die: It were pity to cast them away for nothing; though, between them and a great cause, they should be esteemed nothing. Cleopatra, catching but the least noise of this, dies instantly; I have seen her die twenty times upon far poorer moment:" I do think there is mettle in death, which commits some loving act upon her, she hath such a celerity in dying. Ant. She is cunning past man's thought. Eno. Alack, sir, no; her passions are made of nothing but the finest part of pure love: We cannot call her winds and waters, sighs and tears; they are greater storms and tempests than almanacks (This is stiff news) hath, with his Parthian force, can report: this cannot be cunning in her; if it be, Extended' Asia from Euphrates; His conquering banner shook, from Syria To Lydia, and to Ionia ; Whilst tongue; Name Cleopatra as she's call'd in Rome : Rail thou in Fulvia's phrase: and taunt my faults With such full licence, as both truth and malice Have power to utter. O, then we bring forth weeds, When our quick minds4 lie still: and our ills told us, Is as our earing. Fare thee well a while. Mess. At your noble pleasure. [Exit. Ant. From Sicyon how the news? Speak there. 1 Att. The man from Sicyon.-Is there such a one? 2 Att. He stays upon your will. Ant. Let him appear, These strong Egyptian fetters I must break, Enter another Messenger. Or lose myself in dotage.-What are you? Where died she? 2 Mess. In Sicyon : Her length of sickness, with what else more serious Importeth thee to know, this bears. Gives a letter. Ant. Forbear me. [Exit Messenger. There's a great spirit gone: Thus did I desire it: What our contempts do often hurl from us, We wish it ours again; the present pleasure, By revolution lowering, does become The opposite of itself: she's good, being gone; The hand could pluck her back, that shov'd her on. I must from this enchanting queen break off; Ten thousand harms, more than the ills I know, My idleness doth hatch.-How now! Enobarbus! Enter ENOBARBUS. Eno. What's your pleasure, sir? Ant. I must with haste from hence. Eno. Why, then, we kill all our women: We see how mortal an unkindness is to them: if they suffer our departure, death's the word. Ant. I must be gone. Eno. Under a compelling occasion, let women 1 Drave is the ancient preterite of the verb to drive, and frequently occurs in the Bible. 2 Stiff news' is 'hard news.' As in Shakspeare's Rape of Lucrece : "Fearing some hard news from the warlike band.' 3 Extended Asia from Euphrates.' To extend is a law term for to seize. Thus in Selimus, Emperor of the Turks, 1594; she makes a shower of rain as well as Jove. Eno. O, sir, you had then left unseen a wonderful piece of work: which not to have been blessed withal, would have discredited your travel. Ant. Fulvia is dead. Eno. Sir? Ant. Fulvia is dead. Eno. Fulvia ? Ant. Dead. Eno. Why, sir, give the gods a thankful sacrifice. When it pleaseth their deities to take the wife of a man from him, it shows to man the tailors of the earth; comforting therein, that when old robes are worn out, there are members to make new. If there were no more women but Fulvia, then had you indeed a cut, and the case to be lamented; this grief is crowned with consolation; your old smock brings forth a new petticoat :-and, indeed, the tears live in an onion, that should water this sorrow. Ay, though on all the world we make extent, From the south pole unto the northern bear.' 4 The old copy reads, 'quick winds ;' an error which has occurred elsewhere. Warburton made the cortection. Our quick minds' means our lively apprehensive minds; which, when they lie idle, bring forth vices instead of virtues, weeds instead of flowers and fruits; to tell us of our faults is, as it were, the first culture of the mind, and is the way to kill these weeds. 5 The pleasure of to-day, by revolution of events and change of circumstances, often loses all its value to us, and becomes to-morrow a pain.' Ant. The business she hath broached in the state, Cannot endure my absence. Eno. And the business you nave broached here cannot be without you; especially that of Cleopatra's, which wholly depends on your abode. Ant. No more light answers. Let our officers Which, like the courser's11 hair, hath yet but life, Eno. I shall do't. [Exeunt. 10 I think with Mason that we should read leave instead of love. 11 This alludes to the ancient vulgar error, that a horsehair dropped into corrupted water would become animated. Dr. Lister, in the Philosophical Transactions, showed that these animated horse-hairs were real insects, and displayed the fallacy of the popular opinion. It was asserted that these insects moved like serpents, and were poisonous to swallow. 12 Say to those whose place is under us (i. e. to our 6 Could is here used with an optative meaning.-attendants,) that our pleasure requires us to remove in Could would and should are often used by our old wri- haste from hence SCENE III. Enter CLEOPATRA, CHARMIAN, Our services a while; but my full heart Cleo. Where is he? I did not see him since. Remains in use" with you. Our Italy Shines o'er with civil swords: Sextus Pompeius Cleo. See where he is, who's with him, what he Equality of two domestic powers does: I did not send you ;'-If you find him sad, [Exit ALEX. Char. Madam, methinks, if you did love him dearly, You do not hold the method to enforce The liko from him. Cleo. What should I do, I do not? nothing, Cleo. Thou teachest like a fool: the way to lose him. Char. Tempt him not so too far: I wish, forbear; In time we hate that which we often fear." Enter ANTONY. But here comes Antony. Cleo. Ant. Now, my dearest queen,- Ant. Cleo. I know, by that same eye, there's some good news. What says the married woman?-You may go; Are newly grown to love: the condemn'd Pompey, Cleo. Though age from folly could not give me It does from childishness:-Can Fulvia die? Look here, and, at thy sovereign leisure, read Cleo. Ant. Quarrel no more, but be prepar'd to know Cleo. O, never was there queen I pr'ythee, turn aside, and weep for her; So mightily betray'd! Yet, at the first, Cleopatra, Cleo. Why should I think, you can be mine, and true, Though you in swearing shake the throned gods, Ant. Most sweet queen,Cleo. Nay, pray you, seek no colour for your going, But bid farewell, and go: when you sued staying, Bliss in our brows' bent; none our parts so Ant. How now, lady! poor, Cleo. I would, I had thy inches; thou should'st know, There were a heart in Egypt. Ant. Hear me, queen; The strong necessity of time commands 1You must go as if you came without my order or knowledge.' So in Troilus and Cressida : 'We met by chance; you did not find me here.' 2 Thus in Twelfth Night : 'There is no woman's sides Can bide the beating of so strong a passion.' 3 Our brows' bent,' is the bending or inclination of our brows. The brow is that part of the face which expresses most fully the mental emotions. So in King Then bid adieu to me, and say, the tears Ant. Cleo. And target,-Still he mends Ant. I'll leave you, lady. Ant. But that your royalty Cleo. you "Tis sweating labour, 7 i. e. render my going not dangerous. 8 Cleopatra apparently means to say, Though age could not exempt me from folly, at least it frees me from a childish and ready belief of every assertion. Is it possible that Fulvia is dead? I cannot believe it.' 9 The commotion she occasioned. 10 Alluding to the lachrymatory vials filled with tears, which the Romans placed in the tomb of a departed friend. 11 To me, the queen of Egypt. 12 Antony traced his descent from Anton, a son of Hercules. 13 Oblivion is used for oblivious memory, a memory apt to be deceitful. 14 An antithesis seems intended between royalty and subject. But that I know you to be a queen, and that your royalty holds idleness in subjection to you, I should suppose you, from this idle discourse, to be the very genius of idleness itself." Eye well to you: Your honour calls you hence; Let us go. Come; [Exeunt. Our separation so abides, and flies, SCENE IV. Rome. An Apartment in Cæsar's And it appears, he is belov'd of those Cæs. Like a vagabond flag upon the stream, Cæsar, I bring thee word, Cæs. You may see, Lepidus, and henceforth know, Menecrates and Menas, famous pirates, Make the sea serve them; which they ear1 and there A man, who is the abstract of all faults Lep. Cæs. You are too indulgent: Let us grant it is not Amiss to tumble on the bed of Ptolemy; With keels of every kind: Many hot inroads Cæs. The roughest berry on the rudest hedge; Antony No way excuse his soils, when we do bear Mes. Thy biddings have been done and every Most noble Casar, shalt thou have report That which would seem to become me most, is hateful to me when it is not acceptable in your sight.' There is perhaps an allusion to what Antony said in the first scene : wrangling queen, Whom every thing becomes." 2 This conceit may have been suggested by the fol lowing passage in Sidney's Arcadia, b. i. :- She went, they staid; or rightly for to say, 3 The old copy reads, One great competitor.' Dr. 4 As the stars or spots of heaven appear more bright 6 His trifling lerity throws so much burden upon us.' 7 i. e. visit him for't. If Antony followed his debaucheries at times of leisure only, I should leave him to be punished (says Cæsar) by their natural conse 'Tis pity of him. Lep. To-morrow, Cæsar, I shall be furnish'd to inform you rightly "Till which encounter, It is my business too. Farewell. Lep. Farewell, my lord: What you shall know mean time Of stirs abroad, I shall beseech you, sir, Cæs. I knew it for my bond.1" Doubt not, sir ; [Exeunt. Of fickle changelings and poor discontents. 10 The old copy reads, Comes fear'd by being lack'd.' Warburton made the correction, which was necessary to the sense. Coriolanus says:- 'I shall be lov'd when I am lack'd' We should perhaps read in the preceding line :-ne'er lov'd till not worth love." 11 The folio reads, lashing the varying tide.' The emendation, which is well supported by Steevens, was made by Theobald. Perhaps another Messenger should be noted as entering here with fresh news. 12 Plough. SCENE V. Alexandria. A Room in the Palace. Cleo, Charmian,— Cleo. Ha, ha! Give me to drink mandragora.1 Char. Why, madam? Her opulent throne with kingdoms; All the east, Cleo. extremes Cleo. That I might sleep out this great gap of Of the hot and cold; he was nor sad, nor merry. time, My Antony is away. Char. Too much. You think of him Cleo. O, 'tis treason! Char. Madam, I trust, not so. Cleo. Indeed? Cleo. O well-divided disposition!-Note him, Note him, good Charmian, 'tis the man; but note him; He was not sad; for he would shine on those Cleo. Mar. Not in deed, madam; for I can do nothing Welcome, my good Alexas,-Did I, Charmian, Where think'st thou he is now? Stands he, or sits he? Say, the brave Antony. O happy horse, to bear the weight of Antony! mov'st? The demi-Atlas of this earth, the arm 1 A plant, of which the infusion was supposed to procure sleep. Thus in Addington's translation of Theit admits of the original article an retaining its place beGolden Ass of Apuleius:-I gave him no poyson but a doling drink of mandragoras, which is of such force, that it will cause any man to sleepe as though he were dead. See Pliny's Natural History by Holland, 1601; and Plutarch's Morals, 1602, p. 19. 2 A burgonet is a helmet, a head-piece. 3 Hence perhaps Pope's Eloisa :- Sull drink delicious poison from thine eye.' 4 Broad-fronted,' in allusion to Cæsar's baldness. 5 Alluding to the philosopher's stone, which, by its touch, converts base metal into gold. The alchymists call the matter, whatever it be, by which they perform transmutation, a medicine. Thus Chapman in his Shadow of Night, 1594: O then, thou great elixir of all treasures.' Aut on this passage lie has the following note :--"The philosopher's stone, or philosophica medicína, is called the great elixir.' fore it. That it is an epithet fitly applied to the steed of Y el cavallo arrogante, in subido Monstruosa fiera que sies pies tenia.' 7 Thus the old copy; which was altered by Theobald to damb'd without necessity. The arrogant steed, says Alexas, would let no sound be heard but his own, he neighed so loud that what I would have spoke was beastly obstructed by him. 6 The old copy reads an arm-gaunt steed,' upon which conjecture has been vainly employed. Steevens adopted Monck Mason's suggestion of a termagant 8 i. e. in such quick succession. steed,' with high commendation. A striking objection 9 While we are praying, the thing for which we to that, reading, which escaped Mr. Steevens in adopt-pray is losing its value. Pom. I shall do well: The people love me, and the sea is mine; No wars without doors: Cæsar gets money, where Men. Looking for Antony: But all the charms of love, Let witchcraft join with beauty, lust with both! Var. This is most certain that I shall deliver: Pom. I could have given less matter Is twice the other twain: But let us rear ་ Pom. I know not, Menas, How lesser enmities may give way to greater. Were't not that we stand up against them all, "Twere pregnant they should square" between them selves; For they have entertained cause enough To draw their swords: but how the fear of us [Exeunt. Eno. 1 Old copy, My powers are crescent,' &c. The judicious emendation was made by Theobald. 2 i. e. thy wanned or pallid lip. It should be remarked that the lips of Africans and Asiatics are paler than those of Europeans. Eno. 'Tis not a time Every time Serves for the matter that is then born in it. Your speech is passion: 3 i. e. delay his sense of honour from exerting itself till he is become habitually sluggish; till was anciently used for to. So in Candlemas Day, 1512. This lurdeyn take heed what I sey the tyll. And in George Cavendish's Metrical Visions, p. 19:'I espied certeyn persons coming me tyll. 4 i. e. since he quitted Egypt a space of time has elapsed in which a longer journey might have been performed than from Egypt to Rome. Ant. My being in Egypt, Cæsar, What was't to you? Cas. No more than my residing here at Rome Might be to you in Egypt: Yet, if you there Did practise on my state, your being in Egypt Might be my question.14 Ant. How intend you, practis'd? Cas. You may be pleas'd to catch at mine intent, By what did here befall me. Your wife, and brother, Made wars upon me: and their contestation Was theme for you,15 you were the word of war. Ant. You do mistake your business; my brother never of respect. Plutarch mentions that Antony, after the overthrow he had at Modena, suffered his beard to grow at length, and never clipt it, that it was marvellous long. Perhaps this circumstance was in Shakspeare's thoughts. 10 That is, if we come to a lucky composition or agreement. So afterwards : I crave our composition may be written.' 11Let not ill humour be added to the real subject of our difference." 12 The note of admiration here was added by Steevens, who thinks that Antony is meant to resent the invitation Cæsar gives him to be seated, as indicating a consciousness of superiority in his too successful partner 5 Julius Cæsar had inarried Cleopatra to young Pto-in power. lemy, who was afterwards drowned." 6 i. e. I cannot expect. So Chaucer in The Reve's Tale, v. 4027 : 'Our manciple I hope he wol bu ded.' 7 i. e. quarrel. 8 i. e. it is incumbent upon us for the preservation of our lives. 9 i. e I would meet him undressed, without any show 13 To practise is to use unwarrantable arts or strata. gems. The word is frequently applied to traitorous de. signs against those in power, by old writers. 14 Theme or subject of conversation. 15 This passage has been misunderstood, erroneously explained, and considered corrupt. Its meaning evidently is, You were the theme or subject for which your wife and brother made their contestation; you were the |