Antony and Cleopatra: Shakespeare's criticism of the XVIIth century's anti-feminism

Résumé du document

like in his other Roman plays like Julius Caesar, Shakespeare used in Antony and Cleopatra the description of the Roman society to describe his own society. But in this play the main point of analysis was not politics but the place of women in the society. During the XVIth and XVIIth centuries, the anti-theatrical and anti-feminist critics developed. The Puritans made virulent attacks against theatre, accusing it of destabilizing the social order, in particular because theatre gave too much importance to women, who were commonly considered as fiends. In his plays, Shakespeare usually showed no prejudice against women. Worried by the criticisms against theatre and women, he analysed with his play Antony and Cleopatra at the beginning of the XVIIth century the alienation of women in his society and their relations to men. In Rome like in Shakespeare's England of the XVIIth century, women had no political or social role, except for procreation. Their sexuality was seen as demonic. Cleopatra's character in this play is the contrary of the obedient and unassuming woman wanted by the patriarchal society.

Extraits

[...] Antony and Cleopatra: Shakespeare's criticism of the XVIIth century's antifeminism Like in his other Roman plays like Julius Caesar, Shakespeare used in Antony and Cleopatra the description of the Roman society to describe his own society. But in this play the main point of analysis was not politics but the place of women in the society. During the XVIth and XVIIth centuries, the anti-theatrical and antifeminist critics developed. The Puritans made virulent attacks against theatre, accusing it of destabilizing the social order, in particular because theatre gave too much importance to women, who were commonly considered as fiends. [...]

[...] Cleopatra's suicide is an act of defiance to the patriarchal laws. She demonstrates indeed that human identity is multiple and the description of her character tends to show the limits of the puritan distinction and of the hierarchy of genders.[33] The strengthening of feminine stereotypes through the male actors probably limited the effects of Shakespeare's argumentation. Cleopatra herself points this problem out with irony when she says: [ ] The quick comedians Extemporally will stage us, and present Our Alexandrian revels. [...]

[...] But now she loves him and she recognizes the illusion of the beginning of their relationship. With these words about their first meeting she shows her desire to start this relationship again, without deceit. In the post-mortem union of Antony and her, the sexual differences advocated by the Romans are beaten, as Cleopatra says[30]: [ ] Husband, I come Now to that name my courage prove my title. I am fire and air; my other elements I give to baser life. [...]

[...] How does Shakespeare, with Antony and Cleopatra, give an answer to the antifeminism of the puritan society? At first, Cleopatra seems to embody all the feminine sins criticized by the puritans and represents subversion. But Shakespeare uses his description of Cleopatra to highlight the inequalities in the gender distinction of roles, and the legitimacy for women to have a better place in society Cleopatra: the puritan stereotype of femininity as subversion 1. The puritan anti-theatrical and antifeminist critics 1.1 .1Theatre and women as evil During the XVIth and XVIIth centuries, theatre, first only seen as a manifestation of idleness, became criticized because of its subversive effects. [...]

[...] According to Plutarch Antony really fell in love with Octavia and their marriage was stronger and longer as in Shakespeare's play, in which it lasts a couple of month instead of a couple of years. Moreover, in this play, Antony continues to think about Cleopatra when he is married with Octavia.[15] Octavia's part's function in the play is to show how women were used as objects in the patriarchal societies. Indeed she is only used as a political argument when she gets married to Antony. [...]