Among Shakespeare's depictions of women, Cleopatra's inexhaustible character is perhaps the most elusive classification, which seems appropriate given Antony and Cleopatra's challenge to the dramatic genre with its tragic, comic and historical elements. Shakespeare explores the paradoxical and constantly changing world in which we live through this work and through Cleopatra herself, Mercury, a woman of “infinite variety”. While she appears for much of the first act as an archetypal, politically astute and manipulative enchantress to Antony, forays into a more human Cleopatra hinder the ability to label her character as a mere wanton whore or a prostitute queen of the East. “My salad days / When I was green with judgment, cold with blood” may seem like an unusual expression from Cleopatra given her air of melancholy regret. Cleopatra appears to mourn the loss of her innocence in becoming a leader and charmer of men, but such introspection is rare in Antony and Cleopatra. Furthermore, the lack of digressions and soliloquies makes this play stand out from Shakespeare's work, and is perhaps indicative of the playwright's shift towards realism in his later years. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay As part of this growing inclination towards more realistic literature, Shakespeare focuses more on the interconnection between the political and domestic life of Egypt and Rome. The rapid scene transitions between the extravagance of the sensual Egyptian court and militaristic Rome show the audience how vast the story of Antony and Cleopatra is, suggesting that, just like in reality, people have no time to soliloquise. It is in this rapidly changing world that Cleopatra is at home. Adapted to the ebb and flow of life, Cleopatra's mutability and versatility mean she can easily transition between affectionate, shrewd and lascivious. This is evident in the final lines of the first act. “He will have a different greeting every day / Or I will depopulate Egypt,” while itself antithetical, closes a scene of playful, erotic banter and introduces a scene in Pompey's headquarters involving men "in battle gear" arguing of military affairs. The subsequent exchange between Antony and Caesar remains in Rome and in the sphere of politics. Caesar, using rigid Roman language reminiscent of iambic pentameter, takes an accusatory tone, often using the second-person pronoun "tu" to accuse Antony of abandoning his duty to the Empire – "And yet if you there / have exercised in my state, your being in…” and “you were the word of war,” for example. This cutting and parrying of political machinations in a game of exalted love and the constant, unnatural juxtaposition of realpolitik with the erotic. is used by Shakespeare to show how interconnected the political and domestic spheres are, thus reminding contemporary English audiences of the effect of politics on daily life across the country 'Egypt between scenes also shows that this play, unlike many other Shakespeare plays which explore the human in a tragic hero, has a primarily public interest and therefore Antony and Cleopatra could be a far more critical obvious of contemporary English politics. Although she is manipulative and often mocking, as seen in Antony's prodding two scenes earlier - "play a scene / Of excellent dissimulation", after being jokingly mocked by Charmian, Cleopatra shows her volatility and capriciousness by threatening her.