "American Way." 

Moushumi struggles with internal conflict after she marries a Bengali man, something she swore she'd never do. The fact that she did was bound to cause inner conflicts within her. 

In the book, Gogol's relationship to his Indian roots and name is something that is constantly in flux during the book. He fights with his identity with his name, changing it when he goes off to college. He fights his Indian heritage for his entire life, up until his fathers death and he marries Moushumi. Her inclusion into his life reflects his love for something different and "non-Indian," while at the same time bowing down to his heritage. Her Indian heritage, while self-suppressed like his, is still a tie to the life his parents envisioned for him. He realized that, as hard and as far as he "ran" from his heritage, it was not enough, and he ultimately reconciled with the Indian part of him, as well as his namesake.

Ashima was disappointed at her children's relationships. Especially Gogol's relationship with Maxine. Though Ashima warmed up to Maxine, it was only because she was worried Gogol would never get married "at a right age." I think it's a bit ironic that the want she has for her children to adopt Indian ideals and traditions is what ultimately drives them away in some respects. As she realizes this (while they're young), she and Ashoke start adopting American traditions: big birthday parties. Christmas, Thanksgiving, among others I'm sure. I feel her inner struggle is somewhat opposite of Gogol's, in that she wants her kids to keep living in a "traditional" Indian manner, while she herself slowly adopts the "American" way. She works at the local library. Gossips with other mom's about their kids. Sets up the Christmas tree even though the kids are out of the house. However, I believe she's found a much more "comfortable" medium in her place in the world. 

I'm going to ignore Moushumi's character as a child, because I don't think it's relevant (tell me if I'm wrong if we do blog response for these blogs). I wouldn't be talking about Moushumi if I didn't think her internal struggles were relevant. She's full of conflicting ideas and identities. She ran much farther away from her identity as an Indian woman, that I think she's the only one who's identity actually seriously changes in the book (at least when you only look at her as an adult). While in college, she literally ran to an entirely different culture, and immersed herself in it to the point where she couldn't be Indian. She was either American or French, but not Indian. I think her inner conflict was her relationship with Gogol. It was too similar to the life she had sworn to never be apart or, or enter into again. Once she saw the letter from that one French fry, I think she subconsciously leapt at the idea of being free from the culture she swore she would never be apart of. 

Ultimately, I think Moushumi is the one that goes through the most drastic and destructive identity crisis. Unlike Gogol or Ashima, however, I believe she wasn't even aware that the conflict was going on in the first place. Maybe because her identity and what she believed to be true about herself was so conflicting that it was easiest for her to compartmentalize, or because Julumpaloop didn't talk that much about it.

Either way, her relationship with Gogol was fucked from the beginning.  

The Namesake - Alienation

Blog - Discuss how alienation plays a major role in The Namesake. This should be a lengthy AICE Literature type response.

So since we're not allowed to use any dictionaries during the test (COUGH COUGH Kalli), I won't be defining what alienation is or why I think the definition works in specific situations. However, I believe alienation is when someone or a group of people become out of touch with their loved ones or those that they previously interacted with. If you look at the points characters feel alienated from one another, you see that alienation plays a major role in one specific thing: character development.

For example, there are two really good points where a character feels alienated from others. First, when Ashima first was on her own after her husbands death. Second, when Gogol's father died. When I looked at what each character was feeling at these points in the book, I realized they were both coming to grips with their surroundings and learning more about themselves as individuals. In essence, alienation is used in the book as a form of character development.

Going back to the examples I referenced. After Ashoke's death, and Ashima's subsequent time spent alone on Pemberton Road, Ashima was most certainly alienated. Gogol would only call once or twice a week, and Sonia was off in California doing god-know's what. This time was transformative for her, as she came to the realization that her alienation marked a turning point in her life. She was no responsible for anyone, or anything, other than herself. She realized how her children could relish in a life that they had utter control over. For example, she realized that her children's search for love before marriage (as unreasonable and foreign as it seemed), was something that she can appreciate. She also realized, through her alienation, that she would miss her life on Pemberton Road, as much as she detested it when she first moved there.

For Gogol, his alienation worked much in the same way. After his fathers death, he was alienated in his late father's apartment in Ohio. This period was transformative for Gogol. He realized things about his father that he did not previously know. His brief period of isolation gave him the chance to become close to his father and family. He developed to realize his importance and closeness to his family that grew out of his isolation.

Ultimately, the role of alienation in this book was to provide the characters with a chance to realize the truths in their lives and grow from them.

Speaking of Love...

I think love comes from proximity. It comes from deciding that you want to spend your time with someone during the times you would normally spend alone. It's sharing your life with someone, and living through it together. A lot of it is about cooperation and understanding, obviously, but I think a lot of it does depend on personality and whether or not you... "click." This seems like a cop-out answer but it's literally impossible to give a definite answer unless you'll accept the whole "people just love one another because of a complex set of chemical reactions in their brains" argument.

So I don't think there's a time limit as to how long you need to be with someone until you "love" them. As I said in the previous paragraph, it all depends on how well you "click." I personally haven't loved anyone but myself, so I guess I'd have to have a twin to love someone else but me.

I don't want to say the idea of soulmates are nonsense, but I do think someone can have multiple soul mates. It's like a Venn Diagram. You aren't restricted to one person, but if you find one I think you really can have one. The concept of a soul is much more complicated, but I do think they have some kind of play in who we fall in love with and why.

I guess I like to rant more about love than I like talking about it. ¯\_(ツ)_/¯

Twelfth Night - Social Class

So I think Auguecheek stays with Toby at first on a whim. But I think he realized he had a chance with Olivia, he wanted to stay to try and move up in class. But in the beginning, he definitely was there just to party and hang out with his drinking buddy. I think this is due to his sudden change of mind.

It's easy: Malvolio's a dick and he doesn't treat any of the other people well. He orders them around as if he's better than them, and doesn't respect them.

I think Malvolio, like Auguecheek, was only into Olivia for the status. Maybe he thought they would get married, but that obviously wasn't going to happen. If he married her, he would've had the power he thought he had over Toby, Maria, and Auguecheek. Or he would've been rich af and that's why.

Orsino says that Sebastian's blood is pure because he has enough class to marry Olivia. It matters because, at this time, it wasn't legal to marry outside of your social class. At this time it was all about social class, which is why it's important that Sebastian's blood is pure.

Twelfth Night - Gender

Viola portrays herself as a boy for the simple reason to win Duke Orsino's affection. This easily creates a variety of comedic moments from the play. From the moment that the Duke and Cesario share that was witnessed by the Fool. Viola realizes that she is treated with a certain... respect that she realizes that women don't have. In the first Act, after visiting Olivia for the first time, she realizes this. Maybe it's the allure of being a completely different person, or something else, but her response to being treated as a man is generally positive.

Shakespeare's political commentary by making a man, play a woman, playing a man in the 1600's was most certainly a form of social rebellion. I don't think this challenges the norms of today's life in any major way, but most certainly was a talking point back then. Like the quote from Orsino:
ORSINO
Dear lad, believe it;
For they shall yet belie thy happy years
That say thou art a man. Diana's lip
Is not more smooth and rubious, thy small pipe
Is as the maiden's organ, shrill and sound,
And all is semblative a woman's part. (1.4.32-37)

This is a strangely... descriptive analysis of Cesario's girlish attributes. He seems to be attracted to this, and consequently makes us question our own personal attractions.

Orsino says that women can't love to the same extent as a man. This is completely false if you look at the text. Especially if you think that Orsino actually loved Olivia, or was just in love with the idea of loving her. Cesario / Viola was absolutely in love with Orsino, and Olivia was absolutely in love with Cesario / Viola. I don't think women have any less capacity to love in this play than men.

Belch convinces Auguecheek to fight Cesario so he thinks he has a chance with Olivia. His "manliness" would increase were he to defeat Cesario in the duel. This suggests that Belch's idea of being a "man" included being more skillfully or physically inclined. 

Antony and Cleopatra - Guilt and Blame

Guilt and Blame: 

Cleo's lack of regret all ties back to her real motive for "loving" him: it was a political move to try and ensure her power in the region. After she realizes that Antony might kill himself if he thinks her dead, she only sends the messenger to him because she realized his death would mean the end of her. 

I honestly don't know if Antony regrets his actions. To me, it doesn't matter. He screwed himself over so many times in so many ways that it really makes no difference if he regrets it. I'm sure he does, though. After all, he was one of the most powerful men in the world at one point, able to leave a legacy to last generations. 

I don't think, when you fuck up as bad as Antony and Cleopatra did, regretting it will make it all better. They closed some doors that couldn't be reopened, and they paid they price for making shitty decisions. There's a reason they call it a tragedy.

Enobarbus' death and betrayal are, again, a sane person in an insane position. He was overwhelmed by the impossible position he was put in. And though he loved Antony and respected him, he knew his actions were destroying his legacy. 

Antony and Cleopatra - Transformation

Transformation:

Going back to what I said about "love" and passion, I definitely think many of the choices made passionately made. Just consider how many times Antony wanted to kill Cleo for betraying him, only to commit suicide after he thinks she's dead. That's just dumb thinking. Like seriously. He's an idiot. I don't think Cleo changes at all in regards to her love for Antony, which is a huge rip on Antony. She only kills herself after she realizes she's totally boned.

Enobarbus is the only rational character in the play. He tries to help Antony make the best choices, arguing against the war at sea. He eventually realizes his friend Antony is gonna screw himself out of any kind of future due to his rash decision making. I think he adds this sense of sadness to Antony's fall from grace. Enobarbus is transformed by the conditions that surround him, rather than he being transformed himself. This transformation is important because it is very different from Antony's, but still unlike Cleopatra's, even though her transformation is also due to her circumstances (though she has a much more... involved role in them).

I don't think any of Antony's transformations can be trusted. Every time he ends up going back to Cleopatra, slobbering, apologetic, and forgiving of her misdeeds. I think the only real transformation that Antony goes through is his abandonment of his duty to Rome. When he decides to go back to Egypt and cheat on Octavia. 

Antony and Cleopatra - Power

Power:

If you think love and politics can mix, then you've obviously never seen House of Cards. In the show, Frank Underwood doesn't actually love his wife, Claire Underwood. He constantly uses her as a political chip. He uses her mothers illness to buy him time. He uses her as a campaign tool to win voters over. He uses her a surrogate and messenger, because she's been with him from the beginning. This, in a lot of ways, is like Antony and Cleopatra's relationship. But Antony is Claire, and Cleo is Frank. And here's the real kicker: neither of them love each other, but they love having the power. And their compatibility and capability for gaining power is how they manage to stick together. It is a (often tense) symbiotic relationship. 

I imagine Antony and Cleo's relationship much like this, but Antony is too pussy-whipped to care. He thinks he's in control, even though Cleo obviously has him drooling at her feet. She just wants to stay alive man! You can't blame a girl for that. As for Antony's blame on Cleo, he should take a step back. He's the one that fucked himself over FOR Cleo! If he wasn't such a horny teenager, he probably would've realized she was manipulating him and controlling him. As for letting politics and love mingle, I honestly can't say. I still don't consider what Cleo and Antony had "love," but who am I to judge?

You honestly think Antony takes his role in the Triumvirate seriously?????? After the shit he pulls???? If he really cared, I don't think he would have allowed himself to become spoiled in Egypt, letting his honor amongst influential romans falter. The other two thirds of the triumvirate were perfectly happy with staying in Rome to run the place. Antony thinks that he'll be fine to just hang in Egypt and not participate in running (what was effectively) the most powerful country in the world. I think Antony's downfall isn't the fact that he lost his power in Rome, it's the fact that he didn't bother trying to keep it. 

Obviously the play is about political power. It's about how political power gets fucked over by "love." Again, I don't think the tragedy here is about any kind of lost love, I think it's about the loss of power over "love." 

Aight fam, listen. I just belted out all this crap above, and I am not about to research 17th century English politics to answer this one. But I'm sure that Elizabeth did just that. She wanted to keep the power within her (albeit probably) extended family. 

Antony and Cleopatra - Love

Love:

I think this story isn't about love, but about the dangers of what can be perceived as love. I really think both of these bozos were thinking with their proverbial dicks throughout the entirety of the play. They were too worried about who was more powerful or who had influence over the other or whether or not the other one was staying loyal. I think they passionate and irrational behavior in the name of "love" is what this play is really about. The real tragedy here is how both of the title characters abandoned themselves in hopes to please and control the other. If love means killing yourself because you think your "significant other" committed suicide even after they royally fucked you over multiple times, I'd rather pass. For me, the power of the play comes from the loss of power by the title characters. They were so caught up with their "romance" that they let go of all of their power. Maybe I just don't get love, or maybe I have a different view of what love should be. But whatever the case, if Julia had pulled half the shit that Cleo did with Antony (in a proverbial sense obviously, because neither of us are ancient world leaders), I sure as shit wouldn't go back. 

If you ask me, Antony and Cleo's love for each other was definitely due mostly to Cleo. She knew that, to maintain her empire, she would need to woo over one of the Triumvirate (which is why she had kids with Caesar Sr. and Antony). She wanted to keep him because he played an integral role with the relations between Rome and Egypt. When looking at it this way, I think their relationship was a shame from the get-go. However, if you ignore this whole bit, then you can really tinker with some interesting concepts. Namely, why was Antony in Egypt in the first place? I don't remember, so I'm just gonna explore a few reasons why:

1. HE WANTED SOME POON:

If he was just there to get laid and chillax, then he's an idiot. Obviously if this were the case, then his relationship with Cleo would be fucked from the start. There's no way in hell he should expect to be one of the three most powerful men in the world, and not get shit for just chillin' out in Egypt. His responsibility is to RUN ROME. Making peace with other kingdoms. Taking over the known world. All that jazz that normal empirical leaders do. If he was there just to get poon and chill out, then yeah. The relationship was fucked from the start. In this scenario, their "love" was the reason for their downfall.

2. HE WAS THERE FOR POLITICAL REASONS

If he was there to ensure Egypts cooperation with the Romans, then I guess his relationship with Cleo is aight. Obviously it's not ideal, because if he was truly in love with Cleo, then his loyalty could come into question (as it should if this were to be the case). However, if he loved Cleo and remained constantly and totally loyal to Rome, then don't think their relationship should have been doomed from the start. In this scenario, it would have been political reasons that ultimately ruined their "relationship."

For all of the servants, their love is out of both duty and love. Obviously Enobarbus, Chairman, and Iras all have long histories with those that they serve, and the thought of living without them must have seemed unbearable. 

The whole part where he decides to marry Octavia and completely disregards Fulvia is strange to me, as it makes it really seem like everything he does is politically motivated. However, when regarding his passions for Cleopatra, it just further convinces me how pussy-whipped he is that he would abandon thoughts of his dead wife to convince Cleo of his "love." Obviously he didn't really love Octavia, as he just went back to Egypt to keep screwing Cleo after they got married, so I'm convinced that marriage was just a political move (and a dumb one since he wasn't going to keep it). 

Anyway, I think all the characters have a fucked-up way to show love.

 

Antony And Cleopatra - Betrayal

Betrayal:

I think, in this instance, the political and romantic betrayals go hand in hand. Cleopatra's betrayal at sea destroys Antony's credibility. Antony's reunification with Cleopatra after he marries Octavia is a romantic betrayal to both Caesar and Octavia. Most of all, Antony's reception to the marriage to Octavia in the first place is a source of betrayal (maybe one less political, but nonetheless):

CAESAR

Say not so, Agrippa.

If Cleopatra heard you, your reproof

Were well deserved of rashness.

ANTONY

I am not married, Caesar. Let me hear

Agrippa further speak. 

In the case where Antony wishes to kill Cleopatra, I believe it is another act of a topic that was discussed earlier: passion. I don't think he would have actually done it, as he is too pussy-whipped and wouldn't want to completely abandon all chances of winning against Caesar. 

When it comes to political loyalty in this play, I believe that those who serve their leaders do so because of how they know them. Caesars men all have great respect for Caesar, and Antony's act likewise. The loyalty to each man is based off of their past deeds, and some go far as to kill themselves than see they leaders dead or totally disgraced (as evidenced by the guy who killed himself instead of Antony. Don't judge me I forgot his name).

In Enobarbus's case, I think it was his rational reaction to an irrational man that led him to desert. Though he loved Antony and believed in him, he knew the path he was on was self-destructive. I think that's why he ultimately deserted and betrayed him. As we know, it caused him so much emotional anguish that he died. What a loser. As to who's at fault in this situation, I can't really say. Obviously Enobarbus didn't need to betray him, but he was driven to do so by Antony. I think it's both of their faults. 

When we talk about Antony's loyalty, we're talking about two things: where it is, and where it should be. Obviously it is with Cleopatra (though I personally think it should be with Rome). Though his words above might indicate otherwise, he's been loyal to Cleopatra throughout the play. His passions wish for her death, but he ultimately crawls back to her (literally and figuratively). I think he believes his duty to Rome is be ruling it. I really didn't get any kind of sense that he was loyal to anyone but Cleopatra and his own cause. If he had defeated his enemies and been victorious, I'm sure he would've been able to remain loyal to Rome, Cleopatra, and himself (but the capital of the Empire would've moved to Egypt so Cleo wouldn't bitch so much). 

Twelfth Night - Love

Love, in my opinion, is such a slippery topic. Everyone has their own opinions about what love is or should be.

Anyway, here we go again.

I don't really know if Orsino loves Olivia as much as he says he does. I don't really think there's much evidence to support it. Like many men in power, they crave what is unavailable to them. In this case, Olivia is unavailable to Orsino. Both by the mourning of her brother, and by her clear disdain for Orsino.

Olivia is so smitten with Cesario because of his "gentlemanly" conduct. Though "he" was only carrying out Orsino's wishes, Olivia doesn't bother separating the duty of Cesario and his words. Obviously there is textual evidence when Olivia sends after Cesario once "he" leaves. Shakespeare does reconcile the relationship because he gives Orsino's hand to Viola, while Olivia gets Cesario's twin, Sebastian.

Orsino is still fine with this, as he ultimately marries Viola (after she changes). However, Orsino's willingness to marry Viola given the fact that she's essentially been a man this entire time shows that Orsino didn't mind. However, it should be noted that Orsino does know that Viola is a chick as this point.

The play has a much looser interpretation of same-sex desire. It treats it as a comedic topic, but still Orsino's willingness to marry Viola while still dressed as a man makes it seem that there was a bit more being said. I definitely don't think same sex desire precludes the ability to be attracted to opposite sexes. I mean I think there's no real reason why same-sex couples would make other heterosexual couples not be attracted to the opposite sex anymore. That's just stupid..

Antony and Cleopatra - The Rest of Them

I'm just gonna put all of these into one big blog because I know it'll bug Mr. Scalia (which is my new favorite thing to do). Sorry guys. 

Betrayal:

I think, in this instance, the political and romantic betrayals go hand in hand. Cleopatra's betrayal at sea destroys Antony's credibility. Antony's reunification with Cleopatra after he marries Octavia is a romantic betrayal to both Caesar and Octavia. Most of all, Antony's reception to the marriage to Octavia in the first place is a source of betrayal (maybe one less political, but nonetheless):

CAESAR

Say not so, Agrippa.

If Cleopatra heard you, your reproof

Were well deserved of rashness.

ANTONY

I am not married, Caesar. Let me hear

Agrippa further speak. 

In the case where Antony wishes to kill Cleopatra, I believe it is another act of a topic that was discussed earlier: passion. I don't think he would have actually done it, as he is too pussy-whipped and wouldn't want to completely abandon all chances of winning against Caesar. 

When it comes to political loyalty in this play, I believe that those who serve their leaders do so because of how they know them. Caesars men all have great respect for Caesar, and Antony's act likewise. The loyalty to each man is based off of their past deeds, and some go far as to kill themselves than see they leaders dead or totally disgraced (as evidenced by the guy who killed himself instead of Antony. Don't judge me I forgot his name).

In Enobarbus's case, I think it was his rational reaction to an irrational man that led him to desert. Though he loved Antony and believed in him, he knew the path he was on was self-destructive. I think that's why he ultimately deserted and betrayed him. As we know, it caused him so much emotional anguish that he died. What a loser. As to who's at fault in this situation, I can't really say. Obviously Enobarbus didn't need to betray him, but he was driven to do so by Antony. I think it's both of their faults. 

When we talk about Antony's loyalty, we're talking about two things: where it is, and where it should be. Obviously it is with Cleopatra (though I personally think it should be with Rome). Though his words above might indicate otherwise, he's been loyal to Cleopatra throughout the play. His passions wish for her death, but he ultimately crawls back to her (literally and figuratively). I think he believes his duty to Rome is be ruling it. I really didn't get any kind of sense that he was loyal to anyone but Cleopatra and his own cause. If he had defeated his enemies and been victorious, I'm sure he would've been able to remain loyal to Rome, Cleopatra, and himself (but the capital of the Empire would've moved to Egypt so Cleo wouldn't bitch so much). 

Love:

I think this story isn't about love, but about the dangers of what can be perceived as love. I really think both of these bozos were thinking with their proverbial dicks throughout the entirety of the play. They were too worried about who was more powerful or who had influence over the other or whether or not the other one was staying loyal. I think they passionate and irrational behavior in the name of "love" is what this play is really about. The real tragedy here is how both of the title characters abandoned themselves in hopes to please and control the other. If love means killing yourself because you think your "significant other" committed suicide even after they royally fucked you over multiple times, I'd rather pass. For me, the power of the play comes from the loss of power by the title characters. They were so caught up with their "romance" that they let go of all of their power. Maybe I just don't get love, or maybe I have a different view of what love should be. But whatever the case, if Julia had pulled half the shit that Cleo did with Antony (in a proverbial sense obviously, because neither of us are ancient world leaders), I sure as shit wouldn't go back. 

If you ask me, Antony and Cleo's love for each other was definitely due mostly to Cleo. She knew that, to maintain her empire, she would need to woo over one of the Triumvirate (which is why she had kids with Caesar Sr. and Antony). She wanted to keep him because he played an integral role with the relations between Rome and Egypt. When looking at it this way, I think their relationship was a shame from the get-go. However, if you ignore this whole bit, then you can really tinker with some interesting concepts. Namely, why was Antony in Egypt in the first place? I don't remember, so I'm just gonna explore a few reasons why:

1. HE WANTED SOME POON:

If he was just there to get laid and chillax, then he's an idiot. Obviously if this were the case, then his relationship with Cleo would be fucked from the start. There's no way in hell he should expect to be one of the three most powerful men in the world, and not get shit for just chillin' out in Egypt. His responsibility is to RUN ROME. Making peace with other kingdoms. Taking over the known world. All that jazz that normal empirical leaders do. If he was there just to get poon and chill out, then yeah. The relationship was fucked from the start. In this scenario, their "love" was the reason for their downfall.

2. HE WAS THERE FOR POLITICAL REASONS

If he was there to ensure Egypts cooperation with the Romans, then I guess his relationship with Cleo is aight. Obviously it's not ideal, because if he was truly in love with Cleo, then his loyalty could come into question (as it should if this were to be the case). However, if he loved Cleo and remained constantly and totally loyal to Rome, then don't think their relationship should have been doomed from the start. In this scenario, it would have been political reasons that ultimately ruined their "relationship."

For all of the servants, their love is out of both duty and love. Obviously Enobarbus, Chairman, and Iras all have long histories with those that they serve, and the thought of living without them must have seemed unbearable. 

The whole part where he decides to marry Octavia and completely disregards Fulvia is strange to me, as it makes it really seem like everything he does is politically motivated. However, when regarding his passions for Cleopatra, it just further convinces me how pussy-whipped he is that he would abandon thoughts of his dead wife to convince Cleo of his "love." Obviously he didn't really love Octavia, as he just went back to Egypt to keep screwing Cleo after they got married, so I'm convinced that marriage was just a political move (and a dumb one since he wasn't going to keep it). 

Anyway, I think all the characters have a fucked-up way to show love.

Power:

If you think love and politics can mix, then you've obviously never seen House of Cards. In the show, Frank Underwood doesn't actually love his wife, Claire Underwood. He constantly uses her as a political chip. He uses her mothers illness to buy him time. He uses her as a campaign tool to win voters over. He uses her a surrogate and messenger, because she's been with him from the beginning. This, in a lot of ways, is like Antony and Cleopatra's relationship. But Antony is Claire, and Cleo is Frank. And here's the real kicker: neither of them love each other, but they love having the power. And their compatibility and capability for gaining power is how they manage to stick together. It is a (often tense) symbiotic relationship. 

I imagine Antony and Cleo's relationship much like this, but Antony is too pussy-whipped to care. He thinks he's in control, even though Cleo obviously has him drooling at her feet. She just wants to stay alive man! You can't blame a girl for that. As for Antony's blame on Cleo, he should take a step back. He's the one that fucked himself over FOR Cleo! If he wasn't such a horny teenager, he probably would've realized she was manipulating him and controlling him. As for letting politics and love mingle, I honestly can't say. I still don't consider what Cleo and Antony had "love," but who am I to judge?

You honestly think Antony takes his role in the Triumvirate seriously?????? After the shit he pulls???? If he really cared, I don't think he would have allowed himself to become spoiled in Egypt, letting his honor amongst influential romans falter. The other two thirds of the triumvirate were perfectly happy with staying in Rome to run the place. Antony thinks that he'll be fine to just hang in Egypt and not participate in running (what was effectively) the most powerful country in the world. I think Antony's downfall isn't the fact that he lost his power in Rome, it's the fact that he didn't bother trying to keep it. 

Obviously the play is about political power. It's about how political power gets fucked over by "love." Again, I don't think the tragedy here is about any kind of lost love, I think it's about the loss of power over "love." 

Aight fam, listen. I just belted out all this crap above, and I am not about to research 17th century English politics to answer this one. But I'm sure that Elizabeth did just that. She wanted to keep the power within her (albeit probably) extended family. 

Transformation:

Going back to what I said about "love" and passion, I definitely think many of the choices made passionately made. Just consider how many times Antony wanted to kill Cleo for betraying him, only to commit suicide after he thinks she's dead. That's just dumb thinking. Like seriously. He's an idiot. I don't think Cleo changes at all in regards to her love for Antony, which is a huge rip on Antony. She only kills herself after she realizes she's totally boned.

Enobarbus is the only rational character in the play. He tries to help Antony make the best choices, arguing against the war at sea. He eventually realizes his friend Antony is gonna screw himself out of any kind of future due to his rash decision making. I think he adds this sense of sadness to Antony's fall from grace. Enobarbus is transformed by the conditions that surround him, rather than he being transformed himself. This transformation is important because it is very different from Antony's, but still unlike Cleopatra's, even though her transformation is also due to her circumstances (though she has a much more... involved role in them).

I don't think any of Antony's transformations can be trusted. Every time he ends up going back to Cleopatra, slobbering, apologetic, and forgiving of her misdeeds. I think the only real transformation that Antony goes through is his abandonment of his duty to Rome. When he decides to go back to Egypt and cheat on Octavia. 

Guilt and Blame: 

Cleo's lack of regret all ties back to her real motive for "loving" him: it was a political move to try and ensure her power in the region. After she realizes that Antony might kill himself if he thinks her dead, she only sends the messenger to him because she realized his death would mean the end of her. 

I honestly don't know if Antony regrets his actions. To me, it doesn't matter. He screwed himself over so many times in so many ways that it really makes no difference if he regrets it. I'm sure he does, though. After all, he was one of the most powerful men in the world at one point, able to leave a legacy to last generations. 

I don't think, when you fuck up as bad as Antony and Cleopatra did, regretting it will make it all better. They closed some doors that couldn't be reopened, and they paid they price for making shitty decisions. There's a reason they call it a tragedy.

Enobarbus' death and betrayal are, again, a sane person in an insane position. He was overwhelmed by the impossible position he was put in. And though he loved Antony and respected him, he knew his actions were destroying his legacy. 

Antony and Cleopatra - Gender

I don't think there is a large difference in gender roles between Antony and Cleopatra. However, I feel that Cleopatra's atypical female character makes the dynamic between Antony and Cleopatra much more... complicated. This informs the power politics of the military conflicts, as Cleopatra's abandonment of Antony at, sea plays a huge role in the conflict. I still don't understand why Cleopatra would abandon Antony, as their victory would benefit her. 

I think Cleo's power over Antony is due to her sexuality, and is one of the reasons he acts so irrationally, but I think Antony is also attracted to her because of her power. I think that influences his decisions, and sees their relationship as a way to effectively rule much of the world. This attraction to her sexuality and power excites him. Maybe he sees her as an equal, and craves a relationship like that. As Enobarbus says, 

ENOBARBUS

Never. He will not.

Age cannot wither her, nor custom stale

Her infinite variety. Other women cloy

The appetites they feed, but she makes hungry

Where most she satisfies. For vilest things

Become themselves in her, that the holy priests

Bless her when she is riggish.

Antony and Cleopatra - Regions

In the context of Antony and Cleopatra, I do believe that Egypt is an "other" region. The only characters that go back and forth between Rome and Egypt constantly are Antony and Enobarbus, who both ultimately meet their deaths. This indicates that Egypt is not a good place to be when you're a Roman. And yes, Cleopatra and Charmian both commit suicide due to their involvement with the Romans. I believe that this shows that Egypt and Rome should be singular. Due to the way Shakespeare portrays Egypt, I believe he wants to hold it up as an equal to Rome. Just look at the way Enobarbus talks about Egypt in this quote:

"I will tell you.

The barge she sat in, like a burnished throne,

Burned on the water. The poop was beaten gold;

Purple the sails, and so perfumed that

The winds were love-sick with them; the oars were 

silver,

Which to the tune of flutes kept stroke, and made

The water which they beat to follow faster,

As amorous of their strokes. For her own person,

It beggar'd all description: she did lie

In her pavilion—cloth-of-gold, of tissued— 

O'erpicturing that Venus where we see

The fancy out-work nature. On each side her

Stood pretty dimpled boys, like smiling Cupids,

With divers-colored fans, whose wind did seem

To glow the delicate cheeks which they did cool,

And what they undid did. (2.2.226-242)"

This beautiful description of Egypt and its ruler is never made in regards to Rome. Though the other characters may see Egypt and it's queen as a vile place, Shakespeare wants to portray it in a way that makes us root for its success. 

I believe some of Antony's admiration toward Cleo is due toward her charm and character. She constantly is manipulating him to "love" her. Though I think part of his attraction toward her is due to the decadence that comes with being a powerful individual in Egypt. Does he actually love her? I don't know. I don't think so but hey who am I to say.

If anything, I think Antony completely burns the bridges that connect Egypt and Rome. Though during the end of the play, Caesar tries to make amends with Cleopatra (see quote) and exist peacefully, but Antony's postmortem influence over Cleo is what ultimately causes her to commit suicide. Ultimately, I think it's the leaders of each region that determine how relations are. Part of the conflict, I think, is that Antony is Alexandrian, but his duty is toward Rome. This, I believe, is ultimately the biggest conflict of the play. There is no way to get away from your identity without considerable effort, and as a influential Roman after the death of Julius, he cannot be an Alexandrian no matter how hard he tries.

CAESAR QUOTE:
"You may see, Lepidus, and henceforth know,
It is not Caesar's natural vice to hate
Our great competitor. From Alexandria
This is the news: he fishes, drinks, and wastes
The lamps of night in revel, is not more manlike
Than Cleopatra, nor the queen of Ptolemy
More womanly than he; (1.4.1-7)"

Antony and Cleopatra - Choices

When you think about the decisions made by Antony and Cleo during their "passionate" moments, I would hope you think that passion does not constitute reasonable grounds for decision making. 

I do believe passion is contrary to reason and good judgement. In the dictionary, passion is described as a "strong and barely controllable emotion." In the court of law, certain murder cases have lesser charges. This is because the court decided the actions were committed in the "heat of passion," indicating that the person who committed the act was not in their right mind. I do believe that passion can inspire judgments, but the inherent thought process behind the decision is not sensible. 

In terms of the aforementioned scenario, I believe that Enobarbus is right to blame Antony for his loss in the first naval battle. His poor judgement through his passion did not allow him to think as the great general he was supposed to be. I believe his victory in the land battle was sheer luck, not to be confused by any kind of successful strategy or planning.

Ultimately, I do believe letting passion dictate your choices is an inherently poor decision. 

Does Shakespeare put Antony or Cleopatra in a more positive light?

I do not personally think Antony or Cleopatra are portrayed in a positive light, but the layers of political power and strategy that are present make it difficult to determine who is the "protagonist" of the story. While I would assume the "protagonists" are... Antony and Cleopatra... I don't think it's uncommon to side with one of the title characters and hold them to a higher standard. In this case, I've bet on the wrong horse.

But, as I've said before, I think Antony is a spineless little bitch.

Whether Shakespeare uses his most poetic language to describe the heroic and honorable actions of the Great Antony, I still can't get the image out of my mind of a horny teenager willing to chop his own nuts off to sleep with Cleopatra.

He has constantly and consistently abandoned his honor in favor of his lust for the Queen of the Nile. From totally disregarding his deceased wife in Act 1 Scene 3 ("And that which most with you should safe my going, Is Fulvia’s death."), to abandoning his men to Pompey's forces at sea in Act 3 Scene 10: "She once being loofed, The noble ruin of her magic, Antony, Claps on his sea-wing and, like a doting mallard, Leaving the fight in height, flies after her."

Antony's self-interests toward his own position in Rome has been clouded by Cleopatra. He is so pussy-whipped that he literally left his men to die to be with Cleopatra. Not only that, but he forgave her for it!!!! He eventually realized his mistakes, and chided himself for doing so. However, I still think his actions are indefensible.

As for Cleopatra, her actions are so selfish that it is almost admirable. She has sight of what she wants, whether it's more power or just having power over Antony.

In the end, I still think Antony is a piece of shit. Screw him.

Pike: Nature's Perfect Killer

Don't be surprised when Ted Hughes starts to talk about nature.

Out of the five poems we have read in class, three of them were about the natural world and its inhabitants. Whether he was using nature as a symbol for writers block (as exemplified in The Thought Fox), to describe the grandeur of jaguars (The Jaguar), or remind man of his place in nature (Pike), nature is a central theme.

In Pike, Hughes uses the first two stanzas to describe the Pike as a formidable predator. Language like "Killers from the egg: the malevolent aged grin" suggest that the Pike is familiar with its place on the food chain. The line "Of submarine delicacy and horror" just further reinforces this thought.

The next group of stanzas (stanzas 3-7) show the killing quality of the Pike in action. Hughes describes a situation where three pikes, of varying size, were kept in a tank. Though they were all out of their natural habitat ("Three we kept behind glass"), the Pike did not become docile, tame creatures. Hughes says "Suddenly there were two. Finally one." This implies that the cannibalism further examplifies the Pikes murderous nature. Further in this section of stanzas, Hughes says that the Pike had "The same iron in this eye." This shows that the Pike have no sense of remorse or duty, other than to kill.

The final section (stanzas 8-11) puts Hughes in the Pikes' domain. Hughes senses that he is out of his element, where the Pike are the top predators. The line "Pike too immense to stir, so immense and old That past nightfall I dared not cast" shows that Hughes realizes he is not on top of the food chain in this situation. Hughes ends the poem with these two lines: "Darkness beneath night's darkness had freed, That rose slowly towards me, watching." In this sense "Darkness" (with the capital D), it not literal darkness. Instead it is the Pike. So, in sense, the Pike rose to the surface to eye down Hughes to remind him who was the real king of the pond.