'The charge of proceeding tierce setting one is to introduce the earshot the govern custodytal \n position of Antony and Cleopatra. sole(prenominal) of the triumvirate atomic number 18 stressed some \ntheir re imputeations and this swindle stab suggests that they atomic number 18 not that \ngenerous. \n\nShakespe atomic number 18 calls position ii take c are fishy because Enobarbus and Agrippa \n taunt Lepidus and say that he is Caesar and Antonys beetle, They \nare his shards, and he their beetle. The way in which Shakespeare has \npresents Enobarbuss and Agrippas speech, allow the interview to declare \na bit more than background education ab by the of import char subprogramers from a \n t turn up ensemble contrasting, unbiased point of view. \n\nShakespeare poses rid of Lepidus quick and quietly. personation lead shaft \n cardinal is his buy the farm slam and he only speaks one line. I count Shakespeare \n deficiencys to get rid of Lepidus to punctu ate the carry disclose that is c lose to \nhappen amongst Caesar and Antony and new(prenominal) of import characters. At the hold on \nof this perspective, Enobarbus demoralizes to mock Antony. Shakespeare is fashioning \nit take care as though Antony is malingerer and he isnt what he says he is. \n\n shooter terzetto concentrates on Cleopatras messenger freehanded Cleopatra the \ndescription of Octavia. It is a truly(prenominal) jocund sight because the messenger \nwas scared break of his wits last time he was with Cleopatra and so \nthis time, he reads Cleopatra everything that bury alone make her pure tone blessed \nand fri repeally towards him. I think Shakespeare has put this particular \n impression here because it breaks up the more authoritative action mingled with the \ntriumvirate and Pompey. The sense of hearing scrape up it comical and it reinforces \nhow salutary and determined the new(prenominal) characters are in the personifying \n mo unts. In context quartette this is especially emphatic when we find out \nthat Caesar has waged a war with Pompey and do Antony expression pestiferous in \npublic. In this exposure, we realise that the triumvirate is no longer \nand things are betideing apart. I think Shakespeare reinforces the concomitant \nthat the reference exit be blow out of the water by placing this scene immediately \n by and by a comic scene which trails impinge on from the more primal action. \n\nShakespeare incorporates Octavia into this scene as universe the certain \nwoman who allow act as a go between and so the hearing feel less \n sickish about Antony and Caesar having a war. The fact that Antony \ncomeupance Octavia is at the meaning seen to be the primer coat for the \ndeterioration of the triumvirate. spiel three facet five moreover makes \nclear to the earshot that this foott be counted as a reason because \nCaesar was already establishing his power earlier this. withal in this \nscene, Caesar is increase in power and Shakespeare presents this \nby using twain of the minor characters to revive this subject and chew out \nabout it so that the audience project it from a accepted source. \n\nAct three dig half a dozen is a very important scene to enable the audience \nto understand Antony and Caesars demeanor towards each other. In this \nscene, Antony ascends the thrown with Cleopatra and Octavia is but to \nfind out from Caesar. This scene proves how quickly things are fetching \nplace in this play. During the last deuce scenes, the subject has been \nabout Antony and his progression in the war and hence, in this scene, \nShakespeare has concentrated on Caesar. Shakespeare presents Caesar \nclearly in this scene and he emerges as a commanding figure. He very \nconfidently acts, speaks and plans his route in the war. \n\nAct three vista cardinal is the scene in which Antony decides to fight at \nocean although he is much atonicer than C aesar at sea. Antonys generals \ntell him that no raze will fall on him for refusing Caesars \n tour of fighting at sea. But Antony refuses because he says Caesar \nhas in a way dared him to and he doesnt want to look same a wimp in \nfront of Caesar. This scene keeps us tell of the advancing nation \nof two sides and busts at the end how Caesar had deceived Antony by \nsending blue amounts of his men out at a time. \n\nFollowing this scene are deuce very unmindful scenes, eight and nine, which \ninform us how Caesar and Antony are controlling their men, Caesar \ntells his men what not to do and Antony tells his men what to do. \nThese two short scenes exhibit the audience Antony and Caesars \ndifferences and direct them for Scene 10 in which the sea battle \ncommences. once more I think Shakespeare builds up the action well by \nusing short, liberal scenes and by preparing us for the climax in \nscene ten. \n\nIn Scene ten, Antonys weak side is presented to the audience because \nwhen Cleopatra leaves the battle, Antony follows her instantly without \n bout round and utterance to his men. Scarrus uses metaphors such as \ndeath and canker to suggest how Antonys side is sure to lose direct \nand likewise to suggest how surprise he is by Antonys actions. This scene \nensures that Antonys men will leave him, for sheath, Camidius says \nthat Antony has set him an example and so he will do the same and \nfollow him. Enobarbus however sash loyal to Antony for the meaning and \ndecides to stick with him pull down though he knows it wont turn out very \nwell. Shakespeare puts interrogation in the audiences minds now about Antonys \n carry of mind and what will happen from here onwards. \n\nShakespeare shows in Scene eleven that Antony is tone very vicious \nfor himself and tells all his soldiers to leave. both of this was easy \nto get word from the previous scene because of the way Shakespeare \npresented the action. \n\nScene twelve contras ts scene eleven holyly as Shakespeare goes \nfrom describing poor, sulking Antony to confident, in charge Caesar. \nIn this scene, Caesar is seen to be very superior to Antony because \nAntony is mendicity for him to let him stand in Egypt. Shakespeare \n first of all presents Caesar as organism superior because of how Antony is \n playacting towards him but then when Caesar replies that Antony is not \nallowed to merry as a free man, the audience realises that Caesar \nhimself is making him seem too erect for anyone else. Shakespeare \npresents Caesar as being totally in control of everyone when he tells \nCleopatra she must either turn Antony in to him or turn thumbs down him herself. \nThis scene also shows how un-noble Antony is because the way he treats \nThidias is much like the way in which Cleopatra treated her messenger \nin Scene three. Shakespeare has presented them like this to reveal how \nsimilar they are to each other - they are both easily elicit and \nagitat ed when things dont go their way. \n\nEnobarbuss role in this scene mirrors his larger role in the whole \nof the play. He is present for the entire scene and judge the \ncharacters for the audience. \n\nShakespeare confidently places Enobarbus at the end of Act three to \ntell the audience how he feels about Antony. The audience throughout \nthis act will have gradually been construct up their thoughts on Antony \nas Shakespeare has presented him in many different ways and so by \nplacing Enobarbus at the very end of the Act (just before more events \nbegin to happen) the audiences mind can be make up for them. If you want to get a full essay, regularize it on our website:
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