Cleopatra's sexuality, despite condemnation by the patriarchal men - she is referred to as 'strumpet' and 'whore' on various occasions throughout the play - is unhidden and unrestricted. Her sexual power over men is conveyed boldly, for example, in her descriptions of her former conquests 'great Pompey' and 'Broad-fronted Caesar'. Cleopatra's sexuality is not a thing to be locked up, as in Hamlet and Othello , but is celebrated as a positive force. Surprisingly, even Enobarbus, despite his patriarchal views, does on occasions present her as positively sexual, as his unforgettable description of her indicates:
It is not just that seeking to placate the public at home with braggadocio overseas will make it harder still for China to garner allies and respect. There is a deeper problem. Many countries around the world admire, and would like to emulate, the undemocratic but effective way that China has managed its decades of growth. If China’s domestic politics look less stable, some of that admiration will wane. And even if things can be held together, for the time being, admiration for China does not translate into affection for it, or into a sense of common cause. Economically and militarily, China has come a long way towards regaining the centrality in Asia it enjoyed through much of history. Intellectually and morally, it has not. In the old days it held a “soft power” so strong, according to William Kirby of Harvard University, that “neighbours converted themselves” to it. Now, Mr Xi may know how to assert himself and how to be feared, at home and abroad. But without the ability to exert a greater power of attraction, too, such strength will always tend to destabilise.