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i8o THE ART OF SOUND PICTURES
Roman expiation was significant. It was beneath the window of Cleopatra’s apartment, to which she had retired as a last refuge against the invaders. Tradition tells us that Anthony, with blood streaming from his heart, was drawn up the side of the castle on ropes, to die in Cleopatra’s arms. Thus, to his last breath, was Mark Anthony controlled by the captivation of Cleopatra.
Throughout the course of Cleopatra’s affair with the infatuated Roman, we see her actions expressing more and more inducement and less and less submission. Having conceived an initial passion for Anthony, she proceeded to exert herself in every possible w'ay to induce in him a similar passion for herself. In giving lavish entertainments and erotic parties to the handsome Roman, she still expressed a great deal of submission to his tastes and interests. Gradually, however, she exercised over Anthony’s actions a more complete control. She induced him to give up his own military plans and to follow her own schemes of world empire. She induced him to submit to her leadership in every detail of life. Her own submission, by this time, was obviously on the decrease. When, at last, she had induced Anthony to sacrifice his every hope and ambition to her dictation, her captivation activities reached their climax. Thereafter, Anthony’s blind passion for her, up to the very moment of death, represented merely a psychologically inevitable result of Cleopatra’s successful captivation. Her inducement W'as supreme, and her submission had disappeared altogether. At this moment, her captivation emotion, with its corresponding expression, was finished.
Throughout this expression of captivation, inducement gradually replaced submission. Taking the passioncaptivation series of emotion experiences in their order, we find passion beginning wdth strong inducement and ending with extreme submission. Captivation begins at this point, with submission maximally strong, and progresses to the point where inducement almost wholly replaces and controls submission.
While passion and captivation, therefore, are composed of the same elementary emotions, we find that