This study will be a commentary on some Shakespearian dramatizations of coup d’état, rebellion, and revolution. These three concepts, which imply an obvious gradation within the theme of political violence, can be defined as follows. A coup d’état refers to a rather sudden attempt made by a few men to grasp the power of state at the top level; often, though not always, the attempt is supported by armed forces. A rebellion is a more general armed rising in defiance of the established authority. A revolution is a movement aiming at a lasting change in the social order. These definitions are simple and clear–cut so as to be acceptable by all readers. It may be doubtful whether they would be fully understood by a Renaissance mind, but too minute developments would lead to what Montaigne called ‘cette infinie contexture de débats’, which, it is felt, should be avoided here.

In Act 2, Scene 7 of Antony and Cleopatra a coup d'etat does not take place, but many of the ingredients contributing to the making of one are gathered. The failure of the coup, a contrario, points out the missing constituents. The scene takes place on board Pompey's galley, off Misenum. As host, Pompey is the master of his guests' fates. He is supposed to treat and feast them, but, isolated as they are from the terra firma, what cannot Pompey and Menas, his ally, perform upon the unguarded Antony, Lepidus, and Caesar? While the merry feasters speak of crocodiles, pyramids, and quicksands (18—58), Menas unfolds to Pompey the project that might give him 'all the world':