The language that Shakespeare uses to portray these two principle dimensions of the play is therefore integral, in order to evoke the tragedy the author intends. For Antony and Cleopatra's tragedy explores almost a crown on death, a total, unprecedented political collapse. The two extremes, love and death, seem to unite in speech. The culmination of the play sees to die as symbolic of total love. Conversely, to love is also to die. Enobarbus, Charmian, Iras, Cleopatra and Antony all die at the height of their love or loyalty. Clearly such tragedy of political and romantic importance requires a diverse and complex deployment of language, and it is this technique that I now seek to explore.

The language of love in 'Antony and Cleopatra' is one of the plays greatest pleasures. The magnificen

The versatility of love in the play can be seen in the myriad of situations in which the lovers are placed, and the facets of their emotions that we see- egotism, envy, anger, jealousy, loyalty, trust, infatuation, passion, sexuality, and, most of all, companionship. In Act III, scene eleven, Antony reproaches Cleopatra, but when she begs his pardon he forgives her, showing loyalty and trust. When he thinks she has been flirting with Caesar's messenger, he flies into a rage "You were half blasted ere I knew you: ha? Forborne the getting of a lawful race, and by a gem of women, to be abus'd by one that looks on feeders" displaying jealousy of his lover, anger at her, and a level of hurt and insecurity in the reaction. Perhaps the most harmonious scene between the two occurs when she is arming him for battle, in Act IV scene four. Following victory here, he salutes her in the presence of his victorious generals, an act of solemn respect in front of the people he trusts the most. Then, after the final defeat, he blames her betraying him (this time without foundation) in the strongest possible terms, an accusation which he only retracts after he thinks she has committed suicide. This array of different emotional situations we see Antony and Cleopatra in adds that extra dimension of realism. The language used in their intercourse brings the world of love alive, in that not only are we presented with the idealistic portrayal of romantic exaggeration (Enobarbus' speech, for instance, or Cleopatra's dream) but, as the situations listed above show, we see Antony berating his lover with strong, harsh language "all is lost: this foul Egyptian hath betrayed me" and "vanish, or I shall give thee thy deserving, and blemish Caesar's triumph." Theirs is a real romance, and the strain of the political dimension to their characters brings this into the forefront of the story. The element of companionship and reminiscence in their language adds to this concept of realism, as we can see examples of playful competitiveness and teasing. A perfect example of this is when Cleopatra is musing of her lover in his absence with Charmian, and recalls a time when they had a fishing contest. "'Twas merry when you wager'd on your angling, when your diver did hang a salt-fish on his hook which he with fervency drew up" to which Cleopatra replies "That time? Oh times! I laugh'd him out of patience; and that night I laugh'd him into patience." The audience can see the way the two enjoy and cherish every moment they spend together through the language Cleopatra recalls it in. The witty innuendo is also typical of the linguistic style used when the subject is love- poetic often involving wordplay. The humorous nature of the two cheats to beat each other in their contest highlights the quality of friendly companionship in the plays love. The argument the two have in Act One scene three reinforces this concept of friendly teasing and word play. Antony teases Cleopatra, swearing "by my sword" (innuendo) Cleopatra makes fun of him back, sar

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Approximate Word count = 2038
Approximate Pages = 8 (250 words per page double spaced)