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Antony and Cleopatra

Audiobook
1 of 1 copy available
1 of 1 copy available

ACT IScene 1. Mark Antony, together with Octavius Caesar and Lepidus, is one of the three Triumvirs who rule the Roman Empire. But Antony is slavishly in love with Cleopatra, Queen of Egypt, and shows no interest in affairs of state.Scene 2. Members of Cleopatra's entourage amuse themselves consulting a soothsayer. Antony learns that his wife Fulvia, who has been in rebellion against Caesar, is dead. Forces opposed to the Triumvirs are having considerable success and he finally realizes that he must leave Egypt.Scene 3. Antony tells Cleopatra that he intends to return to Rome.Scene 4. Caesar is angered by Antony's behavior and will not be mollified by Lepidus. News floods in of their enemies' growing strength.Scene 5. Cleopatra languishes in Antony's absence.

ACT IIScene 1. Pompey, the Triumvirs' principal enemy, is disturbed to hear of Antony's return to Rome. Menas remains optimistic that the insurrection of Antony's brother and wife has soured his relations with Caesar, but Pompey foresees that divisions will be forgotten in the face of an external enemy.Scene 2. A tense meeting between Caesar and Antony is smoothed over by Lepidus and Agrippa, who suggest that Antony marry Caesar's sister Octavia. Enobarbus, Antony's trusted lieutenant, remembers Antony's first meeting with Cleopatra; he is sure that Antony will never leave her.Scene 3. A soothsayer tells Antony that he cannot shine with Caesar is near. He decides to return to Egypt.Scene 4. Lepidus, Agrippa, and Maecenas prepare to go to war.Scene 5. When a messenger tells Cleopatra of Antony's marriage to Octavia, she flies into a violent rage.Scene 6. Pompey invites the Triumvirs to a banquet aboard his galley. Enobarbus predicts Antony's infidelity to Octavia and that her sighs will "blow the fire up in Caesar."Scene 7. At the banquet, Menas suggests that Pompey could become master of the world if he were to order the murder of his guests. Pompey rejects the idea, but regrets that Menas has not acted on his own initiative.

ACT IIScene 1. In Syria, Ventidius enters triumphant with the body of the son of the Parthian king. Ventidius plays down his achievement, wary of losing Antony's favor by raising himself up too high.Scene 2. Enobarbus and Agrippa ridicule Lepidus' devotion to Antony and Caesar. Octavia bids Caesar a sad farewell as she leaves for Athens with Antony.Scene 3. Cleopatra questions a messenger about Octavia and concludes that, being "dull of tongue, and dwarfish," she is no threat.Scene 4. Antony is furious that Caesar has spoken slightingly of him and, contrary to their agreement, has gone to war against Pompey. Octavia will return to Rome in an attempt to reconcile her brother and husband.Scene 5. Caesar has imprisoned Lepidus for allegedly communicating with Pompey. Scene 6. Caesar rails against Antony's division of the Eastern provinces among Cleopatra and her children. Octavia seeks to defend her husband, but Caesar informs her that he is now in Egypt with Cleopatra, who is levying forces for war.Scene 7. Despite strong advice to the contrary, Antony insists on a naval battle rather than fighting on land where he has the advantage.Scene 8. Caesar gives the order to meet Antony at sea.Scene 9. Antony positions his squadrons within view of Caesar's battle line.Scene 10. Enobarbus, Scarus, and Canidius watch appalled as Cleopatra's ships flee, followed by Antony. Canidius decides to join forces with Caesar, whilst Enobarbus, against his better judgement, remains with Antony.Scene 11. Back in Alexandria, Antony is riven with shame. Cleopatra claims she had not thought he would follow when she retreated. He replies, "thou knew'st too well/My heart was to thy rudder tied by the...

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    • AudioFile Magazine
      The challenge of taking a play created for the stage and translating it to the audio format may seem daunting, but this production does just that--exceptionally well. The use of sound is outstanding--seagulls caw, swords clash, and crickets chirp to indicate sea, battle, and night scenes. The actors speak close to the microphone to convey the play's asides, and transitional music creatively denotes setting changes from Rome to Alexandria. As for voice talent, the triumvirate triumphs, and Frances Barber perfectly captures both Cleopatra's rage and hysteria. With neither the text nor a live actor to reference, in group scenes it can be difficult to tell exactly who is speaking, but not so much as to adversely affect this enjoyable experience. M.D. Winner of AudioFile Earphones Award © AudioFile 2012, Portland, Maine
    • AudioFile Magazine
      Arkangel, which intends to produce all 38 of Shakespeare's plays, presents one of Shakespeare's tragedies, which concerns the struggle between the desire for a woman and the duty of politics. The cast consists of gifted British film and theater actors. This dramatic performance is faithful to Shakespeare's text, and the actors are excellent; it is no mere reading of the text. But while there is never a moment when one has to strain to hear the words of a performer, the play is not easy to follow without the text. The use of Scottish and cockney accents for some of the characters takes some time to adjust to, but in the end it works. M.L.C. (c) AudioFile 2002, Portland, Maine
    • AudioFile Magazine
      This production performed by the Shakespeare Recording Society (with special guests)--is excellent in its recording quality. Pamela Brown's performance as Cleopatra herself certainly stands out. What she does with the words of the anguished queen is like what Edith Piaf did with a common love song. With her deep breaths and moaning, it would have been easy for Brown to fall over that delicate edge of emoting into a pit of melodrama, but she never does. Listeners are given an energetic and passionate woman. And with Anthony Quayle's dashing Antony and Paul Daneman's regal Caesar, the triumvirate is wildly successful. R.A.P. (c)AudioFile, Portland, Maine

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  • OverDrive Listen audiobook

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  • English

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  • Lexile® Measure:800

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