Powerplay in Texts – Antony and Cleopatra (Shakespeare), Gladiator (Ridley Scott) & the Statue of Liberty (Warren Brown)

Power is conditional its a measure of genius individuals competency to swear the environment around itself, including the demeanour of another(prenominal) entities finished bitipulation and exploitation. The application of deplume out, whether this be physical or inner, individual or semipolitical, private or public, replicates ones ability to control, command and influence others. Ultimately, an entity with occasion is permitted to employ this for the benefit of others, or regrettably to their detriment.Power is transient therefore, gains or losses in power gage significantly impact on an individuals gracious experience. terce texts permeated by power struggles include Shakespeares catastrophic endure Antony and Cleopatra, Ridley Scotts film Gladiator (2000), and Warren browns political survey The Statue of Liberty. Each composer employs a variety of literary and visual techniques including dialogue, symbolism, bottom ( both(prenominal) diegetic and non-diegetic), mise-en- setting, irony, soliloquy and emotive language, to explore the transformative effect of power on the human experience.These powerplays are extremely persuasive, and thus we are convinced to cross the perspectives offered in these texts. The major powers examined in the three texts are political, militaristic and sexual. Antony and Cleopatra is a grim play that illustrates a chronicle of two leaders from two very(prenominal) different worlds who fall profoundly in love with each other and their endeavor to sustain their relationship against the Roman Empire, however, it ends tragically with their self-destructions.Antony grapples with the conflict amidst his love for Cleopatra and his duties to the Roman Empire the geographical poles that draw him in turnaround targetions re surrender deep-seated conflicts between his reason and emotion, his sense of duty and his desire, his obligations to the aro occasion and his private needs. Soliloquies are utilise throughout t he play as a means of aiding the audience to understand the subconscious thoughts of the characters. In Act IV, scene 12, Antony states to himself O sun, thy uprise shall I learn no more, presage his own death.Various persuasive forms of power are displayed in this play convincing us to embrace perspectives offered in this text those forms of power world political, sexual and militaristic. Before Antony met Cleopatra, he held military and political power so great, level(p) his lieutenants were afraid to out preform him, But twould offend him, and his offensiveShould my performance perish. Antonys affair with Cleopatra makes him disregard his responsibilities where the sexual power present allows for passion to everyplacetake his reasonable judgement.Antony knew this in his use of fertility and sexual imagery in the metaphor These strong Egyptian fetters I mustiness break, or lose myself in dotage. Sympathy for Antony was formed through his in-person conflict between love a nd duty, thus weakening Antonys control all over himself and his known loss of power. Antony blames himself for the wrong decision My very hairs-breadths do mutiny, for the whitereprove the brown for rashness Here hair is used as a metaphor for age, and Antony hasnt acted as a man with white hair should which is with maturity, instead acting on impulse, brown hair symbolising a younger man.We match the enchanting sexual power of Cleopatra when Enobarbus explains to Agrippa From the barge, a strange invisible perfume hits the senses, personifying the sexual power held by Cleopatra, not only over Antony, but the radiating power she holds over all who cross paths with her. Mardian, go tell him I have bump off myself. This order delivered by Cleopatra herself is the order, which ultimately, brings Antony to kill himself illustrating Cleopatras manipulative power over him.When she learns that shes being taken to Rome, it produces a fear of humiliation for her accordingly, she ends h er life. Caesars use of Antonys own surrendered men in the front battle railway creates a psychological advantage over Antony by bringing emotion onto the field, Plant those who have revolted in the vanthat Antony may seem to cast his furyupon himself. The emotive language manipulates the situation by making Antony facial expression he is fighting himself when fighting his deserted soldiers through metaphrasing them as himself.The suicide of both Antony and Cleopatra takes away from Octavius because they become tragic lovers who would always be remembered, Our troops shallin solemn show attend this funeraland then to Romeseehigh order in this great solemnity. Irony is used when Caesar parades both Antony and Cleopatra to maximise his gain in power but instead makes the trounce political move giving them a great ceremony. The varied force of power is extremely persuasive. Throughout the entire play the effects of Powerplay direct the vents of the characters lives and create and destroy relationships between all characters involved, persuading us to embrace these perspectives concerning the importation of power in the human experience. Similarly, Scotts film Gladiator, Maximus (Russell Crowe), the Roman frequent turned Gladiator and Commodus, the son of the Emperor Marcus Aurelius manipulates others to gain power in order to fulfill their desires. The dominant powerplays in this text and political and militaristic, and cod to the perspectives offered on the importee of power in the human experience, we are persuaded to embrace these perspectives.Maximus is portrayed as a powerful character by Scott through the use of mise-en-scene, in particular Maximus costumes, that being of an Upper Class Roman General and props (ie his Imperial Sword), and the occurrence that when we see Maximus fighting, whether it be at the beginning of the film with the Barbarians or near to the end in the arena, we see him through a low-angled camera shot, exemplifying his fi ghting power and fellowship over his enemies. Maximus image of power is gained, lost, and then later re-gained through the date of the film, despite the capturing of this power ultimately leads to his death.Correspondingly, we are persuaded to embrace these perspectives about the entailment of power in the human experience in Warren Browns political cartoon The Statue of Liberty. This text uses a publication of techniques to convey its political power play perspective including contrast of sizing between the two personas. It is a widely shared notion that power is associated with size the greater the size the greater the level of power. Yet, this cartoon chooses to footrace this and illustrate the idea that Osama holds power over the Statue of Liberty.This is both ironic and a contrast of size. Although America, represented as the Statue, has been damaged to various terrorist attacks, it still aims to encourage itself, just as Maximus aimed to protect Rome at all costs, even a fter he had been captured and sold as a slave and gladiator. The fact that Osama is not present within this frame suggests that he holds power of the statue. The political perspectives offered in this text are persuasive, thus convincing us of the significance of power in the human experience.