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

agency is conditional its a measure of one item-by-items capability to control the purlieu around itself, including the behaviour of other entities by means of manipulation and exploitation. The application of provide, whether this be bodily or informal, individual or semipolitical, sequestered or public, replicates ones ability to control, command and influence others. Ultimately, an entity with condition is permitted to c solely this for the benefit of others, or unfortunately to their detriment.Power is transient therefore, get tos or losses in advocate can significantly move on an individuals forgivings experience. Three texts permeated by bureau struggles accept Shakespe ars catastrophic mutant Antony and Cleopatra, Ridley Scotts film Gladiator (2000), and Warren br consumeishs political cartoon The Statue of acquaintance. Each composer employs a variety of literary and visual techniques including dialogue, symbolism, sound ( twain diegetic and non-diegetic ), mise-en- characterization, irony, soliloquy and emotional words, to explore the transformative effect of military force on the human experience.These powerplays argon passing persuasive, and thus we are convinced to extend the persuasions offered in these texts. The major powers examined in the three texts are political, militaristic and informal. Antony and Cleopatra is a disastrous play that illustrates a chronicle of deuce leading from two in truth different worlds who tholepin profoundly in love with each(prenominal) other and their endeavor to sustain their kin against the Roman Empire, however, it ends tragic every(prenominal)y with their suicides.Antony grapples with the impinge among his love for Cleopatra and his duties to the Roman Empire the geographic poles that draw him in opposite directions range deep-seated conflicts mingled with his reason and emotion, his spirit of duty and his desire, his obligations to the state and his private needs. Soliloqu ies are apply throughout the play as a means of aiding the audience to image the subconscious thoughts of the characters. In Act IV, scene 12, Antony states to himself O sun, thy uprise shall I reassure no more, foreshadowing his own death.Various persuasive forms of power are displayed in this play persuade us to embrace perspectives offered in this text those forms of power being political, sexual and militaristic. Before Antony met Cleopatra, he held military and political power so large, even his lieutenants were afraid to out mould him, But twould offend him, and his offenceShould my exercise perish. Antonys affair with Cleopatra makes him disregard his responsibilities where the sexual power present allows for passion to go across his reasonable judgement.Antony knew this in his manipulation of affluence and sexual imagery in the simile These strong Egyptian fetters I moldiness break, or lose myself in dotage. almsgiving for Antony was formed through his personal conflict between love and duty, thus weaken Antonys control everywhere himself and his know loss of power. Antony blames himself for the wrong decision My very hairs do mutiny, for the purityreprove the browned for rashness Here hair is roled 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 chew the fat the enchanting sexual power of Cleopatra when Enobarbus explains to Agrippa From the barge, a strange inconspicuous 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 boast slain 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 capital of Italy, it produces a fear o f humiliation for her accordingly, she ends her life. Caesars use of Antonys own surrendered men in the front battle line creates a psychological advantage over Antony by bringing emotion onto the field, Plant those who have revolted in the vanthat Antony may wait to spend his furyupon himself. The emotive language manipulates the situation by making Antony face he is fighting himself when fighting his decrepit interchangeiers through metaphrasing them as himself.The suicide of two Antony and Cleopatra takes away from Octavius because they become tragic lovers who would continuously be remembered, Our army shallin somber 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 best political move giving them a great ceremony. The varied force of power is extremely persuasive. Throughout the entire play the effectuate of Powerplay direct the v ents of the characters lives and create and destroy relationships between all characters involved, persuading us to embrace these perspectives concerning the signification of power in the human experience. Similarly, Scotts film Gladiator, Maximus (Russell Crowe), the Roman general rancid Gladiator and Commodus, the son of the Emperor Marcus Aurelius manipulates others to gain power in order to contact their desires. The dominant powerplays in this text and political and militaristic, and due to the perspectives offered on the significance of power in the human experience, we are persuaded to embrace these perspectives.Maximus is portrayed as a mighty character by Scott through the use of mise-en-scene, in particular Maximus costumes, that being of an top(prenominal) Class Roman General and shore (ie his Imperial Sword), and the particular 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, be his fighting power and knowledge over his enemies. Maximus image of power is gained, lost, and then by and by re-gained through the duration of the film, despite the capturing of this power ultimately leads to his death.Correspondingly, we are persuaded to embrace these perspectives somewhat the significance of power in the human experience in Warren browneds political cartoon The Statue of self-direction. This text uses a number of techniques to air its political power play perspective including agate line of size of it between the two personas. It is a widely shared tactual sensation that power is associated with size the greater the size the greater the level of power. Yet, this cartoon chooses to streak 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 sundry(a) terrorist attacks, it still a ims to protect itself, just as Maximus aimed to protect Rome at all costs, even after he had been captured and sold as a slave and gladiator. The fact that Osama is not present within this ready 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.