Objectives

• Analyse how Shakespeare uses Philo's opening speech and Cleopatra's first entrance to establish the Rome/Egypt binary as a structural and thematic framework.
• Analyse how Shakespeare presents the conflict between political power and personal desire in Act II's treaty scene and Enobarbus's description of Cleopatra on her barge.
• Evaluate how Shakespeare dramatises Antony's self-division through his language before, during and after the Battle of Actium in Act III.
• Analyse how Shakespeare uses Enobarbus's defection and death in Act IV to explore the theme of betrayal and the cost of loyalty.
• Write a sustained, evidenced analytical paragraph that makes an argument about Shakespeare's presentation of identity in Cleopatra's death scene in Act V.

The sequence

1. Lesson 1: Rome versus Egypt: Philo's Verdict and Cleopatra's First Test

   60 min · ch. 1

   Do now

   On the board: two columns labeled ROME and EGYPT. Take a moment to write down at least four words or phrases that come to mind for each world before you start the play. Be prepared to share your thoughts. You have four minutes — no talking and no phones.

   Teacher input

   Model close reading of Philo's opening speech (Act I, scene i, lines 1–13: 'Nay, but this dotage of our general's / O'erflows the measure…'). Examine how terms like 'dotage', 'o'erflows the measure', 'triple pillar of the world', and 'strumpet's fool' reflect a Roman value system where excess equates to moral failure. Illustrate how Philo's framing sets the audience up as Roman judges before Antony and Cleopatra even make their entrance, and how Cleopatra's sudden arrival complicates that judgement.

   Independent task

   Students will read Act I, scene i, lines 14–56 (the first exchange between the lovers, concluding with Antony's line 'Then must thou needs find out new heaven, new earth'). They will then write one analytical paragraph discussing whether Shakespeare supports or challenges Philo's perspective on Antony by the conclusion of the scene. The paragraph should include at least two quotes from the lovers' dialogue and should start with a clear claim. These will be collected at the end of the lesson.

   Exit ticket

   Cleopatra's insistence that Antony hear the Roman messenger reveals her control over him, showcasing her dominance.

2. Lesson 2: The Barge Speech and the Trap of Desire: Act II's Political Deals

   60 min · ch. 2

   Do now

   Read Enobarbus's barge speech (Act II, scene ii, lines 191–218: 'The barge she sat in, like a burnished throne…') silently. Underline every word that describes excess or abundance. Count them. Write one sentence explaining how the sheer number of these words impacts the reader.

   Teacher input

   Model how to read Enobarbus's barge speech as a piece of dramatic irony: Enobarbus is a Roman soldier speaking in Rome, to Romans, yet his language ('she did lie / In her pavilion, cloth-of-gold of tissue, / O'erpicturing that Venus') fully embraces Egyptian hyperbole. Highlight how the syntax — long, accumulative, breathless — mirrors the overwhelm it conveys, and how Agrippa's brief interjection 'O, rare for Antony!' (line 198) reveals that even Rome is not immune to Cleopatra's allure.

   Independent task

   Students receive the text of Act II, scene ii, lines 218–245 (Enobarbus's conclusion: 'Age cannot wither her…' through to 'she makes hungry / Where most she satisfies'). They annotate the passage focusing on: (a) language that portrays Cleopatra as supernatural or inhuman, (b) language that depicts her as irresistible to men, and (c) any tension between these two aspects. Following this, they write two analytical sentences for each category. Annotations and sentences are submitted for review.

   Exit ticket

   It matters that Enobarbus, rather than Antony, delivers the barge speech because this choice allows Shakespeare to present a more nuanced perspective on Antony's character, highlighting the contrast between his public persona and private struggles through the eyes of a loyal follower.

3. Lesson 3: Actium and After: Antony's Language of Self-Destruction

   60 min · ch. 3

   Do now

   Without looking at the play, jot down your thoughts on what Antony says to Cleopatra right after his fleet retreats following hers at Actium. Then, turn to Act III, scene xi, lines 1–24. How accurate were your guesses? Share one sentence about what surprises you regarding his actual words.

   Teacher input

   Model a reading of Act III, scene xi, lines 51–71 (Antony's speech beginning 'Egypt, thou knew'st too well / My heart was to thy rudder tied by the strings…'). Examine how the nautical metaphor — with words like 'rudder', 'strings', and 'followed' — shifts the narrative of military defeat into a discussion of physical bondage. In this speech, Antony both blames Cleopatra and lets her off the hook, stating, 'You did know / How much you were my conqueror.' Analyze how the fragmented syntax of lines 56–60 reflects his psychological breakdown.

   Independent task

   Students read Act III, scene xiii, lines 153–167 (Antony's rage at Thidias: 'Approach there! — Ah, you kite! — Now, gods and devils…'). They will write a structured paragraph discussing how Shakespeare portrays Antony's treatment of Thidias to illustrate that his anger towards Caesar is closely linked to his fear of losing Cleopatra. Students are required to include at least one piece of evidence from Act III, scene xi to support a comparative point. The paragraphs will be collected.

   Exit ticket

   Name one word from Act III, scene xi that indicates Antony views himself as a soldier, and one word that reflects his perception of himself as Cleopatra's lover. What does the presence of both words suggest about his character?

4. Lesson 4: Enobarbus: The Cost of Clear Sight

   60 min · ch. 3, 4

   Do now

   Read Act III, scene xiii, lines 195–202 (Enobarbus's soliloquy: 'I see still / A diminution in our captain's brain…'). Write down two questions that this speech brings up for you regarding Enobarbus's loyalty. Hold off on answering them for now.

   Teacher input

   Model a reading of Act IV, scene ix, lines 7–24 (Enobarbus's death speech: 'O Antony, nobler than my revolt is infamous…'). Explore how Shakespeare employs the apostrophe to directly address the absent Antony, creating a sense of theatricality and public scrutiny even in this intimate moment of Enobarbus's guilt. Analyze how the phrase 'nobler than my revolt is infamous' serves as a comparative construction that both elevates Antony's character and condemns Enobarbus himself. Additionally, examine how the line 'throw my heart / Against the flint and hardness of my fault' uses the imagery of physical violence as a metaphor for Enobarbus's self-inflicted punishment.

   Independent task

   Students receive Act IV, scene vi, lines 29–44 (where Enobarbus discovers Antony has sent his treasure after him: 'I am alone the villain of the earth…'). They will write a paragraph discussing whether Shakespeare portrays Enobarbus's defection as a rational act of self-interest, a moral failure, or a combination of both. They must reference Act III, scene xiii (where he decides to leave) and Act IV, scene ix (where he meets his end) to illustrate how Shakespeare shapes his character arc across these two acts. The paragraphs will be collected.

   Exit ticket

   Enobarbus dies of a broken heart rather than a sword wound because Shakespeare wants to illustrate the profound emotional turmoil and loyalty that can surpass physical suffering.

5. Lesson 5: Cleopatra's Death as Performance: Identity and the Asp

   60 min · ch. 5

   Do now

   Read Act V, scene ii, lines 75–92 (Cleopatra's speech imagining how she will be mocked in Rome: 'Now, Iras, what think'st thou? / Thou, an Egyptian puppet, shall be shown…'). Write one sentence: is Cleopatra afraid of death or afraid of the mockery? Use a word from the speech.

   Teacher input

   Model a reading of Act V, scene ii, lines 279–291 (Cleopatra's final speech: "Give me my robe, put on my crown; I have / Immortal longings in me..."). The imperative verbs—'Give me' and 'put on'—show how Cleopatra is taking charge of her own final act, almost like directing a theatrical performance. The phrase 'immortal longings' combines a sense of deep erotic desire with the idea of transcendence. Furthermore, when she declares, 'I am fire and air; my other elements / I give to baser life,' she uses the classical four elements to craft a death that embodies elements of Egyptian, Roman, and mythological significance.

   Independent task

   Students need to craft a complete analytical paragraph — including a claim, evidence, analysis, and a link — in response to the question: 'How does Shakespeare use Cleopatra's death speech in Act V, scene ii to present her as in control of her own identity?' They are required to quote from at least two moments within lines 279–312 and to discuss Shakespeare's use of at least one of the following elements: imagery, syntax, or dramatic form (such as stage directions, or her addresses to Charmian and Iras). This assignment serves as the summative preparation piece and will be assessed according to the rubric.

   Exit ticket

   Shakespeare gives Cleopatra the play's final significant speech instead of Caesar to suggest that true power ultimately resides in her character, highlighting her strength and agency even in defeat.

Activities

Assessment

• Lesson 1 exit ticket: student identifies a specific word from Act I, scene i to support a claim about Cleopatra's power — looking for precision of word choice and a genuine claim, not plot summary.
• Lesson 2 annotation task: three-category annotation of Act II, scene ii, lines 218–245 — looking for students distinguishing between supernatural and irresistible registers in Enobarbus's language.
• Lesson 3 exit ticket: student names one word from Act III, scene xi for each of Antony's identities (soldier / lover) and draws an inference — looking for the ability to hold two ideas in tension.
• Lesson 4 paragraph: argument about Enobarbus's defection drawing on both Act III, scene xiii and Act IV, scene ix — looking for cross-act comparison and a clear evaluative stance ('both', 'primarily', 'ultimately').
• Lesson 5 exit ticket: one sentence on Shakespeare's structural choice to end with Cleopatra rather than Caesar — looking for an argument about power and form, not just character preference.

Standards covered

Common Core 11 12

• RL.11-12.1 — Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.
• RL.11-12.3 — Analyse the impact of the author's choices regarding how to develop and relate elements of a story or drama (e.g. where a story is set, how the action is ordered, how the characters are introduced and developed).
• RL.11-12.4 — Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyse the impact of specific word choices on meaning and tone.
• RL.11-12.5 — Analyse how an author's choices concerning how to structure specific parts of a text contribute to its overall structure and meaning as well as its aesthetic impact.
• W.11-12.1 — Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

AP Literature

• Literary Argumentation (LAN-1) — Develop a thesis that makes a defensible claim about an interpretation of literature.
• Figurative Language (FIG-1) — Explain the function of specific words and phrases in a literary text, including connotation, metaphor, and imagery.
• Character (CHR-1) — Explain the function of a character, including how characters develop or change over the course of a text.
• Structure (STR-1) — Explain the function of structure in a text, including how an author's structural choices contribute to meaning.
• Narrator and Speaker (NAR-1) — Explain the function of point of view in a literary text, including how a speaker's perspective shapes the reader's understanding.

AQA

• AO1 — Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression.
• AO2 — Analyse ways in which meanings are shaped in literary texts, including Shakespeare's use of language, form and structure in Antony and Cleopatra.
• AO3 — Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received, including Jacobean political culture and Shakespeare's use of Plutarch.
• AO5 — Explore literary texts informed by different interpretations, including critical readings of Cleopatra's death as performance and as transcendence.

Edexcel

• AO1 — Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology and coherent, accurate written expression.
• AO2 — Analyse ways in which meanings are shaped in literary texts, with particular attention to Shakespeare's manipulation of blank verse, imagery and dramatic structure in Antony and Cleopatra.
• AO3 — Demonstrate understanding of the significance and influence of the contexts in which Antony and Cleopatra was written and received, including the Jacobean court, North's Plutarch, and the play's stage history.
• AO4 — Explore connections across literary texts, including connections between Antony and Cleopatra and other Shakespeare tragedies studied.