Antony_and_Cleopatra__Eno._as_a_Choric_Figure

Enobarbus English Literature Coursework In “Antony and Cleopatra” Enobarbus’s function as Choric figure is to guide our responses; as a character in the play he reminds the audience of how ordinary people suffer because of the behaviour of their leaders. By examining Shakespeare’s’ methods of presenting Enobarbus in the extract (Act 2, Scene 2, lines 200-250) and in other appropriately selected parts of the play, give your response to the above statement. Shakespeare uses Choric figures in his tragedies as a device, by which he can inform the audience of matters that may be unbeknown to the other characters in the play, or give the audience a better insight into the background of the play than that which they get from the dialogue of the characters. The Greek Chorus would either speak directly to the audience by addressing them, or through soliloquy. Enobarbus has a double function, as he is not just a commentator, but he is also an actor. This allows him to comment on the events in the play, whilst being an important part of them. In ‘Antony and Cleopatra’, it is apparent that Shakespeare uses Enobarbus in the same fashion as a Greek Chorus, as he interprets and remarks on the play, he even tells of future events, such as the return of Antony to Cleopatra, “Antony will do his Egyptian dish again”, and he foretells the friction that Antony’s marriage to Octavia will cause between Caesar and Antony, “Then shall the sighs of Octavia blow the fire up in Caesar”. Enobarbus is also used as a very important, key character in the play, as Antony’s best friend and military subordinate. He is unlike other Romans, such as Philo and Demetrius, as he can appreciate and even enjoy the comforts of Egypt, and he therefore does not scorn Antony for doing so. He does, on the other-hand, not appreciate Cleopatra’s rule over Antony, for what it does to his men, “to make his followers weep”, but he does not appreciate her enigmatic allure, asserting, “Age cannot whither her, nor custom stale her infinite variety”. This positive portrayal of Cleopatra is even more impressive as he is usually cynical and un-impressed by beauty. Regardless, the audience listen to his views and opinions as he is usually a level-headed pragmatist, who speaks his mind, but speaks, also with his heart. Enobarbus is a character who has the ability to interpret and observe the emotional well being of different people in the play, such as when Antony is preparing for his departure and to tell Cleopatra that he is leaving; Enobarbus predicts what kind of reaction and emotional response to expect. In the given extract, we are given an example of Enobarbus’ appreciation of Egypt, as he enjoys telling Maecenas of his exploits from when he was there. More significantly, Enobarbus gives a beautifully descriptive and iconic piece of prose, describing Cleopatra’s beauty and alluring appeal, as well as his raw admiration for Egypt. The pulsing iambic rhythm of his speech is almost hypnotic to the soldiers he is regaling with his story of Antony and Cleopatra’s romantic meeting at the River Cydnus. This hypnotic effect is representative of the effect that Cleopatra had on those watching. The speech beginning, “The barge she sat in...” is in striking contrast to the prose which precedes it. In the phrase, “like a burnished throne... ”, a simile in which the boat is compared to a throne, depicts her as a queen and builds her up so that, even on a boat, her regality shines through. His use of the verb, “Burnt” and the metaphor of the winds being, “lovesick”, shows her raw sexual allure and passion, which Enobarbus usually wouldn’t have been swayed by. He also describes the poop as being, “beaten gold”, which shows his admiration of Cleopatra’s splendour and majestic prowess. Cleopatra is described in a way that is goddess-like, as Enobarbus describes her beauty, as greater than that of Venus, “o-er picturing that Venus where we see”. The phrase, ‘pretty dimpled boys, like smiling cupids’ refers to her god-like allure. Cleopatra’s beauty was so great that, even when the ‘cupids’ tried ‘to glow the delicate cheeks which they did cool, and what they undid did’. This juxtaposition shows her paradoxical appeal, that even when she is not trying not to be attractive, she becomes more so. The reference and “Cupids”, reminds us of the recurring theme of love while Enobarbus’ use of the words, “swell” and “tackle”, suggest her erotic appeal. As well as the suggestion that the ship itself is aroused by the ‘seeming mermaid’, the “tackle swells with the touches...”, it is clear that her sexual magnetism is being made clear. Enobarbus is a soldier who often speaks his mind, and is never without a word to say, so when he comments that Cleopatra’s appearance, “beggared all description”, the audience knows that she must be exceptionally beautiful and that he must truly mean what he says. The audience also appreciate his views because Shakespeare establishes Enobarbus as a likeable, trustworthy character, whom the audience likes. Shakespeare presents Enobarbus not just as a choric figure, but as a soldier and a friend to Antony, so he has the ability to give two perspectives; he is also a humorous and witty in his speech, with a blunt, tough, but overall fair honesty. He refers to Cleopatra’s seductive appeal stating, that when Antony was ‘whistling to th’air’, if the air had not been needed for people to breath, would too have gone to see her beauty, ‘and made a gap in nature. The audience would appreciate this hyperbole and Enobarbus’ use of humour. He jokingly belittles Antony again with the comment, “It should be better he became her guest”, implying that Cleopatra was the dominant one. Finally, Enobarbus is not a fool, as he, unlike Maecenas, knows that Antony will not leave Cleopatra for Octavia, as he emphatically states, “Never; he will not”. This fact helps the audience trust the opinion of Enobarbus, which means that he is a better choric figure for the audience. Another obvious example of Enobarbus’ intervention on behalf of the men, and even the voice of the audience, is when Antony is going to fight at sea with Caesar. Enobarbus, and everyone else, realised that the soldiers would not fare as well by as they would by land, but Antony was blinded by love and over-come by a feeling of having to accept Caesar’s dare so that he childishly insists, “By sea, by sea”. The most obvious example of Enobarbus speaking directly to the audience, in soliloquy, is after he makes sardonic comments about Antony’s questionable treatment of Caesar’s messenger, “Now he’ll outstare the lightning”. Enobarbus is not just a commentator or choric figure; he is also the voice of the soldiers, and at points, the audience. His feelings often reflect the mentality of the audience, as well as Antony’s other soldiers. After the battle at sea, Canidius tells Enobarbus of his intent to go to Caesar’s army, but Enobarbus decides against his better judgement and decides to stay with Antony, “...I’ll yet follow the wounded chance of Antony, though my reason sits in the wind against me.” Even though Enobarbus chooses his heart over his head this time, he does eventually get forced to leave through the actions of his leader, through the unjustifiable treatment of Thidias, “A diminution of our captain’s brain restores his heart...I will seek some way to leave him”. Although he made the choice which he thought was smart, his heart does suffer lamentations as he reflects on deserting his friend and leader, “I have done ill, of which I do accuse myself so sorely that I will joy no more”. His final moments in the play are of him repenting for his defecting to Caesar and leaving Antony, and so Shakespeare emphasises Enobarbus’ pain and suffering as a result of Antony’s behaviour. In conclusion, Shakespeare’s use of Enobarbus as a choric figure gives the audience, not only background information to the play, but he also fills in information of that which the audience may otherwise be unaware of, such as the views of the men. His character and views of Cleopatra are in direct contrast to the misogynistic and narrow-minded view of the Roman people, such as Philo and Demetrius. Even though Enobarbus is a fully developed character, he doesn’t just speak his own view, but guides that of the audience, which allows the audience to connect more easily and trust his opinion. He is however most memorable as the deep, sincere character that the audience comes to admire and relate to, for his expansive view on matters and torn opinion on Antony. Enobarbus’ tragic end adds a massive emotional surge to the play, as our emotional involvement in his death is enhanced by his role as a choric figure and commentator throughout the play.