This essay will compare and contrast Cleopatra as portrayed by Plutarch in his historical biography, Lives of the Noble Grecians and Romanes, translated by Sir Thomas North, 1579 (Brown and Johnson, 2000)1 with Shakespeare’s depiction of Cleopatra in his play, The Tragedy of Anthony and Cleopatra (Greenblatt et al, 2008)2. It will demonstrate their similarities and differences and their effect on the audience. This essay will present evidence of similarities in both portrayals by focusing on the opening scene of the play to illustrate Cleopatra’s vicious taunting of Anthony in order to both charm and control him. It will then demonstrate where Shakespeare deviates from his source material and elevates Cleopatra to a more noble status by analysing the description of the lover’s first meeting as presented in both texts. It will suggest that Shakespeare does this in order for Cleopatra to fit the desired tragic hero archetype. Plutarch dedicates much of his writing on Cleopatra to her skillful use of language. He speaks of the “courteous nature that tempered her words,” and the fact that “her voice and words were marvelous pleasant.” (p20) These statements create an image of a woman that can use her tongue as “an instrument of music” in the same way that a snake charmer may allure a snake under its control. Although words such as “marvelous” and “pleasant” are used, the audience is aware of a more ominous undertone to Plutarch’s depiction. This can be demonstrated by analysing Plutarch’s (via North) choice of words. Plutarch claims that Cleopatra “taunted him [Anthony] thoroughly.” (p20) The use of the word “taunted” is a deliberate choice that invokes negative connotations that represent Plutarch’s general impression of the Egyptian. A similar word, such as teasing, could have been used to suggest something thought to be “fun and innocent” in nature, but taunting suggests something more sinister in intent (Anderson, 2011, p3). Where Plutarch can only make assertions about Cleopatra’s linguistic prowess, Shakespeare showcases her quick wit and sharp tongue through dialogue onstage. Shakespeare’s depiction is similar to Plutarch’s in that Cleopatra’s chiding of Anthony conveys a menacing quality and this can be demonstrated by analysing the opening scene. In her initial line Cleopatra sets a trap for Anthony, “If it be love indeed, tell me how much.” (1.1.14, p2644) The word “If” suggests that Cleopatra is either genuinely doubting Anthony’s love or, more likely, she is using the question to establish Anthony’s subordination and publically assert her ascendency over him3. The word “If” also suggests that a condition is being placed on their love – the issue of conditional love (be it between man and woman, friends or the love of a leader) pervades every scene throughout the play. As a result the audience do not know if the love Cleopatra has for Anthony is based on true affection or if it is politically motivated. This is again in accordance with Plutarch’s view that Cleopatra only used Anthony, just as she did with Caesar, for what he could do in terms of political favours – (“guessing by the former access and credit she has with Julius Caesar she began to have good hope that she might more easily win Antonius.” (p20) Within that same initial line to Anthony, Cleopatra also uses the word “indeed” to insinuate a double meaning. In the first sense ‘indeed’ denotes certainty, but the play on words – ‘in deed’ – suggest action. Cleopatra will not be satisfied with mere words and hence the impossible task that she gives Anthony to articulate how much he loves her. This demand for action again casts a shadow of doubt over