클레오파트라의 연극성과 전복성-『앤토니와 클레오파트라』

Abstract

Representation of racial and gender differences and Cleopatra's subversiveness have been central issues in the recent discussion of Shakespeare's Antony and Cleopatra. Cleopatra is represented as a dangerous racial other by the characters in the play. Philo, a Roman general, presents a prejudiced view against Cleopatra, an Egyptian Queen, in the very beginning of the play. He criticizes Antony who became “the bellows and the fan to cool a gipsy's lust” and “a strumpet's fool.” Philo calls Cleopatra a lascivious “gipsy” who seduces Antony with dangerous sexuality. His generalization about the Egyptian woman as a whore or a witch is a prime example of racist and misogynist discourse. Furthermore, Pompey calls Cleopatra a witch who ties up Antony with her witchcraft and “the charms of love.” According to Scarus, Cleopatra is a “ribaudred of Egypt." Antony calls her a “triple-turned whore” who has betrayed him and “a false soul of Egypt” or an “enchanting queen.” Cleopatra is represented as a whore or a witch by the Romans. Shakespeare was influenced by racial and gender discourses of his time, but he did not fully agree with those dominant discourses. In the play, he reveals the negative image of the white male Roman hero, Antony, who is falling in love with the enemy of Rome, Cleopatra, and who fights against his own country. Antony calls Cleopatra a witch or a whore, but he cannot resist the temptation or the charm of the so-called witch. Furthermore, Shakespeare allows the voice of a racial other, Cleopatra, to resist the authority of Rome. He represents Cleopatra as a powerful and clever woman who gains control over Roman heroes with her “infinite variety” and theatricality. Cleopatra represents herself as a Venus, a goddess of beauty, and arouses the erotic fantasies of Romans with her “infinite variety” and erotic power. She ties up Antony with masquerading and displaying contrary moods, and she blurs of gender boundaries when she wears Antony's sword. She masquerades herself to obey Octavius Caesar who wants to display her as a token of victory in the Roman street, but, finally, she undermines his authority by committing suicide. Thus, her theatricality is a source of empowerment, and masquerading is a sign of her subversiveness.