In the text the East is represented in the stereotypical fashion as a land of exotic mysteries and pleasure, as a character Cleopatra is expected to personify the sensuous nature of Egypt. Though out the text Cleopatra exemplifies the typical role of an eastern women in ancient times as the seducer, but she is by no means a weak character subservient to any man. Through the duration of the play she takes control of her own fate, she decides when to leave the battle field, she negotiates , for a time, with Cesar for her own benefit and ultimately kills herself so that she retains all the glory. Cleopatra departs from the typical representation of women of the ancient world because she is strong and independent and although she enjoys the company of Antony and needs him to stoke her ego she maintains the ultimate power in the relationship. In Act V she exemplifies her independence by killing herself in a most dramatic fashion in defiance of the Roman Emperor himself.

      Throughout the play the character of Marc Antony goes from a strong manly general of the great Roman Empire to a weak and indecisive man reliant on a women to seek direction. Antony departs from the typical male of the ancient world in that he looks to a female for guidance and support. By the end of the play Antony can make no decision without Cleopatra’s guidance and when Cleopatra makes a move he fallows her without question, in Act III even leaving a battle despite the advice of his closest advisors and his own military instinct. Antony’s masculinity is completely stripped in the final two scenes of Act IV when in scene 15 he tries to kill himself and cannot do it properly and when in scene 16 he dies in Cleopatra’s arms after a attendant gives the fatal wound. Marc Antony serves as a sort of warning to men of the destructive powers of mysterious and exotic women on the power and dependence of a man.

      Antony and Cleopatra explores the topical gender and cultural roles of the ancient world and turns them upside down. Both Antony and Cleopatra seem to be at peace with their roles within their relationship, but the world around them sees it with a critical eye. The idea gender reversal is not new to Shakespearean drama but the complete dominance of Cleopatra shows a women in control of both her own affairs and those of her country.

     It is important to understand that Shakespeare and his audiences were familiar with the general story of Antony and Cleopatra and several sources that explored the history of the story. One such source was Samuel Daniel’s earlier play the Tragdie of Cleopatra. Daniel, like Shakespeare, explores both the complex relationship between the Egyptian Queen and the Roman Triumvir and the dramatic political upheaval that occurred around the romance. In Act V of Tragdie of Cleopatra explores the end of both Cleopatra and Marc Antony. Daniel’s death scene shows Cleopatra’s determination as a leader and her vulnerability as a lover. After Antony’s death Cleopatra grieves but remains focused on the fact that she will not allow herself to be taken as a spoil of war. However, one of the most unique aspects of his death scene is when Cleopatra compares Marc Antony to her other Roman Lover, the great Julius Caesar. In the scene Cleopatra laments that Cesar never loved her and that Antony “loved her with his soul”.  This comparison shows Cleopatra’s need to be loved which stands in contrast to the idea that Cleopatra was a seducer who used men to further her own position.

     The same scene in Shakespeare’s interpretation Antony and Cleopatra shows Cleopatra as a stronger, less emotional character. Cleopatra is clearly upset by Antony’s death but she seems almost more concerned with not being taken back to Rome as a trophy. Shakespeare ends the play with Cleopatra dying in defiance of Cesar, not to be with her love in the afterlife. Shakespeare’s Cleopatra is a strong leader who appears ultimately to be concerned with her image and her power. Shakespeare’s version of Cleopatra is not completely heartless but certainly is not as vulnerable as Daniel’s version. Cleopatra is by far one of Shakespeare’s strongest characters and acts with confidence in a man’s political world.

     Both plays add to the various viewpoints of Cleopatra held by current audiences. Our culture is often shown images and descriptions of Cleopatra as a seducer, however works like Daniel’s remind us that Cleopatra was still human and in want of affection, not just a heartless, power hungry Queen. Shakespeare’s presentation of Cleopatra’s character is a little more mixed but still notes her humanity and love for Antony. Cleopatra’s reputation as the seducer of the ancient world is not completely unwarranted, but the death scenes in both the Tragdie of Cleopatra and Antony and Cleopatra show her love and admiration for both Antony and Egypt.

      Janet Adelman’s article Iago’s Alter Ego: Race as Projection in Othello explores the role of envy in the play in general, and particularly in the devious character of Iago. Adelman views the play with the physiological theories of envy presented by Melanie Klein. Adelman maintains that viewing Othello through Klein’s theories helps put the envy displayed by Iago into perspective. Adelman maintains that the source of Iago’s jealousy his very primitive and based on his own unhappy life and the fact that his only happiness comes from destroying the happiness and perfection of other people’s lives. Adelman briefly suggests that other scholars have suggested that Iago’s unhappiness is based in his repressed sexual fantasies involving Othello, Cessio, and Desdemona. Adelman does not spend much time exploring these claims but maintains that whatever the source, the disappointment Iago has with his own life causes him to spread his particularly poisonous brand of envy. The article also argues that Iago is further envious of Othello because his “darkness” makes Othello a contaminating presence thus unworthy of happiness, Iago cannot grasp why Othello’s life is so complete. In short Adelman’s article seems to defend that envy is the key to the plot line in Othello. ( Adelman pages 126-138)

      I believe that reading Janet Adelman’s article helps the reader to further understand the complex plot of Othello. The article’s explanation of envy within the context of the play helps explain Iago’s motivation to destroy the life of his supposed friend. Adelman’s viewpoint, I believe, I supported by the original text for instance, in the opening lines of the play Act I Scene I Iago expresses his frustration about serving under Othello to Roderigo and explains that there is no reason why he should have to serve under a Moore who is undeserving of such social standing because of his skin tone and peace loving ways. Iago is clearly jealous of Othello because despite his obvious, at least obvious in Iago’s eyes, flaws Othello is able to capture the love of Venice’s most prized virgin. The text shows that Iago sets out to destroy Othello because he wants the life he leads. Also in the first act Iago eludes to the fact that Othello’s blackness taints the whiteness and purity of Desdemona.

      Overall I agree with the argument presented in the article. I think Adelman does a wonderful job exploring the role of envy and its’ interaction with race and repressed sexuality within the play. The argument helps clarify one of the main themes of the play. The deeper exploration of envy, its source, and its’ involvement with other elements allows the reader to grasp the important effect envy has on the characters in Othello. Othello is indeed a complex tale with deep and complicated character interactions. To truly understanding the impact of envy and other social factors it is important to consult the work of scholars and note the findings of their own interpretations.

       So far, my favorite play as been Twelfth Night it was a funny piece that competes with any modern comedy. It amazes me that a play written hundreds of years ago can still be so funny today.  The love triangle between the characters is both awkward and funny and says a great deal about how perception plays role in our relationships with others. Our other texts Richard II and The Merchant of Venice have been much more of a challenge, their complicated plots and character interactions made them far more difficult to understand. Richard II was particularly challenging, its complicated history and dialog was hard to fallow, but by the end of our class discussions I had a much better understanding of what happened in the context of the play.

     Despite being a challenging class I am excited to be taking it because I feel it will make me a more cultured person. I feel confident an understanding of Shakespeare’s works will help me as a pursue a degree in History. Shakespeare is an author I have always wished I understood more and I believe this class will help me dissect his works and appreciate them and their cultural impact.

     There is little dispute over the fact that modern audiences find Shakespeare’s comedy Twelfth Night, a enjoyably hilarious tale and centuries later we still find enjoyment in the somewhat ridiculous love triangle between Duke Orsino, Viola/Cesario and Olivia. To our modern culture the idea of a young women being able convince people that she is indeed a boy seems a little far –fetched but to the early modern English audiences that saw the play at the Globe this plot line would not have been unreasonable. When reading Twelfth Night it is important to keep in mind the culture of the time and how gender relationships where viewed. To modern readers the close relationships between Orsino and Cesario or Sebastian and Antonio would appear to have a more sexual nature but in fact they display the fact that in 15^th century England close male friendship were not uncommon. In Michel de Montaigne’s From Essays it is suggested that male relationships that included “kissing, embarrassing, sharing effusive compliments” where simply close friendships much like the model of “True Friendship” suggested by Aristotle. It is critical to keep in mind that 15^th century English subjects would be quite familiar with the idea of cross dressing, for women were not allowed to be employed by the theater. The fact that young boys were used to play female leads meant that to an audience of that time the idea of Viola being able to successfully function in society as a young man is quite probable.  Furthermore understanding the 15^th century concept of passion also helps explain to modern readers why an Elizabethan crowd would not be concerned by the fact that Duke Orsino does not seem to be bothered by his soon to be wife’s male alter-ego. Thomas Wright’s The Passions of the Mind in General explains the society’s view of passion and its’ effect on the humors of the body, particularly the blood. The text notes that men are often susceptible to passion but their reason must be employed to keep them from acting in an un-Christian manor.

     However at its’ core the play is a piece of comedic art, and the society of Shakespeare’s England thoroughly enjoyed a good time. Quintillian from the first century comments on the effects of laughter in Institutio Oraoria saying “It often breaks out against our will and extorts confession of its power”. Audiences at the Globe would have particularly appreciated the treatment of the puritan- like character Malvolio and the confusion started by the unexpected arrival of Sebastian.  To this day the gender confused love triangle continues to amuse readers. Of course there were critics of cross dressing and the general concept of the theater but the majority of early modern Englishmen would have found Twelfth Night a wonderful play and an enjoyable diversion from city life. By looking at the play from the perspective of a 15^th century playgoer it is easier to be undistracted by the gender switching roles that are so uncommon in our modern culture and appreciate the play for its plot.

     It is important to note that the anti-Semitic speech of some of the characters does not necessarily make the entire theme of the play racism. While certain lines and character actions are indeed fundamentally wrong the major over arching theme of the play is hypocrisy. Throughout the play several characters display hypocrisy, for instance in Act II scene VII the Prince of Morocco judges Portia on her outward appearance, despite the fact that several scenes earlier he himself asked not to be judged by his own appearance begging “ mislike me not for my complexion” (Act II scene I). Likewise Antonio in Act I scene III expects Shylock to loan him money without interest, as a neighbor would, while he refuses to treat him as a friend. Perhaps the greatest hypocrisy in the play is the fact that Antonio is praised for his generous Christian nature despite the fact that he will not perform the simplest of Christian actions and offer kindness to someone who is different. Sadly, the Venetians never truly pay for their hypocritical attitudes.

     In the centuries since it’s’ publication many have debated the status of Shylock within the play. Upon first impression Shylock is seen as a bitter and vengeful man; however after a closer reading one can clearly see the true sympathetic nature of Shylock. Shylock has often been called villainous for his request of payment in flesh, but after constant verbal abuse from his neighbors it is easy to see why he wanted such revenge. In Act III scene I lines 45-61 Shylock makes the point that although he is Jewish he is just as human as the Christians in Venice. Stating  that he and his tribe are “ fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer.”  (Act III scene I lines 51-54) Here the point is clearly made that the Jewish people are as human deserving of friendship as the Christians of the city.

     Neither Antonio or Shylock are perfect men, both are proud and suspicious of those different from themselves. Both characters are ultimately driven by the material nature of their business. In the end The Merchant of Venice is not about anti-Semitism, although anti- Semitic thoughts do appear, it is a story about two men that are so blinded by their ambition and pre- conceived notions that they set forth a comedy of errors that implicates the entire Venetian society. Shakespeare’s play The Merchant of Venice is a reminder of the calamity that can ensue if people in a society judge by standards they themselves cannot uphold.