The aim of this paper is to explore the political meaning embodied in the two famous love story plays written by Christopher Marlowe and William Shakespeare: One is love between Dido and Aeneias, and the other is that between Antony and Cleopatra. Dido and Cleopatra are good objects of comparison because they show the common traits in the following senses: They are both women fallen in love with European heroes; They are both African queens whose struggles remind us of European imperialism; They are both destroyed at the end of their love. While Marlowe focuses on Dido’s passionate love, suffering, and heroic qualities, Shakespeare portrays Cleopatra as a fatal woman by emphasizing her tempting skills and cunning intentions. Even though Marlowe and Shakespeare borrow their stories from Virgil’s Aeneid and Plutarch’s Lives of the noble Grecians and Romans, they create different stories using different perspectives. Therefore, it is appropriate to argue that the love stories of Dido and Cleopatra reflect the different views of the contemporary imperialism centered on Europe and man. This different attitudes can be found in the two writers’ other works. Marlowe usually enjoys expressing extreme desire against the established ideology beyond religion and morality. Shakespeare is skillful at rope dancing between the two opposites. While Marlowe subverts the established order of greatness by pushing up the extreme desire of love, Shakespeare expresses the contemporary political view of Africa beyond the love story. Marlowe turns over this God-centered, Europe-centered, and male-centered view. He makes us suspect gods’ authority and discover Aeneias’s a traitor to her love, portraying her as a heroine. On the contrary, Shakespeare represents Cleopatra as an Egypt and portrays her behaviors as a dangerous threat to the stability of Rome.