With six of its seven scenes set in the West, the second act of William Shakespeare's Antony and Cleopatra is largely about the politics of Rome . The second act is important in the further development of the characters of Antony, Octavian, Cleopatra and Enobarbus. Within this law, we find overall a more negative representation of the eponymous characters through their own words and actions. We find similar images of Octavius ​​and Enobarbus in the first act: men characterized by their stoicism and wisdom respectively. Say no to plagiarism. Get a tailor-made essay on "Why violent video games should not be banned"? Get the original essay The change of scenery from Egypt to Rome brings about a change in Antony: we witness his "Roman" side more clearly . From Antoine's point of view, this act is dominated by the concerns of power. Shakespeare places him in a political context and allows the audience to further determine his political identity and status through his interaction with the other triumvirates. The most interesting and, ultimately, crucial depiction of these scenes is that of her relationship with Octavius. It is through this relationship that Shakespeare explores Antony's lust for power, with the friction between the two men indicating that they both desire the same thing: supremacy. It has been argued that the following words subtly imply this underlying tension, spoken as the two men meet once more in Act 2, Scene 2: Octavian: "Sit down." Antoine: “Sit down, sir.” These lines portray the struggle between the two men as petty and selfish – their quarrels do not concern Rome, but have the potential to harm it. This potential is recognized by Enobarbus later in the scene, when he urges them to momentarily forget their differences in order to take on Pompey. This indicates that the real source of the struggle between Octavian and Antony lies not in differing opinions on Roman politics, but in personal pride. It is through Antony's interaction with Octavian and the political hunger she betrays that Shakespeare suggests the true reason for his return. in Rome and, in turn, his reluctance to give in definitively to Egyptian hedonism. Where Egypt gives him pleasure, it does not give him the reputation he values; ultimately he seems to prefer the Roman side of himself. The importance of reputation to Antony is emphasized in the following words, where he feels grateful to Pompey for forcing him to return to Rome: "...I must thank him, only lest my memory be ill reported. » These lines indicate that, while he wants Egypt, he wants the image of Rome. So it seems that it is not Rome or its people that Antony returns to - he does not relish the responsibility, but rather the name and status it gives him. Indeed, it is an act that presents Antoine as a character who does not care much about responsibility. This is most evident when he agrees to marry Octavia in an effort to solidify his relationship with Octavius, a commitment made illogical and irresponsible when we learn of his plan to return to Egypt at the end of scene 4." ..I will in Egypt; and although I make this marriage for my peace, I am towards the East, my pleasure lies "Here Antony makes no attempt - nor pretends - to maintain any kind of fidelity. For the audience, Antoine's lack of foresight is astonishing. It is clear that marriage to Octavia is intended to repair her weak relationship with Octavius, but that being unfaithful to Octavius' sister would only harm her further; Antoine does notdoes not seem to realize that by returning to Egypt, he is completely undermining its “peace”. However, where these lines serve to seriously question Antoine's judgment, the audience cannot help but recognize the pure adoration underlying his actions: he simply cannot resist the pull of the 'Egypt. Antoine's marriage to Octavie is also fundamental in the exploration of Octave's character in Act 2. Octave's account of the function of marriage and Octavia herself in Act 2, scene 2, is particularly revealing: "...Let her liveTo join our kingdom and our hearts; and never fly away from our loves again!" Here, Octavius ​​is clearly using his sister as a political tool, an intention that seriously calls into question his claim that she is a sister "whom no brother ever loved so dearly." Octave uses these words in an attempt to convey the depth of his investment in the political relationship, but this investment only serves to call into question the validity of the words. Octavia's role as a pawn in the play is supported by her distinct lack of physical description - she seems faceless and characterless in comparison to Cleopatra, to whom Shakespeare devotes great speeches and soliloquies. Octavia's role in the play helps illustrate the overarching nature of the Roman political game in the lives of its players, with public life mirrored in personal lives and vice versa. Octavius ​​is a character, more so than anyone else in the play. , obsessed with this game. Politics is his primary and singular concern, contrasting sharply with Antoine's duality. This gives him the authority to criticize Antony regarding his neglect of state duty, of which he tells him: "you will never have tongue to accuse me." Octave lacks the penchant for hedonistic pleasure of many of his colleagues, shown most clearly. in Act 2, Scene 7, when he refuses to participate in the drunken festivities of his peers. When Antoine encourages him to "be a child of time", he responds that he prefers to "own it", illustrating Octave's need for control. The graceless formality of Octave's language throughout the act helps to further express his rigid and rational nature. In direct contrast to Octavian's rigidity, our impression of Cleopatra as a character who embodies pure emotion and passion is only heightened. However, through his actions in this act, we see these traits in a more consistently negative light, particularly in scene 5, where his emotion seems to override any sense of reason or nobility. Roman characters, is displayed upon the arrival of a messenger. Rather than rewarding him for telling her the honest truth, Cleopatra swears that if he gives her good news, she will "put you under a shower of gold and hail" and that if he gives her good news, she will “smite you before you speak.” '. This contrasts sharply with Antony's insistence on the truth in the first act; where Cleopatra only wants to hear what will satisfy her emotional desires, Antony tells his messenger not to "chew the general tongue" when he is told of Fulvia's death. This illustrates the great divergence and insoluble conflict between the rationality of Rome and the emotion of Egypt, and both explains and ensures the tragic ending of the play. It is in Cleopatra's response to the truth in this scene that Shakespeare paints his most damning portrait of her thus far, culminating in her declaring "Snape, you have lived too long!" and “pulls a knife.” Here his lack of self-control is inexcusable; while in some circumstances Cleopatra's emotion may seem a refreshing change from the stiffness of Rome, in this scene.