Re-Visiting Orientalism in Antony and Cleopatra

International Journal of English, Literature and Social Sciences (IJELS) Vol-5, Issue-1, Jan – Feb 2020
https://dx.doi.org/10.22161/ijels.51.25 ISSN: 2456-7620
Re-visiting Orientalism in Antony and Cleopatra

Nastaran Fadaei Heidari
Department of English Language and Literature University, Istanbul Aydin University
Email: nastaranfadaeiheidari@gmail.com
Abstract— Despite the fact that we have been presented with a fixed opposition between the Occident and the
Orient, the dynamics of Said’s Orientalism are not valid within the context of the sixteenth and seventeenth centuries
when England was not yet an Empire. In Antony and Cleopatra, gender hierarchy and racial hierarchy are
intertwined and are embedded in the love relationship between Antony and Cleopatra. Throughout this period, the
Ottoman Empire was the dominant superpower. Europe could not establish any response against this Islamic
enemy. In this essay, I argue that, overturning the imperial and gender hierarchies, invokes European anxieties with
respect to the rising power of Islam. Efforts against feminization, ‘turning Turk’ and ‘going native’ of Englishmen
proves the fear of the authorities from the dominating East.
Keywords—Orientalism, Racial Hierarchy, Imperial Hierarchy, going native, feminization
As opposed to Said's argument in Orientalism that the East is gender and power hierarchies are overturned in the play
depicted as inferior (associated with irrationality and which lays bare the West’s fear that their identity could be
savagery) in order for the West to subjugate and colonize it, exchanged that they might go native and lose their identity in
the exotic, cunning power and domination of Cleopatra over their encounter with the Turks.
a Roman ruler is regarded as posing a threat to the Empire Antony and Cleopatra is a tragedy by William
and its patriarchal order. This chapter will argue that Shakespeare, which was written in 1606-7. The play was first
Antony’s attraction to Cleopatra is a way of expressing performed by the King’s Men, either at the Blackfriars
Shakespeare's contemporary English fears about the removal Theatre or at the Globe Theatre in and around 1607. The play
of identity and masculinity of the English by the East. It will was included in the First Folio published in 1623.
also argue that Antony's flaws are partly and greatly due to Shakespeare’s source for the play was “Life of Mark
going native, that is, leaving his Roman way of life by Antony” from Plutarch’s The Lives of the Noble Grecians
settling in Egypt and adopting their lifestyle, becoming and Romans, translated by Sir Thomas North in 1579. The
effeminised by being mesmerised in the exotic East as play sets at the time of the Roman Empire which is divided
represented by Cleopatra and consequently betraying the between three triumvirs or power officers, one of which is
Roman Empire and values it stands for. This fear of the Antony. He rules over the East and spends all his time in
English going Turk or native comes from the anxiety and Egyptian revelries. He lives a decadent life and has an affair
fear of a potential domination of the East at the time of with the country’s beautiful queen, Cleopatra. Caesar
strong Ottoman Empire. Moreover, it will be argued that condemns Antony for neglecting his duties as a statesman
Cleopatra does not submit to Rome, a characteristic that and military officer. Caesar believes Antony is effeminized
enhances English fear fantasising about the feminization of by spending too much time in Egypt. Antony's deterioration
Englishmen when they encounter sexual and lustful Eastern of reason (a faculty of mind stereotypically associated with
women. This is reinforced as Cleopatra, together with her masculinity)and blindness at times of making indecisive
surroundings, is depicted as triggering unpredictability, decisions throughout the course of the play is directly linked
exoticism, seduction, mystery and cunningness, especially with his spending time in Egypt. Thus, he raises a large army
when compared to other Shakespeare's female heroines. As against Antony and sends his army and navy to Egypt.
opposed to a stereotypical representation of women as the Antony, persuaded by Cleopatra, elects to fight Caesar at sea.
body – obedient and submissive driven by inherent instincts He allows Cleopatra to command Egypt’s ships despite
– she exemplifies an intentional agency who exercises the Enobarbus’ strong objection. At last, Antony’s forces lose
intellect by planning all the way through the play and finally the battle and the nobleman loses everything he has because
designing her own death. Finally, it will be argued that of his great love for the Egyptian queen. After Antony hears
www.ijels.com Page | 122

the false news about Cleopatra’s death, he commands one of p.1). In addition, drawing upon Derrida's concept of
his attendants to end his life so he can join his queen in the supplementary, Said argues that the Orient has helped to
afterlife. The attendant, however, kills himself instead. define Europe (or the West) as its contrasting image, idea,
Antony then falls on his sword, but the wound does not kill personality and experience (Said,1978,pp.1-2). Said defines
him immediately. He is carried to Cleopatra’s monument Orientalism as the West’s patronizing representations of the
where the two lovers reunite shortly before he dies. Orient, namely, the peoples and societies who inhabit North
Meanwhile, Caesar is planning to take Cleopatra to Rome as Africa, West Asia, also labelled as "the Middle East"in the
a testament to the might of his empire. Cleopatra learns about Eurocentric discourse, and Asia. According to Said,
his plan and decides to end her life with the help of Orientalism (referred to as the Western scholarship about the
poisonous serpents. Caesar buries her next to the grave of her Eastern world) is inseparably tied to the imperialist societies
dear Antony. who produced it, which makes most Orientalist works
In Antony and Cleopatra,a number of scenes point inherently political and servile to power (Said,1978,p.12).
to the relationship between gender and race. In the play, At a first glance, Antony and Cleopatra seems to fit
gender hierarchy and racial hierarchy are intertwined and into the dynamics of an Orientalist outlook, intertwining the
embedded in the love relationship between Antony and implications of gender hierarchy with imperial hierarchy.
Cleopatra. This research argues that Antony represents the The playrests on a dichotomy between the masculine West
masculine West, while Cleopatra represents the exotic and and the feminine East. The masculine Roman Empire, which
feminine East. However, this chapter brings a counter is shown as logical and moral, is set against its feminized
argument to the conventional outlook that sees a fixed dominion Egypt, which is rendered sensual, luxurious,
division between the exotic, sentimental Orient and the corrupt and effeminate. Therefore, the passionate love
rational, masculine Occident. It argues that in Cleopatra’s between Antony and Cleopatra conflates the dynamics of
character these hierarchies are overturned and Shakespeare, imperial hierarchy with gender hierarchy. The sexual
rather than supporting or defending the fixed notions about conquest of Cleopatra by Antony symbolizes the domination
the East and the West, seems to be questioning their fixed, of Egypt by Rome. However, this power inequality is not as
essential nature. stable as it may look, because Cleopatra is also known as a
The Orient and the Occident are Eurocentric cunning and manipulative woman who seduces men for her
constructions that create an arbitrary binary opposition political ends, an essential stereotype associated with women.
between the Western world and the Eastern world. The East- This chapter studies the implications of these hierarchies
West dichotomy attributes specific characteristics to each within a historical context and shows how the play can be
group and takes various forms. For instance, the Orient is interpreted as a tale which complicates the accepted narrative
thought to be irrational, barbarous and uncivilized and the and unsettles the dynamics between the East and the West.
depiction of its women is eroticized. As Chandra Talpade Although Antony is representative of the Occident
Mohanty puts it, the Western discourses "produce a and Cleopatra of the Orient, gender and racial hierarchies are
corresponding set of universal images of the 'third-world unsettled. Since Shakespeare depicts Cleopatra as a cunning
women', images like the veiled women, the powerful mother, woman who seduces the Roman triumvir and turns Antony to
the chaste virgin, the obedient wife, etc" (Mohanty, a threat to the patriarchal Roman Empire. Antony, the great
1988,p.81).This dichotomy also subordinates the peoples of Roman soldier, loses himself in this relationship to the point
the Orient to the position of the Other, establishing the West where he is reduced to a woman before Caesar and his
as a superior power. Contrastingly, the Occident is thought to comrades. In act 1 scene 1, Antony shows his reluctance to
be rational and civilized and its women are depicted as hear Caesar’s messenger out from Rome. By stating “[H]ere
obedient. This discrimination and prejudice can be found in is my space,” he clearly mentions that all he wants is to be in
various literary representations, putting the Occident in an Egypt with his beloved Cleopatra (1.1.37). This carelessness
unequal position of power, namely, higher than the Orient, in towards his duties and willingness to spend time with
order to justify imperialism and colonialism as well as to Cleopatra – the Eastern queen who is always followed by
institutionalize racism. In his ground-breaking book, ladies and eunuchs – is viewed as becoming feminized in the
Orientalism, (1978) Edward Said explains that the Orient is a eyes of Caesar and other comrades. What can Antony’s
European invention and has been one of Europe’ smost emasculation imply in terms of imperial hierarchy? Despite
ingrained and most recurring images of the Other(Said,1978, the fact that we have been presented with this fixed

opposition between the Occident and the Orient, the of Cleopatra is depicted in an exotic manner, which seems to
dynamics of Said’s Orientalism are not valid within the fit into Said’s Orientalism.
context of the sixteenth and seventeenth centuries, when ENOBARBUS: I will tell you.
England was not yet even an empire. Throughout the The barge she sat in like a burnished throne
sixteenth and seventeenth centuries the Ottoman Empire was Burned on the water. The poop was beaten gold,
the dominant superpower, because it was culturally, Purple the sails, and so perfumed that
militarily and economically more advanced than any The winds were lovesick with them. The oars were
European state. Its territories expanded throughout North silver,
Africa, the Mediterranean and Eastern Europe, controlling Which to the tune of flutes kept stroke, and made
many of the trade routes of the East. Europe could not mount The water which they beat to follow faster,
a response against this Islamic enemy, rather, individual As amorous of their strokes. For her own person,
Christian nations often found themselves entering It beggared all description: she did lie
commercial and military alliances with the Ottomans, and in In her pavilion—cloth-of-gold, of tissue—
these interactions European monarchs never considered or O’erpicturing that Venus where we see
articulated projects for colonizing these people The fancy outwork nature. On each side her
(Matar,1999,p.9). For this reason, the gendered pattern of Stood pretty dimpled boys, like smiling Cupids,
representing cross-cultural interaction with non-European With divers-colored fans, whose wind did seem
peoples which we frequently see in early modern literature To glow the delicate cheeks which they did cool,
does not have colonial implications within an Ottoman And what they undid did. (2.2.226-242)
setting and should be interpreted with historical realities of The barge like a throne, the perfume in the air, the silver
the age which indicate Ottoman’s superiority over oars, the cupid-like boys around the Egyptian queen are all
Europe(Öktem,2013,p.3). It is not claimed that Cleopatra associated with the exotic Orient. Through hyperbole, they
represents Turks or the Ottoman Empire, however, her all seem attractive, striking, colourful and at the same time
character as a powerful woman, who overturns imperial and unusual to Enobarbus. This vividly shows how the West sees
gender hierarchies, invokes and plays with European the Orient. Cleopatra’s beauty is indescribable. She is
anxieties in regard to the rising power of Islam. Ottomans compared to images of the goddess Venus and is seen as
invaded and defeated the Mamluks and by 1517 Egypt even more beautiful than the idealized depictions of the
already became an Ottoman Eyalet1 and remained as an goddess. In fact, she is turned into an imaginary character
Ottoman dominion governed from Istanbul until 1798(Smith, that permits fantasies of sexual desire and exudes romance,
Little and Others2019).At the time Shakespeare was offering the pleasures of seduction. What has happened here
composing Antony and Cleopatra, Egypt was still an is that Enobarbus has projected his own fantasies about and
Ottoman province. image of the East on to Cleopatra and her surroundings.
In this play Shakespeare looks back to the events We can compare Enorbarbus’s description with that of
which happened in the first century BC, and which had been Plutarch:
repeatedly narrated by Roman and other storytellers from
that time to his own. From the very early ages of history this She received several letters, both from Antony and
division between the East and the West existed. Since from his friends, to summon her, but she took no
antiquity, the West always depicted the East as its inferior account of these orders; and at last, as if in mockery
and associated feminine features with the East. The of them, she came sailing up the river Cydnus, in a
comparison between Plutarch’s and Shakespeare’s barge with gilded stern and outspread sails of
descriptions of Cleopatra’s entry to Tarsus would be a good purple, while oars of silver beat time to the music of
way to demonstrate how a certain European vocabulary in flutes and fifes and harps. She herself lay all along
representing the Orient was created and inherited throughout under a canopy of cloth of gold, dressed as Venus in
centuries(Loomba,2002,p.112).In Act 2 Scene 2, the entrance a picture, and beautiful young boys, like painted
Cupids, stood on each side to fan her. Her maids
were dressed like sea nymphs and graces, some
1
Eyalet was a primary administrative division of the steering at the rudder, some working at the ropes.
Ottoman Empire. The perfumes diffused themselves from the vessel

to the shore, which was covered with multitudes, how to exploit anyone to achieve her ambitious goals. She
part following the galley up the river on either bank, has an artistic temperament and consciously plays with
part running out of the city to see the sight. The Antony by constantly changing her mood which is a strategy
market-place was quite emptied, and Antony at last to persuade him into doing what she likes. Upon hearing
was left alone sitting upon the tribunal; while the Antony’s departure for Rome, Enobarbus remarks
word went through all the multitude, that Venus was Cleopatra’s possible reaction in such situations:
come to feast with Bacchus, for the common good Cleopatra, catching but the least noise of this, dies
of Asia. (5:178-179) instantly. I have seen her die twenty times upon far
poorer moment. I do think there is mettle in death,
In these two texts both Plutarch and Shakespeare render the which commits some loving act upon her, she hath
East,"Asia," as exotic, feminine and/or effeminate such a celerity in dying. (1.2.152-160)
(Venus,maid, nymph and the beautiful young boys) and He admits that if Cleopatra hears even a breath of this, she
sensual. This opposition between the East and the West would die immediately and that he has seen her dying twenty
becomes the fabric of other scenes as well. This way of times for far more unimportant news. He assumes there has
depicting the Orient is the general structure of the East-West got to be something invigorating about death since she dies
relationship and the two writers show this division clearly. with such enthusiasm. By implication, she is likened to a
Antony, an honorable Roman hero known for his war mythological figure, Phoenix, with extraordinary power of
triumphs, is attracted to Cleopatra, the Egyptian queen. She endless cycles of resurrection, which also points to her fertile
shows herself as a desirable object to seduce men and this reproduction ability. Antony answers: “She is cunning past
attractiveness poses a danger for the Roman Empire. man’s thought” (1.2.161). Then, Enobarbus sarcastically
Nonetheless, Western desire for Eastern riches is not hidden replies, "Alas, sir, no, her feelings come from pure love, not
from our eyes. When the crowds come out to see Cleopatra, cleverness. Her sighs and tears are like great winds and
Antony is left alone waiting for her in the market place. floods. She has more storms and tempests in her than a
Enorbarbus continues: weather almanac. Her temper is not a trick or a skill—if it is,
Upon her landing Antony sent to her, she can make it rain as well as Jove" (1.2.162-167).
Invited her to supper. She replied Enobarbus' likening Cleopatra to Venus – capable of creating
It should be better he became her guest, "storms and tempests" – still continues.
Which she entreated. Our courteous Antony, Cleopatra is also likened to an appetizer and dish,
Whom ne’er the word of "No" woman heard speak, referred to as “salt Cleopatra” and “Egyptian dish” (2.6.
Being barbered ten times o’er, goes to the feast, 126), a “morsel” left on Caesar’s plate (3.13. 117), a
And for his ordinary pays his heart metaphor for her arousing desires among men towards her.
For what his eyes eat only.(2.2.225-232) However, she does not remain a delicious treat for the
When in Rome, Cleopatra rejects Antony’s invitation to Romans, as she makes men “hungry where most she
supper and replaces it with one of her own, and this is when satisfies” (2.3. 279).
she defies his will proving her resistance to any submission. Enobarbus: Never. He will no.
Enobarbus explains “courteous Antony” who has never heard Age cannot wither her, nor custom stale
"No" from any woman, after being groomed ten times bythe Her infinite variety. Other women cloy
barber, goes to the feast and yet only his eyes were satisfied. The appetites they feed, but she makes hungry
Cleopatra’s cunningness and ambition are evident here. She Where most she satisfies. For vilest things
makes a desirable attractive object out of herself but by Becomes themselves in her, that the holy priests
replacing Antony’s invitation to supper tries to practice her Bless her when she is riggish. (2. 2. 239-245)
power and influence over him (the West).In so doing, she Enobarbus does not believe that Antony would ever leave
foreshadows her eventual domination of Antony(Belsey, Cleopatra. He cannot help but saying how her varied charms
1985,p.41).Later in the play Cleopatra’s power over the never get boring. He thinks the more you get to know a
Roman triumvir will become a material threat to the Roman woman, the less appealing she becomes. Instead, the more
patriarchal order. you see Cleopatra the more she makes you desire her. Even
Cleopatra displays so many varieties, colors and her worst faults are so charming that holy priests bless her
moods. She is portrayed as a professional actress who knows even when she acts wanton. Her seduction is so powerful that

she can overturn the patriarchal order. The fact that Cleopatra other people who sought a better life settled in the Ottoman
(Eastern queen) exercises her power over Antony (Western lands(Matar,1999,p.44).A parallel is created between
male triumvir) by cancelling his invitation to supper and England and Ottoman of Shakespeare's time and Rome and
replacing her own is an example of overturning patriarchal Egypt of the play. In the play, Egypt represents the East.
order. Cleopatra is very ambitious and seductive; her Antony, the Roman soldier, is willing to leave his land and
changing mood and mercurial nature are her tactics to seduce settle in the East as he finds Egypt more desirable than his
Antony and have him under her control in order to make him home country. In Act 1 Scene 1, when Cleopatra urges him
do what she wants. In other words, she has a plan and plot to to hear out the messenger from Rome, Antony says: “Let
fulfil her wish. Doing so requires intention and Rome in Tiber melt and the wide arch / Of the ranged empire
contemplation and is an exercise of the intellect as well as fall. Here is my space” (1.1.34-35). He finds staying in Egypt
reason rather than the flesh or body with which women were and spending time with his lover as the noble thing to do
stereotypically associated. For instance, in Act 1 Scene 3, she because he is satisfied in the East.In Act 2 Scene 3, the
sends Alexas to report on what Antony is doing: soothsayer reminds Antony that he has no chance against
See where he is, who’s with him, what he does. Caesar and he will lose in any game with him. The
I did not send you. If you find him sad, soothsayer says: “and of that natural luck / He beats thee
Say I am dancing; if in mirth, report ‘gainst the odds” (2.3.31-32).After the soothsayer leaves,
That I am sudden sick. Quick, and return. (1.3.3-6) Antony thinks to go back to Egypt. Though he marries
As Belsey points out, seduction is more exciting Caesar’s sister to make peace he says: “I’ ‘the East my
than sex (Belsey,1985, p.38). She continues that pleasure lies” (2.3.46).East (as represented by Egypt) is a
Shakespeare’s Cleopatra “is shown consistently exploiting place of fulfillment of desires and sensual pleasure.
the lack which is the cause of desire” (Belsey,1985, p.41). According to Richard Knolles, a famous historian
An aspect of Cleopatra’s playfulness is to make others want whose books on the Ottomans and Eastern empires were very
or imagine her while she is absent. Then, it is neither her popular at Shakespeare’s time, Egyptian women always
beauty nor her presence that makes one hungry, but it is chose their own husbands (Knolles, 1603, qtd. in
rather her promised presence that makes one most hungry. Loomba,2002, p.119). It is not surprising that, as Belsey
Cleopatra does tempt Antony by playing tricks upon him. comments, Cleopatra competes with Antony’s wives, without
She does not easily give herself to Antony but instead makes any sense of guilt or respect to their marriages. The play’s
him desire her.In addition, seduction is more inventive and Orientalism locates the East beyond the reach of law, a realm
more subtle and requires wit as well as creativity. That is of pleasure where everything is permitted, where women
why she personally does not go after Antony; instead she openly talk about sex (as Cleopatra and her eunuchs do when
sends Alexas to check upon him and by giving antithesis they wait for Antony in Act 1 Scene 5). Unlike decent
news to Antony makes him go after Cleopatra. Cleopatra is Octavia,who is shown as a naïve simple woman with a noble
aware of what she is doing; she deliberately deceives Antony disposition and who tries to makepeace between her brother
with her tricks and acts out by constantly changing her mood. and husband, Cleopatra is a complicated character. She
Charmian warns her that she is not using the best way to get knows what she wants and intends to get it despite all the
him to reciprocate. Instead, she asks Cleopatra to honestly odds. After all, she is an Egyptian woman, free to choose her
show her love to Antony without acting, yet, Cleopatra man and free to discuss what she likes. The moral contrast
answers: “Thou teachest like a fool: the way to lose him” between Cleopatra can be clearly seen in the depiction of
(1.3.12). She actively exercises her agency by drawing on her Roman ideals through the role of Octavia and that ofthe
intellect and innovation in a seductive, cunning way. foreign queen Cleopatra, who opposes them. Octavia is said
During the sixteenth and seventeenth centuries to be virtuous with graces that reveal her like no other
when the Ottoman Empire was the dominant power, English woman by Agrippa. Octavia does not choose her husband but
travellers, sailors and pirates would leave their countries in rather is chosen as bond between Antony and Caesar to make
order to wander in Muslim lands or join the Ottoman navy them cope with one another.Cleopatra deliberately separates
because of the good employment opportunities and benefits as well as differentiates herself from Octavia and Rome with
offered to them by the Ottomans (Matar,1999,p.45).Many of her political power and behaviour as a woman.As a
these people converted to Islam in order to enjoy liberty and rebellious and independent woman from the Orient, she
wealth under the Ottoman flag. In addition, tradesmen and represents the Other. In this case, Octavia embodies the

characteristics of an appropriate Roman wife, such as based on the concept of the Great Chain of Being, a system
wisdom, beauty and more importantly obedience to her of hierarchy and order, someone who is brought down by
husband. This illustrates a division between a world that is choosing inferior companions has subverted and reversed the
governed by reason, discipline and prudence on the one hand order and is consequently doomed to face a tragic end.
and passion, pleasure and love on the other. In Act 1 Scene 1 Gender reversal, as well as imperial overturn, is
where Philo refers to Cleopatra as “[T]awny front” and central in the play Antony and Cleopatra. As an Egyptian
“gipsy,” he points out racial and cultural positioning, that queen, Cleopatra represents the Orient and all its
refers to features attributed to the Orient(1.1.6-10). Philo associations; Philo thinks that Antony’s relationship with her
compares Cleopatra to a gypsy. Gypsies, originally from is corruptive as he is submissive to her:
Northern India, immigrated to Western Europe, from there to Nay, but this dotage of our general’s
Scotland and arrived in England in early sixteenth century. In O’erflows the measure. Those his goodly eyes,
early modern England, gypsies were mistakenly thought to That o’er the files and musters of the war
have come from Egypt(Cressy, 2016, p.48).It is known that Have glowed like plated Mars, now bend, now turn
during the seventeenth century when Shakespeare wrote this The office and devotion of their view
play, Egyptians were mistaken with Upon a tawny front. His captain’s heart,
gypsies(Loomba,2002,p.115). Philo’s comment on Cleopatra Which in the scuffles of great fights hath burst
obviously shows the racial positioning that the queen of The buckles on his breast, reneges all temper
Egypt is on the same level as a gypsy and inferior to the And is become the bellows and the fan
Romans for the latter is white and racially superior. In the To cool a gypsy’s lust. (1.1.1-10)
same era in which Antony and Cleopatra was written, the Antony who used to look at his troops with such
authorities did not like gypsies because they found it difficult pride that his heart used to burst the buckles on his
to govern them and also because gypsies formed tight breastplate in great fights has now devoted his eyes to a dark-
communities with their own hierarchies. Some of these skinned gypsy and has dedicated all his temperance and heart
gypsies were also dressing like Egyptian kings and queens “[T]o cool a gypsy’s lust” (1.1.1-10). Philo describes her
(Loomba, 2002,p.130). Similarly, Cleopatra – who is likened “tawny front” and addresses her as “gypsy” but despite such
to a gypsy by Philoin the play– is threatening to Rome racial implications and prejudices, Antony seems totally
because she is not just Antony’s “Egyptian wife” but a overpowered by this “gypsy”. Therefore, it is Antony, rather
sovereign who resists Egyptian’s incorporation into the than Cleopatra, who is portrayed as the submissive.
Roman Empire. She stands up for her sovereignty and Similarly, in the opening of Act 1 Scene 4 we see
Egypt’s independence even though they are under the Roman Caesar commenting that Antony’s revelry in Egypt has
reign. Therefore, Octavia is Rome (the Occident) and this effeminized him:
allows Cleopatra to be shown as the opposite to the Roman From Alexandria
ideal woman and highlights her Otherness. This is the news: he fishes, drinks, and wastes
Philo is evidently enraged by the fact that Antony The lamps of night in revel, is not more manlike
fell for the queen of Egypt and he calls her a whore: Than Cleopatra, nor the queen of Ptolemy
Look where they come. More womanly than he; hardly gave audience, or
Take but good note, and you shall see in him Vouchsafed to think he had partners. (1.4.3-9)
The triple pillar of the world transformed
Into a strumpet’s fool. Behold and see. (1.1.11-4). Antony’s choice of living a luxurious life in Egypt and
spending time in revelries makes him effeminate in the eyes
Here, Philo draws Demetrius’s attention to the fact that of Caesar. When Caesar receives the news that Antony
Antony, one of the three men who rule the world, has turned fishes, drinks and celebrates every night, to him Antony
into “a strumpet’s fool.” He sees her as inferior to the becomes as frivolous and self-indulgent as Ptolemy’s queen,
Romans and believes that Antony has been downgraded Cleopatra. It seems that Antony barely acknowledges that he
because he is now spending his time in Egypt with his queen. has allies and duties to care for. Clearly, in Caesar’s eyes
Obviously, according to the sixteenth and seventeenth Antony has become womanish as he has gone to the East and
century world view in England, as elaborated by E. M. W. has replaced his duties to Rome with lustful pleasures.
Tillyard in The Elizabethan World Picture, which functioned Feasting, fishing and drinking are seen as waste fulina

Roman’s eyes.To him, Antony is seduced by this luxurious might be stripped and exhibited, before being sold into
lifestyle. Antony’s lifestyle in the Orient is based on fantasy, servitude of different kinds" (p. 177). Although Colley's
romance and revelry, and these liberate him from prudence focus is mainly the Seventeenth and Eighteenth centuries, the
and his duties as a Roman. He prefers to settle in Egypt in fear and anxiety of going native expressed earlier in literary
order to spend his time with his lover (queen of Egypt). He writings.
enjoys feasting and romancing with Cleopatra instead of From the European perspective, these men who
taking care of his marshal duties. A Roman triumvir is adopted Eastern life style were unmanned since they became
expected to be focused on his responsibilities and nothing circumcised and/or chose exotic and sensual way of living.
should be able to stop or distract him. Antony’s way of life – Similarly, Antony has given himself excessively to an
going native – destined him to fail in the eyes of the West. Eastern woman who anchors him to a new cultural identity
Similar to Romans in first century BC, the English and lays him exposed to charges of unmanliness. Antony’s
authorities during the Renaissance feared their people going passions put him in a dilemma between his Roman martial
native, which is why the dreadful fate of going native became self and his new Egyptian or Oriental identity. Cleopatra’s
the subject of some literary works such as this play. The followers are either women or eunuchs, and Antony whose
purpose of such writings was to warn people of the dangers lustful, pleasure-seeking life style has turned him unmanned
of settling in Eastern lands and going native. joins them too. Therefore, the story of Antony and Cleopatra
During the age of exploration, colonists, pirates and can be understood as a cautionary tale, a story that warns
traders travelled across the globe – to the New World in the Westerners about the dangers of the East. Since the powerful
West and tothe Mediterranean and the Indies in the East – to markets of Asia and North Africa were both desired and
seek materials and resources. Although, their position in feared, we can understand the necessity of this story to warn
North America was superior, their situation in the East, of the dangers of going native. Similarly, "going native" was
specifically in the Mediterranean, was the opposite. When used in the New World context and it meant to become like
planters were struggling in the wilderness of North America, indigenous people. This was assign of the loss of identity and
their fellow citizens were pursuing fortunes along the coasts becoming the other. Consequently, although Antony did not
of North Africa (Barbary) and at the ports of the Ottoman desert his faith it can be detected in Antony’s chosen way of
Levant. While Europeans could claim colonial superiority in living that he goes native. He not only went native by living
the New World, they were not able to have any colonial an Egyptian way of life but also betrayed Rome by turning
pretensions in Anatolia,Levant and North Africa, which were his back on his duties toward them. For example, he spends
dominated by the Ottoman Empire (Vitkus,2003, p.30). much of his time drinking, fishing and feasting in Egypt
Many Englishmen who sought a better lifesettled in the rather than caring for his responsibilities in Rome. In
Ottoman lands to pursue their careers. English authorities addition, he becomes irrational by being obedient to
feared that the awe-inspiring wealth and fascinating might of Cleopatra contrary to Roman customs according to which
the Ottoman Empire might attract more and more men are to be the patrons while women are expected to be
Englishmen (Loomba, 2002, p.118).Also, pirates, sailors, silent and obedient. By depicting Antony"going
merchants as well as captives who travelled or were taken to native,"Shakespeare brings back the fears of conversion
the Ottoman lands and settled there converted to associated with Eastern empires and other non-European
Islam(turned Turk) or went native in order to enjoy the communities with which the English were in contact.
freedom and wealth offered to the renegades under Ottoman Moreover, Cleopatra herself seems to be aware that
rule. To go native means to desert one’s own way of living she overturns gender hierarchies. In Act 2 Scene 1,
by settling down in a new place (country) and adopting their wondering how she would pass time until her lover’s return
lifestyle which is different than one’s country of origin to Egypt, Cleopatra imagines herself fishing by the River
(Macmillan Dictionary 2020).Linda Colley, in "Going Nile and likens Antony to the fish that she might catch:
Native, Telling Tales: Captivity, Collaborations and Empire" My bended hook shall pierce
(2000), gives accounts of British captives in who turned Their slimy jaws, and as I draw them up
native and argues they became a source of anxiety,"of fears I’ll think them every one an Antony
of a militant dangerous Islam" (p. 188). She also speaks of And say “Aha! You’re caught.” (2.5.14-7)
the role reversal that happened in slave markets of the This reminds us that Cleopatra is not Antony’s Egyptian
Ottoman Empire where "white as well as black captives conquest. She, herself, intentionally overturns the gender

imbalance between them. Thanks to her seductiveness, every sight. Scarus states that when Cleopatra turns around, noble
man for her is like a fish on the hook. Moreover, she is aware Antony ruined by love follows her like a sick mallard. For
that her power over Antony effeminizes him. She recalls that this reason, Camidius deserts Antony but Enobarbus, despite
one morningshe had Antony so drunk and made him wear all the odds, remains loyal to his general. Deeply ashamed of
her dress while she wore his sword: his performance in the battle, Antony urges his servants to
I drunk him to his bed, desert him as he has already deserted his own noble
Then put my tires and mantles on him, whilst ideals.Antony lost his reputation, power and manliness to
I wore his sword Philippan. (2.5.25-7) Cleopatra (or Egypt), by following her. Now, when he looks
Thus, Cleopatra overturns not only gender hierarchies but back, he sees himself destroyed by dishonour. He asks
also imperial hierarchies. A sword symbolizes masculinity Cleopatra why she has led him into infamy, she begs for
and is obviously very important to a soldier. Loomba forgiveness saying: “I little thought you would have
expresses that such cross dressing is not just bedroom play followed” (3.11.54-5). He then asks how she could doubt that
but manifests a larger reversal of gender roles(Loomba,2002, he would follow her as his heart is tied to her (strongly
p.120). By effeminizing him, Cleopatra threatens both racial showing Antony’s submission is to Cleopatra rather than the
and imperial hierarchies between imperial Rome and Egypt: other way around).Then, Cleopatra uses her tricks to rise
a horrific possibility of turning the West effeminate and Antony’s pity and cries and begs for forgiveness; Antony
submissive. asks her not to shed any tears as even one drop is equal to all
In addition, Cleopatra persuades Antony to fight the that he has won and lost. He asks for a kiss, saying “even this
Romans at sea rather than on land, a decision that is seen repays me” (3.11.70). This scene clearly depicts Antony
unman not just to Antony but all his Roman soldiers. Antony subdues to Cleopatra (representative of the East) and gives
knew he would certainly have had the upper hand in the his everything for only a kiss from his Eastern lover. Antony
battleif he fights on land and so do his troops but at last, he lost an almost equal battle against Caesar only because he
decides to fight at sea because of Cleopatra’s persuasiveness. decides to retreat and follow Cleopatra’s ships which fled
The fact that Antony prefers Cleopatra’s saying over his from the battle. According to patriarchal norms and in
troops based upon facts unmans Antony as well as his Roman eyes a man who is blinded by his emotions towards a
soldiers. Enobarbus pleads with Antony: “Transform us not woman, subdues to her and forgets all his power, territories
to women” (4.2.47) and Camidius mourns: ‘So our leader’s as well as his reputation in battle with only a kiss from his
led / And we are women’s men’ (3.7.86-7). Thus, these lover is unmanned.
gender, patriarchal and racial reversals make it difficult to Enobarbus tells Cleopatra all that has happened is
represent the colonized land, as embodied in Egypt, as a Antony’s fault not hers since Antony had the liberty to
sexually available female. She is a royal woman and does not follow logic rather than lust. The fact that not only Antony’s
give her sovereignty up easily. heart but his whole being is conquered by Cleopatra is
In the battle of Caesar against Antony, when evident in the scene of the battle. By overturning both gender
Cleopatra decides to join her shipsto his fleet, Enobarbus and patriarchal hierarchies, Cleopatra has made her lover
goes against this decision. He believes her presence is going submit to her. She is involved in any decision making and
to distract Antony as she brings turmoil to his heart and her words are the dominant opinions between the two lovers.
mind. Consequently, this confusion causes him to lose the Later on, Antony’s ambassador arrives at Caesar’s to deliver
battle. Regardless of Enobarbus’ words she decides to join his and Cleopatra’s messages. Caesar carelessly dismisses
the battle as the war is against Egypt.Antony, persuaded by Antony’s request but declares that Cleopatra shall get what
Cleopatra, orders his troops to hold back the attack until the she wants so long as she either throws her dishonoured lover
sea battle is over. Shortly after the battle begun, Enobarbus out of Egypt or kills him there. After Antony receives
cries: "Naught, naught, all naught! I can behold no longer. Caesar’s answer, he becomes furious and challenges Caesar
[T]h’ Antoniad, the Egyptian admiral, [W]ith all their sixty, to one-on-one combat. Enobarbus observes everything and
fly and turn the rudder.To see ’t mine eyes are blasted" yet decides to remain loyal to his master. Even though his
(3.10.1-4). He describes that he witnessed the Egyptian integrity is in conflict with his self, he thinks staying loyal to
flagship, Antony and all other Egyptian ships turn and flee a defeated lord defeats his lord’s conqueror and earns him a
the battle. This action confuses the fleet and accordingly the place in history. Meanwhile, Thidias comes to tell Cleopatra
victory goes to Caesar. Antony’s soldiers are sickened by the that if she relinquishes custody of Antony, Caesar will show

her mercy. The queen admits that she embraced Antony out 17). Cleopatra not only does not allow herself to be
of fear rather than love. Just then, Antony enters in fury and conquered by Antony, but she does everything to claim her
demands Thidias be whipped and protests against her sovereignty and to make the Ptolemy dynasty remain in
queen’s betrayal of Antony. Cleopatra however, protests that power. Likewise, her dominant personality and her
she would never betray him, and this is enough to satisfy overturning of gender and power hierarchies can be seen as
Antony. While observing this scene, Enobarbus thinks he has her success in achieving what she desires. By conquering
been faithful to his master long enough. He feels that Antony, Cleopatra reverses the common image of conquering
Antony’s mind is slipping, and that it is the time for him to male and conquered female.
abandon his master. Initially masculine Roman Antony This conquest also has clear political implications.
listens to Cleopatra and acts according to her will, which is Antony gives the rule of Egypt to Cleopatra and makes her
why he, for instance, loses the battle at the sea. Although the absolute queen of lower Syria, Cyprus and Lydia. After,
Antony knew he definitely could defeat Caesar on land, he in the public arena, he proclaims his sons to be kings among
was easily convinced by Cleopatra to fight at sea. Thus, this kings. He gives great Media, Parthia and Armenia to
decision failed Antony and enraged his soldiers. Alexander. He also assigns Syria, Cilicia and Phoenicia to
Accordingly, the fact that these hierarchies are not stable Ptolemy. This act enrages Caesar as he believes himself to
deserves attention. have a share in those territories. Eventually, Antony sends
What is the implication of Cleopatra’s cunningness Octavia to her brother and uses the opportunity to reunite
and overturning of patriarchal hierarchies in terms of the with his lover, Cleopatra. Caesar learns of this when his
play’s historical context? These gender and imperial sister comes to him in silence without any attendants. He
reversals might allude to the political dynamics of the late consequently becomes furious and orders to prepare his army
sixteenth and early seventeenth century. In early modern to attack Antony without a moment of hesitation. The fact
England, Egypt was known for its ancient religion and that Antony gives out territories to the Ptolemy poses danger
philosophy, as well as being the sourceof mummy trade. to the Roman Empire. Antony’s sending Octavia back in
Meanwhile, Egypt was also becoming more and more order to reunite with his Egyptian queen enrages Caesar
identified as a Turkish dominion as it had been part of the provoking him to raid Egypt. The imperial hierarchy is
Ottoman Empire since 1516, governed by Turkish Sultans, overturned and there is even the danger of being attacked by
who were Muslims. the Ptolemy queen. This incident terrifies the Roman Empire
In both New World narratives and representations of in the same manner as Europe was terrified by the fact that
contact with Eastern people, it is almost always European they were losing territories to the powerful Ottoman Empire
men who, with their virile masculine virtue and during the sixteenth and seventeenth centuries.
attractiveness, steal the heart and body of non-European In Antony and Cleopatra, Antony’s fatal attraction
women and make them leave their own "uncivilized" culture to Cleopatra speaks to contemporary English fears about the
to elope with the European man. Julius Caesar was in erosion of identity and masculinity (Loomba, 2002, p.133).
relationship with both Cleopatra and Eunoe (wife of King This noble Roman soldier willingly accepts his defeat out of
Bogudes), Alexander the Great (Alexander III of Macedon) the great love he has for Cleopatra. Despite all his famed
married to Roxana (daughter of Persian king). These men, strength and courage, he has flaws as well as any other
however, did not allow their relationships to distract them human being. His flaw is undoubtedly going native and
from their missions (Loomba, 2002, p.116-17).“Imperial leaving his world behind. Given the many works written by
conquest” is often shown through the “sexual possession” of English authors and sermons given by the church and
“conquered women” (Loomba, 2002,p.116). In Antony and reactions of the crown against feminization, "turning Turk"
Cleopatra instead of a European converting an Eastern and "going native" prove the fears of the English authorities
queen, we see the Egyptian queen make Antony abandon and the public towards the dominating East. Cleopatra’s love
himself. Since Antony loses his way in the Orient, he for Antony does not mean that she submits to Rome. She
completely forgets his duties. He, inevitably, has to go back plays with different personas in order to control Antony. Her
to Rome to conduct his affairs but he constantly returns to character there for reinforces English concerns about the
Egypt (Cleopatra). Thus, his association with Cleopatra, by feminization of Englishmen in their encounters and lustful
contrast, reverses sexual, gender and imperial dynamics relationships with sexually profligate Muslim
which signifies not his victory but hers(Loomba, 2002,p.116- temptresses(Burton, 2005,p.26-7).

Cleopatra is uncontrollable, slippery, unpredictable REFERENCES

and probably the most seductive amongst Shakespeare’s [1] Belsey, C1985,"Cleopatra’s Seduction," in Hawkens T
female figures. She is a cunning and beautiful mistress of (ed.),Alternative Shakespeares, Vol. 2, Psychology
changing moods and disguises and a master of mystery. She Press,Routledge, pp. 38-62.
[2] Burton, J 2005,Traffic and Turning Turk, University of
does not submit to either Antony or Caesar which is why in
Delaware Press, Newark.
the end when she loses all her power, she writes the final
[3] Cressy D 2016, ‘Trouble with gypsies in early modern
script by designing her own death instead of being taken to England’, The Historical Journal, vol. 59, no. 1, pp. 45-70,
Rome as testament to and proof of Caesar’s power. Even her viewed 24 December
actual death scene conjures seduction in the mind of the 2019,<https://doi.org/10.1017/S0018246X15000278>.
reader. As Caesar watches her body and exclaims: [4] Colley, L 2000,‘Going Natives, Telling Tales: Captivity,
She looks like asleep, Collaborations and Empire’,Past & Present, No. 168, pp. 170-
As she would catch another Antony 193, viewed 27 December
In her strong toil of grace.(5.2.415-17) 2019,<https://www.jstor.org/stable/651308>
[5] Loomba, A 2002,Shakespeare, Race, and Colonialism,
She does not seem dead;it is as if she has fallen asleep.
Oxford University Press, Oxford.
Caesar’s way of describing her suggests the idea of Cleopatra
[6] Macmillan Dictionary, 2020, viewed 5 January 2020,
acting in order to deceive another Antony. In other words, it <https://www.macmillandictionary.com/dictionary/british/go-
is not her presence nor simply her absence that is seductive, native>.
but her imagined, promised presence. [7] Matar, N1999,Turks, Moors, and Englishmen in the Age of
The overturning of gender hierarchy and power Discovery, Columbia UniversityPress, New York.
hierarchy through cross-dressing and manipulation that the [8] Mohanty, CT 1988,‘Under Western Eyes: Feminist
play presents are proof of the West’s fear regarding identity Scholarship and Colonial Discourses’,Feminist Review, No.
exchange, that Englishmen might go native or likewise lose 30, pp. 61-68, viewed 7 January 2020,
<https://www.jstor.org/stable/1395054>.
their identity during overseas contacts. As a result, perhaps
[9] Öktem, Ö 2013,‘Re-Orienting Gender and Islamic Alterity in
this depiction of Cleopatra by Shakespeare can be seen as a
Early Modern English Drama’, Unpublished
warning against the danger that threatens Englishmen. She is PhDthesis,Aristotle University of Thessaloniki.
in fact the embodiment of the East, which is not only sensual [10] Plutarch, editor: Leo FA 1878, Four Chapters of North's
but also clever, seductive and confident; even so, her Plutarch; Photolithographed in the Size of the Original
charisma, strength and unconquerable personality make her Edition of 1595, Trubner, London.
one of the most awe-inspiring characters of Shakespearian [11] Said, EW 1978,Orientalism, Penguin Classics, London.
drama. [12] Shakespeare, W 1606,Antony and Cleopatra,ICON Group
Despite the English incursions into the Eastern International, California.
[13] Smith, CG & Little, DP & Others 2019, Egypt, Encyclopaedia
world as depicted in many Renaissance English works of the
Britannica, Inc., Encyclopaedia Britannica, viewed 23
late sixteenth and early seventeenth centuries in order to
December 2019, <https://www.britannica.com/place/Egypt>
demonize the world of Islam and Eastern powers, their [14] Tillyard, EMW 1998, The Elizabethan World Picture,London,
interactions did not imply any pattern of English domination Pimlico.
or superiority. Said, as his critics say, is attributing a colonial [15] Vitkus, DJ 2003,Turning Turk, Palgrave Macmillan, London.
vision of the East to pre-colonial times. During the
Renaissance, the East could hardly be regarded as Europe’s
other. Europeans sought ways to enter into the powerful
economic networks of the Mediterranean, Levant, North
Africa and Asia, feared the military might of the Turks and
were dazzled by the wealth and sophistication of many
Eastern kingdoms. In fact, Europe was really on the
periphery of powerful economic networks whose centre was
in the East and that European global domination did not
begin until the eighteenth century (Loomba, 2002,p.117-18).

Re-Visiting Orientalism in Antony and Cleopatra

Uploaded by

Copyright:

Available Formats

Re-Visiting Orientalism in Antony and Cleopatra

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Re-Visiting Orientalism in Antony and Cleopatra

Uploaded by

Copyright:

Available Formats

International Journal of English, Literature and Social Sciences (IJELS) Vol-5, Issue-1, Jan – Feb 2020

https://dx.doi.org/10.22161/ijels.51.25 ISSN: 2456-7620

Re-visiting Orientalism in Antony and Cleopatra

www.ijels.com Page | 122

www.ijels.com Page | 123

www.ijels.com Page | 124

www.ijels.com Page | 125

www.ijels.com Page | 126

www.ijels.com Page | 127

www.ijels.com Page | 128

www.ijels.com Page | 129

www.ijels.com Page | 130

Cleopatra is uncontrollable, slippery, unpredictable REFERENCES

www.ijels.com Page | 131

You might also like