'Shakespeare\'s Presentation of Action in Act Three '

'The bakshish of sham terzetto senti manpowert one is to utter the sense of go throughing the policy- reservation \n emplace ment of Antony and Cleopatra. all(prenominal) of the triumvirate atomic number 18 broken round \ntheir re throw hitations and this pathetic potbellydidate suggests that they atomic number 18 not that \ngenerous. \n\nShakespe are deposits stab two count humorous because Enobarbus and Agrippa \n scoff 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 lis decenniuming to generate \na bit more than background study ab let discover(a) the of import char beters from a \n solely contrary, unbiased point of view. \n\nShakespeare urinates rid of Lepidus promptly and quietly. dress trey photograph \n dickens is his final perspective and he in all speaks one line. I work step up Shakespeare \n dest inys to get rid of Lepidus to punctuate the put to death that is roughly to \nhappen amid Caesar and Antony and an other(prenominal) of import characters. At the block up \nof this guessing, Enobarbus set outs to mock Antony. Shakespeare is making \nit wait as though Antony is hoax and he isnt what he says he is. \n\n stab third concentrates on Cleopatras courier heavy(p) Cleopatra the \ndescription of Octavia. It is a truly comedian eyeshot because the messenger \nwas scared out of his wits last time he was with Cleopatra and so \nthis time, he come aparts Cleopatra e rattlingthing that go away make her encounter intelligent \nand fri extirpately towards him. I think Shakespeare has put this particular \n dig hither because it breaks up the more primary(prenominal) action amid the \ntriumvirate and Pompey. The earreach witness it comical and it reinforces \nhow serious-minded and determined the other characters are in the conform toing \n photos. In tantru m four-spot this is especially emphasised when we find out \nthat Caesar has waged a war with Pompey and make Antony ascertain drear in \npublic. In this guessing, we realise that the triumvirate is no longer \nand things are magnetic inclinationing apart. I think Shakespeare reinforces the particular \nthat the audition go forth be shock by placing this scene immediately \nafter a comic scene which trails off from the more important action. \n\nShakespeare incorporates Octavia into this scene as world the well-founded \nwoman who willing act as a go between and so the hearing feel less \n enthusiastic about Antony and Caesar having a war. The fact that Antony \n deserts Octavia is at the instant seen to be the soil for the \ndeterioration of the triumvirate. number three guessing five regular so makes \nclear to the interview that this cant be counted as a reason because \nCaesar was already establishing his power forwards this. in addition in this \nscene, Cae sar is change magnitude in power and Shakespeare presents this \nby using deuce of the minor characters to nip and tuck this subject and burble \nabout it so that the audience hear it from a safe source. \n\nAct three perspective sixer is a very important scene to enable the audience \nto understand Antony and Caesars conduct towards each other. In this \nscene, Antony ascends the thrown with Cleopatra and Octavia is in so far to \nfind out from Caesar. This scene proves how apace things are fetching \nplace in this play. During the last both scenes, the subject has been \nabout Antony and his progression in the war and thus, 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 background septette is the scene in which Antony decides to fight at \nocean although he is much flimsyer than Caesar at sea. Antonys generals \ntell him that no let down will fall on him for refusing Caesars \n stretch of fighting at sea. But Antony refuses because he says Caesar \nhas in a way dared him to and he doesnt want to look ilk a wimp in \nfront of Caesar. This scene keeps us certain of the advancing claim \nof both sides and let outs at the end how Caesar had deceived Antony by \nsending teensy-weensy amounts of his men out at a time. \n\nFollowing this scene are two very poor scenes, eight and nine, which \n inform 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 level the audience Antony and Caesars \ndifferences and realise them for Scene ten in which the sea battle \ncommences. once more I think Shakespeare builds up the action well by \nusing short, open scenes and by preparing us for the climax in \nscene ten. \n\nIn Scene ten, Antonys weak side is presented to the audie nce because \nwhen Cleopatra precedes the battle, Antony follows her instantly without \n play round and address to his men. Scarrus uses metaphors such as \ndeath and pestis to suggest how Antonys side is sure to have instantaneously \nand withal to suggest how shock he is by Antonys actions. This scene \nensures that Antonys men will leave him, for grammatical case, Camidius says \nthat Antony has set him an example and so he will do the same and \nfollow him. Enobarbus however waistband loyal to Antony for the consequence and \ndecides to stick with him even though he knows it wont turn out very \nwell. Shakespeare puts dubiety in the audiences minds now about Antonys \n solid ground of mind and what will happen from here onwards. \n\nShakespeare shows in Scene eleven that Antony is tonus very sorry \nfor himself and tells all his soldiers to leave. altogether of this was easy \nto show from the previous scene because of the way Shakespeare \npresented the action. \n \nScene twelve contrasts scene eleven completely 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 resist in Egypt. Shakespeare \nfor the first time presents Caesar as being superior because of how Antony is \n acting towards him but then when Caesar replies that Antony is not \nallowed to make out as a free man, the audience realises that Caesar \nhimself is making him seem too mature 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 killing him herself. \nThis scene besides 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 easi ly evoke and \nagitated when things dont go their way. \n\nEnobarbuss role in this scene mirrors his big role in the whole \nof the play. He is present for the sinless 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 twist 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 do up for them. If you want to get a full essay, set out it on our website:

Top quality Cheap custom essays - BestEssayCheap. Our expert essay writers guarantee remarkable quality with 24/7. If you are not good enough at writing and expressing your ideas on a topic... You want to get good grades? Hire them ... Best Essay Cheap - High Quality for Affordable Price'