Theme of Power Essay First Draft PDF

Theme of Power Essay First Draft In Shakespeare's exploration of love and ambition, the destructive nature of power reveals itself as a central theme. In “Othello” this decline of power comes in the form of a noble general who is manipulated by his closest companion to believe his wife is having an...

Theme of Power Essay First Draft In Shakespeare's exploration of love and ambition, the destructive nature of power reveals itself as a central theme. In “Othello” this decline of power comes in the form of a noble general who is manipulated by his closest companion to believe his wife is having an affair and slowly loses his sanity and dignity as a consequence, illustrating how jealousy and manipulation can twist power into a weapon of destruction. “Antony and Cleopatra” portrays the complex interplay of love and power in a world defined by political ambition, with Antony facing a decline in power at the hands of Cleopatra’s manipulation and his own arrogance which acts as his fatal flaw. Both plays underscore the profound effects of power on personal relationships and the tragic consequences that can arise when power is abused and lost. At the beginning of the play, it is clear to the audience that Othello holds much power and respect in Venice and that this high social status provokes him to be the cause of envy amongst some of his peers, which cultivates an ironic tone as it is jealousy that will be the cause of Othello’s decline in power. Othello is notably not in the opening scene of the play, instead discussed by antagonist characters. This stands to foreshadow that Othello's antagonists will define him throughout the play, shaping his character and his fate. This can be seen in Act 1, Scene 1 when Iago discloses Othello and Desdemona’s marriage to Desdemona’s father, Brabantio. “Even now, now, very now a black ram is tupping your white ewe” Iago helps to highlight the power of Othello through his schemes, as he demonstrates that people will capitalise from Othello’s downfall. Additionally, Iago and Roderigo act to dehumanise Othello through animal imagery or referring to him as “the Moor”. By taking away Othello’s humanity, they show no emotional attachment or relation towards him which makes it easier for them to attempt to destroy him. The use of colour in the animal imagery helps highlight the prejudice of the time and how many attempts are made to degrade Othello because of his race, to challenge his authority and reputation because of the colour of his skin, linking to the theme of racism. The colour contrast between black and white not only shows the antagonist’s negative attitude towards bi-racial marriage, but the pure, peaceful and innocent connotations of the colour white makes Othello’s character seem more lustful and aggressive by comparison, besmirching him and making it seem as though his character is tainting or staining that of Desdemona’s in order to enrage her father. The animal imagery throughout the play is used often to discuss intimacy and by making Othello appear “sex-obsessed” and simply using Desdemona to satisfy his own desires, tarnishing his virtue. This slander against Othello’s character leads the audience to be shocked when introduced to Othello in Act 1, Scene 3 and see why this powerful man is well-respected throughout Venice. The opening scenes further highlights why Othello has become an object of such envy, as the audience comes to realise, he has gained both power and love through moral means, displaying his numerous accomplishments, dignified manner and upright characteristics. “Keep up your bright swords, for the dew will rust them” This contrasts the image of Othello that Iago and Roderigo have cultivated, juxtaposing the violent, aggressive image of him with his peacekeeping, as he authoritatively attempts to minimise conflict and violence as Brabantio accuses him. Additionally, Othello confidently and somewhat sarcastically implies to his adversaries that they are powerless against Othello and his formidable soldiers, while also establishing peace and calm amidst the tension. Othello asserts his power in these early scenes through his self-assurance though he is still humble in certain respects, for example claiming he is “not eloquent of speech” but then delivering a compelling and resounding speech about his love for Desdemona. Othello demonstrates that his love for Desdemona is true and pure, not based on primal desires, but that he is accepting of any cruelty as long as he has her love “Let him do his spite…I love the gentle Desdemona”. This helps to showcase that Othello’s love for Desdemona is extraordinarily passionate and that it is a weak point that can be exploited by his adversaries, which acts to foreshadow Iago’s manipulation. This aids in conveying a recurrent idea in both “Othello” and “Anthony and Cleopatra” that love and power are often incompatible as one will always supersede the other. During the beginning scenes in “Antony and Cleopatra” it is clear that Antony has power as part of the triumvir and yet these powers lie dormant as he prioritises matters of the heart and stays in Egypt courting Cleopatra. In the opening scenes it becomes obvious to the audience that the Romans believe that Antony’s passion for Cleopatra has degraded his power, with Philo stating Antony is a “triple pillar of the world transformed into a strumpet’s fool”. This reflects that Antony’s relationship is weakening his political stature as he neglects his duties and therefore gains the contempt of Rome. Antony’s powerful status is obvious but in jeopardy as Philo states he is a “pillar” of Rome indicating his foundational role in Roman leadership. It also demonstrates the critical internal conflict that Antony is undergoing between his love and his duty, showing that his personal passion is undermining his political authority. The use of the word "transformed" indicates a significant change in Antony’s identity—from a powerful leader to someone seen as foolish and devalued because of his choices. This transformation illustrates how power is fragile and can be easily lost when leaders do not uphold their responsibilities. Antony staying in Egypt places him in a vulnerable position. This sets the stage for the play's exploration of how personal choices affect political alliances and power dynamics, suggesting that love can be a double-edged sword that both empowers and weakens. In this sense, the initial impression of Antony highlights the theme of power as it demonstrates the fragility of power and its unique incendiary and conflicting relationship with romance. Caesar acts as Antony’s antagonist throughout the play and contrasts both Antony and Cleopatra’s characters as he seeks power over anything else in an honest and unapologetic way. Caesar dismisses Antony’s passion for Cleopatra as boyish irresponsibility, he explains the Roman expectation of duty over pleasure, reason over emotion. "As we rate boys who, being mature in knowledge, pawn their experience to the present pleasure”. The term "pawn" connotes a sense of sacrifice or exchange. By trading his position for immediate pleasure, Antony risks diminishing his potential power. It suggests that the true strength lies in applying knowledge to create lasting impact rather than indulging in temporary satisfactions. The use of the word “pawn” may also foreshadow to how Antony can be seen to be used and manipulated by Cleopatra, who throughout the play pretends to faint to gain Antony’s attention, abandons Antony in battle and pretends to commit suicide in order to quell Antony’s anger towards her. This further highlights how Antony’s passion weakens his power through weakening his judgement. It defines power not only as authority or control over others but also as the ability to make informed decisions. This reflects a weakness in Antony’s character – he allows the wrong people to inform and influence him. The quote implies that those who are knowledgeable but choose pleasure over responsibility essentially relinquish their power. Instead of using their experience to influence the present positively, they settle for transient joys. The opening scenes in “Othello” and “Antony and Cleopatra” conveys the key commonality of how passions such as romance can cloud judgement, leading our respective protagonists to make irrational decisions that cause a decline in power. For Othello these “irrational decisions” can be seen to be made on the basis of his ill-placed trust in Iago, while Antony’s irrational decision to return to Egypt is only further spurred on by Cleopatra. Both characters seek counsel from the wrong sources, which allows their decline of power to come through manipulation. In these introductory scenes, the renowned positions of authority for both male protagonists are highlighted to the audience, however the threat posed to these positions also comes into stark clarity. It is this that reflects Shakespeare’s toxic view of power, that it can lead to control and oppression and that the desire to have power often creates conflict, as seen in both plays. Setting is used throughout the play as a technique to highlight the theme of power, primarily used to demonstrate Othello’s decline of power. The fact that the “enemy”, in this case the Turks that Othello has been sent to fight, have already faced their demise highlights that the true enemy still lies among Othello’s ranks. Shakespeare’s use of a war with the Turks and the uneasy atmosphere of the garrison town in Cyprus – a ‘halfway house’ between civilisation and the heathen world – is also dramatically significant. The war isolates Desdemona from everything and everyone she knows; similarly, Othello feels his difference and isolation in Cyprus when he is ‘Perplexed in the extreme’ Here, in this unfamiliar setting, with the threat of danger lurking, passions are unleashed, and order is destroyed. The storm helps to establish and reflect the fear and violence that the characters will experience in Cyprus, while also being a symbol of the love of Othello and Desdemona. The audience’s perspective of the setting gradually becomes fixed on a single bedroom, creating a feeling of claustrophobia. The outer world becomes less and less important to Othello as he becomes more obsessed and jealous. In this isolated setting, with the enormity of his reputation left behind, Othello’s insecurities begin to seep to the surface. It is these insecurities that Iago exploits to cement Othello’s decline of power. When Iago originally suggests Desdemona may be having an affair, Othello tries to assert confidence over jealousy, questioning “Think’st thou I’d make a life of jealousy?” but his low self-image makes itself known when he attempts to convince himself “for she had eyes and chose me”. The theme of seeing is very important throughout the play, partly because of its focus on colour, Othello is aware that as a “Moor” he looks different to the Venetians around him, so when he says that his wife “had eyes and chose me” the subtext is that she chose him despite his ethnicity. This indicates one of Othello’s larger insecurities, as he feels that Desdemona had to overlook his ethnicity in order to marry him, and he is constantly aware of this difference. This demonstrates part of Iago’s genius in choosing Cassio as Desdemona’s supposed lover, as Cassio represents many qualities that Othello is insecure about not holding. Cassio is an intellect, well-polished, a great communicator and a white male of Venetian nobility, while Othello is seen as a warrior, labels himself as “not eloquent of speech” and has a traumatic past as a slave. Choosing Cassio as Desdemona’s lover enables Iago to make Othello insecure and jealous, as it forces him to confront the idea that Desdemona has fallen out of love with him due to his flaws and has chosen to engage romantically with a man who falls more in line with her desires. The difference in setting is further highlighted when Othello begins to stumble over his speech, lack emotional control and instead of exhibiting his strength he falls victim to seizures. Throughout the play, the setting is used to highlight not only Othello’s decline in power but the development of his characterisation. Additionally, setting is used to cultivate the theme of power in “Antony and Cleopatra”. In the play, Egypt is presented as a place of indulgence and hedonism, whereas Rome is home to restraint and rationality. Antony often finds himself straddling the line between these extremes, drawn to but tragically unable to settle somewhere in the middle. In Act 2, Scene 4, after receiving news from the Soothsayer that Caesar will triumph over him, Antony states “I will to Egypt; And though I make this marriage for my peace, in the East my pleasure lies”. This highlights the one of the “pillars” of Rome, someone rooted in its foundation is drawn further afield, is pulled away from his role by Cleopatra’s magnetism, showing that despite his position Cleopatra possesses a power that has Antony entirely at her mercy as echoed in later scenes “Queen, you knew very well that my heart was tied to your ship and that you would pull me along with you.” The “East” symbolizes both retreat and temptation. It becomes a setting where personal pleasures are prioritized, allowing for a sense of freedom away from the constraints of Roman duty. Egypt is often portrayed as a land of beauty, luxury, and sensual pleasures. This aligns with traditional feminine qualities, highlighting emotion, desire, and nurturing. Characters like Cleopatra embody these traits, using her charm and allure to exert influence over Antony. Her femininity is associated with fluidity and the ability to manipulate power through attraction. As the inverse of this Rome can be seen to represent a more masculine, traditional form of power. This setting is pivotal, as it represents a space where power dynamics shift—where personal feelings can override political responsibilities. The fact that Antony’s “peace” and “pleasure” are in conflict shows that his marriage to Caesar’s sister Octavia is merely one of convenience, to further his position of power while his love for Cleopatra weakens him. The “marriage for his peace” also demonstrates Antony’s recurrent weakness, he does not listen to the wise that inform him, including the Soothsayer that tells him to distance himself from Caesar but instead Antony becomes his brother-in-law. This acts to harm his dynamic with Caesar, as when Antony commits adultery with Cleopatra it enrages as the other triumvir, and this contributes to Caesar’s decision to finally take overt action against Antony. It is this arrogance that threatens Antony’s power. In both plays, the technique of setting further conveys the theme of power as it acts to reflect a personal conflict, which forces both Othello and Antony to neglect their duties and in turn causes a decline in power. Othello’s personal conflict between jealousy and rationality is vocalised by the isolationist setting of Cyprus, as in Venice, a place where Othello is sure of his stature, Iago’s manipulation may have had less power over Othello as his self-assurance would allow for him to perceive the situation brought before him rationally and logically. Yet, in the chaotic setting of Cyprus, Othello lacks certainty in himself which Iago is able to capitalise from and manipulate Othello into being consumed by jealously and therefore neglecting his duties and losing power. In “Antony and Cleopatra”, the personal conflict faced by Antony regarding the theme of power is highlighted in the symbolism of Rome and Egypt, with Antony’s journey between the two showing a struggle to choose political power over love. Antony’s return to Egypt symbolises that he has chosen love over power, and while he will not secede his power easily, the temporary indulgences of Egypt cause him to neglect his duties and therefore lose power. Othello’s decline of power is orchestrated by Iago’s plan. Iago’s characterisation and plans of manipulation are expressed through a number of soliloquies where he equates himself to the devil. A Machiavellian villain, Iago schemes and operates in secret, divulging his plans only to the audience acting as a puppet master, using the characters around him as pawns to serve his purpose. The motivations for his evil arise from his resentment towards Cassio and Othello, as Cassio is promoted over him. It is this that causes Iago to force Cassio’s character into disrepute, as he seeks to ruin his reputation, and it is Iago who conjures up the idea of Desdemona’s affair to destabilise Othello and convince him to murder her. Poison is used as a motif throughout the play, with the recurring poison imagery illustrating the negative effects words have on one’s mind as it destroys rational thought resulting in death and destruction. In Iago’s third soliloquy he states` “I’ll pour this pestilence into his ear, that she repeals him from her body’s lust” The “pestilence” represents the rumour that Othello’s wife is cheating, the poison imagery is seen in the words Iago plans to say to Othello as they will enter his “ear” and infect his mind. The words are a seed that only grows with increasing curiosity, which spreads the poison throughout Othello’s brain leading him to believe everything Iago says. In this way, Iago attempts to kill Othello from the inside by filling his brain with unbearable jealousy. It is this jealousy that causes Othello to lose autonomy of himself, lacking control over his thoughts and as his jealousy becomes more violent his emotions and his actions. In this way, the power dynamic between Iago and Othello is shifted, as Iago, the subordinate, takes control of his superior, an example of this including when Iago instructs Othello on how best to kill his wife. Once the power shift is complete, Othello is left as a hollow shell of his former self with little opportunity for redemption. The symbolism of the handkerchief is also used by Iago to manipulate Othello throughout the play. Despite jealousy beginning to cloud Othello’s judgement in earlier acts Othello does demand “ocular proof” of Desdemona’s infidelity, wanting to “see before he doubts”, thus Iago uses the handkerchief to give “proof” of the affair: “I will in Cassio’s lodging lose this napkin and let him find it. Trifles light as air are to the jealous conformations strong as proofs of holy writ. This may do something. The Moor already changes with my poison” Sharing his evil plan, Iago plans to place the handkerchief covered in Cassio’s room. The handkerchief was given as a token of affection from Othello to Desdemona during their time of courtship. However, to Othello, the handkerchief represents much more, being rooted in luck and superstition from his mother, but also representing Desdemona’s fidelity. It is a symbol of faithfulness despite coming from non-Christian roots, but in Desdemona’s possession it represents the culmination of two cultures in one relationship. The fact that Othello believes she has given this handkerchief to another man shows that he believes a division has arisen between them and that her purity and faithfulness has been tainted, as she goes outside their marriage. When Cassio’s lover Bianca finds the handkerchief and confronts him in front of Othello, this is enough proof to him to conclude that Desdemona has gone against him and must be put to death. By tainting his relationship with Desdemona, Iago “turns her virtue to pitch” transforming her from someone miraculous to Othello to someone with devilish intent. Cleopatra’s influence causes Antony to lose power in Rome. Antony constantly refers to the fact that Cleopatra has supremacy over him, that she is the commander of his heart. Still, he blames her for his political losses. Cleopatra encourages Antony to fight Caesar by sea where he is weakest and abandons him at the Battle of Actium where their defeat against Caesar is blamed on Cleopatra’s ships who “flies’ like a cow in June” and that Antony follows her ‘like a” doting mallard. The imagery of Antony "following her like a doting mallard" creates a visual representation of his submissiveness and the folly of his devotion. It suggests that Antony's loyalty to Cleopatra renders him blind to the consequences of his actions. This description of them as a farmyard animal and a duck shows their ineptitude on the battlefield, dehumanising their intellect. The metaphor reinforces the theme that personal desires can lead to foolishness in matters of power, as Antony loses sight of his leadership role in favour of romantic devotion. The dynamics between Cleopatra and Antony also comment on the cultural perceptions of gender and power. Cleopatra, as a powerful woman, challenges the traditional masculine authority of Rome. Her influence over Antony symbolizes the strength of feminine power, even as it complicates traditional power structures. This highlights a key aspect of the theme: personal relationships can disrupt established norms and redefine power dynamics. Antony’s refusal to take accountability for any of his diminishing power is reflected in his exclamations to Cleopatra, after she abandons him in battle for the second time, granting Caesar victory. "Oh, this false soul of Egypt! This grave charm, whose eye becked forth my wars and called them home." The phrase "false soul of Egypt" suggests that Egypt symbolizes deception and seduction. This characterization indicates that the allure of Egypt—embodied by Cleopatra—has a duplicitous nature. While it initially grants pleasure and fulfilment, it ultimately leads to chaos and loss of power. This highlights the theme of power by suggesting that the seductive qualities of personal relationships can obscure one's judgment and lead to detrimental decisions. The reference to "grave charm" emphasizes the potency of Cleopatra's allure. It also acts to foreshadow the consequences of Cleopatra’s power and manipulation – Antony’s death and her own. Additionally, the idea that Cleopatra “becked forth” wars indicates that Cleopatra's influence directly impacts Antony's decisions regarding warfare. The idea that her gaze can summon wars suggests a level of control that transcends traditional political or military authority. The notion that Cleopatra "called them home" implies a sense of retreat or withdrawal from conflict, reflecting Antony's internal conflict between love and duty. This captures the struggle between personal desires and the responsibilities that come with power. Antony's recognition of Cleopatra's influence over his military decisions highlights how love can lead to vulnerability. The theme of power here suggests that emotional ties can weaken one's agency in political spheres, as Antony finds himself torn between his emotions and his responsibilities as a leader. Shakespeare through his exploration of a decline in power in both plays shows a crucial difference in the characterisation of the protagonists. Othello loses power through Iago’s plan which acts to exploit his insecurities, while Antony loses power through Cleopatra’s allure and flattery. This shows that both characters’ problem of seeking unwise counsel arises from starkly different causes. Othello takes heed of advice that feeds into his insecurities or self-esteem issues, while Antony gives ear to any advice that soothes his ego recurrently reflecting his fatal flaw of arrogance. In this sense, the audience can be seen to have more sympathy for the plight of Othello compared to Antony, as it is external issues such as racial prejudice that contribute to Othello’s insecurities, while the cause of Antony’s decline in power can be seen to lie more internally in his conceited characterisation. This shows that Othello’s flaw of insecurity may have arisen from the input of others, while Antony would struggle to blame anyone else for his arrogance. Yet, in both characters it is obsessive love that causes a decline in their power, with the more negative aspects of romance interfering with the power both protagonists used to hold. The characteristic differences in the antagonists in both plays aids in showcasing the character’s unique fatal flaws with Iago’s deceptive nature as a villain juxtaposing Caesar’s more honest bid for power – both seek power in very different ways. In “Antony and Cleopatra” this highlights Antony’s fatal flaw of arrogance, as he is aware of who attempts to rob him of his power throughout the majority of the play and yet against advice still seeks a conflict with Caesar. Othello, however, is unaware of who his true enemy is until the end of the play which shows that his fatal flaw lies primarily in the jealously that Iago has fostered in him and therefore his weakness to manipulation. Yet, Cleopatra can also be seen to manipulate Antony throughout the play, and while she is certainly not his antagonist, it also shows that character weaknesses can be exploited by anyone around them as well as demonstrating Shakespeare’s crucial message that everything is not always as it seems. By the end of the play, Othello loses all power. Iago’s poison has fully taken hold of him as he seeks to kill Desdemona on a bed fitted with their wedding sheets. This represents Desdemona’s eternal faithfulness, in her short life and even shorter marriage staying true to the man she loves despite his cruelty. Othello attempts to exhibit power through aggression multiple times throughout the end of the play; by striking Desdemona, by killing her, by attempting to kill Iago, all of which act to highlight the true weakness of his character. Desdemona’s death is wrought with irony as it is an attempt from Othello to end the heartbreak he faces, he believes if she is dead she can no longer betray him and therefore no longer hurt him, and he can go on loving her untainted: “Be thus when thou art dead and I will kill thee. And love thee after.” But instead, Othello’s true heartbreak and torment begins after her death, and his assumption that her death would bring him peace is false. Othello’s loss of power is further demonstrated when he fails to kill Iago and therefore fails to redeem himself and reassert his power of his subordinates. Instead, he is no longer a threat, and anyone would struggle to recognise him as the warrior he once was. Othello’s last one desperate grasp for power is done in vain, and his suicide recognises that despite being a victim to manipulation that he is accountable for his actions and that he has destroyed the one true thing in his life by killing Desdemona. Unable to live with what he has become, Othello kills himself, which in Shakespearean times would have been associated with weakness and cowardice, highlighting Othello’s change in characterisation from the beginning to the end of the play. Iago’s silence at the end of the play shows that his plan in complete, he no longer needs to manipulate any other characters, his will has already been done, his poison has spread, and this allows him to remain quiet. However, the audience is given some sense of justice at the end of the play, when Iago is taken away to be tortured and killed. Cassio’s image and reputation is restored by the end of the play, with him taking over Othello’s post, finishing on a note of irony amid the tragedy as the cause of numerous deaths was that Othello was made to believe Desdemona replaced him with Cassio. In the closing scenes of “Antony and Cleopatra” Cleopatra uses her apparent suicide as a weapon against Antony to try to calm his anger and to manipulate him, attempting to take control over their defeat and argument. Antony is completely destroyed by this news and tries to take his own life. He explains, “Here I am, Antony, yet cannot hold this visible shape.” This showcases that Antony does not know himself unless he is the victor. When Antony proclaims, “Here I am,” he is asserting his presence and identity. However, the following expression of being unable to “hold this visible shape” reflects a profound internal struggle. This indicates that despite his physical existence and status, he feels a lack of control over how he is perceived or how he presents himself. This struggle suggests that power is not just about authority but also about self-realization and authenticity, emphasizing the complexity of identity in the pursuit of power. Antony's emotional entanglement with Cleopatra alienates him from his Roman allies. He has no one else to keep him as a “solid shape”, his connection with Cleopatra is the one that has dominated his life and eaten away at all his other relations, for example his relationship with Cleopatra causes him to lose his friendship and connection with Enobarbus. His fixation on her charms leads him to neglect his political alliances and responsibilities, culminating in betrayal and loss of support from key figures in Rome. This isolation diminishes his power base, making him vulnerable to his enemies. As he becomes more dependent on Cleopatra, Antony finds himself increasingly isolated both politically and emotionally, reducing his capacity to wield power effectively. Ultimately, Antony's internal conflicts and resulting decline in power culminate in his tragic end. His inability to reconcile his love for Cleopatra with his duties leads him into a series of defeats, both militarily and personally. After realizing Cleopatra’s perceived betrayal at Actium and the subsequent fallout, Antony is left in despair. His final moments, characterized by a sense of failure and loss, highlight how his struggle with identity and power dynamics ultimately drive him to take his own life. Antony’s death in front of Cleopatra serves as an emotional climax in the play, encapsulating the deep bond and tragic nature of their relationship. It highlights the intensity of their love, revealing how intertwined their fates are. His final moments together with Cleopatra emphasize the personal consequences of their choices and the emotional toll of their tumultuous relationship. Antony’s demise occurs in the presence of the very person who has both empowered and undermined him. This duality reflects the complexities of love—they are bound by passion, yet their relationship has led to mutual destruction. His death symbolizes a poignant moment of betrayal not only from Cleopatra but also from his own inability to balance love and duty. This showcases the destructive potential of love when it becomes entangled with ambition and power. Antony’s passing before the final act displays the conclusion that it is Cleopatra that holds the power in their relationship, going against traditional gender power dynamic and demonstrated her strength as a symbol of female empowerment. Her refusal to become a symbol for Caesar’s success through her own suicide demonstrates her own personal victory and supremacy against those that have tried to “conquer” her. In her monologue before she passes Cleopatra states to her servants "Give me my robe; put on my crown; I have immortal longings in me." The demand for her robe and crown signifies Cleopatra's desire to reclaim her identity and assert her authority as a queen. In the context of power, this reflects a yearning for recognition and legitimacy. By asking for these symbols of power, Cleopatra is not just seeking physical adornments but is also asserting her position and status in the tumultuous political climate surrounding her. The phrase "I have immortal longings in me" reflects Cleopatra's aspiration for transcendence and eternal significance. This desire for immortality can be interpreted as a longing to leave a lasting legacy beyond her immediate circumstances. In this sense, Cleopatra's quest for power is tied to her desire to be remembered and to have a significant impact on history. This highlights the idea that power is often intertwined with the desire for legacy and remembrance. In this sense it can be seen that she did not die in vain, as her death did act to preserve her status and cemented her and Antony as a firm fixture in history as seen in the words of Caesar “No grave upon the earth shall clip in it a pair so famous”. In the case of both Othello and Antony, loss of power leads to a loss of identity. For Othello, the audience witnesses the end of a transformative process as Othello goes from a noble general to a murderer. Othello is unable to live with this new identity and as he himself recognises the change that Iago’s influence has brought upon him, he kills himself. This can be seen as redemptive action, “a life for a life” in which Othello kills himself in exchange for the innocent life he has taken, or it may be seen as an act of love – that he cannot live in a world without Desdemona. However, in this context the audience may view Othello’s suicide as one final attempt to reclaim his own identity and to finally be able to define and control himself rather than having others do it for him. When Antony commits suicide, he is experiencing two losses. The loss of his love Cleopatra, who he believes has killed herself and the loss of his war against Caesar and by extension the loss of his position. As previously established, Antony defined himself by his titles and roles, without them he is left perplexed. Antony does not know who he is without power, and he does not want to find out. In this way, Antony’s suicide can also be seen as reclamation of his identity due to loss of power as Antony would rather die with his remaining strength than live as someone weak and powerless. In conclusion, the theme of power is highly prevalent in both “Othello” and “Antony and Cleopatra” in which both feature a tragic decline in status due to matters of the heart. It is through this that Shakespeare demonstrates love and power are often irreconcilable and that personal weaknesses can often be exploited by those we see as closest to us holding tragic consequences. In both plays, the male protagonists face the plight of seeking wisdom from the wrong sources, in Othello’s case he takes his advice from Iago who feeds into Othello’s worst fears, while Antony listens to the advice of those who feed into his ego. This serves to provide a moral for the audience that those who surround you act to influence you greatly and therefore you should exercise caution when taking counsel from those around you. Through techniques such as characterisation, symbolism and imagery, Shakespeare evokes a strong emotional response from the audience cultivating complex power dynamics that develop both tragedies effectively.