The Banquet of Cleopatra

Antony and Cleopatra

ShakespeareGruelingTragedyEnglishShort · 100 pages
Influence21st pct
Popularity33rd pct

Read this if you…

  • love Rome and Egypt and Shakespeare
  • like the idea of love affairs ruining political ambitions

Skip this if you…

  • aren't willing to go slow, read notes, look up analyses of famous passages (only way to "get" shakespeare)
  • foolishly think shakespeare is overrated

Why It Matters

The greatest play about how passion and politics wreck each other. Cleopatra is one of the most complicated women in all of drama, and the play's huge, sprawling structure mirrors the empires falling apart inside it. This is Shakespeare working at full strength.

Connections

Where to go next

Built Onwhat came beforeAntony and CleopatraPlutarch's LivesThe Aeneid

  • Plutarch's Lives by Plutarch. Antony and Cleopatra built on it. - *Antony and Cleopatra* is built directly on Plutarch's *Life of Antony*, read through Sir Thomas North's 1579 English - The shimmering 'barge she sat in' set-piece — silver oars, purple sails, the wind made lovesick — is North's prose lightly lineated into Shakespeare's verse - Read the *Life* and you watch the raw material become poetry almost phrase by phrase
  • The Aeneid by Virgil. Antony and Cleopatra built on it. - Antony invokes it by name — "Dido and her Aeneas" — so Shakespeare hands you the source himself - *Antony and Cleopatra* is the *Aeneid* answered back: Aeneas leaves the queen for Rome, Antony chooses the queen over it, and Cleopatra's dying vision rewrites the lovers' afterlife reunion - The Rome-versus-foreign-queen tragedy was Virgil's frame first; reading him reveals exactly what Shakespeare is inverting
Gallery

Depicted in Art

Cleopatra drops a pearl earring into a goblet of vinegar at a lavish banquet table, watched by Antony and attendants in Venetian dress.

Giovanni Battista Tiepolo, 1744

Antony disembarks to greet Cleopatra at Tarsus; she stands crowned and ceremonial as he bows, courtiers and dwarfs flanking the steps.

Giovanni Battista Tiepolo, 1747

Roman war galleys clash under cannon smoke; Cleopatra's ornate barge in the foreground, arms outstretched in despair as the battle is lost.

Lorenzo A. Castro, 1672

Cleopatra collapses across the dead Antony's body, the asp at her breast; an attendant lifts her head as Roman soldiers approach.

Alessandro Turchi, 1640

Cleopatra reclines beneath the awning of her gilded barge, scattered rose petals around her, as Antony steps aboard parting the curtain.

Lawrence Alma-Tadema, 1883

Cleopatra slumps semi-nude on her throne, eyes rolling back, the asp coiling at her breast; weeping attendants crowd around her.

Guido Cagnacci, 1660

Cleopatra sits on a low throne in a gauzy gown, head turned in cool sidelong scrutiny, hands gripping the lion-headed armrests.

John William Waterhouse, 1888

The dying Antony is carried in by attendants and lowered before the standing Cleopatra in her monument; she reaches for him in horror.

Eugene-Ernest Hillemacher

Editions

Recommended Editions

#1Top Pick

Folger Shakespeare Library

2004

Folger's the readable one. Text on one page, notes on the facing page, written in plain English instead of textbook-speak. Catches every word and reference you'd otherwise google, without breaking the scene to do it.

#2

SparkNotes (No Fear Shakespeare)

2007

$9.99$9.31Buy
#3

Arden Shakespeare

2006

$14.89Buy

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Deep Dive

What It's About

Spoiler warning

This summary gives away plot details.

Notable Quotes

Age cannot wither her, nor custom stale her infinite variety.

Enobarbus, Antony and Cleopatra

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.

Enobarbus on Cleopatra, Act II, scene ii