International Journal of Multidisciplinary Research and Development Online ISSN: 2349-4182 Print ISSN: 2349-5979 www.allsubjectjournal.com Volume 2; Issue 11; November 2015; Page No. 608-615 Shaw’s portrayal of ‘Cleopatra’ (Source: ‘Caesar and Cleopatra’ By George Bernard Shaw) Srabani Sinha Research Candidate, Mahatma Gandhi University, Meghalaya, India. Caesar and Cleopatra, subtitled “A Historical Drama” is a play managing his Caesar prudently in the neighborhood of a young in the form of a series of episodes, ostensibly historical, linked woman whose amorous proclivities were legendary. In the chiefly by the presence of principal character, and by the prologue, the hawk – headed God Ra prepares us for the relation of events during a comparatively short period of time. consequent situation in the biblical dialect presumably in use at The narrative design is disarmingly simple. It depicts the arrival Memphis in the time of the Ptolemis: of Caesar in Egypt, in the year 48 B.C., some part of the details of his stay, and his departure at the end of winter. What dramatic Are ye impatient with me? Do ye crave for a story of force it has is derived from the tensions aroused by the intrusion an unchaste woman? Hath the name of Cleopatra of Caesar’s powerful personality in to the complex situation tempted you hither? Ye foolish ones; Cleopatra is yet posed by the rivalry of Cleopatra and her brother Ptolemy but a child that is whipped by her nurse….. (Prologue Dionysus for the throne of Egypt. At the beginning of the play, to Ceasar and Cleopatra) Caesar puts Cleopatra on the throne. At the end, he leaves her, under Roman tutelage, to await the coming of Antony. In the Shaw therefore side – stepped the romantic issue in this manner mean time, Cleopatra is transformed from terrified child into a thus preventing Caesar and Cleopatra from taking part in what rather terrifying young woman. might have been a dramatic masterpiece. Shaw’s play is Caesar and Cleopatra is the second play in the triptych made permeated with Mommen’s pro-Caesar view, who far from up by The Three Plays for Puritans. Like The Devils Disciple considering Caesar as a tyrannical autocrat regarded his Caesar and Captain Brassbound’s Conversation, it is a military “so little at variance with democracy”. In Shakespeare’s Julius melodrama that asks us to think more deeply than the usual Caesar, we find a picture of Caesar that reduces him to a mere about violence and justice. Where the unpleasant plays conjure petty self-glorifier. Jilius Caesar gives us Plutarch’s Caesar up the glean of city slum, and pleasant plays, the sunshine of diminished in stature so that he is nothing more than an snow – capped peaks park lands, and the seashore, the Plays for Elizabethan stage – tyrant. Instead, Shakespeare exalts Brutus Puritans all take place on remote imperial frontiers where what at Caesar’s expense. Caesar’s championing of the populace passes for civilization clashes with what is conventionally against the patricians in the Roman class war made him regarded as barbarism. In Caesar and Cleopatra, Egypt under anathema to such writers as Suetonius, Lucan and Shakespeare. the Roman occupation becomes, like Revolutionary America. On the other hand, 19th Century historiography, reacting against Throughout these three plays Shaw attempts to define his idea aristocratic feudalism, hailed Caesar as the long overdue of heroism. In the second play he puts on stage an actual reformer of an outmoded constitution. Hence Caesar awakened historical figure, Julius Caesar. administration in such men as Goelthe, Hegel, Mommsen, James Froude and Warde Fowler. Shaw’s play is permeated Character Sketch of Julius Caesar with Mommsen’s anti-aristocratic and anti-constitutional point The historical Caesar, three time married, the man Suetonius of view. The soldiers’ prologue ridicules the snobbish contemptuously called “every woman’s husband and every pretensions of the Royal Guard, whose class prejudices and man’s wife”, obviously has no place in Shaw’s play. In Shaw’s chivalric code hopelessly limit their effectiveness as fighters. play Caesar stands for humanity in its highest development, The Ra prologue, in its devastating judgment of Pompey, Cleopatra for untamed natural passion. Shaw’s Caesar is echoes the scorn Mommsen pours on the legalism and political depicted as the deceptively simple man of whom Socrates is the myopia of Caesar’s rival. Shaw further extends this anti- classic prototype. He is kind to Romans and Egyptians alike; aristocratic criticism to Egypt’s ruler, scourging the playboy but as Cleopatra comes to realize, the kindness he bestows on extravagances most spectacularly evident in the reign of others is not the result of sentimentality, as she first supposes Cleopatra’s father Ptolemy Auletes, “The Flute – Blower”. but is the sort of kindness one might show to an arrival of Shaw’s Caesar is thus not reformer of codes but the man who another species, free alike from passionate attachment and has outgrown them. He stands for progress, not in the political moral indignation. Shaw’s hero is properly presented in the first and social, but in the evolutionary sense. He is a new breed of act as a man normally susceptible to the charms of woman, but animal born with sounder instincts than the average man. his relation to Cleopatra from first to last is clinically pure. He Where the question uppermost in the mind of the man in the is mainly her tutor. According to the best authorities, Cleopatra street will be whether or not Cleopatra has become Caesar’s was twenty one years old when Caesar came to Alexandria. It mistress, and where the sentimentalist will condone the sexual is possible that Shaw was misled as to her age by Froude’s relation provided Caesar is in love with her, Shaw thinks that account of Cleopatra, or perhaps Mommsen; but it is all the lack of any such emotional bond is the important thing. together more likely that he wished to avoid the problem of Given this, it is to him a matter of indifference whether their 608 relation is or is not a sexual one. To underline the difference can mouth Caesarisms in order to impress others with what she between those Romans and Egyptians who share the stage with conceives to be her new maturity: him Shaw uses an allegorical device unique in this play. He identifies the aggressive, greedy Romans with bull like and “Now that Caesar has made me wise, it is no use, my dog- like animals – a wolf- headed Roman war tuba opens the liking or disliking: I do what must be done, and have play with a “Minotaur bellow”; Rufio calls himself a dog at no time to attend myself. That is not happiness; but it Caesar’s heels; the Egyptianized general, Achillas, is described is greatness”. (Act: IV) as looking like a curled poodle. In contrast, the feminine and treacherous Egyptians are given catlike and snakelike qualities– But in realiy nothing but her external manner has changed. In a Cleopatra is compared to a kitten and a serpent, Theodotus to a deeper sense Caesar’s example has not influenced her at all, and viper, Ftatateeta to a tiger and a crocodile. she remains profoundly ambivalent in her feelings toward him. Shaw’s Caesar and Shakespeare’s are simply two different men. Part of her, the affectionate and sentimentally dependent child, By contrast, their Cleopatra are recognizably the same woman. wants his fatherly approval and is achingly jealous of any Shaw’s girl- queen has the winsomeness, the grace, the attention he pays to others, while the other part, the passionate impertinence, the caprice, the petulance, the cowardice, the woman, longs to be free of his paternal surveillance. When treachery, the histrionic bent, and the cruel anger of Ponthinus accuses her of secretly desiring Caesar’s death, Shakespeare’s Cleopatra, together with her inability to conceive Cleopatra, who does not understand herself at all, is thrown into of any approach to men which is not mere imperiousness, a murderous fit of rage, hatred and chagrin, all the more bitter babyish wheedling, or languorous seduction. That one is sixteen because the eunuch has come so close to the truth. Caesar, who and the other forty, Shaw considers an irrelevance, his point understands her perfectly, calls her behaviour natural and being that the Cleopatra temperament is fully formed at the makes no attempt to alter her conduct beyond providing the earlier age, since it is infect a kind of arrested development. lesson in deportment which are the most her nature can absorb. Shaw admired Shakespeare’s Cleopatra as an artistic Shaw’s Cleopatra is dwarfed by Caesar, but she develops and it achievement, where he thought the older playwright had “made is upon her development that the action centers. a mess of Caesar under the influence of Plutarch”. Like Caesar, Cleopatra desires power. She desires, above all, the power to do as she pleases, to be herself, the more so as she Shaw’s Representation of the ‘Girl Queen’ (Cleopatra) has been under tutelage all her life. Her natural impulses, Where Shaw does go beyond Shakespeare is in emphasizing however, are not trustworthy. By nature she is cruel, willful, Cleopatra’s murderous and sadistic side. This is a result of vengeful and vain, and it is only through fear that she is induced Shaw’s attempt to present what might be called the dynastic to behave properly. Shaw’s Cleopatra is a child. Shakespeare’s view of Cleopatra. Historically, the Ptolemaic Kings and heroine, a character Shaw professed greatly to admire, is queens of Egypt had shown a remarkable brutality in disposing depicted as a mature and exquisitely voluptuous woman, ruined close to the throne, evincing, in their willingness to connive a by passion she has no wish to restrain.