43 pages 1 hour read

George Bernard Shaw

Caesar and Cleopatra

George Bernard ShawFiction | Play | Adult | Published in 1898

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Symbols & Motifs

The Sphinx

The Great Sphinx is a widely recognized symbol for ancient Egypt, yet it is also a mystery of antiquity. There are no mentions in ancient writing that explain the enormous statue’s construction, purpose, or cultural significance, and it has been the subject of much archeological speculation and theorization. Historians don’t even know what the Sphinx was called by the ancient Egyptians. The ancient Greeks, who had trade and contact with Egypt, adopted the Sphinx into their own mythology; the name “Sphinx” is a Greek word.

When Caesar approaches the Sphinx in the play, he is clearly only familiar with the Greek version of the beast, and possibly Shaw was as well. He refers to the Sphinx as part-woman, but the Egyptian Sphinx is masculine, most likely modeled after a pharaoh. He also alludes to the Sphinx’s riddle, which comes from Greek myth in which the gods send the Sphinx to guard the city of Thebes. She asks her riddle to anyone who passes by and eats anyone who answers incorrectly. Oedipus finally defeats the monster by solving the riddle, and the Sphinx destroys herself by throwing herself off the mountain.

The Sphinx in the play is Cleopatra’s spiritual twin. In the first act, when Caesar is approaching and Cleopatra is missing, Ftatateeta knows immediately that Cleopatra will have run away to the Sphinx, which she believes is more powerful than even Caesar. Cleopatra speaks to the Sphinx through her sacred cats. She decorates it with flowers and offers a yearly sacrifice on her birthday. Cleopatra claims that she is part cat, descended from the Nile River and his marriage to a black kitten of the sacred white cat.

When Caesar comes across the Sphinx, he immediately also sees the statue as his double, deciding that the Sphinx is a visual representation of his genius. However, much the other cultural aspects of Egypt, Caesar doesn’t fully understand what he is claiming. He is surprised when Cleopatra informs him that the Sphinx that she is hiding atop is a much smaller version of the Great Sphinx in Giza—“a dear little kitten” and her “pet Sphinx” (19).

Later in the play, when Caesar suggests that they start a new empire together. Cleopatra calls for a miniature Sphinx so she can contact the god of the Nile and ask him to name it, although she comments that prayers are more effective when she kills something. Caesar, who has not taken her gods or religion seriously, is astonished when Cleopatra’s ritual seemingly causes the light to change. At that moment, Ftatateeta carries out Cleopatra’s secret order and kills Pothinus. Though Caesar is impressed by the statue, it is ultimately a symbol of Egyptian identity and power that will elude his full comprehension.

Seats and Thrones

At the beginning of the play, 10-year-old Ptolemy is occupying the Egyptian throne, and Cleopatra has been driven to Syria. Caesar promises that if Cleopatra can become a woman and a queen, she will rule Egypt from a throne beside Caesar. She takes Caesar to the throne room in her palace, and Cleopatra must exert her power and control over Ftatateeta, who has been her guardian and authority, before she is allowed access to her own throne. Caesar takes the seat himself in time for his soldiers to arrive and see him sitting on Cleopatra’s throne. In her fear, Cleopatra is so relieved and grateful to learn that this encouraging and helpful Roman is Caesar, that she embraces him in tears. The symbolism of Caesar sitting on the throne suggests to his men that Caesar has already conquered Egypt, and in a sense, he has. Cleopatra is his key to taking power, and he has won her over so that she is immediately willing to share with him.

When Caesar goes to see Ptolemy in the palace at Alexandria, the king’s throne is conspicuously the only chair in the room. Initially, Caesar suggests that Ptolemy and Cleopatra should share the throne, but the symbolism of the singular throne means that only one of them can truly rule. Neither seems to fully understand their desire for the throne or their willingness to kill each other to secure it beyond a childish sibling rivalry. The throne may belong to Ptolemy, but he naively offers it to Caesar when there isn’t an available seat. Caesar, kindly and patiently, tells him to keep his throne. Perhaps knowingly, however, he elicits gasps from the crowd by pulling the stool from the shrine to Ra, opting to take the seat of a god rather than the seat of a king. When Ptolemy’s guardians and protectors are expelled from the throne room, they leave him behind, sitting helplessly on his throne. Once Caesar enters and seizes control, he swiftly overshadows the authority of the king.

The Library of Alexandria

The Library of Alexandria has been elevated to great symbolic significance over the course of history. It’s not entirely clear from the available written records exactly how much was lost or whether Julius Caesar was truly to blame. But the few recorded titles of known destroyed texts are suggestive enough that historians have come to view the library as a symbol of knowledge. Or, as Theodotus laments in the play, “What is burning there is the memory of mankind” (49).

Theodotus accuses Caesar and his men of being barbaric and ignorant, becoming emotional when he speaks about the library. While the burning of the library may or may not have been an accidental consequence of Julius Caesar’s strategical tactic to burn boats (or, as in the play, the Egyptians burning his boats first), Shaw portrays the event as a byproduct of imperialism. The fires are set due to Caesar’s actions, and Caesar is not concerned or moved by the loss of manuscripts, much to Theodotus’s distress. Caesar’s immediate concern is whether someone has died, and when he learns that no one has, he is dismissive of the old scholar’s wails.

In fact, Caesar sees the fire as a positive thing. He asserts that having authored books of his own, he has the understanding to argue that the Egyptians are better off without a shrine to a history that has been written to praise them. Caesar states that the fire will allow him to build a new future on the ashes. He demonstrates throughout the play that he has very little respect for Egyptian traditions or culture. Thus, he can trample through and establish power. At the end, to Apollodorus’s statement that Rome doesn’t create art, it only takes it from other cultures, Caesar exclaims that Rome’s art is civilization and government, and that beautiful or aesthetic art is nothing but decoration. Shaw’s Caesar doesn’t value anything material, even though he spends so much of his life conquering territory and seizing power. He has no interest in luxuries, as he proves with his reluctance to drink fine wine and eat rare delicacies at Cleopatra’s feast. Despite his lack of deference for the abstract thought and (even biased) historical record that is lost with the library, Caesar manages to build a new future on the ashes in the end, just as he promised he would.

blurred text
blurred text
blurred text
blurred text
Unlock IconUnlock all 43 pages of this Study Guide

Plus, gain access to 9,100+ more expert-written Study Guides.

Including features:

+ Mobile App
+ Printable PDF
+ Literary AI Tools
Sign up with GoogleSign up with Google