SHAKE
SPEARE
ANTONI
CLEOPATR
$22.8
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032
1928
A 921,604

THE
VERSITY OF MI
VERSITY
*
PERANZA KIMOJ
زیم
Ta
NTI
1817
MICHIGAN'S
··LIBRARIES ·
•
Antony & Cleopatra
By
William Shakespeare
WITH AN INTRODUCTION AND NOTES BY .
K. Deighton
MACMILLAN AND CO., LIMITED
ST. MARTIN'S STREET, LONDON
1928
COPYRIGHT
First Edition 1891.
Reprinted 1901, 1907, 1914, 1919, 1922, 1925, 1923.
822.8
.S53
A4
D 32
1928
INTRODUCTION,
CONTENTS.
ANTONY AND CLEOPATRA,
NOTES,
INDEX TO NOTES,
...
....
PRINTED IN GREAT BRITAIN
1
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✔
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ABAM
INTRODUCTION.
ANTONY, AND CLEOPATRA was first published in the Folio Date of Pl
of 1623, but was probably written in 1607 or 1608.
Plot.
Throughout the play Shakespeare has followed Source of
Plutarch and the actual course of history with remark-
able closeness. The period covered is something more
than ten years; and dates from B.C. 40, when shortly after
the defeat of Brutus and Cassius at Philippi the Roman
Empire was partitioned among the triumvirs, Cæsar,
Antony, and Lepidus, to B.C. 30, when Antony's death
left Cæsar master of both East and West.
the Play.
Cleopatra's palace at Alexandria is the scene upon Outline of
which the play opens. There, amidst all the pomp and
splendour and feasting and love making so dear to
Antony's nature, comes the unwelcome news of his wife's
having made war upon Cæsar, unwelcome because it
threatens to sever him from the enchantress whose slave
he has become. This is quickly followed by the further
news of his wife's death and of Pompey's outbreak
against Cæsar. Antony's return to Rome cannot now
be delayed, though Cleopatra employs all her wiles to
keep him in his luxurious bondage. While he is on his
way, we are shown Cæsar's court, and obtain an insight
into the feelings with which Antony's self-indulgence
vii
viii
INTRODUCTION.
}
and neglect of his imperial duties are regarded by his
partner in empire. After a short scene at Messina, in
which Pompey flatters himself that the unpopularity of
Cæsar and the indolence of Antony augur well for his
success, the second Act represents the meeting of Antony
and Cæsar. Stormy at first, the meeting ends with a
reconciliation, which is cemented, or sought to be
cemented, by the marriage of Antony with Cæsar's
sister, Octavia; an arrangement that, as may be
imagined, is passionately resented by Cleopatra. A
further reconciliation shortly afterwards takes place
between Pompey on the one side and the triumvirs on
the other; and with the feasting to celebrate their
union, the second Act comes to a close. Early in the
third Act we have indications that the truce patched up
between the brothers-in-law is not likely to be of long
duration. Each has grievances against the other.
Antony, now at Athens with Octavia, complains of the
ungenerous language in which Cæsar has spoken of him
in Rome, and of his having again made war upon
Pompey. In the hope of healing their differences,
Octavia obtains permission from Antony to repair to
Rome; while he, glad to be rid of her, hastens to rejoin
Cleopatra. Of this return to his former courses, of his
behaviour at Alexandria, his gift of kingdoms to Cleo-
patra, his complaints of Cæsar's behaviour towards
Lepidus, Cæsar, in his turn, makes capital; and before
long, war is declared between these rivals for universal
empire. Off the promontory of Actium they meet in a
sea-fight, where Antony, deserted by the Egyptian con-
tingent under Cleopatra, takes to flight, and leaves.
Cæsar victorious. Antony and Cleopatra now endeavour
INTRODUCTION.
ix
to make terms with their conqueror, and to Cleopatra
Cæsar is ready to listen provided she gives up Antony.
This she refuses to do; and Antony again determines to
try the fortune of war. Cæsar marches upon Alexandria,
and in the first encounter Antony is successful, driving
Cæsar back into his camp. On the morrow they engage
by sea, and Cæsar's victory is complete. Cleopatra takes
refuge in her monument, and bids her attendants carry
word to Antony that she has put an end to herself. On
hearing this, Antony stabs himself with his sword. As
he is dying, word is brought that Cleopatra's death was
merely a false rumour, and Antony is conveyed to the
monument, where he soon expires. In the fifth Act
Cleopatra is surprised in her retreat, and an interview
takes place between her and Cæsar, who, desirous of
carrying her in triumph to Rome, promises her most
generous treatment. Cleopatra, however, not to be de-
ceived by his apparent good-will, determines to end her
life rather than become his captive. This determination
she effects by means of poisonous asps which she applies
to her person.
Cæsar returns only to find that he is too
late; and the play ends with the funeral of Antony and
Cleopatra.
the Play.
Though historically connected, Julius Cæsar and Character
Antony and Cleopatra are in every point of view as
far removed from each other as is possible for two
plays dealing with the same period and with person-
ages of the same world. The transition from the
one to the other " produces in us," says Dowden,
"the change of pulse and temper experienced in
passing from a gallery of antique sculpture to a room
splendid with the colours of Titian and Paul Veronese.
X
INTRODUCTION.
}
In the characters of Julius Cæsar there is a severity
of outline; they impose themselves with strict author-
ity upon the imagination; subordinated to the great
spirit of Cæsar, the conspirators appear as figures of
life-size, but they impress us as no larger than life.
The demand which they make is exact; such and
such tribute must be rendered by the soul to each.
The characters of Antony and Cleopatra insinuate
themselves through the senses, trouble the blood,
ensnare the imagination, invade our whole being like
colour or like music. The figures dilate to propor-
tions greater than human, and are seen through a
golden haze of sensuous splendour. Julius Cæsar and
Antony and Cleopatra are related as works of art
rather by points of contrast than by points of resem-
blance. In one an ideal of duty is dominant; the
other is a divinization of pleasure, followed by the
remorseless Nemesis of eternal law.” * This contrast
emphasizes itself in a variety of ways. For the high-
strung idealism and lofty love of country which
inspire Brutus, we have the over-weening ambition
and concentrated selfishness of both Antony and
Cæsar; for the pure, steadfast, and heroic love of
F. Portia, the sensuous and varying passion of Cleo-
patra; against the devotion which clung to Brutus
and even to the less loveable Cassius are set off the
perfidy of Enobarbus in Antony's fallen fortunes,
the desertion of Menas because Pompey would not
make himself master of the world by the massacre
of the triumvirs, his guests; while the republican
simplicity and absence of parade which sufficed the
Shakspere: His Mind and Art, pp. 306, 7.
>
ཡན་
BRYTAN

*

INTRODUCTION.
xi
!
mighty Julius, enhance the more than Oriental pro-
fusion of luxury and scorn of all restraint without
which life had no value to Antony and Cleopatra.
The dominant feature of the play is, however, mag-
nificence; magnificence of the interests concerned
and of the agents by which those interests are up-
held. For the world at large is the stake on the
table; at the call of the gamesters are the veteran
legions which have crushed out all nationalities in
Europe and turned into petty tributaries the once
mighty despots of Asia; fleets that can find no exer-
cise for their prowess except in an internecine
struggle; the wealth, resources, and organization of
the Roman empire at its zenith of glory. And those
gamesters are adequate to the game; Antony who,
if not the greatest soldier of the world, as Cleopatra
calls him, has in a hundred fights given proof of his
courage, his endurance, his readiness of resource;
Octavius the far-seeing, deeply-calculating politician,
whom no passion can blind, no quixotic generosity
lead astray, no excess of sanguine hope intoxicate, to
whom clemency and cruelty are alike considerations
of statecraft, the very man to meet and foil his
With
impetuous, outspoken, eager, careless rival.
such magnificence, such vastness and versatility of
interests political and individual, passions so gigantic
and actors of such mighty mould, nothing less
supreme than Shakespeare's strength, nothing less
gorgeous than his poetic colouring and audacity of
imagination could pretend to cope. Fault has been
found with the play, as by Gervinus, both on the
score of imperfect dramatic clearness and of ethical


xii
INTRODUCTION.
6
deficiency in the absence of any great or noble char-
acter among the personages. But, even if such objec-
tions can be maintained, we may, I think, agree with
Coleridge when he says, "Of all Shakspere's historical
plays, 'Antony and Cleopatra' is by far the most
wonderful. There is not one in which he has followed
history so minutely, and yet there are few in which
he impresses the notion of angelic strength so much;
—perhaps none in which he impresses it more strongly.
The highest praise, or rather form of praise, of
this play, which I can offer in my own mind, is the
doubt which the perusal always occasions in me,
whether the 'Antony and Cleopatra' is not, in all
exhibitions of a giant power in its strength and
vigour of maturity, a formidable rival of Macbeth,'
'Lear,' Hamlet,'Othello.' Feliciter audax is the
motto for its style comparatively with that of Shak-
spere's other works, even as it is the general motto of
all his works compared with those of other poets.
Be it remembered, too, that his happy valiancy of
style is but the representative and result of all
the material excellencies so expressed"... To which
Hudson adds, "Nor is this 'happy valiancy' by any
means confined to the matter of style. The drama
is equally daring, equally audacious, in a moral sense.
For, as regards the hero and heroine, it is a note-
worthy point how little we feel or think of any moral
or immoral quality in their doings. In their intoxi-
cation of empire, of self-aggrandizement, and of
mutual passion, they fairly overshoot the whole region
،

...
* Lectures on Shakspere, pp. 315, 6.
+Shakespeare His Life, Art, and Characters, pp. 367-9.

INTRODUCTION.
xiii
duty and obligation. To themselves and to each
other, they are simply gods: as such their freedom.
is absolute: they transcend all relative measures, and
know no centre or source of law outside of their own
personality: their own wills are their ultimate reason,
their supreme law; the moral gravitation of the
world having, as it were, no hold upon them, nor
any right to control them, ... Thus their action leaves.
our moral feelings altogether behind, and indeed
soars, or which comes to the same thing, sinks, quite
beyond their ken. Nay, more; our thoughts and
imaginations take with them, so to speak, a glad
holiday in a strange country where the laws of duty
undergo a willing suspension, and conscience tem-
porarily abdicates her throne. Nor are we any wise
damaged by the process The very extravagance
of the leading characters causes their action to be felt
by us as strictly exceptional... We merely enjoy the
vision of its pranks, and take no license from them."
...
character:
Antony.
In Julius Cæsar we have a slight sketch of Antony in his The main
earlier years. To people in general he is known chiefly for
his frivolity and dissolute life. Even by the conspirators
the force of his character is little perceived. Brutus
looks upon him but as "a limb of Cæsar," as one who
when Cæsar shall fall will be impotent for harm.
Cassius, indeed, so much more keen-sighted in practical
politics, prophesies (ii. 1. 157-60),
"we shall find of him
A shrewd contriver; and you know his means,
If he improve them, may well stretch so far
As to annoy us all,"
and would therefore have him put to death with Cæsar.
!

xiv
INTRODUCTION.
But the rest of the conspirators are of Brutus's opinion
and his life is spared. How false their calculations are
is proved almost immediately upon Cæsar's murder, and
Antony not only shows himself nobly faithful to his dead
master and friend, but by his energy and eloquence so
rouses the Roman populace that the conspirators are
driven from the city, and Antony, allying himself with
Octavius and Lepidus, becomes a member of the second
triumvirate. If in the proscriptions that follow, Antony
appears as merciless and unscrupulous as his confederates,
in the war which follows against Brutus and Cassius, he
proves himself a wise general and a brave soldier. His
course of life from the victory at Philippi to the time
when he comes in contact with Cleopatra does not fall
within the scope of Shakespeare's Roman plays; but it
may be useful to fill in the gap by a brief narration of
the intervening events. Leaving Octavius to return to
Rome, Antony first visits Greece, where for some time,
says Plutarch, he "gave himself only to hear wise men
dispute, to see plays, and also to note the ceremonies
and sacrifices of Greece, ministering justice to every
man; and it pleased him marvellously to hear them call
him Philellen (as much as to say, a lover of the Grecians),
and specially the Athenians, to whom he did many great
pleasures." From Athens he passes into Asia, where
becoming acquainted with the luxury and extravagance
of Oriental habits, he returns to his former licentious
life, laying heavy burdens of taxation upon the peoples
to supply his lavish expenditure. Later on, when about.
to make war upon the Parthians, he summons Cleopatra
to Cilicia "to answer unto such accusations as were laid
Shakespeare's Plutarch, pp. 171, 174.
*

INTRODUCTION.
XV
I
against her, being this: that she had aided Cassius and
Brutus in their war against him." At their meeting,
described in Act ii. Sc. 2, so far from going into these
charges, Antony entirely surrenders himself to the
fascinations of her grace and wit, and in the delight of
her society, and an ever varied round of dissipation and
wild frolic, neglects all cares of state, all warlike
enterprise. This abandonment of all that was noble
în him is theme of regret to two of his chief friends at
the opening of our play, a regret only too well founded.
For the influence which Cleopatra has now gained over
him is supreme, and henceforward we are to see him
gradually stripping himself of all claims to respect. On
the news of his wife's death, and of the complications
in which she has involved him, he for the moment
regains something of his former energy.
“These strong
Egyptian fetters I must break, Or lose myself in bondage,
he exclaims; and despite Cleopatra's efforts to detain
him, hastens back to Rome. At his meeting with
Octavius, there is a good deal of dignity in the frankness
with which he admits the faults that can justly be
imputed to him, and in the jealousy which he shows for
his honour where the appearance of things is unjustly
against him. But his readiness to heal the quarrel
with Octavius by a marriage with his sister springs from
no motive higher than a desire for his own peace;
and his trusted follower, Enobarbus, reads his master
well when shortly afterwards he predicts that the newly-
formed tie is not one that will hold him long. Even in
the early days of his marriage, Antony acknowledges
this to himself; and ill at ease with his cold, deeply-
calculating brother-in-law, he is glad enough to find
ANET
SPANK


*
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""
ܘܐܐ
.xvi
INTRODUCTION.
excuse in state affairs to betake himself to Athens.
Before long his pride is sorely galled by the news that
Octavius has spoken "scantly" of him; though his
fretful complaints are probably as much the outcome of
irritation at the restraint which his marriage has put
upon his intercourse with Cleopatra, and he gladly
accepts his wife's proffered embassy to Octavius, since it
leaves him free to turn to Egypt. Once with Cleopatra,
the casts to the winds all honour, prudence, statesinan-
ship. A thrall to the witcheries of his "great fairy," he
openly defies Cæsar, and prepares for the struggle which
must now decide the mastery of the world. So complete,
indeed, is his subjugation that, in deference to a caprice
of Cleopatra's to encounter Octavius by sea, he allows
his own military knowledge and the earnest advice of
his trusted soldiers to be over-ridden, with the result
that she takes to flight while the battle is at its height
and he in his infatuation follows her. Yet even the ruin
of his fortunes and the cruel consciousness that for the
first time in his life he has shown himself a coward, are
not sufficient to cure him of his folly. A few tears from
her in answer to his violent reproaches bring him back
to his abject allegiance; and failing to obtain terms from
Cæsar, he makes one more despairing effort to retrieve
his fortunes. Again worsted through her cowardice he
is at his rival's mercy, and there remains nothing for
him but to die by his own hand. A curiously-blended
character, in which courage, generosity, frankness, a
sparkling intellect, a winning address, alternate with
insincerity, fickleness of purpose, and sensuality, or
perhaps rather a sensuous love of enjoyment; a character
whose noble qualities were neutralised by want of ballast,
A
0.
l
INTRODUCTION.
xvii
whose evil qualities were stimulated into fierce activity
by a career of almost unchequered good fortune.
}
Of Cleopatra we know that in her earlier youth she Cleopatra
was mistress to Julius Cæsar and to Cneius Pompey, and
that her life had been one of unbridled indulgence in
every caprice that her sensuous nature could suggest and
her unique position gratify. At the time when she first
met Antony she was in her eight and twentieth year,
and anything she had lost in mere freshness of beauty
was amply compensated by the fascinations which her
various experiences had taught her and the piquancy tọ
which for a man like Antony mere girlish loveliness
would be as nothing. Her personal grace had probably
to him far less of magic power than the brilliancy of wit,
the contradiction of qualities and multiplicity of mood
which each hour revealed. A monotony of love, of high
principle and sweetness of temper, palled upon his jaded
fancy when his marriage with Octavia gave him these in
lavish measure, and Cleopatra knew that no assumption
of model virtues would be of efficacy to enchain his soul.
Such as she was, such she instinctively felt was what
Antony would wish her to be. Antony and Cleopatra,
indeed, it has been remarked, seem made for each other;
and this is true in the sense also that no pair could be
more completely fitted each to ruin the other. Not that
this fitness is a creation of Shakespeare's, for his picture
is clearly a reproduction of history and nature. In her
brilliant and searching analysis of Cleopatra's character,
Mrs. Jameson observes,* "I have not the slightest doubt
that Shakespeare's Cleopatra is the real historical Cleo-
patra—the 'rare Egyptian'—individualized and placed
* Characteristics of Women, p. 285.

xviii
INTRODUCTION.
PN TH
before us.
Her mental accomplishments, her unequalled
grace, her woman's wit and woman's wiles, her irresist-
ible allurements, her starts of irregular grandeur, her
bursts of ungovernable temper, her vivacity of imagina-
tion, her petulant caprice, her fickleness and her false-
hood, her tenderness and her truth, her childish suscepti-
bility to flattery, her magnificent spirit, her royal pride,
the gorgeous eastern colouring of the character—all
these contradictory elements has Shakespeare seized,
mingled them in their extremes, and fused them into one
brilliant impersonation of classical elegance, Oriental
7 voluptuousness, and gipsy sorcery. What better proof
can we have of the individual truth of the character than
the admission that Shakespeare's Cleopatra produces
exactly the same effect on us that is recorded of the real
Cleopatra ? She dazzles our faculties, perplexes our
judgement, bewilders and bewitches our fancy; from the
beginning to the end of the drama we are conscious of a
kind of fascination against which our moral sense rebels,
but from which there is no escape "... Of the power of
this fascination over Antony and her consciousness of
that power, the first Scene gives us evidence. Antony,
with a presentiment, as it seems, that the news announced
from Rome is not likely to be very palatable to his taste,
refuses to listen to the messengers. Cleopatra, seizing
the opportunity for banter, suggests that "the scarce
bearded Cæsar," of whose power he is evidently jealous,
has sent him such and such commands, and mockingly
prophesies a summons for his return from his shrewish
wife, of whom she affects to believe that he, poor hen-
pecked husband, stands in slavish awe. This confidence
in the piquancy of irritation she again displays shortly


INTRODUCTION.
xix
afterwards, when, vexed at his absence from her side, she
sends her attendant to see where he is and what he is
doing. If they find him sad, they are to say that she is
dancing; if in mirth, to report that sudden sickness has
seized her. Her attendant remonstrates with her on the
petulance by which she is risking Antony's love, and
advises her to "cross him in nothing." Cleopatra, more
deeply read in the human heart, replies that such
spaniel-like affection is the very way to lose all hold
upon him. At this moment Antony enters, and his first
words being prophetic of his intention to leave Egypt,
Cleopatra pretends to be about to swoon. Then recover-
ing herself and breaking into sarcasm, she taunts him
with his want of loyalty to Fulvia no less than his
treachery towards herself. When at last Antony, being
allowed to speak, tells her of Fulvia's death, her gibes
are turned upon him for the calmness with which he
bears his loss, and with malicious glee she urges him to
assume the virtue of remorse and sorrow even though he
has it not. Her taunts lash Antony to wrath, but this
only provokes her to further merriment; a mood quickly
changing to tenderest regrets and fond farewells as she
acknowledges the necessity of his leaving her for Rome.
Antony has now gone, and we next see her bemoaning
her loneliness, recalling the past delights of their love,
and imagining to herself Antony's whereabouts, occupa-
tions, and thoughts; "O Charmian," she says to her
attendant,
"Where think'st thou he is now? Stands he, or sits he?
Or does he walk? or is he on his horse?
O happy horse, to bear the weight of Antony !
Do bravely, horse! for wot'st thou whom thou movest?
4
XX
INTRODUCTION.
The demi-Atlas of this earth, the arm
He's speaking now,
And burgonet of men.
Or murmuring 'Where's my serpent of old Nile?'
For so he calls me now I feed myself
With most delicious poison."
Her reverie is interrupted by news from Antony, which
she greets with rapturous welcome, finding in every-
thing told her some pretext for an outpouring of her
love. She is still feeding herself with the same
"delicious poison" of happy memories when later on
less welcome tidings come,-the tidings of Antony's
marriage with Octavia. The dreamy, restless, fitfulness
which so possesses her that she cannot fix her mind
upon anything, in a moment turns itself into con
centrated fury. Rushing upon the messenger of evil
she strikes him down, seizes him by the hair, hales
him up and down the room, and finally draws a dagger
to stab him. The poor wretch flees her presence, and
she somewhat recovers her equanimity. He is re-
called; again she bursts out into execrations and
drives him from her presence, but soon sends an
attendant to inquire all particulars as to Octavia;
"Go to the fellow, good Alexas; bid him
Report the feature of Octavia, her years,
Her inclination; let him not leave out
The colour of her hair: bring me word quickly."
Finally she recalls the messenger, eagerly cross-examines
him as to Octavia's looks, and finds some solace for her
wounded pride in the belief that Antony cannot long
continue to love one whose attractions are no greater
than those described to her. A considerable interval
elapses before we see her again. Antony has by this time
INTRODUCTION.
xxi
****
SCHALK
asr
sa saa
rejoined her, his devotion intensified by his temporary
estrangement, and by the contrast of her ardent and
vivacious passion with the chilling pudency of Octavia's
pure love.
In the struggle with Octavius now im-
minent, Cleopatra is determined to take a personal
part, and we find her rating Enobarbus, one of Antony's
trustiest followers, for interfering to prevent her.
Antony enters, and not only yields to her wish in this
matter, but allows himself to be persuaded by her to
meet Octavius by sea rather than by land. In vain
Enobarbus and Canidius protest against his decision.
Cleopatra's influence is paramount, and, as Canidius
says, "so our leader's led, And we are women's men.
The result of the fight has already been told; and for a
moment it looks as though in the bitterness of his dis-
grace Antony would cease to be a woman's puppet. But
Cleopatra knows when to play the penitent, and Antony
is again a willing bondman;
**
A
"Fall not a tear, I say; one of them rates
All that is won and lost give me a kiss;
Even this repays me.
""
};
In the negotiations with Octavius that follow, Cleopatra,
whether she is merely playing a part or that she sees
that Antony's cause is hopeless, appears ready to accept
the terms offered her. Antony bursts in upon the in-
terview with the ambassador, violently reproaches Cleo-
patra for the encouragement she has given him, and has
him thrust out of audience to be soundly whipped.
Fearing that she has gone too far, Cleopatra assumes
the rôle of injured innocence, and with tenderest pro-
tests of her unchanged love soothes Antony into a
b
>
xxii
INTRODUCTION.
ال
renewed belief of her fidelity. In the final struggles
upon which he resolves she cheers him with all en-
couragement, insists on helping him to don his armour
when going forth to the fight, and welcomes him with
fond joy when the first day's engagement augurs so well.
But again she is fated to mar his fortunes, though her
flight from the next day's battle is evidently due to
mere_cowardice, not to the treachery that Antony im-
putes to her. For this harsh construction, however,
she seems prepared; and fearing to trust herself in his
hands she shuts herself up in her monument, and has
news of her death conveyed to him. At her last inter-
view with the dying Antony, all the strength and
reality of her love come out; and around the scene of
her self-inflicted death, a death sought not merely as
an escape from the ignominy of being. led captive to
Rome, but as the means of a reunion in the world of
shades with her beloved "husband," as she hopes her
courage may justify her in calling him-Shakespeare
has thrown the witchery of such splendid verse as
almost blinds us to her faults, almost explains the
infatuation for which Antony made shipwreck of his
life. "The death of Lucretia," says Mrs. Jameson, "of
Portia, of Arria, and others who died after the high
Roman fashion,' is sublime according to the Pagan
ideas of virtue, and yet none of them so powerfully
affect the imagination as the catastrophe of Cleopatra.
The idea of this frail, timid, wayward woman dying
with heroism, from mere force of passion and will,
takes us by surprise. The Attic elegance of her mind,
her poetical imagination, the pride of beauty and
royalty predominating to the last, and the sumptuous
INTRODUCTION.
xxiii
and picturesque accompaniments with which she sur-
rounds herself in death, carry to its extreme height
that effect of contrast which prevails through her life
and character. No arts, no invention, could add to
the real circumstances of Cleopatra's closing scene.
Shakespeare has shown profound judgment and feeling
in adhering closely to the classical authorities; and to
say that the language and sentiments worthily fill up
the outline is the most magnificent praise that can be
given. The magical play of fancy and the overpower-
ing fascination of the character are kept up to the last :
and when Cleopatra, on applying the asp, silences the
lamentations of her women-
¿
Ang
Peace, peace!
Dost thou not see my baby at my breast,
That sucks the nurse asleep?—
these few words the contrast between the tender
beauty of the image and the horror of the situation-
produce an effect more intensely mournful than all the
ranting in the world. The generous devotion of her
women adds the moral charm which alone was wanting:
and when Octavius hurries in too late to save his victim,
and exclaims when gazing on her-
She looks like sleep-
As she would catch another Antony
In her strong toil of grace—
S
the image of her beauty and her irresistible arts,
triumphant even in death, is at once brought before
us, and one masterly and comprehensive stroke con-
summates this most wonderful, most dazzling delinea-
tion.'
>>
୮
xxiv
INTRODUCTION.
Had Shakespeare, instead of following history, created
the plot of his play, he could hardly have imagined
more complete contrast to his Antony than was the
actual Octavius. For the impetuosity of the former,
we have the chill reserve of the latter; for a nature
above all things sensuous, frivolous, in love with mag
nificence and splendour, we have one to which no out
ward shows of glory could suffice, no genial self-
abandonment seem anything than a sin against the
worship of decorum; for open-hearted and open-handed
generosity, a consistent policy of self-interest; for
readiness to confess a fault, a discreet rectitude which
should render it impossible to have any fault to com-
fess; for fickleness of purpose, a tenacity that never
relaxed its hold; for enthusiasm, the "dry light" of
reasoned calculation; for outspoken impulse, the wiles
of the diplomatist; for the spontaneousness which
would have well become the nineteen years of Octavius!
the caution which grey hairs could not teach Antony.
In the first interview of the competitors in sway, there
is in Octavius a mixture of the pedant rating a school-
boy, and of the moralist supremely conscious of his
unspotted morality; while his readiness to give in
marriage to one for whose character he has such con
tempt a sister for whom he boasts such unbounded love
looks more like obedience to the dictates of self-interest
that any great good-will to either of the parties. In
the carouse on board Pompey's galley it is evident
that Octavius does not share in the hilarity of the
occasion; he is there because without giving offence he
cannot absent himself, he drinks with the other three
because he must drink; but almost his only words are
Octavius.

INTRODUCTION.
XXV
j
a protest against the general excess, and he is in haste
to escape from a scene which threatens to compromise
that dignity which he cherishes with the prudery of a
maiden aunt in the company of frivolous youngsters.
Antony's wild extravagances in Egypt on rejoining
Cleopatra, and his disloyalty towards Octavia, give him
good excuse for complaint, but his anger is manifestly
sharpened by the disdain with which he has been
treated; and when, on Octavia's return to Rome, he
inveighs against Antony for having allowed her to come
so poorly attended, it is his own self-esteem quite as
much as affection for his sister that prompts his indig-
nation: “You come not," he says,
"Like Cæsar's sister: the wife of Antony
Should have an army for an usher, and
The neighs of horse to tell of her approach
Long ere she did appear; the trees by the way
Should have borne men; and expectation fainted,
Longing for what it had not; nay, the dust
Should have ascended to the roof of heaven,
Raised by your populous troops; but you are come
A market-maid to Rome; and have prevented
The ostentation of our love, which, left unshown,
Is often left unloved: we should have met you
By sea and land, supplying every stage
With an augmented greeting":
and when he further pledges himself to avenge his
sister's wrongs, in the words
"the high gods
To do you justice, make them ministers
Of us and those that love you,"
the opportunity thus given him of removing from his
path the only obstacle now remaining in the way of
xxvi
INTRODUCTION.
Octavia.
I
universal empire, appears to be gladly welcomed for
itself. The victory at Actium which shortly follows
enables him to dictate terms to Antony and Cleopatra
To the latter he is ready enough to show complacency it
only she will make up her mind to the dastard act of
taking the life of the former; and when, after the final
combat, the news is brought him of Antony's end, his
laments for his "brother," his "competitor In top of all
design," "his mate in empire,"
"Friend and companion in the front of war,
The arm of mine own body and the heart
Where mine his thoughts did kindle,”.
these laments are not so inconsolably bitter as to prevent
his immediate attention to the business of securing the
person of Cleopatra, to whom he hurriedly bids a mes-
senger
(C
'give her what comforts
The quality of her passion shall require,
Lest in her greatness by some mortal stroke
She do defeat us; for her life in Rome
Would be eternal in our triumph."
This he follows up by a visit in person to Cleopatra, in
which he uses every argument of persuasion and promise
to lull her fears as to his intentions regarding her, and
departs in full assurance of the skilfulness of his policy,
to have that assurance rudely shattered a few hours later
by the news of her death.
Of Octavia Plutarch speaks as "having an excellent
grace, wisdom, and honesty, joined unto so rare a
beauty." He also tells us of her loyalty to Antony even
after his desertion of her, and how on her return to
INTRODUCTION.
xxvii
Rome she, in spite of her brother's command laid upon
her to "go out of Antonius' house and to dwell by her-
self because he had abused her," she "kept still in
Antonius' house, as if he had been there, and very
honestly and honourably kept his children, not only
those she had by him, but the other which her husband
had by Fulvia," a care which in her noble devotion she
afterwards extended to the children of Antony and Cleo-
patra, treating them in every respect as if they were
her own.
But in the Play itself we see but little of her.
She appears in fact but four times; first, for a few
minutes shortly after the marriage, next when she is
setting out for Athens in company with Antony, her
heart too full for words;
"Her tongue will not obey her heart, nor can
Her heart inform her tongue, the swan's down-feather
That stands upon the swell at full of tide
And neither way inclines";
next in the short scene when she is preparing for her
mission of mediation between her brother and her
husband; and finally on her return to Rome when she
endeavours to pacify the one and to defend the other.
As beheld in these scenes, she fully acts up to the char-
acter ascribed to her by Mecenas and Agrippa, and
justifies the jealous awe felt by Cleopatra for her purity
of life and love. Critics have complained that full justice
is not done her in giving her so subordinate a part in the
Play, but Shakespeare wisely saw that greater pro-
minence would have fatally imperilled the interest he
designed to throw over the story of the loves of his two
principal personages.
Zimm
xxviii
INTRODUCTION.
""
The Action.
Duration of The following is a summary of Daniel's "Time-
Analysis" of the Play. "Time of the Play, twelve
days represented on the stage; with intervals.
Day 1. Act i. sc. i.—iv.
""
""
""
,, 5.
5.
3153
2.
""
ai as
""
3.
""
Interval.
Act i. sc. v.
Act ii. sc. iv.
4. Act ii. sc. v. -viì.
, 6. Act iii. sc. iv. v.
8.
9.
10.
11.
Act ii. sc. i.—iii.
Interval.
Interval.
Act iii. sc. i. ii.
Act iii. sc. iii.
Interval.
7. Act iii. sc. vi.
Act iii. sc. vii.
Act iii. sc. viii.-x.
Interval.
Act iii. sc. xi.—xiii.
Act iv. sc. iv.-ix.
12. Act iv. sc. x.—xv.
Act v. sc. i. ii.
""
Historic time, about ten years: B. C. 40 to B. C. 30."
Interval.
!
Interval.
Act iv.
Act iv. sc. i.-iii.
ANTONY AND CLEOPATRA.
A
MARK ANTONY,
OCTAVIUS CÆSAR,
M. ÆMILIUS LEPIDUS,
SEXTUS POMPEIUS.
DOMITIUS ENOBARBUS,
VENTIDIUS,
SCARUS,
DRAMATIS PERSONÆ.
DEMETRIUS,
MECENAS,
DOLABELLA,
THYREUS,
MENAS,
EROS,
DERCETAS,
PHILO,
AGRIPPA,
PROCULEIUS,
GALLUS,
MENECRATES,
friends to Pompey.
VARRIUS,
TAURUS, lieutenant-general to Cæsar.
CANIDIUS, lieutenant-general to Antony.
SILIUS, an officer in Ventidius's army.
EUPHRONIUS, an ambassador from Antony to Cæsar.
ALEXAS,
MARDIAN, a Eunuch,
SELEUCUS,
DIOMEDES,
}
A Soothsayer.
A Clown.
triumvirs.
friends to Antony.
friends to Cæsar.
attendants on Cleopatra.
CLEOPATRA, queen of Egypt.
OCTAVIA, sister to Cæsar and wife to Antony.
CHARMIAN,
} attendants on Cleopatra.
IRAS,
Officers, Soldiers, Messengers, and other Attendants.
SCENE: In several parts of the Roman empire.


office and devotion of their vie
Upon a tawny front: his captain's heart,
Which in the scuffles of great fights hath burst
The buckles on his breast, reneges all temper,
And is become the bellows and the fan
To cool a gipsy's lust.
Flourish. Enter ANTONY, CLEOPATRA, her Ladies, the Train,
with Eunuchs fanning her.
Look, where they come :
Take but good note, and you shall see in him
The triple pillar of the world transform'd
Into a strumpet's fool: behold and see.
Cleo. If it be love indeed, tell me how much.
Ant. There's beggary in the love that can be reckon'd.
Cleo. I'll set a bourn how far to be beloved.
E
3
10
via scolds. The messenger
nome in Tiber melt, and the wide arch
Of the ranged empire fall! Here is my space.
Kingdoms are clay our dungy earth alike
Feeds beast as man: the nobleness of life
Is to do thus; when such a mutual pair
And such a twain can do 't, in which I bind,
On pain of punishment, the world to weet
We stand up peerless.
Cleo.
Excellent falsehood!
Why did he marry Fulvia, and not love her?
I'll seem the fool I am not; Antony
Will be himself.


[ Embracing
Ant.
But stirr'd by Cleopatra.
Now, for the love of Love and her soft hours,
Let's not confound the time with conference harsh:
There's not a minute of our lives should stretch
40
SCENE I.]
5
ANTONY AND CLEOPATRA.
Without some pleasure now.
Cleo. Hear the ambassadors.
Ant.
What sport to-night? ✓
Fie, wrangling queen!
Whom every thing becomes, to chide, to laugh,
To weep; whose every passion fully strives
To make itself, in thee, fair and admired!
No messenger, but thine; and all alone
To-night we'll wander through the streets and note
The qualities of people. Come, my queen;
Last night you did desire it: speak not to us.
[Exeunt Ant. and Cleo. with their train.
Dem. Is Cæsar with Antonius prized so slight?
Phi. Sir, sometimes, when he is not Antony,
He comes too short of that great property
Which still should go with Antony.
I am full sorry
Dem.
That he approves the common liar, who
Thus speaks of him at Rome: but I will hope
Of better deeds to-morrow. Rest you happy!
Show him your hand.
Enter ENOBARBUS.
50
Eno. Bring in the banquet quickly; wine enough
Cleopatra's health to drink.
60
SCENE II. The same. Another room.
Enter CHARMIAN, IRAS, ALEXAS, and a Soothsayer.
Char. Lord Alexas, sweet Alexas, most any thing Alexas,
almost most absolute Alexas, where's the soothsayer that
you praised so to the queen?
Alex. Soothsayer!
Sooth. Your will?
Char. Is this the man? Is't you, sir, that know things?
Sooth. In nature's infinite book of secrecy
A little I can read.
Alex.
[Exeunt.
10
T
6
[ACT I.
ANTONY AND CLEOPATRA.
Char. Good sir, give me good fortune.
Sooth. I make not, but foresee.
Char. Pray, then, foresee me one.
Sooth. You shall be yet far fairer than you are.
Char. He means in flesh.
Iras. No, you shall paint when you are old.
Char. Wrinkles forbid !
Alex. Vex not his prescience; be attentive.
Char. Hush!
Sooth. You shall be more beloving than beloved.
Char. I had rather heat my liver with drinking.
Alex. Nay, hear him.
Char. Good now, some excellent fortune! Let me be
married to three kings in a forenoon, and widow them all :
let me have a child at fifty, to whom Herod of Jewry may
do homage: find me to marry me with Octavius Cæsar, and
companion me with my mistress.
Sooth. You shall outlive the lady whom you serve.
Char. O excellent! I love long life better than figs.
Sooth. You have seen and proved a fairer former fortune
Than that which is to approach.
31
Char. Then belike my children shall have no names:
prithee, how many boys and wenches must I have?
Sooth. If every of your wishes had a womb,
And fertile every wish, a million.
Char. Out, fool! I forgive thee for a witch. Nay, come,
tell Iras hers.
Alex. We'll know all our fortunes.
Eno. Mine, and most of our fortunes, to-night, shall be—
drunk to bed.
40
20
Iras. There's a palm presages chastity, if nothing else.
Char. E'en as the o'erflowing Nilus presageth famine.
Iras. Go, you wild bedfellow, you cannot soothsay.
Char. Nay, if an oily palm be not a fruitful prognostica-
tion, I cannot scratch mine ear. Prithee, tell her but a
worky-day fortune.
SCENE II.]
.7
ANTONY AND CLEOPATRA.
Sooth. Your fortunes are alike.
Iras. But how, but how? give me particulars.
Sooth. I have said.
Iras. Am I not an inch of fortune better than she?
Char. Our worser thoughts heavens mend! Alexas,-
come, his fortune, his fortune! O, let him marry a woman
that cannot go, sweet Isis, I beseech thee! and let her die
too, and give him a worse! and let worse follow worse, till
the worst of all follow him laughing to his grave. Good
Isis, hear me this prayer, though thou deny me a matter of
more weight; good Isis, I beseech thee !
Iras. Amen. Dear goddess, hear that prayer of the people!
Char. Amen.
Eno. Hush! here comes Antony.
Char.
Enter CLEOPATRA.
Cleo. Saw you my lord?
Eno.
No, lady.
Not he; the queen. 60
Was he not here?
Cleo.
Char. No, madam.
Cleo. He was disposed to mirth; but on the sudden
A Roman thought hath struck him. Enobarbus !
Enter ANTONY with a Messenger and Attendants.
Mess. Fulvia thy wife first came into the field.
Ant. Against my brother Lucius
Mess. Ay:
50
Eno. Madam.
Cleo. Seek him, and bring him hither. Where's Alexas?
Alex. Here, at your service. My lord approaches.
Cleo. We will not look upon him go with us. [Exeunt.
But soon that war had end, and the time's state
Made friends of them, jointing their force 'gainst Cæsar ;
Whose better issue in the war, from Italy,
Upon the first encounter, drave them.
70
8.
[ACT I.
ANTONY AND CLEOPATRA.
Ant.
Mess. The nature of bad news infects the teller.
Ant. When it concerns the fool or coward. On :
Things that are past are done with me.
Who tells me true, though in his tale lie death,
I hear him as he flatter'd.
'Tis thus ;
Mess.
Labienus-
This is stiff news-hath, with his Parthian force,
Extended Asia from Euphrates ;
His conquering banner shook from Syria
To Lydia and to Ionia;
Skj
Well, what worst?
Sec. Mess. Fulvia thy wife is dead.
Ant.
Whilst--
Ant. Antony, thou wouldst say,-
Mess.
O, my lord!
Ant. Speak to me home, mince not the general tongue :
Name Cleopatra as she is call'd in Rome;
Rail thou in Fulvia's phrase; and taunt my faults
With such full license as both truth and malice
Have power to utter. O, then we bring forth weeds,
When our quick minds lie still; and our ills told us
Is as our earing. Fare thee well awhile.
Mess. At your noble pleasure.
[Exit.
Ant. From Sicyon, ho, the news! Speak there!
First Att. The man from Sicyon,-is there such an one?
Sec. Att. He stays upon your will.
Ant.
These strong Egyptian fetters I must break,
Or lose myself in dotage.
Let him appear.
Enter another Messenger.
What are you?
Where died she?
Sec. Mess. In Sicyon :
Her length of sickness, with what else more serious
Importeth thee to know, this bears.
80
90
100
[Gives a letter.
SCENE II.]
9
•
ANTONY AND CLEOPATRA.
Ant.
Forbear me.
There's a great spirit gone! Thus did I desire it :
What our contempt doth 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 shoved 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 !
Re-enter ENOBARBUS.
Eno. What's your pleasure, sir?
Ant. I must with haste from hence.
[Exit Sec. Messenger.
110
Eno. Why, then, we kill all our women: we see how
mortal an unkindness is to them; if they suffer our depar-
ture, death's the word.
Ant. I must be gone.
Eno. Under a compelling occasion, let women die : it were
pity to cast them away for nothing; though, between them
and a great cause, they should be esteemed nothing. Cleo-
patra, 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 almanacs can report: this cannot be cunning in her; if
it be, she makes a shower of rain as well as Jove.
130
Ant. Would I had never seen her!
Eno. O, sir, you had then left unseen a wonderful piece of
work ;
which not to have been blest withal would have dis-
credited your travel.
{
/
10
[ACT 1.
ANTONY AND CLEOPATRA.
Ant. Fulvia is dead.
Eno. Sir?
Ant. Fulvia is dead.
Eno. Fulvia !
Ant. Dead.
139
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.
Ant. The business she hath broached in the state
Cannot endure my absence.
150
Eno. And the business you have 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
Have notice what we purpose. I shall break
The cause of our expedience to the queen,
And get her leave to part. For not alone
The death of Fulvia, with more urgent touches,
Do strongly speak to us; but the letters too
Of many our contriving friends in Rome
Petition us at home: Sextus Pompeius
Hath given the dare to Cæsar, and commands
The empire of the sea: our slippery people,
Whose love is never link'd to the deserver
Till his deserts are past, begin to throw
Pompey the Great and all his dignities
Upon his son; who, high in name and power,
Higher than both in blood and life, stands up
For the main soldier: whose quality, going on,
The sides o' the world may danger: much is breeding, 170
160
1
T
SCENE II.]
11
ANTONY AND CLEOPATRA.
Which, like the courser's hair, hath yet but life,
And not a serpent's poison. Say, our pleasure,
To such whose place is under us, requires
Our quick remove from hence.
Eno. I shall do 't.
SCENE III. The same.
Another room.
Enter CLEOPATRA, CHARMIAN, IRAs, and ALEXAS.
Cleo. Where is he?
Char.
I did not see him since.
Cleo. See where he is, who's with him, what he does:
I did not send you: if you find him sad,
Say I am dancing; if in mirth, report
That I am sudden sick : quick, and return.
Char. Madam, methinks, if you did love him dearly,
You do not hold the method to enforce
The like from him.
[Exeunt.
[Exit Alexas.
Cleo.
What should I do, I do not?
Char. In each thing give him way, cross him in 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.
But here comes Antony.
Enter ANTONY.
Cleo.
I am sick and sullen.
Ant. I am sorry to give breathing to my purpose,-
Cleo. Help me away, dear Charmian; I shall fall :
It cannot be thus long, the sides of nature
Will not sustain it.
©
10

Ant.
Now, my dearest queen,
Cleo. Pray you, stand farther from me.
Ant.
What's the matter?
Cleo. I know, by that same eye, there's some good news.
*

12
[ACT I.
ANTONY AND CLEOPATRA.
What says the married woman? You may go :
Would she had never given you leave to come!
Let her not say 'tis I that keep you here :
I have no power upon you; hers you are.
Ant. The gods best know
Cleo.
O, never was there queen
So mightily betray'd! yet at the first
I saw the treasons planted.
Ant.
Cleopatra,
Cleo. Why should I think you can be mine and true,
Though you in swearing shake the throned gods,
Who have been false to Fulvia? Riotous madness,
To be entangled with those mouth-made vows,
Which break themselves in swearing!
Ant.
Cleo. Nay, pray you, seek no colour for your going,
But bid farewell, and go: when you sued staying,
Then was the time for words: no going then ;
Eternity was in our lips and eyes,
Bliss in our brows' bent; none our parts so poor,
But was a race of heaven: they are so still,
Or thou, the greatest soldier of the world,
Art turn'd the greatest liar.
0
Most sweet queen,-
Ant.
How now, lady!
Cleo. I would I had thy inches; thou shouldst know
There were a heart in Egypt.
20
Ant.
Hear me, queen :
The strong necessity of time commands
Our services awhile; but my full heart
Remains in use with you. Our Italy
Shines o'er with civil swords: Sextus Pompeius
Makes his approaches to the port of Rome :
Equality of two domestic powers
Breed scrupulous faction: the hated, grown to strength,
Are newly grown to love: the condemn'd Pompey,
Rich in his father's honour, creeps apace
30
Med k
40
50

SCENE III.]
ANTONY AND CLEOPATRA.
13
Into the hearts of such as have not thrived
Upon the present state, whose numbers threaten ;
And quietness, grown sick of rest, would purge
By any desperate change: my more particular,
And that which most with you should safe my going,
Is Fulvia's death.
Cleo. Though age from folly could not give me freedom,
It does from childishness: can Fulvia die?
Ant. She's dead, my queen:
Look here, and at thy sovereign leisure read
The garboils she awaked; at the last, best:
See when and where she died.
Cleo.
O most false love!
Where be the sacred vials thou shouldst fill
With sorrowful water? Now I see, I see,
In Fulvia's death, how mine received shall be.
Ant. Quarrel no more, but be prepared to know
The purposes I bear; which are, or cease,
As you shall give the advice. By the fire
That quickens Nilus' slime, I go from hence
Thy soldier, servant; making peace or war
As thou affect'st.
Cleo.
Cut my lace, Charmian, come ;
But let it be : I am quickly ill, and well,
So Antony loves.
1
Ant.
My precious queen, forbear;
And give true evidence to his love, which stands
An honourable trial.
Cleo.
So Fulvia told me.
I prithee, turn aside and weep for her;
Then bid adieu to me, and say the tears
Belong to Egypt: good now, play one scene
Of excellent dissembling; and let it look
Like perfect honour.
Ant.
You'll heat my blood: no more.
Cleo. You can do better yet; but this is meetly.
60
70
80
X
14
[ACT I.
ANTONY AND CLEOPATRA.
Ant. Now, by my sword,
Cleo.
And target. Still he mends;
But this is not the best. Look, prithee, Charmian,
How this Herculean Roman does become
The carriage of his chafe.
Ant. I'll leave you, lady.
Cleo.
Sir, you and I must part, but that's not it :
Sir, you and I have loved, but there's not it ;
That you know well: something it is I would,—
O, my oblivion is a very Antony,
And I am all forgōtten.
Ant.
But that your royalty
Holds idleness your subject, I should take you
For idleness itself.
Courteous lord, one word.
Cleo.
'Tis sweating labour
To bear such idleness so near the heart
As Cleopatra this. But, sir, forgive me ;
Since my becomings kill me, when they do not
Eye well to you: your honour calls you hence ;
Therefore be deaf to my unpitied folly,
And all the gods go with you! upon your sword
Sit laurel victory! and smooth success
Be strew'd before your feet!
Ant.
Let us go. Come;
Our separation so abides, and flies,
That thou, residing here, go'st yet with me,
And I, hence fleeting, here remain with thee.
Away!
Cæs. You may see, Lepidus, and henceforth know,
It is not Cæsar's natural vice to hate
SCENE IV. Rome. Cæsar's house.
Enter OCTAVIUS CESAR, reading a letter, LEpidus,
and their Train.
90
100
[Exeunt.
SCENE IV.]
ANTONY AND CLEOPATRA.
15
Our great competitor: from Alexandria
This is the news: he fishes, drinks, and wastes
The lamps of night in revel; is not more manlike
Than Cleopatra; nor the queen of Ptolemy
More womanly than he; hardly gave audience, or
Vouchsafed to think he had partners: you shall find there
A man who is the abstract of all faults
That all men follow.
Lep.
I must not think there are
Evils enow to darken all his goodness:
His faults in him seem as the spots of heaven,
More fiery by night's blackness; hereditary,
Rather than purchased; what he cannot change,
Than what he chooses.
Cæs. You are too indulgent. Let us grant, it is not
Amiss to tumble on the bed of Ptolemy;
To give a kingdom for a mirth; to sit
And keep the turn of tippling with a slave;
To reel the streets at noon, and stand the buffet
With knaves that smell of sweat: say this becomes him,-
As his composure must be rare indeed
Whom these things cannot blemish,-yet must Antony
No way excuse his soils, when we do bear
So great weight in his lightness. If he fill'd
His vacancy with his voluptuousness,
Full surfeits, and the dryness of his bones,
Call on him for 't: but to confound such time,
That drums him from his sport, and speaks as loud
As his own state and ours,-'tis to be chid
As we rate boys, who, being mature in knowledge,
Pawn their experience to their present pleasure,
And so rebel to judgement.
Enter a Messenger.
Here's more news.
Lep.
Mess. Thy biddings have been done; and every hour,
10
20
16
ANTONY AND CLEOPATRA.
[ACT I.
Most noble Cæsar, shalt thou have report
How 'tis abroad. Pompey is strong at sea;
And it appears he is beloved of those
That only have fear'd Cæsar: to the ports
The discontents repair, and men's reports
Give him much wrong'd.
Cœs.
I should have known no less.
It hath been taught us from the primal state,
That he which is was wish'd until he were ;
And the ebb'd man, ne'er loved till ne'er worth love,
Comes dear'd by being lack'd. This common body,
Like to a vagabond flag upon the stream,
Goes to and back, lackeying the varying tide,
To rot itself with motion.
Mess.
Cæsar, I bring thee word,
Menecrates and Menas, famous pirates,
Make the sea serve them, which they ear and wound
With keels of every kind: many hot inroads
They make in Italy; the borders maritime
Lack blood to think on 't, and flush youth revolt :
No vessel can peep forth, but 'tis as soon
Taken as seen; for Pompey's name strikes more
Than could his war resisted.
Cœs.
Antony,
Leave thy lascivious wassails. When thou once
Wast beaten from Modena, where thou slew'st
Hirtius and Pansa, consuls, at thy heel
Did famine follow; whom thou fought'st against,
Though daintily brought up, with patience more
Than savages could suffer: thou didst drink
The stale of horses, and the gilded puddle
Which beasts would cough at: thy palate then did deign
The roughest berry on the rudest hedge;
Yea, like the stag, when snow the pasture sheets,
The barks of trees thou browsed'st; on the Alps
It is reported thou didst eat strange flesh,
40
50
60
I
SCENE IV.] ANTONY AND CLEOPATRA.
17
Which some did die to look on and all this
It wounds thine honour that I speak it now-—
Was borne so like a soldier, that thy cheek
So much as lank'd not.
'Tis pity of him.
Lep.
Caes. Let his shames quickly
Drive him to Rome: 'tis time we twain
Did show ourselves i' the field; and to that end
Assemble we immediate council: Pompey
Thrives in our idleness.
Till which encounter,
Lep.
To-morrow, Cæsar,
I shall be furnish'd to inform you rightly
Both what by sea and land I can be able
To front this present time.
Cœs.
It is my business too. Farewell.
Lep. Farewell, my lord: what you shall know meantime
Of stirs abroad, I shall beseech you, sir,
To let me be partaker.
Cæs.
Doubt not, sir;
I knew it for my bond.
SCENE V. Alexandria. Cleopatra's palace.
Enter CLEOPATRA, CHARMIAN, IRAS, and MARDIAN.
Cleo. Charmian !
Char. Madam?
Cleo. Ha, ha!
Give me to drink mandragora.
Char.
Why, madam?
Cleo. That I might sleep out this great gap of time
My Antony is away.
You think of him too much.
Char.
Cleo. O, 'tis treason!
Char.
Cleo. Thou, eunuch Mardian !
B
Madam, I trust, not so.
70
[Exeunt.
80
18
ANTONY AND CLEOPATRA.
ГАСТ I.
Mar.
What's your highness' pleasure?
Cleo. Not now to hear thee sing. O Charmian,
Where think'st thou he is now? Stands he, or sits he? 10
Or does he walk? or is he on his horse?
O happy horse, to bear the weight of Antony!
Do bravely, horse! for wot'st thou whom thou movest?
The demi-Atlas of this earth, the arm
And burgonet of men. He's speaking now,
Or murmuring 'Where's my serpent of old Nile ?'
For so he calls me now I feed myself
With most delicious poison. Think on me,
That am with Phoebus' amorous pinches black,
And wrinkled deep in time? Broad-fronted Cæsar,
When thou wast here above the ground, I was
A morsel for a monarch: and great Pompey
Would stand and make his eyes grow in my brow;
There would he anchor his aspect and die
With looking on his life.
20
Enter ALEXAS.
Alex.
Sovereign of Egypt, hail!
Cleo. How much unlike art thou Mark Antony!
Yet, coming from him, that great medicine hath
With his tinct gilded thee.
How goes it with my brave Mark Antony?
Alex. Last thing he did, dear queen,
He kiss'd, the last of many doubled kisses,-
This orient pearl. His speech sticks in my heart.
Cleo. Mine ear must pluck it thence.
Alex.
'Good friend,' quoth he,
'Say, the firm Roman to great Egypt sends
This treasure of an oyster; at whose foot,
To mend the petty present, I will piece
Her opulent throne with kingdoms; all the east,
Say thou, shall call her mistress.' So he nodded,
And soberly did mount an arrogant steed,
S
30
SCENE V.]
19
ANTONY AND CLEOPATRA.
Who neigh'd so high, that what I would have spoke
Was beastly dumb'd by him.
Cleo.
What, was he sad or merry?
Alex. Like to the time o' the year between the extremes
Of hot and cold, he was nor sad nor merry.
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
That make their looks by his; he was not merry,
Which seem'd to tell them his remembrance lay
In Egypt with his joy; but between both :
O heavenly mingle! Be'st thou sad or merry,
The violence of either thee becomes,
So does it no man else. Met'st thou my posts?
Alex. Ay, madan, twenty several messengers :
Why do you send so thick?
Cleo.
Who's born that day
When I forget to send to Antony,
Shall die a beggar. Ink and paper, Charmian.
Welcome, my good Alexas. Did I, Charmian,
Ever love Cæsar so?
Char.
O that brave Cæsar!
Cleo. Be choked with such another emphasis !
Say, the brave Antony.
Char.
The valiant Cæsar!
Cleo. By Isis, I will give thee bloody teeth,
If thou with Cæsar paragon again
My man of men.
Char.
By your most gracious pardon,
I sing but after you.
Cleo.
My salad days,
When I was green in judgement: cold in blood,
To say as I said then! But, come, away;
Get me ink and paper:
He shall have every day a several greeting,
Or I'll unpeople Egypt:
40
50
60
[Exeunt.
•
20
[ACT II.
ANTONY AND CLEOPATRA.
し
​ACT II.
SCENE I. Messina. Pompey's house.
Enter POMPEY, MENECRATES, and MENAS, in
warlike manner.
Pom. If the great gods be just, they shall assist
The deeds of justest men.
Mene.
Know, worthy Pompey,
That what they do delay, they not deny.
Pom. Whiles we are suitors to their throne, decays
The thing we sue for.
Mene,
We, ignorant of ourselves,
Beg often our own harms, which the wise powers
Deny us for our good; so find we profit
By losing of our prayers.
Pom.
I shall do well:
The people love me, and the sea is mine;
My powers are crescent, and my auguring hope
Says it will come to the full. Mark Antony
In Egypt sits at dinner, and will make
No wars without doors: Cæsar gets money where
He loses hearts: Lepidus flatters both,
Of both is flatter'd ; but he neither loves,
Nor either cares for him.
Men.
Cæsar and Lepidus
Are in the field: a mighty strength they carry.
Pom. Where have you this? 'tis false.
Men.
Salt Cleopatra, soften thy waned lip!
Let witchcraft join with beauty, lust with both!
Tie up the libertine in a field of feasts,
Keep his brain fuming; Epicurean cooks
10
From Silvius, sir.
Pom. He dreams: I know they are in Rome together,
Looking for Antony. But all the charms of love,
20
SCENE I.]
ANTONY AND CLEOPATRA.
21
Sharpen with cloyless sauce his appetite;
That sleep and feeding may prorogue his honour
Even till a Lethe'd dulness !
Enter VARRIUS.
How now, Varrius !
Var. This is most certain that I shall deliver :
Mark Antony is every hour in Rome
Expected: since he went from Egypt 'tis
A space for further travel.
Pom.
I could have given less matter
Menas, I did not think
A better ear.
This amorous surfeiter would have donn'd his helm
For such a petty war: his soldiership
Is twice the other twain: but let us rear
The higher our opinion, that our stirring
Can from the lap of Egypt's widow pluck
The ne'er-lust-wearied Antony.
Men.
I cannot hope
Cæsar and Antony shall well greet together:
His wife that's dead did trespasses to Cæsar;
His brother warr'd upon him; although, I think,
Not moved by Antony.
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 themselves;
For they have entertained cause enough
To draw their swords: but how the fear of us
May cement their divisions and bind up
The petty difference, we yet not know.
Be 't as our gods will have 't! It only stands
Our lives upon to use our strongest hands.
Come, Menas.
30
40
50
[Exeunt.
22
[ACT II.
ANTONY AND CLEOPATRA.

SCENE II. Rome. The house of Lepidus.
Enter ENOBARBUS and Lepidus.
Lep. Good Enobarbus, 'tis a worthy deed,
And shall become you well, to entreat your captain
To soft and gentle speech.
Eno.
I shall entreat him
To answer like himself: If Cæsar move him,
Let Antony look over Cæsar's head
And speak as loud as Mars. By Jupiter,
Were I the wearer of Antonius' beard,
I would not shave 't to-day.
Lep.
For private stomaching.
'Tis not a time
Eno.
Serves for the matter that is then born in 't.
Every time
Lep. But small to greater matters must give way.
Eno. Not if the small come first.
Eno.
Lep.
Your speech is passion:
But, pray you, stir no embers up. Here comes
The noble Antony.
Enter ANTONY and VENTIDIUS.
And yonder, Cæsar.
Enter CÆSAR, MECENAS, and AGRIPPA.
Ant. If we compose well here, to Parthia :
Hark, Ventidius.
I do not know,
Noble friends,
Cæs.
Mecænas; ask Agrippa.
Lep.
That which combined us was most great, and let not
A leaner action rend us. What's amiss,
May it be gently heard when we debate
Our trivial difference loud, we do commit
10
20
SCENE II.]
23
ANTONY AND CLEOPATRA.
Murder in healing wounds: then, noble partners,
The rather, for I earnestly beseech,
Touch you the sourest points with sweetest terms,
Nor curstness grow to the matter.
Ant.
Were we before our armies, and to fight,
I should do thus.
Cæs. Welcome to Rome.
Ant.
Cœs.
Ant.
Cæs.
Ant. I learn, you take things ill which are not so,
Or being, concern you not.
'Tis spoken well.
Thank you.
Sit.
Sit, sir.
Nay, then.
C'œs.
I must be laugh'd at,
If, or for nothing or a little, I
Should say myself offended, and with you
Chiefly i' the world; more laugh'd at, that I should
Once name you derogately, when to sound your name
It not concern'd me.
Ant.
My being in Egypt, Cæsar,
What was 't to you?
Cæs. 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.
Ant.
How intend you, practised?
Cæs. You may be pleased to catch at mine intent
By what did here befal me. Your wife and brother
Made wars upon me; and their contestation
Was theme for you, you were the word of war.
Ant. You do mistake your business; my brother never
Did urge me in his act: I did inquire it ;
And have my learning from some true reports,
That drew their swords with you. Did he not rather
Discredit my authority with yours;
30
40
24
ANTONY AND CLEOPATRA.
[ACT II.
1:
And make the wars alike against my stomach,
Having alike your cause? Of this my letters
Before did satisfy you. If you 'll patch a quarrel,
As matter whole you've not to make it with,
It must not be with this.
Cœs.
You praise yourself
By laying defects of judgement to me; but
You patch'd up your excuses.
Cœs.
I wrote to you
When rioting in Alexandria; you
Did pocket up my letters, and with taunts
Did gibe my missive out of audience.
Ant.
Sir,
He fell upon me ere admitted: then
Three kings I had newly feasted, and did want
Of what I was i̇' the morning: but next day
I told him of myself; which was as much
As to have ask'd him pardon. Let this fellow
Be nothing of our strife; if we contend,
Out of our question wipe him.
50
Ant.
Not so, not so ;
I know you could not lack, I am certain on 't,
Very necessity of this thought, that I,
Your partner in the cause 'gainst which we fought,
Could not with graceful eyes attend those wars
Which fronted mine own peace. As for my wife,
I would you had her spirit in such another :
The third o' the world is yours; which with a snaffle
You may pace easy, but not such a wife.
Eno. Would we had all such wives, that the men might go
to wars with the women !
Ant. So much uncurbable, her garboils, Cæsar,
Made out of her impatience, which not wanted
Shrewdness of policy too, I grieving grant
Did you too much disquiet: for that you must
But say, I could not help it.
60
70
80
SCENE II.] ANTONY AND CLEOPATRA.
25
You have broken
Cæs.
The article of your oath; which you shall never
Have tongue to charge me with.
Lep.
Soft, Cæsar!
Ant.
No,
Lepidus, let him speak :
The honour is sacred which he talks on now,
Supposing that I lack'd it.
But, on, Cæsar;
The article of my oath.
Cæs. To lend me arms and aid when I required them;
The which you both denied.
Ant.
Neglected, rather;
And then when poison'd hours had bound me up
From mine own knowledge. As nearly as I may,
I'll play the penitent to you: but mine honesty
Shall not make poor my greatness, nor my power
Work without it. Truth is, that Fulvia,
To have me out of Egypt, made wars here ;
For which myself, the ignorant motive, do
So far ask pardon as befits mine honour
To stoop in such a case.
Lep.
"Tis noble spoken.
Mec. If it might please you, to enforce no further
The griefs between ye: to forget then quite
Were to remember that the present need
Speaks to atone you.
90
100
Worthily spoken, Mecanas.
Lep.
Eno. Or, if you borrow one another's love for the instant,
you may, when you hear no more words of Pompey, return it
again: you shall have time to wrangle in when you have
nothing else to do.
Ant. Thou art a soldier only speak no more.
Eno. That truth should be silent I had almost forgot.
Ant. You wrong this presence; therefore speak no more.
Eno. Go to, then; your considerate stone.
Cæs. I do not much dislike the matter, but
110
26
[ACT II.
ANTONY AND CLEOPATRA.
*
The manner of his speech; for 't cannot be
We shall remain in friendship, our conditions
So differing in their acts. Yet, if I knew
What hoop should hold us stanch, from edge to edge
O' the world I would pursue it.
Give me leave, Cæsar,--
Agr.
Cæs. Speak, Agrippa.
Agr. Thou hast a sister by the mother's side,
Admired Octavia: great Mark Antony
Is now a widower.
Say not so, Agrippa :
Cces.
If Cleopatra heard you, your reproof
Were well deserved of rashness.
Ant. I am not married, Cæsar: let me hear Agrippa
further speak.
Agr. To hold you in perpetual amity,
To make you brothers, and to knit your hearts
With an unslipping knot, take Antony
Octavia to his wife; whose beauty claims.
No worse a husband than the best of men ;
Whose virtue and whose general graces speak
That which none else can utter. By this marriage,
All little jealousies, which now seem great,
And all great fears, which now import their dangers,
Would then be nothing: truths would be tales,
Where now half tales be truths: her love to both
Would, each to other and all loves to both,
Draw after her. Pardon what I have spoke ;
For 'tis a studied, not a present thought,
By duty ruminated.
Ant.
Will Cæsar speak?
Caes. Not till he hears how Antony is touch'd
With what is spoke already.
Ant.
If I would say, 'Agrippa, be it so,'
To make this good?
What power is in Agrippa,
120
130
140
SCENE II.]
27
ANTONY AND CLEOPATRA.
Cœs.
His power unto Octavia.
Ant.
May I never
To this good purpose, that so fairly shows,
Dream of impediment! Let me have thy hand •
Further this act of grace; and from this hour
The heart of brothers govern in our loves
And sway our great designs!
Cæs.
A sister I bequeath you, whom no brother
Did ever love so dearly: let her live
To join our kingdoms and our hearts; and never
Fly off our loves again!
The power of Cæsar, and
There is my hand.
Lep.
Time calls upon's :
Of us must Pompey presently be sought,
Or else he seeks out us.
Lep.
Happily, amen!
Ant. I did not think to draw my sword 'gainst Pompey ;
For he hath laid strange courtesies and great
Of late upon me: I must thank him only,
Lest my remembrance suffer ill report;
At heel of that, defy him.
Ant.
Where lies he?
Cæs. About the Mount Misenum.
Ant. What is his strength by land?
Cæs. Great and increasing: but by sea
He is an absolute master.
Ant.
So is the fame.
Would we had spoke together! Haste we for it:
Yet, ere we put ourselves in arms, despatch we
The business we have talk'd of.
Cas.
With most gladness:
And do invite you to my sister's view,
Whither straight I'll lead you.
Ant.
Let us, Lepidus,
Not lack your company.
150
160
28
[ACT II.
ANTONY AND CLEOPATRA.
Lep.
Not sickness should detain me.
Noble Antony,
•
Mec. Welcome from Egypt, sir.
Eno. Half the heart of Cæsar, worthy Mecenas !
honourable friend, Agrippa!
170
[Flourish. Exeunt Cæsar, Antony, and Lepidus.
My
Agr. Good Enobarbus !
Mec. We have cause to be glad that matters are so well
digested. You stayed well by 't in Egypt.
Eno. Ay, sir; we did sleep day out of countenance, and
made the night light with drinking.
Mec. Eight wild-boars roasted whole at a breakfast, and
but twelve persons there; is this true?
181
Eno. This was but as a fly by an eagle: we had much
more monstrous matter of feast, which worthily deserved
noting.
Mec. She's a most triumphant lady, if report be square to
her.
Eno. When she first met Mark Antony, she pursed up his
heart, upon the river of Cydnus.
Agr. There she appeared indeed; or my reporter devised
well for her.
190
Eno. I will tell you.
The barge she sat in, like a burnish'd throne,
Burn'd on the water: the poop was beaten gold ;
Purple the sails, and so perfumed that
The winds were love-sick with them; the oars were silver,
Which to the tune of flutes kept stroke, and made
The water which they beat to follow faster,
As amorous of their strokes. For her own person,
It beggar'd all description: she did lie
In her pavilion-cloth-of-gold of tissue-
O'er-picturing that Venus where we see
The fancy outwork nature: on each side her
Stood pretty dimpled boys, like smiling Cupids,
With divers-colour'd fans, whose wind did seem
200
SCENE II.]
29
ANTONY AND CLEOPATRA.
To glow the delicate cheeks which they did cool,
And what they undid did.
Agr.
O, rare for Antony !
Eno. Her gentlewomen, like the Nereides,
So many mermaids, tended her i' the eyes,
And made their bends adornings: at the helm
A seeming mermaid steers: the silken tackle
Swell with the touches of those flower-soft hands,
That yarely frame the office. From the barge
A strange invisible perfume hits the sense
Of the adjacent wharfs. The city cast
Her people out upon her; and Antony,
Enthroned i' the market-place, did sit alone,
Whistling to the air; which, but for vacancy,
Had gone to gaze on Cleopatra too
And made a gap in nature.
Agr.___
Rare Egyptian !
Eno. Upon her landing, Antony sent to her,
Invited her to supper: she replied,
It should be better he became her guest;
Which she entreated: our courteous Antony,
Whom ne'er the word of 'No' woman heard speak,
Being barber'd ten times o'er, goes to the feast,
And for his ordinary pays his heart
For what his eyes eat only.
Agr. Royal wench!
Eno.
I saw her once
Hop forty paces through the public street;
And having lost her breath, she spoke, and panted,
That she did make defect perfection,
And, breathless, power breathe forth.
Mec. Now Antony must leave her utterly.
Eno. Never; he will not:
Age cannot wither her, nor custom stale
Her infinite variety: other women cloy
The appetites they feed: but she makes hungry
J
210
220

230
a #

30
[ACT II.
ANTONY AND CLEOPATRA.

Where most she satisfies: for vilest things
Become themselves in her; that the holy priests
Bless her when she is riggish.
Mec. If beauty, wisdom, modesty, can settle
The heart of Antony, Octavia is
A blessed lottery to him.
Let us go.
Agr.
Good Enobarbus, make yourself my guest
Whilst you abide here.
Eno.
Humbly, sir, I thank you.
SCENE III. The same. Caesar's house.
Enter ANTONY, CESAR, OCTAVIA between them,
and Attendants.
Ant. The world and my great office will sometimes
Divide me from your bosom.
Octa.
All which time
Before the gods my knee shall bow my prayers
To them for you.
Ant.
Good night, sir. My Octavia,
Read not my blemishes in the world's report:
I have not kept my square; but that to come
Shall all be done by the rule. Good night, dear lady.
Good night, sir.
Cæs. Good night.
[Exeunt.
Ant. If you can, your reason?
Sooth.
Enter Soothsayer.
Ant. Now, sirrah; you do wish yourself in Egypt ?
Sooth. Would I had never come from thence, nor you
Thither!
I see it in
My motion, have it not in my tongue: but yet
240
[Exeunt Cæsar and Octavia.
10
SCENE III.1
31
ANTONY AND CLEOPATRA.
Hie you to Egypt again.
Ant.
Say to me,
Whose fortunes shall rise higher, Cæsar's or mine?
Sooth. Cæsar's.
Therefore, O Antony, stay not by his side :
Thy demon, that's thy spirit which keeps thee, is
Noble, courageous, high, unmatchable,
Where Cæsar's is not; but, near him, thy angel
Becomes a fear, as being o'erpower'd therefore
Make space enough between you.

Ant.
Speak this no more.
Sooth. To none but thee; no more, but when to thee.
If thou dost play with him at any game,
Thou art sure to lose; and, of that natural luck,
He beats thee 'gainst the odds: thy lustre thickens,
When he shines by: I say again, thy spirit
Is all afraid to govern thee near him;
But, he away, 'tis noble.
He hath spoken true: the very dice obey him ;
And in our sports my better cunning faints
Under his chance: if we draw lots, he speeds;
His cocks do win the battle still of mine,
When it is all to nought; and his quails ever
Beat mine, inhoop'd, at odds. I will to Egypt:
And though I make this marriage for my peace,
I' the east my pleasure lies.
Enter VENTIDIUS.
Ant.
Get thee gone :
Say to Ventidius I would speak with him: [Exit Soothsayer.
He shall to Parthia. Be it art or hap,
O, come, Ventidius,
You must to Parthia: your commission's ready;
Follow me, and receive 't.
20
30
40
[Exeunt.
32
[ACT II.
ANTONY AND CLEOPATRA.
muni
SCENE IV. The same. A street.
Enter LEPIDUS, MECENAS, and AGRIPPA.
Lep. Trouble yourselves no further: pray you, hasten
Your generals after.
Agr.
Sir, Mark Antony
Will e'en but kiss Octavia, and we'll follow.
Lep. Till I shall see you in your soldier's dress,
Which will become you both, farewell.
Mec.
As I conceive the journey, be at the Mount
Before you, Lepidus.
We shall,
Lep.
Your way is shorter ;
My purposes do draw me much about :
You'll win two days upon me.
Mec.
Agr.
Lep. Farewell.
Sir, good success !
[Exeunt.
SCENE V. Alexandria. Cleopatra's palace.
Enter CLEOPATRA, CHARMIAN, IRAS, and ALEXAS.
Cleo. Give me some music; music, moody food
Of us that trade in love.
Attend.
The music, ho!
Enter MARDIAN the Eunuch.
Cleo. Let it alone; let's to billiards: come, Charmian.
Char. My arm is sore; best play with Mardian.
Cleo. As well a woman with an eunuch play'd
As with a woman. Come, you'll play with me, sir?
10
Mar. As well as I can, madam.
Cleo. And when good will is show'd, though 't come too short,
The actor may plead pardon. I'll none now:
Give me mine angle; we'll to the river: there,
10
SCENE V.]
ANTONY AND CLEOPATRA.
33
My music playing far off, I will betray
Tawny-finn'd fishes; my bended hook shall pierce
Their slimy jaws; and, as I draw them up,
I'll think them every one an Antony,
And say 'Ah, ha! you're caught.'
Char.
'Twas merry when
You wager'd on your angling; when your diver
Did hang a salt-fish on his hook, which he
With fervency drew up.
Cleo.
:
That time,-O times!—
I laugh'd him out of patience; and that night
I laugh'd him into patience and next morn,
Ere the ninth hour, I drunk him to his bed;
Then put my tires and mantles on him, whilst
I wore his sword Philippan.
Enter a Messenger.
O, from Italy!
Ram thou thy fruitful tidings in mine ears,
That long time have been barren.
Madam, madam,-
Mess.
Cleo. Antonius dead!-If thou say so, villain,
Thou kill'st thy mistress: but well and free,
If thou so yield him, there is gold, and here
My bluest veins to kiss; a hand that kings
Have lipp'd, and trembled kissing.
Mess. First, madam, he is well. ✓
Cleo.
But, sirrah, mark, we use
To say the dead are well: bring it to that,
The gold I give thee will I melt and pour
Down thy ill-uttering throat.
Mess. Good madam, hear me.
Cleo.
Well, go to, I will;
But there's no goodness in thy face: if Antony
с
20
ارواش
30
Why, there's more gold.
34
ANTONY AND CLEOPATRA.
[ACT II.
Be free and healthful,-so tart a favour
To trumpet such good tidings! If not well,
Thou shouldst come like a Fury crown'd with snakes,
Not like a formal man.
Mess.
Will't please you hear me?
Cleo. I have a mind to strike thee ere thou speak'st :
Yet, if thou say Antony lives, is well,
Or friends with Cæsar, or not captive to him,
I'll set thee in a shower of gold, and hail
Rich pearls upon thee.
Madam, he's well.
Mess.
Cleo.
Mess. And friends with Cæsar.
Well said.
Cleo.
Mess. Cæsar and he are greater friends than ever.
Cleo. Make thee a fortune from me.
Thou'rt an honest man.
Mess. Good madam, patience.
Cleo.
Cleo.
I am pale, Charmian.
Mess. Madam, he's married to Octavia.
Cleo. The most infectious pestilence upon thee!
Mess.
But yet, madam,—
Cleo. I do not like 'But yet,' it does allay
The good precedence; fie upon ‘But yet'!
'But yet' is a gaoler to bring forth
Some monstrous malefactor. Prithee, friend,
Pour out the pack of matter to mine ear,
The good and bad together: he's friends with Cæsar;
In state of health thou say'st; and thou say'st free.
Mess. Free, madam! no; I made no such report :
He's bound unto Octavia.
40
Horrible villain! or I'll spurn thine eyes
Like balls before me; I'll unhair thy head:
50
60
[Strikes him down.
What say you? Hence,
[Strikes him again.
[She hales him up and down.
SCENE V.]
ANTONY AND CLEOPATRA.
35
Thou shalt be whipp'd with wire, and stew'd in brine,
Smarting in lingering pickle.
Mess.
Gracious madam,
I that do bring the news made not the match.
Cleo. Say 'tis not so, a province I will give thee,
And make thy fortunes proud: the blow thou hadst
Shall make thy peace for moving me to rage ;
And I will boot thee with what gift beside
Thy modesty can beg.
Cleo. Some innocents 'scape not the thunderbolt.
Melt Egypt into Nile! and kindly creatures.
Turn all to serpents! Call the slave again :
Though I am mad, I will not bite him: call.
Char. He is afeard to come.
Cleo.
Mess.
He's married, madam.
Mess.
Cleo. Rogue, thou hast lived too long. [Draws a knife.
Nay, then I'll run.
What mean you, madam? I have made no fault.
Char. Good madam, keep yourself within yourself:
The man is innocent.
[Exit.
таб
I will not hurt him.
These hands do lack nobility, that they strike
A meaner than myself; since I myself
Have given myself the cause.
Re-enter CHARMIAN and Messenger.
Come hither, sir.
Though it be honest, it is never good
To bring bad news: give to a gracious message
An host of tongues; but let ill tidings tell
Themselves when they be felt.
Mess.
Cleo. Is he married?
I cannot hate thee worser than I do,
70
80
[Exit Charmian.
I have done my duty.
توقع منها
36
ANTONY AND CLEOPATRA.
[ACT II.
فروة في المرأة
If thou again say 'Yes.'
Mess.
He's married, madam.
90
Cleo. The gods confound thee! dost thou hold there still ?
Mess. Should I lie, madam?
Cleo.
O, I would thou didst,
So half my Egypt were submerged and made
A cistern for scaled snakes! Go, get thee hence :
Hadst thou Narcissus in thy face, to me
Thou wouldst appear most ugly. He is married?
Mess. I crave your highness' pardon.
Cleo.
是
​He is married?
Mess. Take no offence that I would not offend you :
To punish me for what you make me do
Seems much unequal: he's married to Octavia.
Cleo. O, that his fault should make a knave of thee,
That art not; What? thou 'rt sure of 't? Get thee hence :
The merchandise which thou hast brought from Rome
Are all too dear for me: lie they upon thy hand,
And be undone by 'em!
[Exit Messenger.
Char.
Good your highness, patience.
Cleo. In praising Antony, I have dispraised Cæsar.
Char. Many times, madam.
Cleo.
I am paid for 't now.
Lead me from hence ;
I faint: O Iras, Charmian! 'tis no matter.
Go to the fellow, good Alexas; bid him
Report the feature of Octavia, her years,
Her inclination, let him not leave out
The colour of her hair: bring me word quickly.
100
110
[Exit Alexas.
Let him for ever go :—let him not-Charmian,
Though he be painted one way like a Gorgon,
The other way's à Mars. Bid you Alexas
Bring me word how tall she is. Pity me, Charmian,
But do not speak to me. Lead me to my chamber. [Exeunt.
[To Mardian.
SCENE VI.]
37
ANTONY AND CLEOPATRA.
SCENE VI. Near Misenum.
Flourish. Enter POMPEY and MENAS at one side, with drum
and trumpet: at another, CÆSAR, ANTONY, LEPIDUS,
ENOBARBUS, MECENAS, with Soldiers marching.
Pom. Your hostages I have, so have you mine;
And we shall talk before we fight.
Cœs.
Most meet
That first we come to words; and therefore have we
Our written purposes before us sent ;
Which, if thou hast consider'd, let us know
If 'twill tie up thy discontented sword,
And carry back to Sicily much tall youth
That else must perish here.
Pom.
To you all three,
The senators alone of this great world,
Chief factors for the gods, I do not know
Wherefore my father should revengers want,
Having a son and friends; since Julius Cæsar,
Who at Philippi the good Brutus ghosted,
There saw you labouring for him. What was 't
That moved pale Cassius to conspire; and what
Made the all-honour'd, honest Roman, Brutus,
With the arm'd rest, courtiers of beauteous freedom,
To drench the Capitol; but that they would
Have one man but a man? And that is it
Hath made me rig my navy; at whose burthen
The anger'd ocean foams; with which I meant
To scourge the ingratitude that despiteful Rome
Cast on my noble father.
Cæs.
Take your time.
Ant. Thou canst not fear us, Pompey, with thy sails;
We'll speak with thee at sea: at land, thou know'st
How much we do o'er-count thee.
Pom.
At land, indeed,
10
20
38
ANTONY AND CLEOPATRA.
[ACT II.
Thou dost o'er-count me of my father's house :
But, since the cuckoo builds not for himself,
Remain in 't as thou mayst.
Lep.
Be pleased to tell us―
For this is from the present-how you take
The offers we have sent you.
Cœes.
There's the point.
Ant. Which do not be entreated to, but weigh
What it is worth embraced.
Cæs.
And what may follow,
To try a larger fortune.
You have made me offer
Pom.
Of Sicily, Sardinia; and I must
Rid all the sea of pirates; then, to send
Measures of wheat to Rome; this 'greed upon,
To part with unhack'd edges, and bear back
Our targes undinted.
Cæs. Ant. Lep. That's our offer.
Pom.
Know, then,
I came before you here a man prepared
To take this offer: but Mark Antony
Put me to some impatience: though I lose
The praise of it by telling, you must know,
When Cæsar and your brother were at blows,
Your mother came to Sicily and did find
Her welcome friendly.
Ant.
I have heard it, Pompey;
And am well studied for a liberal thanks
Which I do owe you.
Pom.
Let me have your hand:
I did not think, sir, to have met you here.
Ant. The beds i' the east are soft; and thanks to you,
That call'd me timelier than my purpose hither;
For I have gain'd by 't.
Cœs.
There is a change upon you.
Since I saw you last,
30
40
50
SCENE VI.]
39
ANTONY AND CLEOPATRA.
Pom
Well, I know not
What counts harsh fortune casts upon my face;
But in my bosom shall she never come,
To make my heart her vassal.
Lep.
Well met here.
Pom. I hope so, Lepidus. Thus we are agreed:
I crave our composition may be written,
And seal'd between us.
Cœs.
That's the next to do.
Pom. We'll feast each other ere we part; and let's
Draw lots who shall begin.
Ant.
That will I, Pompey.
Pom. No, Antony, take the lot: but, first
Or last, your fine Egyptian cookery
Shall have the fame. I have heard that Julius Cæsar
Grew fat with feasting there.
You have heard much.
Ant.
Pom. I have fair meanings, sir.
Ant.
Pom. Then so much have I heard:
And I have heard, Apollodorus carried-
Eno. No more of that: he did so.
And fair words to them:
Pom.
Eno. A certain queen to Cæsar in a mattress.
Pom. I know thee now: how farest thou, soldier?
Eno.
What, I pray you? 70
And well am like to do; for, I perceive,
Four feasts are toward.
Pom.
Let me shake thy hand;
I never hated thee: I have seen thee fight,
When I have envied thy behaviour.
Eno.
Sir,
I never loved you much; but I ha' praised ye,
When you have well deserved ten times as much
As I have said you did.
Pom
Enjoy thy plainness,
60

Well;
40
ANTONY AND CLEOPATRA.
[ACT II.
It nothing ill becomes thee.
Aboard my galley I invite you all :
Will you lead, lords?
Cæs. Ant. Lep.
Pom.
Show us the way, sir.
Come.
[Exeunt all but Menas and Enobarbus.
Men. [Aside] Thy father, Pompey, would ne'er have made
this treaty. You and I have known, sir.
Eno. At sea, I think.
Men. We have, sir.
Eno. You have done well by water.
Men. And you by land.
Eno. I will praise any man that will praise me; though it
cannot be denied what I have done by land.
90
80

Men. Nor what I have done by water.
Eno. Yes, something you can deny for your own safety:
you have been a great thief by sea.
Men. And you by land.
Eno. There I deny my land service. But give me your
hand, Menas: if our eyes had authority, here they might
take two thieves kissing.
Men. All men's faces are true, whatsome'er their hands are.
Eno. But there is never a fair woman has a true face.
Men. No slander; they steal hearts.
Eno. We came hither to fight with you.
Men. For my part, I am sorry it is turned to a drinking.
Pompey doth this day laugh away his fortune.
Eno. If he do, sure, he cannot weep 't back again.
Men. You've said, sir. We looked not for Mark Antony
here pray you, is he married to Cleopatra?
Eno. Cæsar's sister is called Octavia.
Men. True, sir; she was the wife of Caius Marcellus.
Eno. But she is now the wife of Marcus Antonius.
Men. Pray ye, sir?
Eno. 'Tis true.
Men. Then is Cæsar and he for ever knit together.
100
110
SCENE VI.]
ANTONY AND CLEOPATRA.
41
↓
Eno. If I were bound to divine of this unity, I would not
prophesy so.
Men. I think the policy of that purpose made more in the
marriage than the love of the parties.
Eno. I think so too. But you shall find, the band that
seems to tie their friendship together will be the very
strangler of their amity: Octavia is of a holy, cold, and still
conversation.
120
Men. Who would not have his wife so?
Eno. Not he that himself is not so; which is Mark
Antony. He will to his Egyptian dish again: then shall the
sighs of Octavia blow the fire up in Cæsar; and, as I said
before, that which is the strength of their amity shall prove
the immediate author of their variance. Antony will use his
affection where it is: he married but his occasion here.
Men. And thus it may be.
Come, sir, will you aboard? I
have a health for you.
129
Eno. I shall take it, sir: we have used our throats in
Egypt.
Men. Come, let's away.
[Exeunt.

SCENE VII. On board Pompey's galley, off Misenum.
Music plays. Enter two or three Servants with a banquet.
First Serv. Here they 'll be, man. Some o' their plants are
ill-rooted already; the least wind i' the world will blow them
down.
Sec. Serv. Lepidus is high-coloured.
First Serv. They have made him drink alms-drink.
Sec. Serv. As they pinch one another by the disposition, he
cries out 'No more;' reconciles them to his entreaty, and
himself to the drink.
First Serv. But it raises the greater war between him and
his discretion.
10
Sec. Serv. Why, this it is to have a name in great men's
42
[ACT II.
ANTONY AND CLEOPATRA.
fellowship: I had as lief have a reed that will do me no
service as a partisan I could not heave.
First Serv. To be called into a huge sphere, and not to be
seen to move in 't, are the holes where eyes should be, which
pitifully disaster the cheeks.
A sennet sounded. Enter CSAR, ANTONY, LEPIDUS, POMPEY,
AGRIPPA, MECENAS, ENOBARBUS, MENAS, with other
captains.
Ant. [To Cesar] Thus do they, sir: they take the flow o'
the Nile
By certain scales i' the pyramid; they know,
By the height, the lowness, or the mean, if dearth
Or foison follow the higher Nilus swells,
The more it promises: as it ebbs, the seedsman
Upon the slime and ooze scatters his grain,
And shortly comes to harvest.
20
Lep. You've strange serpents there.
Ant. Ay, Lepidus.
Lep. Your serpent of Egypt is bred now of your mud by
the operation of your sun: so is your crocodile.

Ant. They are so.
Pom. Sit, and some wine! A health to Lepidus!
Lep. I am not so well as I should be, but I'll ne'er out. 30
Eno. Not till you have slept; I fear me you'll be in till
then.
Lep. Nay, certainly, I have heard the Ptolemies' pyramises
are very goodly things; without contradiction, I have heard
that.
Men. [Aside to Pom.] Pompey, a word.
Pom.
[Aside to Men.] Say in mine ear: what is 't?
Men. [Aside to Pom.] Forsake thy seat, I do beseech thee,
captain,
And hear me speak a word.
Pom.
This wine for Lepidus!
[Aside to Men.] Forbear me till anon.
SCENE VII.] ANTONY AND CLEOPATRA.
43
40
Lep. What manner o' thing is your crocodile ?
Ant. It is shaped, sir, like itself; and it is as broad as it
hath breadth it is just so high as it is, and moves with it
own organs it lives by that which nourisheth it; and the
elements once out of it, it transmigrates.
Lep. What colour is it of?
Ant. Of it own colour too.
Lep. 'Tis a strange serpent.
Ant. 'Tis so.
Cæs. Will this description satisfy him?
And the tears of it are wet.
Ant. With the health that Pompey gives him, else he is a
very epicure.
51
Pom. [Aside to Men.] Go hang, sir, hang! Tell me of that?
away!
Do as I bid you. Where's this cup I call'd for?
Men. [Aside to Pom.] If for the sake of merit thou wilt
hear me,
Rise from thy stool.
Pom. [Aside to Men.] I think thou 'rt mad. The matter?
[Rises, and walks aside.
Men. I have ever held my cap off to thy fortunes.
Pom. Thou hast served me with much faith. What's else
to say
?
Be jolly, lords.
Ant.
These quick-sands, Lepidus,
Keep off them, for you sink.
Men. Wilt thou be lord of all the world?
Pom.
What say'st thou ?
Men. Wilt thou be lord of the whole world?
That's
61
twice.
Pom. How should that be?
Men.
But entertain it,
And, though thou think me poor, I am the man
Will give thee all the world.
Porn.
Hast thou drunk well?
Men. No, Pompey, I have kept me from the cup.
44
ANTONY AND CLEOPATRA.
[ACT II.
•
Thou art, if thou darest be, the earthly Jove :
Whate'er the ocean pales, or sky inclips,
Is thine, if thou wilt ha't.
Pom.
Show me which way.
Men. These three world-sharers, these competitors,
Are in thy vessel let me cut the cable;
And, when we are put off, fall to their throats:
All there is thine.
Pom.
Ah, this thou shouldst have done,
And not have spoke on 't! In me 'tis villany;
In thee 't had been good service. Thou must know,
'Tis not my profit that does lead mine honour;
Mine honour, it. Repent that e'er thy tongue
Hath so betray'd thine act: being done unknown,
I should have found it afterwards well done
But must condemn it now.
Desist, and drink.
Men. [Aside] For this,
I'll never follow thy pall'd fortunes more.
Who seeks, and will not take when once 'tis offer'd,
Shall never find it more.
Pom.
This health to Lepidus!
Ant. Bear him ashore. I'll pledge it for him, Pompey.
Eno. Here's to thee, Menas !
Men.
Enobarbus, welcome!
Pom. This is not yet an Alexandrian feast.
Ant. It ripens towards it. Strike the vessels, ho!
Here is to Cæsar!
70
80
Pom. Fill till the cup be hid.
Eno. There's a strong fellow, Menas.
[Pointing to the Attendant who carries off Lepidus.
Men. Why?
Eno. A' bears the third part of the world, man; see'st not?
Men. The third part, then, is drunk would it were all, 90
That it might go on wheels!
:
Eno. Drink thou; increase the reels.
Men. Come.
SCENE VII.] ANTONY AND CLEOPATRA.
45
Cœes.
I could well forbear 't.
It's monstrous labour when I wash my brain,
And it grows fouler.
Ant.
Be a child o' the time.
Caes. Possess it, I'll make answer :
But I had rather fast from all four days
Than drink so much in one.
Eno.
Ha, my brave emperor! [To Antony.
Shall we dance now the Egyptian Bacchanals,
And celebrate our drink?
Let's ha't, good soldier.
Pom.
Ant. Come, let's all take hands,
Till that the conquering wine hath steep'd our sense
In soft and delicate Lethe.
Eno.
All take hands.
Make battery to our ears with the loud music :
The while I'll place you: then the boy shall sing
The holding every man shall bear as loud
As his strong sides can volley.
THE SONG.
Come, thou monarch of the vine,
Plumpy Bacchus with pink eyne!
In thy fats our cares be drown'd,
With thy grapes our hairs be crown'd:
Cup us, till the world go round,
Cup us, till the world go round !
110
[Music plays. Enobarbus places them hand in hand.
Let me request you off: our graver business
Frowns at this levity. Gentle lords, let's part;
You see we have burnt our cheeks: strong Enobarb
Is weaker than the wine; and mine own tongue
100
Cæs. What would you more? Pompey, good night. Good
brother,
•
120
46
ANTONY AND CLEOPATRA. [ACT II. SC. VII.
Splits what it speaks: the wild disguise hath almost
Antick'd us all. What needs more words? Good night.
Good Antony, your hand.
Pom.
I'll try you on the shore.
Ant. And shall, sir: give's your hand.
Pom.
O Antony,
You have my father's house,-But, what? we are friends.
Come, down into the boat.
Eno.
Take heed you fall not.
[Exeunt all but Enobarbus and Menas.
Menas, I'll not on shore.
Men.
No, to my cabin.
These drums! these trumpets, flutes! what!
Let Neptune hear we bid a loud farewell
To these great fellows: sound and be hang'd, sound out!
[Sound a flourish, with drums.
[Exeunt.
Eno. Ho! says a'. There's my cap.
Men. Ho! Noble captain, come.
h.
ACT III.
SCENE I. A plain in Syria.
Enter VENTIDIUS as it were in triumph, with SILIUS, and other
Romans, Officers, and Soldiers; the dead body of PACORUS
borne before him.
Ven. Now, darting Parthia, art thou struck; and now
Pleased fortune does of Marcus Crassus' death
Make me revenger. Bear the king's son's body
Before our army. Thy Pacorus, Orodes,
Pays this for Marcus Crassus.
130
Sil.
Noble Ventidius,
Whilst yet with Parthian blood thy sword is warm,
The fugitive Parthians follow; spur through Media,
ACT III. SC. I.] ANTONY AND CLEOPATRA.
4.7
Mesopotamia, and the shelters whither
The routed fly: so thy grand captain Antony
Shall set thee on triumphant chariots and
Put garlands on thy head.
Ven.
O Silius, Silius,
I have done enough; a lower place, note well,
May make too great an act: for learn this, Silius;
Better to leave undone, than by our deed
Acquire too high a fame when him we serve 's away.
Cæsar and Antony have ever won
More in their officer than person: Sossius,
One of my place in Syria, his lieutenant,
For quick accumulation of renown,
Which he achieved by the minute, lost his favour.
Who does i' the wars more than his captain can
Becomes his captain's captain: and ambition,
The soldier's virtue, rather makes choice of loss,
Than gain which darkens him.
I could do more to do Antonius good,
But 'twould offend him; and in his offence
Should my performance perish.
Sil.
Thou hast, Ventidius, that
Without the which a soldier, and his sword,
Grants scarce distinction. Thou wilt write to Antony?
Ven. I'll humbly signify what in his name,
That magical word of war, we have effected
How, with his banners and his well-paid ranks,
The ne'er-yet-beaten horse of Parthia
We have jaded out o' the field.
10
20
30
Sil
Where is he now?
Ven. He purposeth to Athens: whither, with what haste
The weight we must convey with's will permit,
We shall appear before him. On, there; pass along!
[Exeunt.
43
[ACT III.
ANTONY AND CLEOPATRA.
SCENE II. Rome. An ante-chamber in Cæsar's house.
Enter AGRIPPA at one door, ENOBARBUS at another.
Agr. What, are the brothers parted?
Eno. They have despatch'd with Pompey, he is gone ;
The other three are sealing. Octavia weeps
To part from Rome; Cæsar is sad; and Lepidus,
Since Pompey's feast, as Menas says, is troubled
With the green sickness.

Agr.
'Tis a noble Lepidus.
Eno. A very fine one: O, how he loves Cæsar !
Agr. Nay, but how dearly he adores Mark Antony!
Eno. Cæsar? Why, he's the Jupiter of men.
Agr. What's Antony? The god of Jupiter.
Eno. Spake you of Cæsar? How ! the nonpareil !
Agr. O Antony! O thou Arabian bird!
Eno. Would you praise Cæsar, say 'Cæsar :' go no further.
Agr. Indeed, he plied them both with excellent praises.
Eno. But he loves Cæsar best; yet he loves Antony:
Ho! hearts, tongues, figures, scribes, bards, poets, cannot
Think, speak, cast, write, sing, number, ho!
His love to Antony. But as for Cæsar,
Kneel down, kneel down, and wonder.
Agr.
Both he loves.
Eno. They are his shards, and he their beetle.
[Trumpets within] So;
This is to horse. Adieu, noble Agrippa.
Agr. Good fortune, worthy soldier; and farewell.
Enter CÆSAR, ANTONY, LEPIDUS, and Octavia.
Ant. No further, sir.
Cæs. You take from me a great part of myself;
Use me well in 't. Sister, prove such a wife
As my thoughts make thee, and as my farthest band
Shall pass on thy approof. Most noble Antony,
10
20
SCENE II.]
49
ANTONY AND CLEOPATRA.
Let not the piece of virtue, which is set
Betwixt us as the cement of our love,
To keep it builded, be the ram to batter
The fortress of it; for better might we
Have loved without this mean, if on both parts
This be not cherish'd.
Make me not offended
Ant.
In your distrust.
Cæs.
Ant.
You shall not find,
Though you be therein curious, the least cause
For what you seem to fear: so, the gods keep you,
And make the hearts of Romans serve your ends!
We will here part.
I have said.
Cæs. Farewell, my dearest sister, fare thee well :
The elements be kind to thee, and make
Thy spirits all of comfort! fare thee well.
Oct. My noble brother!
Ant. The April's in her eyes: it is love's spring,
And these the showers to bring it on. Be cheerful.
Oct. Sir, look well to my husband's house; and—
Cæs.
What,
Octavia ?
Oct. I'll tell you in your ear.
Ant. Her tongue will not obey her heart, nor can
Her heart inform her tongue, the swan's down-feather,
That stands upon the swell at full tide,
And neither way inclines.
So is he, being a man.
Agr. [Aside to Eno.] Why, Enobarbus,
When Antony found Julius Cæsar dead,
He cried almost to roaring; and he wept
D
30
40
50
Eno. [Aside to Agr.] Will Cæsar weep?
Agr.
[Aside to Eno.] He has a cloud in 's face.
Eno. [Aside to Agr.] He were the worse for that, were he
a horse;
50
[ACT III.
ANTONY AND CLEOPATRA
When at Philippi he found Brutus slain.
Eno. [Aside to Agr.] That year, indeed, he was troubled
with a rheum ;
What willingly he did confound he wail'd,
Believe 't, till I wept too,
Cæs.
No, sweet Octavia,
You shall hear from me still; the time shall not
Out-go my thinking on you.
Ant.
Come, sir, come ;
I'll wrestle with you in my strength of love:
Look, here I have you; thus I let you go,
And give you to the gods.
Cœs.
Adieu; be happy!
Lep. Let all the number of the stars give light
To thy fair way!
Cœs.
Farewell, farewell!
Ant.
[Kisses Octavia.
Farewell!
[Trumpets sound. Exeunt.
SCENE III. Alexandria. Cleopatra's palace.
Enter CLEOPATRA, CHARMIAN, IRAS, and ALEXAS.
Cleo. Where is the fellow ?
Alex.
Cleo. Go to, go to.
Half afeard to come.
Enter the Messenger as before.
Come hither, sir.
Good majesty,
Alex.
Herod of Jewry dare not look upon you
But when you are well pleased.
60
Cleo.
That Herod's head
I'll have: but how, when Antony is gone
Through whom I might command it? Come thou near.
Mess. Most gracious majesty,—

ENE III.]
ANTONY AND CLEOPATRA.
51
A
Cleo. Didst thou behold Octavia ?
Mess. Ay, dread queen.
Cleo. Where?
Mess. Madam, in Rome;
I look'd her in the face, and saw her led
Between her brother and Mark Antony.
Cleo. Is she as tall as me?
Mess.
She is not, madamı.
Cleo. Didst hear her speak? is she shrill-tongued or low?
Mess. Madam, I heard her speak; she is low-voiced.
Cannot make better note.
Cleo.
Cleo. That's not so good: he cannot like her long.
Char. Like her! O Isis! 'tis impossible.
Cleo. I think so, Charmian: dull of tongue, and dwarfish!
What majesty is in her gait?
If e'er thou look'dst on majesty.
Remember,
20
Mess.
Her motion and her station are as one;
She shows a body rather than a life,
A statue than a breather.
Cleo.
Mess. Or I have no observance.
Char.
She creeps:
Is this certain?
Three in Egypt
He's very knowing;
I do perceive't: there's nothing in her yet:
The fellow has good judgement.
Char.
Cleo. Guess at her years, I prithee.
Mess.
She was a widow,-
Cleo.
Mess. And I do think she's thirty.
Cleo. Bear'st thou her face in mind? is 't long or round?
Mess. Round even to faultiness.
Excellent.
Madam,
Widow! Charmian, hark.
10
Cleo. For the most part, too, they are foolish that are so.
Her hair, what colour?
30
سا

52
[ SC
ANTONY AND CLEOPATRA.
Mess. Brown, madam: and her forehead
As low as she would wish it.
Cleo.
There's gold for thee.
Thou must not take my former sharpness ill :
I will employ thee back again; I find thee
Most fit for business: go make thee ready;
Our letters are prepared.
Char.
A proper man.
:
Cleo. Indeed, he is so
That so I harried him.
This creature's no such thing.
I repent me much
Why, methinks, by him,
[Exit Messenger.
Char.
Nothing, madam.
Cleo. The man hath seen some majesty, and should know.
Char. Hath he seen majesty? Isis else defend,
And serving you so long!
Cleo. I have one thing more to ask him yet, good Charmian :
But 'tis no matter; thou shalt bring him to me
Where I will write. All may be well enough.
Char. I warrant you, madam.
40
SCENE IV. Athens. A room in Antony's house.
Enter ANTONY and OCTAVIA.
Spoke scantly of me: when perforce he could not
But pay me terms of honour, cold and sickly
He vented them; most narrow measure lent me :
When the best hint was given him, he not took 't,
Or did it from his teeth.
Oct.
O my good lord,
Believe not all; or, if you must believe,
Ant. Nay, nay, Octavia, not only that,-
That were excusable, that, and thousands more
Of semblable import,—but he hath waged
New wars 'gainst Pompey; made his will, and read it
To public ear:
50
[Exeunt.
10
SCENE IV.]
53
ANTONY AND CLEOPATRA.
Stomach not all. A more unhappy lady,
If this division chance, ne'er stood between,
Praying for both parts:
The good gods will mock me presently,
When I shall pray, 'O, bless my lord and husband!'
Undo that prayer, by crying out as loud,
'O, bless my brother!' Husband win, win brother,
Prays, and destroys the prayer; no midway
"Twixt these extremes at all.
Ant.
Gentle Octavia,
Let your best love draw to that point, which seeks
Best to preserve it: if I lose mine honour,
I lose myself: better I were not yours
Than yours so branchless. But, as you requested,
Yourself shall go between's: the mean time, lady,
I'll raise the preparation of a war
Shall stain your brother: make your soonest haste;
So your desires are yours.
Oct.
SCENE V. The same.
Another room.
Enter ENOBARBUS and EROS, meeting.
Thanks to my lord.
The Jove of power make me most weak, most weak,
Your reconciler! Wars 'twixt you twain would be
As if the world should cleave, and that slain men
Should solder up the rift.
Ant. When it appears to you where this begins,
Turn your displeasure that way; for our faults
Can never be so equal, that your love
1
Can equally move with them. Provide your going ;
Choose your own company, and command what cost
Your heart has mind to.
[Exeunt.
Eno. How now, friend Eros !
Eros. There's strange news come, sir.
20
30

54
[ACT III.
ANTONY AND CLEOPATRA.
Eno. What, man?
Eros. Cæsar and Lepidus have made wars upon Pompey.
Eno. This is old: what is the success?
Eros. Cæsar, having made use of him in the wars 'gainst
Pompey, presently denied him rivality; would not let him
partake in the glory of the action and not resting here,
accuses him of letters he had formerly wrote to Pompey ;
upon his own appeal, seizes him so the poor third is up,
till death enlarge his confine.
11
Eno. Then, world, thou hast a pair of chaps, no more ;
And throw between them all the food thou hast,
They'll grind the one the other. Where's Antony?
Eros. He's walking in the garden-thus; and spurns
The rush that lies before him; cries, 'Fool Lepidus !'
And threats the throat of that his officer
That murder'd Pompey.
Eno.
Our great navy 's rigg’d.
Eros. For Italy and Cæsar. More, Domitius ;
My lord desires you presently: my news
I might have told hereafter.
Eno.
But let it be. Bring me to Antony.
Eros. Come, sir.
'Twill be naught :
I' the market place, on a tribunal silver'd,
Cleopatra and himself in chairs of gold
Were publicly enthroned: at the feet sat
Cæsarion, whom they call my father's son,
And all the unlawful issue that their lust
Since then hath made between them. Unto her
SCENE VI. Rome. Cæsar's house.
Enter CESAR, AGRIPPA, and MECENAS.
Cas. Contemning Rome, he has done all this, and more,
In Alexandria: here's the manner of 't :
20
[Exeunt.
SCENE VI.]
ANTONY AND CLEOPATRA.
55
He gave the stablishment of Egypt; made her
Of Lower Syria, Cyprus, Lydia,
Absolute queen.
Mec.
This in the public eye?
Cæs. I' the common show-place, where they exercise.
His sons he there proclaim'd the kings of kings:
Great Media, Parthia, and Armenia,
He gave to Alexander; to Ptolemy he assign'd
Syria, Cilicia, and Phoenicia: she
In the habiliments of the goddess Isis
That day appear'd; and oft before gave audience,
As 'tis reported, so.
Let Rome be thus
Mec.
Inform'd.
Agr. Who, queasy with his insolence
Already, will their good thoughts call from him.
Caes. The people know it; and have now received
His accusatious.
Agr.
Who does he accuse?
Cæs. Cæsar and that, having in Sicily
Sextus Pompeius spoil'd, we had not rated him
His part o' the isle : then does he say, he lent me
Some shipping unrestored lastly, he frets
That Lepidus of the triumvirate
:
Should be deposed; and, being, that we detain
All his revenue.
Agr.
Sir, this should be answer'd.
Caes. "Tis done already, and the messenger gone.
I have told him, Lepidus was grown too cruel ;
That he his high authority abused,
And did deserve his change: for what I have conquer'd,
I grant him part; but then, in his Armenia,
And other of his conquer'd kingdoms, I
Demand the like.
Mec.
He'll never yield to that.
Cæs. Nor must not then be yielded to in this.
10
20
30
56
[ACT III.
ANTONY AND CLEOPATRA.
Enter OCTAVIA with her train.
Oct. Hail, Cæsar, and my lord! hail, most dear Cæsar !
Caes. That ever I should call thee castaway!
40
Oct. You have not call'd me so, nor have you cause.
Caes. Why have you stoľ'n upon us thus? You come not
Like Caesar's sister: the wife of Antony
Cas
Should have an army for an usher, and
The neighs of horse to tell of her approach
Long ere she did appear; the trees by the way
Should have borne men; and expectation fainted,
Longing for what it had not; nay, the dust
Should have ascended to the roof of heaven,
Raised by your populous troops: but you are come
A market-maid to Rome; and have prevented
The ostentation of our love, which, left unshown,
Is often left unloved: we should have met you
By sea and land; supplying every stage
With an augmented greeting.
Oct.
Good my lord,
To come thus was I not constrain'd, but did
On my free will. My lord, Mark Antony,
Hearing that you prepared for war, acquainted
My grieved ear withal; whereon, I begg'd
His pardon for return.
Cœs.
Which soon he granted,
Being an obstruct 'tween his lust and him.
Oct. Do not say so, my lord.
Cœs.
I have eyes upon him,
And his affairs come to me on the wind.
Where is he now?
Oct.
My lord, in Athens.
Cas. No, my most wronged sister; Cleopatra
Hath nodded him to her; who now are levying
The kings o' the earth for war: he hath assembled
Bocchus, the king of Libya; Archelaus,
50
60
SCENE VI.]
57
ANTONY AND CLEOPATRA.
Of Cappadocia; Philadelphos, king
Of Paphlagonia; the Thracian king, Adallas;
King Malchus of Arabia; King of Pont;
Herod of Jewry; Mithridates, king
Of Comagene; Polemon and Amyntas,
The kings of Mede and Lycaonia,
With a more larger list of sceptres.
Oct.
Cæs.
Welcome hither:
Your letters did withhold our breaking forth ;
Till we perceived, both how you were be-wronged,
And we in negligent danger. Cheer your heart :
Be you not troubled with the time, which drives
O'er your content these strong necessities;
But let determined things to destiny
Ay me, most wretched,
That have my heart parted betwixt two friends
That do afflict each other!
Hold unbewail'd their way. Welcome to Rome;
Nothing more dear to me. You are abused
Beyond the mark of thought: and the high gods,
To do you justice, make them ministers
Of us and those that love you. Best of comfort;
And ever welcome to us.
Agr.
Welcome, lady.
Mec. Welcome, dear madam.
Each heart in Rome,does love and pity you :
Only the adulterous Antony, most large
In his abominations, turns you off ;
And gives his potent regiment to a trull,
That noises it against us.
Oct.
Is it so, sir?
Sister, welcome: pray you,
Cæs. Most certain.
Be ever known to patience: my dear'st sister !
70
80
90
[Exeunt.
።
58
[ACT III.
ANTONY AND CLEOPATRA.

*
SCENE VII. Near Actium. Antony's camp.
Enter CLEOPATRA and ENOBARBUS.
N
Cleo. I will be even with thee, doubt it not.-
Eno. But why, why, why?
Cleo. Thou hast forspoke my being in these wars,
And say'st it is not fit.
Eno.
Well, is it, is it?
Cleo. If now denounced against us, why should not we
Be there in person?
Eno. [Aside] Well, I could reply.
Cleo. What is 't you say?
Eno. Your presence needs must puzzle Antony;
Take from his heart, take from his brain, from 's time,
What should not then be spared. He is already
Traduced for levity; and 'tis said in Rome
That Photinus an eunuch and your maids
Manage this war.
Cleo.
Sink Rome, and their tongues rot
That speak against us! A charge we bear i̇' the war,
And, as the president of my kingdom, will
Appear there for a man. Speak not against it;
I will not stay behind.
Nay, I have done.
Eno.
Here comes the emperor.
Enter ANTONY and CANIDIUS.
Ant.
Is it not strange, Canidius,
That from Tarentum and Brundusium
He could so quickly cut the Ionian sea,
And take in Toryne? You have heard on 't, sweet?
Cleo. Celerity is never more admired
Than by the negligent.
Ant.
A good rebuke,
Which might have well becomed the best of men,
To taunt at slackness. Canidius, we
10
20
SCENE VII.]
59
ANTONY AND CLEOPATRA.
Will fight with him by sea.
Cleo.
Can. Why will my lord do so?
Ant.
By sea! what else?
Eno. So hath my lord dared him to single fight.
Can. Ay, and to wage this battle at Pharsalia,
Where Cæsar fought with Pompey: but these offers,
Which serve not for his vantage, he shakes off;
And so should you.
•
For that he dares us to 't.
Eno.
Your ships are not well mann'd ;
Your mariners are muleters, reapers, people
Ingross'd by swift impress; in Cæsar's fleet
Are those that often have 'gainst Pompey fought:
Their ships are yare; yqurs, heavy : no disgrace
Shall fall you for refusing him at sea,
Being prepared for land.
Ant.
By sea, by sea.
Eno. Most worthy sir, you therein throw away
The absolute soldiership you have by land;
Distract your army, which doth most consist
Of war-mark'd footmen; leave unexecuted
Your own renowned knowledge; quite forgo
The way which promises assurance; and
Give up yourself merely to chance and hazard,
From firm security.
Ant.
I'll fight at sea.
Cleo. I have sixty sails, Cæsar none better.
Ant. Our overplus of shipping will we burn;
And, with the rest full-mann'd, from the head of Actium
Beat the approaching Cæsar. But if we fail,
We then can do 't at land.
Enter a Messenger.
Thy business?
Mess. The news is true, my lord; he is descried ;
Cæsar has taken Toryne.
30
40
50
60
[ACT III.
ANTONY AND CLEOPATRA.
Ant. Can he be there in person? 'tis impossible;
Strange that his power should be. Canidius,
Our nineteen legions thou shalt hold by land,
And our twelve thousand horse. We'll to our ship:
Away, my Thetis !
Enter a Soldier.
How now, worthy soldier!
Sold. O noble emperor, do not fight by sea;
Trust not to rotten planks : do you misdoubt
This sword and these my wounds? Let the Egyptians
And the Phoenicians go a-ducking: we
Have used to conquer, standing on the earth,
And fighting foot to foot.
Ant.
You keep by land
The legions and the horse whole, do you not?
Can. Marcus Octavius, Marcius Justeius,
Well, well away!
[Exeunt Antony, Cleopatra, and Enobarbus.
Sold. By Hercules, I think I am i' the right.
Can. Soldier, thou art but his whole action grows
Not in the power on 't: so our leader's led,
And we are women's men.
:
Sold.
Publicola, and Cælius, are for sea:
But we keep whole by land. This speed of Cæsar's
Carries beyond belief.
Sold.
While he was yet in Rome,
His power went out in such distractions as
Beguiled all spies.
Can.
Sold. They say, one Taurus.
Can.
Who's his lieutenant, hear you?
Well I know the man.
Enter a Messenger.
60
70
Mess. The emperor calls Canidius.
Can. With news the time's with labour, and throes forth,
Each minute, some.
[Exeunt.
SCENE VIII.] ANTONY AND CLEOPATRA.
61
SCENE VIII. A plain near Actium.
Enter CESAR, and TAURUS, with his army, marching.
Cæs. Taurus!
Taur. My lord?
Cæs. Strike not by land; keep whole: provoke not battle,
Till we have done at sea. Do not exceed
The prescript of this scroll: our fortune lies
Upon this jump.
SCENE IX. Another part of the plain.
Enter ANTONY and ENOBARBUS.
Ant. Set we our squadrons on yond side o' the hill,
In eye of Cæsar's battle; from which place
We may the number of the ships behold,
And so proceed accordingly.
Enter SCARUS.
Scar.
All the whole synod of them!
[Exeunt.
SCENE X. Another part of the plain.
CANIDIUS marcheth with his land army one way over the stage;
and TAURUS, the lieutenant of CÆSAR, the other way.
After their going in, is heard the noise of a sea-fight.
Alarum. Enter ENOBARBUSĮ
Eno. Naught, naught, all naught! I can hold no longer :
The Antoniad, the Egyptian admiral,
With all their sixty, fly and turn the rudder :
To see 't mine eyes are blasted.
Gods and goddesses,
[Exeunt.
62
[ACT III.
ANTONY AND CLEOPATRA.
What's thy passion?
Eno.
Scar. The greater cantle of the world is lost
With very ignorance; we have kiss'd away
Kingdoms and provinces.
Eno.
How appears the fight?
Scar. On our side like the token'd pestilence,
Where death is sure. Yon ribaudred nag of Egypt,—
Whom leprosy o'ertake !-i' the midst o' the fight,
When vantage like a pair of twins appear'd,
Both as the same, or rather ours the elder,
The breese upon her, like a cow in June,
Hoists sails and flies.
Eno. That I beheld :
Mine eyes did sicken at the sight, and could not
Endure a further view.
Scar.
She once being loof'd,
The noble ruin of her magic, Antony,
Claps on his sea-wing, and, like a doting mallard,
Leaving the fight in height, flies after her:
I never saw an action of such shame;
Experience, manhood, honour, ne'er before
Did violate so itself.
Eno.
Alack, alack!
Enter CANIDIUS.
Can. Our fortune on the sea is out of breath,
And sinks most lamentably. Had our general
Been what he knew himself, it had gone well:
O, he has given example for our flight,
Most grossly, by his own!
Eno.
Why, then, good night indeed.
Can. Toward Peloponnesus are they fled.
Scar. 'Tis easy to 't; and there I will attend
What further comes.
Ay, are you thereabouts?
10
20
30
SCENE X.]
ANTONY AND CLEOPATRA.
63
To Cæsar will I render
Can.
My legions and my horse: six kings already
Show me the way of yielding.
Eno.
I'll yet follow
The wounded chance of Antony, though my reason
Sits in the wind against me.
SCENE XI. Alexandria. Cleopatra's palace.
Enter ANTONY with Attendants.
Ant. Hark! the land bids me tread no more upon 't ;
It is ashamed to bear me! Friends, come hither:
I am so lated in the world, that I
Have lost my way for ever: I have a ship
Laden with gold; take that, divide it; fly,
And make your peace with Cæsar.
[Exeunt.
All.
Fly! not we.
Ant. I have fled myself; and have instructed cowards
To run and show their shoulders. Friends, be gone ;
I have myself resolved upon a course
Which has no need of you; be gone:
My treasure's in the harbour, take it. O,
I follow'd that I blush to look upon :
My very hairs do mutiny; for the white
Reprove the brown for rashness, and they them
For fear and doting. Friends, be gone: you shall
Have letters from me to some friends that will
Sweep your way for you. Pray you, look not sad,
Nor make replies of loathness: take the hint
Which my despair proclaims; let that be left
Which leaves itself: to the sea-side straightway :
I will possess you of that ship and treasure.
Leave me, I pray, a little: pray you now :
Nay, do so; for, indeed, I have lost command,
Therefore I pray you: I'll see you by and by.
10
20
[Sits down.
64
[ACT III.
ANTONY AND CLEOPATRA.
Enter CLEOPATRA led by CHARMIAN and IRAS ;
EROS following.
Eros. Nay, gentle madam, to him, comfort him.
Iras. Do, most dear queen.
Char. Do! why: what else?
Cleo. Let me sit down. O Juno!
Ant. No, no, no, no, no.
Eros. See you here, sir?
Ant. O fie, fie, fie!
Char. Madam !
Iras. Madam, O good empress !
Eros. Sir, sir,-
Ant. Yes, my lord, yes; he at Philippi kept
His sword e'en like a dancer; while I struck
The lean and wrinkled Cassius; and 'twas I
That the mad Brutus ended: he alone
Dealt on lieutenantry, and no practice had
In the brave squares of war: yet now-No matter.
Cleo. Ah, stand by.
Eros. The queen, my lord, the queen.
Iras. Go to him, madam, speak to him :
He is unqualitied with very shame.
Cleo. Well then, sustain me: O!
Eros. Most noble sir, arise; the queen approaches :
Her head's declined, and death will seize her, but
Your comfort makes the rescue.
Ant. I have offended reputation,
A most unnoble swerving.
Eros.
Sir, the queen.
Ant. O, whither hast thou led me, Egypt? See,
How I convey my shame out of thine eyes
By looking back what I have left behind
'Stroy'd in dishonour.
Cleo.
O my lord, my lord
Forgive my fearful sails! I little thought
30
40 -
50
SCENE XI.]
65
ANTONY AND CLEOPATRA.
You would have follow'd.
Ant.
Egypt, thou knew'st too well
My heart was to thy rudder tied by the strings,
And thou shouldst tow me after: o'er my spirit
Thy full supremacy thou knew’st, and that
Thy beck might from the bidding of the gods
Command me.
Cleo.
O, my pardon !
Ant.
Now I must
To the young man send humble treaties, dodge
And palter in the shifts of lowness; who
With half the bulk o' the world play'd as I pleased,
Making and marring fortunes. You did know
How much you were my conqueror; and that
My sword, made weak by my affection, would
Obey it on all cause.
SCENE XII. Egypt. Cæsar's camp.
Enter CÆSAR, DOLABELLA, THYREUS, with others.
Caes. Let him appear that's come from Antony.
Know you him?
Dol.
Cleo.
Pardon, pardon !
Ant. Fall not a tear, I say; one of them rates
All that is won and lost: give me a kiss ;
Even this repays me. We sent our schoolmaster
Is he come back? Love, I am full of lead.
Some wine, within there, and our viands! Fortune knows
We scorn her most when most she offers blows.
[Exeunt.
Cæsar, 'tis his schoolmaster:
An argument that he is pluck'd, when hither
He sends so poor a pinion of his wing,
Which had superfluous kings for messengers
Not many moons gone by.
Cœs.
Enter EUPHRONIUS, ambassador from Antony.
Approach, and speak.
E
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3- AMP WING:20% (VESAİN

66
[ACT III.
ANTONY AND CLEOPATRA.
Euph. Such as I am, I come from Antony :
I was of late as petty to his ends
As is the morn-dew on the myrtle-leaf
To his grand sea.
Cæs.
Be't so declare thine office.
Euph. Lord of his fortunes he salutes thee, and
Requires to live in Egypt: which not granted,
He lessens his requests; and to thee sues
To let him breathe between the heavens and earth,
A private man in Athens: this for him.
Next, Cleopatra does confess thy greatness;
Submits her to thy might; and of thee craves
The circle of the Ptolemies for her heirs,
Now hazarded to thy grace.
Cœs.
For Antony,
I have no ears to his request. The queen
Of audience nor desire shall fail, so she
From Egypt drive her all-disgraced friend,
Or take his life there: this if she perform,
She shall not sue unheard. So to them both.
Euph. Fortune pursue thee!
Cœs.
10
Bring him through the bands.
[Exit Euphronius.
In their best fortunes strong; but want will perjure
The ne'er-touch'd vestal: try thy cunning, Thyreus ;
Make thine own edict for thy pains, which we
Will answer as a law.
Thyr.
Cæsar, I go.
Cas. Observe how Antony becomes his flaw,
And what thou think'st his very action speaks
In every power that moves.
Thyr.
Cæsar, I shall.
20
[To Thyreus] To try thy eloquence, now 'tis time: despatch;
From Antony win Cleopatra: promise,
And in our name, what she requires; add more,
From thine invention, offers: women are not
30
[Exeunt.
SCENE XIII.]
67
ANTONY AND CLEOPATRA.
SCENE XIII. Alexandria. Cleopatra's palace.
Enter CLEOPATRA, Enobarbus, CHARMIAN, and Iras.
Cleo. What shall we do, Enobarbus?
Eno.
Think, and die.
Cleo. Is Antony or we in fault for this?
Eno. Antony only, that would make his will
Lord of his reason. What though you fled
From that great face of war, whose several ranges
Frighted each other? why should he follow?
The itch of his affection should not then
Have nick'd his captainship; at such a point,
When half to half the world opposed, he being
The meered question: 'twas a shame no less
Than was his loss, to course your flying flags,
And leave his navy gazing.
Cleo.

Prithee, peace.
Enter ANTONY with EUPHRONIUS, the Ambassador.
Ant. Is that his answer?
Euph. Ay, my lord.
Ant. The queen shall then have courtesy, so she
Will yield us up.
Euph.
Ant.
He says so.
Let her know 't.
To the boy Cæsar send this grizzled head,
And he will fill thy wishes to the brim
With principalities.
Cleo.
That head, my lord?
Ant. To him again: tell him he wears the rose
Of youth upon him; from which the world should note
Something particular: his coin, ships, legions,
May be a coward's; whose ministers would prevail
Under the service of a child as soon
As i' the command of Cæsar: I dare him therefore
10
20
68
ANTONY AND CLEOPATRA.
[ACT III.
Pedia
**MUEL BY
To lay his gay comparisons apart,
And answer me declined, sword against sword,
Ourselves alone. I'll write it follow me.

30
[Exeunt Antony and Euphronius.
Eno. [Aside] Yes, like enough, high-battled Cæsar will
Unstate his happiness, and be staged to the show,
Against a sworder! I see men's judgements are
A parcel of their fortunes; and things outward
Do draw the inward quality after them,
To suffer all alike. That he should dream,
Knowing all measures, the full Cæsar will
Answer his emptiness! Cæsar, thou hast subdued
His judgement too.
Enter an Attendant.
Att.
A messenger from Cæsar.
Cleo. What, no more ceremony? See, my women!
Against the blown rose may they stop their nose
That kneel'd unto the buds. Admit him, sir.
Eno. [Aside] Mine honesty and I begin to square.
The loyalty well held to fools does make
Our faith mere folly: yet he that can endure
To follow with allegiance a fall'n lord
Does conquer him that did his master conquer,
And earns a place i' the story.
Enter THYreus.
Cæsar's will?
[Exit Attendant.
Cleo.
Thyr. Hear it apart.
Cleo.
None but friends: say boldly.
Thyr. So, haply, are they friends to Antony.
Eno. He needs as many, sir, as Cæsar has;
Or needs not us. If Cæsar please, our master
Will leap to be his friend : for us, you know
Whose he is we are, and that is, Cæsar's.
40
50
SCENE XIII.] ANTONY AND CLEOPATRA.
69
So.
Thyr.
Thus then, thou most renown'd: Cæsar entreats,
Not to consider in what case thou stand'st,
Further than he is Cæsar.
Cleo.
Go on right royal.
Thyr. He knows that you embrace not Antony
As you did love, but as you fear'd him.
Cleo.
O!
Thyr. The scars upon your honour, therefore, he
Does pity, as constrained blemishes,
Not as deserved.
Cleo.
He is a god, and knows
What is most right: mine honour was not yielded,
But conquer'd merely.
Eno.
[Aside] To be sure of that,
I will ask Antony. Sir, sir, thou art so leaky,
That we must leave thee to thy sinking, for
Thy dearest quit thee.
Thyr.
Shall I say to Cæsar
What you require of him? for he partly begs
To be desired to give. It much would please him,
That of his fortunes you should make a staff
To lean upon but it would warm his spirits,
To hear from me you had left Antony,
And put yourself under his shrowd,
The universal landlord.
Cleo.
Thyr. My name is Thyreus.
Cleo.
What's your name?
Most kind messenger,
Say to great Cæsar this: in deputation
I kiss his conquering hand: tell him, I am prompt
To lay my crown at 's feet, and there to kneel:
Tell him, from his all-obeying breath I hear
The doom of Egypt.
Thyr.
'Tis your noblest course.
Wisdom and fortune combating together,
60
[Exit.
70
70
ANTONY AND CLEOPATRA.
[ACT III.
If that the former dare but what it can,
No chance may shake it.
My duty on your hand.
Cleo.
When he hath mused of taking kingdoms in,
Bestow'd his lips on that unworthy place,
As it rain'd kisses.
Give me grace to lay
Your Cæsar's father oft,
Re-enter ANTONY and ENOBARBUS.
Ant.
What art thou, fellow?
Thyr.
Favours, by Jove that thunders!
One that but performs
The bidding of the fullest man, and worthiest
To have command obey'd.
Eno.
[Aside] You will be whipp'd.
Ant. Approach there! Ah, you kite! Now, gods and
devils !
Authority melts from me of late, when I cried 'Ho!'
Like boys unto a muss, kings would start forth,
And cry 'Your will?' Have you no ears? I am
Antony yet.
80
Enter Attendants.
Take hence this Jack, and whip him.
Eno. [Aside] 'Tis better playing with a lion's whelp
Than with an old one dying.
Ant.
Moon and stars!
Whip him. Were 't twenty of the greatest tributaries
That do acknowledge Cæsar, should I find them
So saucy with the hand of she here,—what's her name,
Since she was Cleopatra? Whip him, fellows,
Till, like a boy, you see him cringe his face,
And whine aloud for mercy: take him hence.
Thyr. Mark Antony!
Ant.
Tug him away: being whipp'd,
90
100
SCENE XIII.]
ANTONY AND CLEOPATRA.
71
Bring him again: this Jack of Cæsar's shall
Bear us an errand to him. [Exeunt Attendants with Thyreus.
You were half blasted ere I knew you: ha!
Have I my pillow left unpress'd in Rome,
Forborne the getting of a lawful race,
And by a gem of women, to be abused
By one that looks on feeders ?
Cleo.
Good my lord,—
Ant. You have been a boggler ever:
But when we in our viciousness grow hard—
O misery on 't!-the wise gods seel our eyes;
In our own filth drop our clear judgements; make us
Adore our errors; laugh at 's, while we strut
To our confusion.
Cleo.
O, is 't come to this?
Ant. I found you as a morsel cold upon
Dead Cæsar's trencher; nay, you were a fragment
Of Cneius Pompey's; besides what hotter hours,
Unregister'd in vulgar fame, you have
Luxuriously pick'd out: for, I am sure,
Though you can guess what temperance should be,
You know not what it is.
Cleo.
Wherefore is this?
Ant. To let a fellow that will take rewards
And say 'God quit you!' be familiar with
My playfellow, your hand; this kingly seal
And plighter of high hearts! O, that I were
Upon the hill of Basan, to outroar
The horned herd! for I have savage cause ;
And to proclaim it civilly, were like
A halter'd neck which does the hangman thank
For being yare about him.
Re-enter Attendants with THYREUS.
Is he whipp'd?
First Att. Soundly, my lord.
110
120
130
•
72
[ACT III.
ANTONY AND CLEOPATRA.
Cried he? and begg'd a' pardon?
Ani.
First Att. He did ask favour.
Ant. If that thy father live, let him repent
Thou wast not made his daughter; and be thou sorry
To follow Cæsar in his triumph, since
Thou hast been whipp'd for following him: henceforth
The white hand of a lady fever thee,
Shake thou to look on 't. Get thee back to Cæsar.
Tell him thy entertainment: look, thou say
He makes me angry with him; for he seems
Proud and disdainful, harping on what I am,
Not what he knew I was: he makes me angry ;
And at this time most easy 'tis to do't,
When my good stars, that were my former guides,
Have empty left their orbs, and shot their fires
Into the abysm of hell. If he mislike
My speech and what is done, tell him he has
Hipparchus, my enfranched bondman, whom
He may at pleasure whip, or hang, or torture,
As he shall like, to quit me: urge it thou :
Hence with thy stripes, begone !
Cleo. Have you done yet?
Ant.
Alack, our terrene moon
Is now eclipsed; and it portends alone
The fall of Antony !
Cleo.
I must stay his time.
Ant. To flatter Cæsar, would you mingle eyes
With one that ties his points?
140
[Exit Thyreus
Cleo.
Not know me yet?
Ant. Cold-hearted toward me?
Cleo.
Ah, dear, if I be so,
From my cold heart let heaven engender hail,
And poison it in the source; and the first stone
Drop in my neck: as it determines, so
Dissolve my life! The next Cæsarion smite!
Till by degrees the memory of my womb,
150
160
SCENE XIII.] ANTONY AND CLEOPATRA.
73
Together with my brave Egyptians all,
By the discandying of this pelleted storm,
Lie graveless, till the flies and gnats of Nile
Have buried them for prey!
Ant.
I am satisfied.
Cæsar sits down in Alexandria; where
I will oppose his fate. Our force by land
Hath nobly held; our sever'd navy too
Have knit again, and fleet, threatening most sea-like.
Where hast thou been, my heart? Dost thou hear, lady?
If from the field I shall return once more
To kiss these lips, I will appear in blood;
I and my sword will earn our chronicle:
There's hope in 't yet.
Cleo. That's my brave lord!
Ant. I will be treble-sinew'd, hearted, breathed,
And fight maliciously for when mine hours
Were nice and lucky, men did ransom lives
Of me for jests; but now I'll set my teeth,
And send to darkness all that stop me. Come,
Let's have one other gaudy night: call to me
All my sad captains; fill our bowls once more ;
Let's mock the midnight bell.
170
180
Cleo.
It is my birth-day:
I had thought to have held it poor; but, since my lord
Is Antony again, I will be Cleopatra.
Ant. We will yet do well.
Cleo. Call all his noble captains to my lord.
189
Ant. Do so, we'll speak to them; and to-night I'll force
The wine peep through their scars. Come on, my queen ;
There's sap in't yet. The next time I'do fight,
I'll make death love me; for I will contend
Even with his pestilent scythe. [Exeunt all but Enobarbus.
Eno. Now he'll outstare the lightning. To be furious,
Is to be frighted out of fear; and in that mood
The dove will peck the estridge; and I see still,
74
ANTONY AND CLEOPATRA. [ACT III. SC. XIII.
A diminution in our captain's brain
Restores his heart when valour preys on reason,,
It eats the sword it fights with. I will seek
Some way to leave him.
ACT IV.
SCENE I. Before Alexandria. Casar's Camp.
Enter CÆSAR, Agrippa, and MECENAS, with his Army ;
CÆSAR reading a letter.
Cos. He calls me boy; and chides, as he had power
To beat me out of Egypt; my messenger
He hath whipp'd with rods; dares me to personal combat,
Cæsar to Antony: let the old ruffian know
I have many other ways to die; meantime
Laugh at his challenge.
Mec.
César must think,
When one so great begins to rage, he's hunted
Even to falling. Give him no breath, but now
Make boot of his distraction: never anger
Made good guard for itself.
200
[Exit.
C'œs.
Let our best heads
Know, that to-morrow the last of many battles
We mean to fight: within our files there are,
Of those that served Mark Antony but late,
Enough to fetch him in. See it done:
And feast the army; we have store to do 't,
And they have earn'd the waste. Poor Antony ! [Exeunt.
SCENE II. Alexandria. Cleopatra's palace.
Enter ANTONY, CLEOPATRA, ENOBARBUS, CHARMIAN, IRAS,
ALEXAS, with others.
Ant. He will not fight with me, Domitius.
Eno.
No.
10
ACT IV. SC. II.] ANTONY AND CLEOPATRA.
75
Ant. Why should he not?
Eno. He thinks, being twenty times of better fortune,
He is twenty men to one.
Ant.
To-morrow, soldier,
By sea and land I'll fight: or I will live,
Or bathe my dying honour in the blood
Shall make it live again. Woo't thou fight well?
Eno. I'll strike, and cry ‘Take all.'
Ant.
Call forth my household servants : let's to-night
Be bounteous at our meal.
Well said; come on.
Enter three or four Servitors.
Give me thy hand,
Thou hast been rightly honest ;-so hast thou ;-
Thou,- and thou,-and thou :-you have served me well,
And kings have been your fellows.
Cleo.
[Aside to Eno.] What means this?
Eno. [Aside to Cleo.] 'Tis one of those odd tricks which
sorrow shoots
Out of the mind.
Ant.
And thou art honest too.
I wish I could be made so many men,
And all of you clapp'd up together in
An Antony, that I might do you service
So good as you have done.
All.
The gods forbid!
Ant. Well, my good fellows, wait on me to-night:
Scant not my cups; and make as much of me
As when mine empire was your fellow too,
And suffer'd my command.
Cleo. [Aside to Eno.] What does he mean?
Eno. [Aside to Cleo.] To make his followers weep.
Ant.
May be it is the period of your duty :
Haply you shall not see me more; or if,
10
20
Tend me to-night;
76
[ACT IV.
ANTONY AND CLEOPATRA.
A mangled shadow: perchance to-morrow
You'll serve another master. I look on you
As one that takes his leave. Mine honest friends,
I turn you not away; but, like a master
Married to your good service, stay till death :
Tend me to-night two hours, I ask no more,
And the gods yield you for 't!
Eno.
To give them this discomfort?
And I, an ass, am onion-eyed:
Transform us not to women.
Ant.
What mean you, sir,
Look, they weep;
for shame,
Ho, ho, ho!
Now the witch take me, if I meant it thus !
Grace grow where those drops fall! My hearty friends,
You take me in too dolorous a sense;
For I spake to you for your comfort; did desire you
To burn this night with torches: know, my hearts,
I hope well of to-morrow; and will lead you
Where rather I'll expect victorious life
Than death and honour. Let's to supper, come,
And drown consideration.
#
SCENE III. The same. Before the palace.
Enter two Soldiers to their guard.
First Sold. Brother, good night : to-morrow is the day.
Sec. Sold. It will determine one way: fare you well.
Heard you of nothing strange about the streets?
First Sold. Nothing. What news?
Sec. Sold. Belike 'tis but a rumour.
First Sold. Well, sir, good night.
Enter two other Soldiers.
Good night to you.
Sec. Sold. Soldiers, have careful watch.
Third Sold. And you. Good night, good night.
30
[Exeunt.
40
[They place themselves in every corner of the stage.
SCENE III.]
77
ANTONY AND CLEOPATRA.
Fourth Sold. Here we and if to-morrow
Our navy thrive, I have an absolute hope
Our landmen will stand up.
"Tis a brave army,
[Music of the hautboys as under the stage.
Peace! what noise?
List, list!
Third Sold.
And full of purpose.
Sec. Sold.
All.
Fourth Sold.
First Sold.
Sec. Sold. Hark!
First Sold.
Third Sold.
Fourth Sold. It signs well, does it not?
Third Sold.
First Sold.
Peace, I say!
What should this mean?
Sec. Sold. 'Tis the god Hercules, whom Antony loved,
Now leaves him.
Music i' the air.
Under the earth.
First Sold. Walk; let's see if other watchmen
Do hear what we do.
No.
How now! do you hear this?
[They advance to another post.
How now, masters!
[Speaking together] How now !
10
SCENE IV. The same. A room in the palace.
Enter ANTONY and CLEOPATRA, CHARMIAN, and others
attending.
First Sold.
Ay; is 't not strange?
Third Sold. Do you hear, masters? do you hear?
First Sold. Follow the noise so far as we have quarter;
Let's see how it will give off.
All.
Content. 'Tis strange. [Exeunt.
Ant. Eros! mine armour, Eros !
Cleo.
Sleep a little.
Ant. No, my chuck. Eros, come; mine armour, Eros!
20
78
[ACT IV.
ANTONY AND CLEOPATRA.
Enter EROS with armour.
Come, good fellow, put mine iron on :
If fortune be not ours to-day, it is
Because we brave her: come.
Cleo.
Nay, I'll help too.
What's this for?
Ant.
Ah, let be, let be! thou art
The armourer of my heart: false, false; this, this.
Cleo. Sooth, la, I'll help : thus it must be.
Ant.
We shall thrive now.
Go put on thy defences.
Eros.
Well, well:
Seest thou, my good fellow?
Briefly, sir.
Cleo. Is not this buckled well?
Ant.
Rarely, rarely:
He that unbuckles this, till we do please
To daff't for our repose, shall hear a storm.
Thou fumblest, Eros; and my queen's a squire
More tight at this than thou: despatch. O love,
That thou couldst see my wars to-day, and knew'st
The royal occupation! thou shouldst see
A workman in 't.
Enter Captains and Soldiers.
Capt. The morn is fair. Good morrow, general.
All. Good morrow, general.
10
Enter an armed Soldier.
Good morrow to thee; welcome :
Thou look'st like him that knows a warlike charge :
To business that we love we rise betime,
And go to't with delight.
Sold.
A thousand, sir,
Early though 't be, have on their riveted trim,
And at the port expect you. [Shout. Trumpets flourish.
20
SCENE IV.]
79
ANTONY AND CLEOPATRA.
Ant.
"Tis well blown, lads :
This morning, like the spirit of a youth
That means to be of note, begins betimes.
So, so; come, give me that: this way; well said.
Fare thee well, dame, whate'er becomes of me :
This is a soldier's kiss: rebukeable
And worthy shameful check it were, to stand
On more mechanic compliment; I'll leave thee
Now, like a man of steel. You that will fight,
Follow me close; I'll bring you to't. Adieu.
[Exeunt Antony, Eros, Captains, and Soldiers.
Char. Please you, retire to your chamber.
Cleo.
Lead me.
He goes forth gallantly. That he and Cæsar might
Determine this great war in single fight!
Then, Antony,—but now-Well, on.
[Kisses her. 30
SCENE V. Alexandria. Antony's camp.
Trumpets sound.
What say'st thou ?
Enter ANTONY and EROS; a Soldier
meeting them.
[Exeunt.
Sold. The gods make this a happy day to Antony!
Ant. Would thou and those thy scars had once prevail'd
To make me fight at land!
Sold.
Hadst thou done so,
The kings that have revolted, and the soldier
That has this morning left thee, would have still
Follow'd thy heels.
Ant.
Who's gone this morning?
Sold.
One ever near thee: call for Enobarbus,
He shall not hear thee; or from Cæsar's camp
Say 'I am none of thine.'
Ant.
Sold.
Who!
Sir,
80
ANTONY AND CLEOPATRA.
[ACT IV.
He is with Cæsar.
Eros.
He has not with him.
Sir, his chests and treasure
Ant.
Is he gone?
Sold.
Most certain.
Ant. Go, Eros, send his treasure after; do it ;
Detain no jot, I charge thee: write to him—
I will subscribe-gentle adieus and greetings;
Say that I wish he never find more cause
To change a master. O, my fortunes have
Corrupted honest men! Despatch.-Enobarbus ! [Exeunt.
SCENE VI. Alexandria. Caesar's camp.
Flourish. Enter CESAR, AGRIPPA, with ENobarbus,
and others.
Caes. Go forth, Agrippa, and begin the fight:
Our will is Antony be took alive;
Make it so known.
Agr. Cæsar, I shall.
Cœs. The time of universal peace is near :
Prove this a prosperous day, the three-nook'd world
Shall bear the olive freely.
Enter a Messenger.
Antony
Mess.
Is come into the field.
Cœes.
Go charge Agrippa
Plant those that have revolted in the van,
That Antony may seem to spend his fury
Upon himself.
Eno. Alexas did revolt; and went to Jewry on
Affairs of Antony; there did persuade
Great Herod to incline himself to Cæsar,
And leave his master Antony: for this pains
10
[Exit.
10
[Exeunt all but Enobarbus.
SCENE VI.]
ANTONY AND CLEOPATRA.
81
Cæsar hath hang'd him. Canidius and the rest
That fell away have entertainment, but
No honourable trust. I have done ill:
Of which I do accuse myself so sorely,
That I will joy no more.
Enter a Soldier of CESAR's.
Enobarbus, Antony
Sold.
Hath after thee sent all thy treasure, with
His bounty overplus: the messenger
Came on my guard; and at thy tent is now
Unloading of his mules.
Eno.
I give it you.
Sold. Mock not, Enobarbus.
I tell you true: best you safed the bringer
Out of the host; I must attend mine office,
Or would have done 't myself. Your emperor
Continues still a Jove.
Eno. I am alone the villain of the earth,
And feel I am so most. O Antony,
Thou mine of bounty, how wouldst thou have paid
My better service, when my turpitude
Thou dost so crown with gold! This blows my heart:
If swift thought break it not, a swifter mean
Shall outstrike thought: but thought will do 't, I feel.
I fight against thee! No: I will go seek
Some ditch wherein to die: the foul'st best fits
My latter part of life.
LM:
Agr. Retire, we have engaged ourselves too far :
Cæsar himself has work, and our oppression
Exceeds what we expected.
SCENE VII. Field of battle between the camps.
Alarum. Drums and Trumpets. Enter AGRIPPA and
others.
F
20
[Exit.
30
[Exit.
[Exeunt.
82
[ACT 17
ANTONY AND CLEOPATRA.
Alarums. Enter ANTONY, and SCARUS wounded.
Scar. O my brave emperor, this is fought indeed!
Had we done so at first, we had droven them home
With clouts about their heads.
Thou bleed'st apace.
Ant.
Scar. I had a wound here that was like a T,
But now 'tis made an H.
Ant.
They do retire.
Enter EROS.
Eros. They are beaten, sir; and our advantage serves
For a fair victory.
Scar.
Let us score their backs,
And snatch 'em up, as we take hares, behind :
'Tis sport to maul a runner.
Ant.
I will reward thee
Once for thy spritely comfort, and ten-fold
For thy good valour. Come thee on.
Scar.
10
I'll halt after. [Exeunt.
SCENE VIII. Under the walls of Alexandria.
Alarum. Enter ANTONY, in a march; SCARUS, with others.
Ant. We have beat him to his camp: run one before,
And let the queen know of our gests. To-morrow,
Before the sun shall see 's, we'll spill the blood
That has to-day escaped. I thank you all;
For doughty-handed are you, and have fought
Not as you served the cause, but as 't had been
Each man's like mine; you have shown all Hectors.
Enter the city, clip your wives, your friends,
Tell them your feats; whilst they with joyful tears
Wash the congealment from your wounds, and kiss
The honour'd gashes whole. [To Scarus] Give me thy hand;
10
SCENE VIII.]
83
ANTONY AND CLEOPATRA.
Enter CLEOPATRA, attended.
To this great fairy I'll commend thy acts,
Make her thanks bless thee.
[To Cleo.] O thou day o' the
world,
Chain mine arm'd neck; leap thou, attire and all,
Through proof of harness to ny heart, and there
Ride on the pants triumphing!
Cleo.
Lord of lords !
O infinite virtue, comest thou smiling from
The world's great snare uncaught?
1
Ant.
My nightingale,
We have beat them to their beds. What, girl! though grey
Do something mingle with our younger brown, yet ha' we 20
A brain that nourishes our nerves, and can
Get goal for goal of youth. Behold this man;
Commend unto his lips thy favouring hand :
Kiss it, my warrior: he hath fought to-day
As if a god, in hate of mankind, had
Destroy'd in such a shape.
Cleo.
I'll give thee, friend,
An armour all of gold; it was a king's.
Ant. He has deserved it, were it carbuncled
Like holy Phoebus' car. Give me thy hand :
Through Alexandria make a jolly march;
Bear our hack'd targets like the men that owe them:
Had our great palace the capacity
To camp this host, we all would sup together,
And drink carouses to the next day's fate,
Which promises royal peril. Trumpeters,
With brazen din blast you the city's ear;
Make mingle with our rattling tabourines;
That heaven and earth may strike their sounds together,
Applauding our approach.
[Exeunt.
30
84
[ACT IV.
ANTONY AND CLEOPATRA.
SCENE IX. Cæsar's camp.
Sentinels at their post.
First Sold. If we be not relieved within this hour,
We must return to the court of guard: the night
Is shiny; and they say we shall embattle
By the second hour i' the morn.
Sec. Sold.
This last day was
A shrewd one to's.
خرى
Enter ENOBARBUS.
O, bear me witness, night,-
Eno.
Third Sold. What man is this?
Sec. Sold.
Eno. Be witness to me, O thou blessed moon,
When men revolted shall upon record
Bear hateful memory, poor Enobarbus did
Before thy face repent!
First Sold.
Third Sold.
Hark further.
Eno. O sovereign mistress of true melancholy,
The poisonous damp of night disponge upon me,
That life, a very rebel to my will,
May hang no longer on me throw my heart
Against the flint and hardness of my fault;
Which, being dried with grief, will break to powder,
And finish all foul thoughts. O Antony,
Nobler than my revolt is infamous,
Forgive me in thine own particular ;
But let the world rank me in register
A master-leaver and a fugitive:
O Antony! O Antony !
Sec. Sold.
Stand close, and list him.
Enobarbus!
Let's speak
Peace!
To him.
First Sold. Let's hear him, for the things he speaks
10
20
[Dies.
SCENE IX.]
85
ANTONY AND CLEOPATRA.
May concern Cæsar.
Third Sold.
Let's do so. But he sleeps.
First Sold. Swoons rather; for so bad a prayer as his
Was never yet for sleep.
Sec. Sold.
Go we to him.
Third Sold. Awake, sir, awake; speak to us.
Sec. Sold.
Hear you, sir?
First Sold. The hand of death hath raught him.
[Drums afar off] Hark! the drums
Demurely wake the sleepers. Let us bear him
To the court of guard; he is of note: our hour
Is fully out.
31
Third Sold. Come on, then;
He may recover yet.
[Exeunt with the body.
SCENE X. Between the two camps.
Enter ANTONY and SCARUS, with their Army.
Ant. Their preparation is to-day by sea;
We please them not by land.
Scar.
For both, my lord.
Ant. I would they 'ld fight i' the fire or i' the air ;
We'ld fight there too. But this it is; our foot
Upon the hills adjoining to the city
Shall stay with us: order for sea is given ;
They have put forth the haven--forward then,
Where their appointment we may best discover
And look on their endeavour.
SCENE XI. Another part of the same.
Enter CESAR and his Army.
Cas. But being charged, we will be still by land,
Which, as I take 't, we shall; for his best force
Is forth to man his galleys. To the vales,
And hold our best advantage.
[Exeunt.
[Exeunt.
86
[ACT IV.
ANTONY AND CLEOPATRA.
SCENE XII. Another part of the same.
Enter ANTONY and SCARUS.
Ant. Yet they are not join'd: where yond pine does stand,
I shall discover all: I'll bring thee word
Straight, how 'tis like to go.
[Exit.
Scar.
Swallows have built
In Cleopatra's sails their nests: the augurers
Say they know not, they cannot tell; look grimly,
And dare not speak their knowledge. Antony
Is valiant, and dejected; and, by starts,
His fretted fortunes give him hope, and fear,
Of what he has, and has not.
[Alarum afar off, as at a sea fight.
Re-enter ANTONY.
Ant.
All is lost;
G
This foul Egyptian hath betrayed me :
My fleet hath yielded to the foe; and yonder
They cast their caps up and carouse together
Like friends long lost. Triple-turn'd whore! 'tis thou
Hast sold me to this novice; and my heart
Makes only wars on thee. Bid them all fly;
For when I am revenged upon my charm,
I have done all. Bid them all fly; begone.
O sun, thy uprise shall I see no more :
Fortune and Antony part here; even here
Do we shake hands. All come to this? The hearts
That spaniel'd me at heels, to whom I gave
Their wishes, do discandy, melt their sweets
On blossoming Cæsar; and this pine is bark'd,
That overtopp'd them all. Betray'd I am :
O this false soul of Egypt! this grave charm,-
Whose eye beck'd forth my wars, and call'd them home;
Whose boson was my crownet, my chief end,--
10
[Exit Scarus.
20
SCENE XIV.]
89
ANTONY AND CLEOPATRA.
Nay, weep not, gentle Eros; there is left us
Ourselves to end ourselves.
Enter MARDIAN.
O, thy vile lady!
She has robb'd me of my sword.
Mar.
No, Antony;
My mistress loved thee, and her fortunes mingled
With thine entirely.
Ant.
Hence, saucy eunuch; peace!
She hath betray'd me and shall die the death.
Mar. Death of one person can be paid but once,
And that she has discharged: what thou wouldst do
Is done unto thy hand: the last she spake
Was 'Antony! most noble Antony!'
Then in the midst a tearing groan did break
The name of Antony; it was divided
Between her heart and lips: she render'd life,
Thy name so buried in her.
Dead, then?
30
Ant.
Mar.
Dead.
Ant. Unarm, Eros; the long day's task is done,
And we must sleep. [To Mar.] That thou depart'st hence
safe,
Does pay thy labour richly; go.
Off, pluck off:
The seven-fold shield of Ajax cannot keep
The battery from my heart. O, cleave, my sides!
Heart. once be stronger than thy continent,
Crack thy frail case! Apace, Eros, apace.
[Exit Mardian.
40
No more a soldier: bruised pieces, go;
You have been nobly borne. From me awhile. [Exit Eros,
I will o'ertake thee, Cleopatra, and
Weep for my pardon. So it must be, for now
All length is torture: since the torch is out,
Lie down, and stray no farther: now all labour
90
ANTONY AND CLEOPATRA.
[ACT IV.
Mars what it does; yea, very force entangles
Itself with strength : seal then, and all is done.
Eros !—I come, my queen :-Eros !-Stay for me:
Where souls do couch on flowers, we'll hand in hand,
And with our sprightly port make the ghosts gaze :
Dido and her Æneas shall want troops,
And all the haunt be ours. Come, Eros, Eros !
Re-enter EROS.
Eros. What would my lord?
Ant.
Since Cleopatra died,
I have lived in such dishonour, that the gods
Detest my baseness. I, that with my sword
Quarter'd the world, and o'er green Neptune's back
With ships made cities, condemn myself to lack
The courage of a woman; less noble mind
Than she which by her death our Cæsar tells
'I am conqueror of myself.' Thou art sworn, Eros,
That, when the exigent should come, which now
Is come indeed, when I should see behind me
The inevitable prosecution of
Disgrace and horror, that, on my command,
Thou then wouldst kill me: do't; the time is come:
Thou strikest not me, 'tis Cæsar thou defeat'st.
Put colour in thy cheek.
Eros.
The gods withhold me!
Shall I do that which all the Parthian darts,
Though enemy, lost aim, and could not ?
Ant.
Eros,
Wouldst thou be window'd in great Rome and see
Thy master thus with pleach'd arms, bending down
His corrigible neck, his face subdued
To penetrative shame, whilst the wheel'd seat
Of fortunate Cæsar, drawn before him, branded
His baseness that ensued?
Eros.
I would not see't.
50
60
70
SCENE XIV.] ANTONY AND CLEOPATRA.
91
Ant. Come, then; for with a wound I must be cured.
Draw that thy honest sword, which thou hast worn
Most useful for thy country.
Eros.
O, sir, pardon me!
80
Ant. When I did make thee free, sworest thou not then
To do this when I bade thee? Do it at once;
Or thy precedent services are all
But accidents unpurposed. Draw, and come.
Eros. Turn from me, then, that noble countenance,
Wherein the worship of the whole world lies.
Ant. Lo thee !
Eros. My sword is drawn.
Ant.
The thing why thou hast drawn it.
Eros.
[Turning from him.
Then let it do at once
My captain, and my emperor, let me say,
Before I strike this bloody stroke, farewell.
My dear master,
I learn'd of thee.
The guard, ho!
Ant.
Thrice-nobler than myself!
Thou teachest me, O valiant Eros, what
I should, and thou couldst not. My queen and Eros
Have by their brave instruction got upon me
A nobleness in record: but I will be
First Guard.
Ant. 'Tis said, man; and farewell.
Eros. Farewell, great chief. Shall I strike now?
Ant.
Now, Eros.
Eros. Why, there then: thus I do escape the sorrow
Of Antony's death.
[Kills himself.
A bridegroom in my death, and run into 't
As to a lover's bed. Come, then; and, Eros,
Thy master dies thy scholar to do thus
How! not dead? not dead?
O, despatch me !
Enter DERCETAS and Guard.
90
What's the noise?
[Falling on his sword.
100
92
ANTONY AND CLEOPATRA.
[ACT IV.
Ant. I have done my work ill, friends: O, make an end
Of what I have begun.
Sec. Guard.
The star is fall'n.
First Guard. And time is at his period.
All.
Ant. Let him that loves me strike me dead.
First Guard.
Sec. Guard. Nor I.
Third Guard. Nor any one.
Der. Thy death and fortunes bid thy followers fly.
This sword but shown to Cæsar, with this tidings,
Shall enter me with him.
Enter DIOMedes.
Dio. Where's Antony?
Der.
Dio.
Wilt thou not answer, man?
Alas, and woe!
Not I.
[Exeunt Guard. 110
There, Diomed, there.
Lives he?
[Exit Dercetas.
Ant. Art thou there, Diomed? Draw thy sword, and
give me
Sufficing strokes for death.
Dio.
Most absolute lord,
My mistress Cleopatra sent me to thee.
Ant. When did she send thee?
Dio.
Now, my lord.
Ant.
Where is she?
121
Dio. Lock'd in her monument. She had a prophesying fear
Of what hath come to pass: for when she saw-
Which never shall be found-you did suspect
She had disposed with Cæsar, and that your rage
Would not be purged, she sent you word she was dead ;
But, fearing since how it might work, hath sent
Me to proclaim the truth; and I am come,
I dread, too late.
Ant. Too late, good Diomed: call my guard, I prithee.
SCENE XIV.]
ANTONY AND CLEOPATRA.
93
Dio. What, ho, the emperor's guard! The guard, what, ho!
Come, your lord calls!
130
Enter four or five of the Guard of ANTONY.
Ant. Bear me, good friends, where Cleopatra bides;
'Tis the last service that I shall command you.
First Guard. Woe, woe are we, sir, you may not live to wear
All your true followers out.
All.
Most heavy day!
Ant. Nay, good my fellows, do not please sharp fate
To grace it with your sorrows: bid that welcome
Which comes to punish us, and we punish it
Seeming to bear it lightly. Take me up:
I have led you oft: carry me
And have my thanks for all.
now, good friends,
[Exeunt, bearing Antony. 140
SCENE XV. The same. A monument.
Enter CLEOPATRA, and her maids aloft, with CHARMIAN
and IRAS.
Cleo. O Charmian, I will never go from hence.
Char. Be comforted, dear madam.
Cleo.
No, I will not:
All strange and terrible events are welcome,
But comforts we despise; our size of sorrow,
Proportion'd to our cause, must be as great
As that which makes it.
Cleo.
Enter, below, DIOMEDES.
How now! is he dead?
Dio. His death's upon him, but not dead.
Look out o' the other side your monument ;
His guard have brought him thither.
Enter, below, ANTONY, borne by the Guard.
O sun,
94
[ACT IV.
ANTONY AND CLEOPATRA.
Burn the great sphere thou movest in ! darkling stand
The varying shore o' the world. O Antony,
Antony, Antony! Help, Charmian, help, Iras, help;
Help, friends below; let's draw him hither.
Ant.
Peace!
Not Cæsar's valour hath o'erthrown Antony,
But Antony's hath triumph'd on itself.
Cleo. So it should be, that none but Antony
Should conquer Antony; but woe 'tis so!
Ant. I am dying, Egypt, dying; only
I here importune death awhile, until
Of many thousand kisses the poor last
I lay upon thy lips.
Cleo.
I dare not, dear,-
Dear my lord, pardon,—I dare not,
Lest I be taken : not the imperious show
Of the full-fortuned Cæsar ever shall
Be brooch'd with me; if knife, drugs, serpents, have
Edge, sting, or operation, I am safe :
Your wife Octavia, with her modest eyes
And still conclusion, shall acquire no honour
Demuring upon me. But come, come, Antony,-
Help me, my women,--we must draw thee up:
Assist, good friends.
Ant.
ļ
10
20
30
O, quick, or I am gone.
Cleo. Here's sport indeed! How heavy weighs my
lord!
Our strength is all gone into heaviness,
That makes the weight: had I great Juno's power,
The strong-wing'd Mercury should fetch thee up,
And set thee by Jove's side. Yet come a little,—
Wishers were ever fools,-O, come, come, come ;
[They heave Antony aloft to Cleopatra.
And welcome, welcome! die where thou hast lived :
Quicken with kissing: had my lips that power,
Thus would I wear them out.
SCENE XV.]
95
ANTONY AND CLEOPATRA.
All.
A heavy sight!
Ant. I am dying, Egypt, dying:
Give me some wine, and let me speak a little.
Cleo. No, let me speak; and let me rail so high,
That the false housewife Fortune break her wheel,
Provoked by my offence.
Ant.
One word, sweet queen :
Of Cæsar seek your honour, with your safety. O!
Cleo. They do not go together.
Ant.
Gentle, hear me :
None about Cæsar trust but Proculeius.
Cleo. My resolution and my hands I'll trust;
None about Cæsar.
Ant. The miserable change now at my end
Lament nor sorrow at; but please your thoughts
In feeding them with those my former fortunes,
Wherein I lived the greatest prince o' the world,
The noblest; and do now not basely die,
Not cowardly put off my helmet to
My countryman,—a Roman by a Roman
Valiantly vanquish'd. Now my spirit is going;
I can no more.
Cleo.
Noblest of men, woo't die?
Hast thou no care of me? shall I abide
In this dull world, which in thy absence is
No better than a sty? O, see, my women,
The crown o' the earth doth melt. My lord!
O, wither'd is the garland of the war,
The soldier's pole is fall'n: young boys and girls
Are level now with men; the odds is gone,
And there is nothing left remarkable
Beneath the visiting moon.
O, quietness, lady!
Lady!
Char.
Iras. She is dead too, our sovereign.
Char.
Iras.
40
Madam !
50
60
[Antony dies.
[Faints.
96
ANTONY AND CLEOPATRA. [ACT IV. SC. XV.
Char. O madam, madam, madam!
Iras.
Royal Egypt,
Empress !
Char. Peace, peace, Iras!
Co
Cleo. No more, but e'en a woman, and commanded
By such poor passion as the maid that milks
And does the meanest chares. It were for me
To throw my sceptre at the injurious gods;
To tell them that this world did equal theirs
Till they had stol'n our jewel. All's but naught;
Patience is sottish, and impatience does
Become a dog that's mad: then is it sin
To rush into the secret house of death,
Ere death dare come to us? How do you, women?
What, what! good cheer! Why, how now, Charmian !
My noble girls! Ah, women, women, look,
Our lamp is spent, it's out! Good sirs, take heart :
We'll bury him; and then, what's brave, what's noble,
Let's do it after the high Roman fashion,
And make death proud to take us. Come, away :
This case of that huge spirit now is cold:
Ah, women, women! come; we have no friend
But resolution, and the briefest end.
[Exeunt; those above bearing off Antony's body.
Cos. Go to him, Dolabella, bid him yield:
Being so frustrate, tell him he mocks
The pauses that he makes.
Dol.
•
70

·ACT V.
SCENE I. Alexandria.
Caesar's camp.
Enter CESAR, AGRIPPA, DOLABELLA, MECENAS, GALLUS,
PROCULEIUS, and others, his council of war.
Cæsar, I shall.
80
90
[Exit.
ACT V. SC. I.] ANTONY AND CLEOPATRA.
97
Enter DERCETAS, with the sword of ANTONY.
Cæs. Wherefore is that? and what art thou that darest
Appear thus to us?
Der.
I am call'd Dercetas:
Mark Antony I served, who best was worthy
Best to be served: whilst he stood up and spoke,
He was my master; and I wore my life
To spend upon his haters. If thou please
To take me to thee, as I was to him
I'll be to Cæsar; if thou pleasest not,
I yield thee up my life.
Cæs.
What is 't thou say'st?
Der. I say, O Cæsar, Antony is dead.
Cæs. The breaking of so great a thing should make
A greater crack the round world
Should have shook lions into civil streets,
And citizens to their dens: the death of Antony
Is not a single doom; in the name lay
A moiety of the world.
Der.
He is dead, Cæsar;
Not by a public minister of justice,
Nor by a hired knife; but that self hand,
Which writ his honour in the acts it did,
Hath, with the courage which the heart did lend it,
Splitted the heart. This is his sword;
I robb'd his wound of it; behold it stain'd
With his most noble blood.
C'œs.
Look you sad, friends?
The gods rebuke me, but it is tidings
To wash the eyes of kings.
Agr.
That nature must compel us to lament
Our most persisted deeds.
Mec.
Waged equal with him.
And strange it is,
His taints and honours
G
10
20
30
$98
[ACT V.
ANTONY AND CLEORATKA.
Agr.
A rarer spirit never
Did steer humanity: but you, gods, will give us
Some faults to make us men. Cæsar is touch'd.
Mec. When such a spacious mirror 's set before him
He needs must see himself.
Ces.
O Antony !
I have follow'd thee to this; but we do lance
Diseases in our bodies: I must perforce
Have shown to thee such a declining day,
Or look on thine; we could not stall together
In the whole world: but yet let me lament,
With tears as sovereign as the blood of hearts,
That thou, my brother, my competitor
In top of all design, my mate in empire.
Friend and companion in the front of war,
The arm of mine own body, and the heart
Where mine his thoughts did kindle,—that our stars,
Unreconciliable, should divide
Our equalness to this. Hear me, good friends,—
But I will tell you at some meeter season :
Enter an Egyptian.
The business of this man looks out of him;
We'll hear him what he says.
Whence are you ?
Egyp. A poor Egyptian yet. The queen my mistress,
Confined in all she has, her monument,
Of thy intents desires instruction,
That she preparedly may frame herself
To the way she's forced to.
Cæs.
Bid her have good heart:
She soon shall know of us, by some of ours,
How honourable and how kindly we
Determine for her; for Cæsar cannot live
To be ungentle.
Egyp.
So the gods preserve thee !
Cas. Come hither, Proculeius. Go and say,
40
50
[Exit. 60
SCENE I.]
99
ANTONY AND CLEOPATRA.
We purpose her no shame : give her what comforts
The quality of her passion shall require,
Lest, in her greatness, by some mortal stroke
She do defeat us; for her life in Rome
Would be eternal in our triumph: go,
And with your speediest bring us what she says,
And how you find of her.
Cæsar, I shall.
[Exit Gallus.]
Pro.
Cæs. Gallus, go you along.
Dolabella,
To second Proculeius?
All.
Dolabella!
:
Cæs. Let him alone, for I remember now
How he's employ'd he shall in time be ready.
Go with me to my tent; where you shall see
How hardly I was drawn into this war;
How calm and gentle I proceeded still
In all my writings: go with me, and see
What I can show in this.
Cleo. My desolation does begin to make
A better life. 'Tis paltry to be Cæsar;
Not being Fortune, he's but Fortune's knave,
A minister of her will: and it is great
SCENE II. Alexandria. A room in the monument.
Enter CLEOPATRA, CHARMIAN, and Iras.
To do that thing that ends all other deeds;
Which shackles accidents and bolts up change;
Which sleeps, and never palates more the dug,
The beggar's nurse and Cæsar's.
Pro. Cæsar sends greeting to the Queen of Egypt;
And bids thee study on what fair demands
[Exit.
Where's
[Exeunt.
Enter, to the gates of the monument, PROCULEIUS, GALLUS,
and Soldiers.
n

70
10
100
ANTONY AND CLEOPATRA.
[ACT V.
Thou mean'st to have him grant thee.
Cleo.
Pro. My name is Proculeius.
Cleo.
What's thy name?
Antony
Did tell me of you, bade me trust you; but
I do not greatly care to be deceived,
That have no use for trusting. If your master
Would have a queen his beggar, you must tell him,
That majesty, to keep decorum, must
No less beg than a kingdom: if he please
To give me conquer'd Egypt for my son,
He gives me so much of mine own, as I
Will kneel to him with thanks.
Pro.
Be of good cheer;
You're fall'n into a princely hand, fear nothing:
Make your full reference freely to my lord,
Who is so full of grace, that it flows over
On all that need : let me report to him
Your sweet dependency; and you shall find
A conqueror that will pray in aid for kindness,
Where he for grace is kneel'd to.
Cleo.
Pray you, tell him
I am his fortune's vassal, and I send him
The greatness he has got. I hourly learn
A doctrine of obedience; and would gladly
Look him i' the face.
20
30
Pro.
This I'll report, dear lady.
Have comfort, for I know your plight is pitied
Of him that caused it.
Gal. You see how easily she may be surprised:
[Here Proculeius and two of the Guard ascend the monu-
ment by a ladder placed against a window, and,
having descended, come behind Cleopatra. Some of
the Guard unbar and open the gates.
[To Proculeius and the Guard] Guard her till Cæsar come.
[Exit.
SCENE II.]
ANTONY AND CLEOPATRA.
101
!
Iras. Royal queen
Char. O Cleopatra ! thou art taken, queen.
Cleo. Quick, quick, good hands.
Pro.
[Drawing a dagger.
Hold, worthy lady, hold :
[Seizes and disarms her.
40
Do not yourself such wrong, who are in this
Relieved, but not betray'd.
Cleo.
That rids our dogs of languish ?
Cleopatra,
Pro.
Do not abuse my master's bounty by
The undoing of yourself: let the world see
His nobleness well acted, which your death
Will never let come forth.
What, of death too,
Cleo.
Where art thou, death?
Come hither, come! come, come, and take a queen
Worth many babes and beggars !
Pro.
O, temperance, lady!
Cleo. Sir, I will eat no meat, I'll not drink, sir;
If idle talk will once be necessary,
I'll not sleep neither: this mortal house I'll ruin,
Do Cæsar what he can. Know, sir, that I
Will not wait pinion'd at your master's court ;
Nor once be chastised with the sober eye
Of dull Octavia. Shall they hoist me up
And show me to the shouting varletry
Of censuring Rome? Rather a ditch in Egypt
Be gentle grave unto me! rather on Nilus' mud
Lay me stark-nak'd, and let the water-flies
Blow me into abhorring! rather make
My country's high pyramides my gibbet,
And hang me up in chains!
Pro.
You do extend
These thoughts of horror further than you shall
Find cause in Cæsar.
50
60
102
[ACT V.
ANTONY AND CLEOPATRA.
Enter DOLABella.
Dol.
Proculeius,
What thou hast done thy master Cæsar knows,
And he hath sent for thee: for the queen,
I'll take her to my guard.
Pro.
So, Dolabella,
It shall content me best: be gentle to her.
[To Cleo.] To Cæsar I will speak what you shall please,
If you'll employ me to him.
Cleo.
Say, I would die.
70
[Exeunt Proculeius and Soldiers.
Dol. Most noble empress, you have heard of me?
Cleo. I cannot tell.
Dol.
Assuredly you know me.
Cleo. No matter, sir, what I have heard or known.
You laugh when boys or women tell their dreams ;
Is 't not your trick?
Dol.
I understand not, madam.
Cleo. I dream'd there was an Emperor Antony:
O, such another sleep, that I might see
But such another man!
Dol.
If it might please ye,—
Cleo. His face was as the heavens; and therein stuck
A sun and moon, which kept their course, and lighted
The little O, the earth.
Dol.
Most sovereign creature,—
Cleo. His legs bestrid the ocean: his rear'd arm
Crested the world: his voice was propertied
As all the tuned spheres, and that to friends;
But when he meant to quail and shake the orb,
He was as rattling thunder. For his bounty,
There was no winter in 't; an autumn 'twas
That grew the more by reaping: his delights
Were dolphin-like; they show'd his back above
The element they lived in: in his livery
&
80

90
SCENE II.]
103-
ANTONY AND CLEOPATRA.
Walk'd crowns and crownets; realms and islands were
As plates dropp'd from his pocket.
Dol.
Cleopatra !
Cleo. Think you there was, or might be, such a man
(As this I dream'd of?
Dol.
Gentle madam, no.
Cleo. You lie, up to the hearing of the gods.
But, if there be, or ever were, one such,
It's past the size of dreaming: nature wants stuff
To vie strange forms with fancy; yet, to imagine
An Antony, were nature's piece 'gainst fancy,
Condemning shadows quite.
Dol.
Hear me, good madam.
Your loss is as yourself, great; and you bear it
As answering to the weight: would I might never
O'ertake pursued success, but I do feel,
By the rebound of yours, a grief that smites
My very heart at root.
100
Cleo.
I thank you, sir.
Know you what Cæsar means to do with me?
Dol. I am loath to tell you what I would you knew.
Cleo. Nay, pray you, sir,-
Dol.
Though he be honourable,—
Cleo. He'll lead me, then, in triumph?
Dol. Madam, he will; I know 't.
[Flourish and shout within, 'Make way there: Cæsar!
Cæs. Which is the Queen of Egypt?
Dol. It is the emperor, madam.
Caes. Arise, you shall not kneel:
I pray you, rise; rise, Egypt.
Cleo.
Sir, the gods.
Will have it thus; my master and my lord
I must obey.
110.
Enter CÆSAR, GALLUS, PROCULEIUS, MECENAS, SELeucus,
and others of his Train.
[Cleopatra kneels.
104
[ACT V.
ANTONY AND CLEOPATRA.
Cæs. Take to you no hard thoughts :
The record of what injuries you did us,
Though written in our flesh, we shall remember
As things but done by chance.
Sole sir o' the world,
Cleopatra, know,
Cleo.
I cannot project mine own cause so well
To make it clear; but do confess I have
Been laden with like frailties which before
Have often shamed our sex.
Coes.
We will extenuate rather than enforce:
If you apply yourself to our intents,
Which towards you are most gentle, you shall find
A benefit in this change; but if you seek
To lay on me a cruelty, by taking
Antony's course, you shall bereave yourself
Of my good purposes, and put your children
To that destruction which I'll guard them from,
If thereon you rely. I'll take my leave.
Cleo. And may, through all the world: 'tis yours; and we,
Your scutcheons and your signs of conquest, shall
Hang in what place you please. Here, my good lord.
Cœes. You shall advise me in all for Cleopatra.
Cleo. This is the brief of money, plate, and jewels,
I am possess'd of: 'tis exactly valued;
Not petty things admitted. Where's Seleucus ?
Sel. Here, madam.
Cleo. This is my treasurer: let him speak, my lord,
Upon his peril, that I have reserved
To myself nothing. Speak the truth, Seleucus.
Sel. Madam,
I had rather seal my lips, than, to my peril,
Speak that which is not.
120
Cleo.
What have I kept back?
Sel. Enough to purchase what you have made known.
Cas. Nay, blush not, Cleopatra ; I approve
130
140
SCENE II.]
ANTONY AND CLEOPATRA.
105
Your wisdom in the deed.
Cleo.
See, Cæsar! O, behold,
How pomp is follow'd! mine will now be yours;
And, should we shift estates, yours would be mine.
The ingratitude of this Seleucus does
Even make me wild: O slave, of no more trust
Than love that's hired! What, goest thou back? thou shalt
Go back, I warrant thee; but I'll catch thine eyes,
Though they had wings: slave, soulless villain, dog!
O rarely base!
Cæs.
Good queen, let us entreat you.
Cleo. O Cæsar, what a wounding shame is this,
That thou, vouchsafing here to visit me,
Doing the honour of thy lordliness
To one so meek, that mine own servant should
Parcel the sum of my disgraces by
Addition of his envy! Say, good Cæsar,
That I some lady trifles have reserved,
Immoment toys, things of such dignity
As we greet modern friends withal; and say,
Some nobler token I have kept apart
For Livia and Octavia, to induce
Their mediation; must I be unfolded
150
160
170
With one that I have bred? The gods! it smites me
Beneath the fall I have. [To Seleucus] Prithee, go hence ;
Or I shall show the cinders of my spirits
Through the ashes of my chance: wert thou à man,
Thou wouldst have mercy on me.
Cœs.
Forbear, Seleucus.
[Exit Seleucus.
Cleo. Be it known, that we, the greatest, are misthought
For things that others do; and, when we fall,
We answer others' merits in our name,
Are therefore to be pitied.
CCES.
Cleopatra,
Not what you have reserved, nor what acknowledged, 180
106
ANTONY AND CLEOPATRA.
[ACT V₁
Put we i' the roll of conquest: still be 't yours,
Bestow it at your pleasure; and believe,
Cæsar's no merchant, to make prize with you
Of things that merchants sold. Therefore be cheer'd;
Make not your thoughts your prisons: no, dear queen ;
For we intend so to dispose you as
Yourself shall give us counsel. Feed, and sleep:
Our care and pity is so much upon you,
That we remain your friend; and so, adieu.
Cleo. My master, and my lord !
Cæs.
190
[Flourish.
Not so.
Adieu.
Exeunt Cæsar and his train.
Cleo. He words me, girls, he words me, that I should not
Be noble to myself: but, hark thee, Charmian.
Iras. Finish, good lady; the bright day is done,
And we are for the dark.
[Whispers Charmian.
Cleo.
Hie thee again :
I have spoke already, and it is provided ;
Go put it to the haste.
Char.
Madam, I will.
Re-enter DOLABella.
Dol. Where is the queen?
Char.
Behold, sir.
Cleo.
Dolabella!
Dol. Madam, as thereto sworn by your command,
Which my love makes religion to obey,
I tell you this: Cæsar through Syria
Intends his journey; and within three days
You with your children will he send before :
Make your best use of this: I have perform'd
Your pleasure and my promise.
Cleo.
I shall remain your debtor.
Dol.
Dolabella,
I your servant.
[Exit.
200
SCENE II.]
107
ANTONY AND CLEOPATRA.
Adieu, good queen; I must attend on Cæsar.
Cleo. Farewell, and thanks.
[Exit Dolabella.
Now, Iras, what think'st thou ?
Thou, an Egyptian puppet, shalt be shown
In Rome, as well as I: mechanic slaves
With greasy aprons, rules, and hammers, shall
Uplift us to the view; in their thick breaths,
Rank of gross diet, shall we be enclouded,
And forced to drink their vapour.
Iras
The gods forbid !
Cleo. Nay, 'tis most certain, Iras: saucy lictors
Will catch at us, like strumpets; and scald rhymers
Ballad us out o' tune: the quick comedians
Extemporally will stage us, and present
Our Alexandrian revels; Antony
Shall be brought drunken forth, and I shall see
Some squeaking Cleopatra boy my greatness.
Iras. O the good gods!
Cleo. Nay, that's certain.
Iras. I'll never see 't; for, I am sure, my nails
Are stronger than mine eyes.
Cleo.
Why, that's the way
To fool their preparation, and to conquer
Their most absurd intents.
Re-enter CHARMIAN.
Guard.
Enter a Guardsman.
Now, Charmian !
Show me, my women, like a queen: go fetch
My best attires: I am again for Cydnus,
To meet Mark Antony: sirrah Iras, go.
Now, noble Charmian, we'll despatch indeed;
And, when thou hast done this chare, I'll give thee leave
To play till doomsday. Bring our crown and all.
Wherefore's this noise ?
[Exit Iras. A noise within.
Here is a rural fellow
210
220
230

108
ANTONY AND CLEOPATRA.
[ACT V.
That will not be denied your highness' presence :
He brings you figs.
Cleo. Let him come in.
What poor an instrument
May do a noble deed! he brings me liberty.
My resolution's placed, and I have nothing
Of woman in me: now from head to foot
I am marble-constant; now the fleeting moon
No planet is of mine.
[Exit Guardsman.
Cleo. Get thee hence; farewell.
Clown. I wish you all joy of the worm.
240
Re-enter Guardsman, with Clown bringing in a basket.
This is the man.
[Exit Guardsman.
Guard.
Cleo. Avoid, and leave him.
Hast thou the pretty worm of Nilus there,
That kills and pains not?
Clown. Truly, I have him: but I would not be the party
that should desire you to touch him, for his biting is
immortal; those that do die of it do seldom or never
recover.
Cleo. Rememberest thou any that have died on 't?
249
Clown. Very many, men and women too. I heard of one
of them no longer than yesterday: a very honest woman,
but something given to lie; as a woman should not do, but
in the way of honesty: how she died of the biting of it, what
pain she felt truly, she makes a very good report o' the
worm; but he that will believe all that they say, shall never
be saved by half that they do but this is most fallible, the
worm's an odd worm.
[Setting down his basket.
Cleo. Farewell.
260
Clown. You must think this, look you, that the worm will
do his kind.
Cleo. Ay, ay; farewell.
Clown. Look you, the worm is not to be trusted but in the
SCENE II.]
ANTONY AND CLEOPATRA.
109
keeping of wise people; for, indeed, there is no goodness in
the worm.
Cleo. Take thou no care; it shall be heeded.
Clown. Very good. Give it nothing, I pray you, for it is
not worth the feeding.
Cleo. Will it eat me?
270
Clown. You must not think I am so simple but I know
the devil himself will not eat a woman: I know that a
woman is a dish for the gods, if the devil dress her not.
But, truly, these same devils do the gods great harm in
their women; for in every ten that they make, the devils
mar five.
Cleo. Well, get thee gone; farewell.
Clown. Yes, forsooth: I wish you joy o' the worm. [Exit.
Re-enter IRAS with a robe, crown, &c.
Cleo. Give me my robe, put on my crown; I have
Immortal longings in me: now no more
The juice of Egypt's grape shall moist this lip :
Yare, yare, good Iras; quick. Methinks I hear
Antony call; I see him rouse himself
To praise my noble act; I hear him mock
The luck of Cæsar, which the gods give men
To excuse their after wrath: husband, I come :
Now to that name my courage prove my title!
I am fire and air; my other elements
I give to baser life. So; have you done?
Come then, and take the last warmth of my lips.
Farewell, kind Charmian; Iras, long farewell.
280
Have I the aspic in my lips? Dost fall?
If thou and nature can so gently part,
The stroke of death is as a lover's pinch,
Which hurts, and is desired. Dost thou lie still?
If thus thou vanishest, thou tell'st the world
It is not worth leave-taking.
290
[Kisses them. Iras falls and dies.
110
ANTONY AND CLEOPATRA.
[ACT V.
Char. Dissolve, thick cloud, and rain; that I may say,
The gods themselves do weep !
Cleo.
This proves me base:
If she first meet the curled Antony,
He'll make demand of her, and spend that kiss
Which is my heaven to have. Come, thou mortal wretch,
[To an asp, which she applies to her breast.
With thy sharp teeth this knot intrinsicate
Of life at once untie : poor venomous fool,
Be angry, and despatch. O, couldst thou speak,
That I might hear thee call great Cæsar ass
Unpolicied!
Char.
Cleo.
Peace, peace!
Dost thou not see my baby at my breast,
That sucks the nurse asleep?
O eastern star!
Char.
O, break! O, break!
Cleo. As sweet as balm, as soft as air, as gentle.—-
O Antony !-Nay, I will take thee too :
What should I stay-
Char. In this vile world? So, fare thee well.
Now boast thee, death, in thy possession lies
A lass unparallel'd. Downy windows, close;
And golden Phoebus never be beheld
Of eyes again so royal! Your crown's awry ;
I'll mend it, and then play.
[Applying another asp to her arm.
[Dies.
Enter the Guard, rushing in.
First Guard. Where is the queen ?
Char.
First Guard. Cæsar hath sent-
Char.
300
310
Speak softly, wake her not.
O, come apace, despatch! I partly feel thee.
Too slow a messenger. 320
[Applies an asp.
SCENE II.]
111
ANTONY AND CLEOPATRA.
First Guard. Approach, ho! All's not well: Cæsar's
beguiled.
Sec. Guard. There's Dolabella sent from Cæsar; call him.
First Guard. What work is here! Charmian, is this well
done?
Char. It is well done, and fitting for a princess
Descended of so many royal kings.
Ah, soldier !
Re-enter DOLABELLA.
Dol. How goes it here?
Sec. Guard.
Dol.
All dead.
Cæsar, thy thoughts
Touch their effects in this: thyself art coming
To see perform'd the dreaded act which thou
So sought'st to hinder.
[Within 'A way there, a way for Cæsar!'
Re-enter CÆSAR and all his train, marching.
Dol. O sir, you are too sure an augurer ;
That you did fear is done.
Cæs.
Bravest at the last,
She levell'd at our purposes, and, being royal,
Took her own way. The manner of their deaths?
I do not see them bleed.
C'œs.
First Guard.
Poison'd, then.
O Cæsar,
This Charmian lived but now; she stood and spake :
I found her trimming up the diadem
On her dead mistress; tremblingly she stood
And on the sudden dropp'd.
Cœs.
[Dies.
Dol.
Who was last with them?
First Guard. A simple countryman, that brought her
figs :
This was his basket.
O noble weakness!
330
340
112
ANTONY AND CLEOPATRA. [ACT V. SC. II.
If they had swallow'd poison, 'twould appear
By external swelling: but she looks like sleep,
As she would catch another Antony
In her strong toil of grace.
Dol.
Here, on her breast,
There is a vent of blood and something blown :
The like is on her arm.
First Guard. This is an aspic's trail: and these fig-leaves
Have slime upon them, such as the aspic leaves
Upon the caves of Nile.
Cæs.
Most probable
That so she died; for her physician tells me
She hath pursued conclusions infinite
Of easy ways to die. Take up her bed;
And bear her women from the monument :
She shall be buried by her Antony:
No grave upon the earth shall clip in it
A pair so famous. High events as these
Strike those that make them; and their story is
No less in pity than his glory which
Brought them to be lamented. Our army shall
In solemn show attend this funeral;
And then to Rome. Come, Dolabella, see
High order in this great solemnity.
350
360
[Exeunt.
'*') ·
NOTES.
Abb. indicates references to Abbott's Shakespearian Grammar.
ACT I. SCENE I.
1, 2. Nay,... measure, Philo and Demetrius are continuing a
conversation already begun, and the former, replying to some-
thing the latter had said, possibly in excuse of Antony's waste of
time at Cleopatra's court, says, Well, but this foolish passion of
our general exceeds all bounds. For the double genitive,
general's, cp. K. J. ii. 1. 65, “With them a bastard of the king's
deceased."
2-4. those his... Mars, those fine eyes of his that, scanning his
troops drawn up in battle array, have been wont to gleam as
brilliantly as the god of war when habited in his glistering
armour: plated, wearing plate armour, i.e. armour made of
plates of steel; cp. R. II. i. 3. 28, “Thus plated in habiliments
of war.
""
5. The office... view, the devoted service of their looks; their
looks in devoted homage; a hendiadys.
6. tawny, Cleopatra was of pure Greek descent, but it has been
customary with poets and painters to represent her as though of
Eastern origin; and it is possible that during the three hundred
years since the first Ptolemy came to Egypt the climate may have
told upon the complexion of his descendants; tawny is merely
the F. tanné, tanned or browned by the sun his captain's
heart, his warlike heart; such a heart as the leader of armies
should have.
8. buckles, sc. by which his armour was fastened; reneges all
temper, renounces all moderation; for reneges, to be pronounced
with the g hard, cp. Lear, ii. 2. 84, " Renege, affirm, and turn
their halcyon beaks"; for temper = equanimity, Lear, i. 5. 51.
9, 10. and is... lust, is now nothing more than the slave of
Cleopatra's passion; for bellows, used for the purpose of cooling,
not that of blowing up a fire, Malone quotes Faery Queen, ii. 9.
30, "A huge great payre of bellows, which did styre Continually,
H
113
114
ANTONY AND CLEOPATRA.
[ACT I.
and cooling breath inspire"; gipsy, a corruption of M. E.
Egypcien, an Egyptian, though the gipsies originally came from
India; here the word is of course used contemptuously, as in
R. J. ii. 4. 44, "Laura to his lady was but a kitchen-wench; ..
Dido a dowdy; Cleopatra a gipsy.”
...
""
12. triple, third; cp. A. W. ii. 1. 111, "Which... He bade me
store up, as a triple eye ; for pillar, Steevens compares Psalms,
lxxv. 3, "The earth and all the inhabitants thereof are dissolved:
I bear up the pillars of it." Antony, Caesar, and Lepidus formed
the second triumvirate.
14. If it be... much, if that which you boast you feel for me be
in reality love, tell me what its extent is.
15. There's beggary ... reckon'd, love, the amount of which
can be reckoned, is but bankruptcy; cp. M. A. ii. 1. 318, "I
were but little happy, if I could say how much "; R. J. ii. 6. 32,
46
They are but beggars that can count their worth.
16. I'll set ... beloved, I will fix a
beloved, I will fix a limit up to which your love
may go; for bourn, cp. W. T. i. 2. 134, As dice are to be
wish'd by one that fixes No bourn 'twixt his and mine."
17. Then must thou... earth, then must you discover a new
heaven and a new earth, for the present heaven and earth are not
large enough to measure the extent of my love.
18. Grates me, it vexes, annoys me; cp. Ham'. iii. 1. 3,
'Grating so harshly all his days of quiet"; the curt form of ex-
pression is intended to indicate his frame of mind: the sum, let
me know as briefly as possible what is the sum and substance of
your tidings.
(C
19. them, sc. the news; the word being used in Shakespeare's
day both as a singular and a plural noun.
20, 1. Fulvia ... angry, taunting him with mischievous glee:
who knows If, very possibly.
21. scarce-bearded, making her gibe the more bitter by con-
trasting the youth of Cæsar with the riper years of him who will
have to obey.
22. powerful, i.e. which you will not venture to neglect.
23. Take in, conquer, bring into subjection; as below, iii. 7.
21, iii. 13. 83, and frequently elsewhere: enfranchise, set free;
O. F. franc, free.
24. damn, condemn; cp. J. C. iv. 1. 6, "He shall not live;
look, with a spot I damn him," i.e. by putting a mark against
his name: How, my love! i.e. what makes you speak in this
taunting way?
like, nay, not merely 'perchance,' but most
25. nay,
probably.
...
SCENE I.]
115
NOTES.
26, 7. your dismission
orders that you shall quit Egypt.
...
...
Caesar, probably Caesar has sent
28. process, summons; used in its legal sense, and taunting
Antony with being hen-pecked by his wife, whom Plutarch
describes as being "somewhat sour and crooked of condition,"
and again as "of a peevish, crooked, and troublesome nature
(Skeat, Shakespeare's Plutarch, pp. 162, 179): Caesar's... both,
pretending to correct herself, she says, ought I to say Caesar's
summons? or perhaps the summons of both together?
29. As I am queen, assuredly as I am, etc.
;)
31. Is Caesar's homager, by coming into your checks offers
homage to Caesar; shows your awe of Caesar; homager, homage
was the service of a vassal or man (homo): pays shame, pays the
tribute of fear.
...
33, 4. the wide fall! may the whole edifice of the vast
Roman empire, now so well-ordered, fall into ruins! arch
indicates the firmness and loftiness of the structure, and the ruin
which follows upon that support giving way; for ranged, cp.
Cor. iii. 1. 206, "That is the way to lay the city flat; ... And
bury all, which yet distinctly ranges, In heaps and piles of
ruin. Steevens says that what in masonry is now called a
course, was formerly called a range. Here is my space,
want nothing beyond my life in Egypt; that is all-sufficing
""
to me.
35. Kingdoms are clay, i.e. not worth the trouble of con-
quering.
35, 6. our dungy... beast, this filthy earth of ours, which gives
sustenance to beasts no less than to men, is not worth one's
thoughts; for dungy, cp. W. T. ii. 1. 157, "There's not a grain
of it (honesty) the face to sweeten Of the whole dungy earth."
36, 7. the nobleness... thus, what is really noble in life (i.e. as
opposed to the mere sordid acquisition of wealth and sway) is
the reciprocation of love.
37-40. when such... peerless, when it can be thus shown by a
pair in such complete accord, and a pair so noble in themselves,
in which respects I call upon the whole world, on the penalty of
punishment for denial, to acknowledge that we have no equals;
for twain, used substantively, cp. Temp. iv. 1. 104, "Go with
me To bless this twain; weet, is only a corruption of wit, as in
the Faery Queene, i. 3. 6, “As he her wronged innocence did
weet"; though there were two verbs in A.S., witan, to know,
and witan, to see, with the i long.
40. Excellent falsehood! the abstract for the concrete, as in
K. J. iii. 4. 36, "O fair affliction, peace!"; Temp. v. 1. 218,
Now, blasphemy, That swear'st grace o'erboard, not an oath
""
on shore?"
C
116
[ACT I.
ANTONY AND CLEOPATRA.
42, 3. Antony ... himself, Antony will show himself in his own
noble character.
43. But... Cleopatra, yes, replies Antony, I shall show myself
worthy of what I am, but only if prompted, inspired, thereto by
Cleopatra.
44. for the... Love, out of the love we bear to the goddess of
love soft, luxurious.
45. confound, waste; cp. Cor. i. 6. 17, "How could'st thou in
a mile confound an hour And bring thy news so late?"
46. should stretch, ought to be spent.
49. becomes, suits, sets off; cp. W. T. iv. 4. 143-6, "each your
doing, ... Crowns what you are doing in the present deed, That
all your acts are queens.
50, 1. whose every admired, each of whose impulses strives
with all its power to show itself, as manifested by you, in a
lovely guise.
54. qualities, characters. "And sometimes also, when he would
go up and down the city disguised like a slave in the night, and
would peer into poor men's windows and their shops, and scold
and brawl with them within the house, Cleopatra would be also
in a chamber-maid's array, and amble up and down the streets
with him, so that oftentimes Antonius bare away both mocks
and blows" (Skeat, Shakespeare's Plutarch, p. 177).
55. speak... us, said to the attendant who had brought the
news from Rome.
...
56. Is Cæsar slight? Does Antony venture to treat Cæsar
with such disdain that he will not even hear his message? It is
doubtful whether here with as regards, or merely=by; see
Abb. § 193.
..
57. when ….. Antony, when he is not himself; not in his right
frame of mind.
58, 9. He comes Antony, he shows himself wanting in that
nobility of character which should ever be his; cp. Lear, i. 1.
74, "I find she names the very deed of love Only she comes too
short"; i. 3. 9, "If you come slack of former services"; property,
that which peculiarly belongs to him; Lat. proprius, own.
...
60. approves the common liar, proves that those who thus re-
present him in Rome, and who have been looked upon as liars,
only speak the truth; cp. H. VIII. ii. 3. 74, "I shall not fail to
approve the fair conceit The king hath of you."
..
61, 2. I will to-morrow, I will hope that he may show him-
self in a better light to-morrow; Of, as regards; cp. M. M. iii. 1.
1. "So then you hope of pardon from Lord Angelo?”
62. Rest you happy! a courteous form of farewell.
SCENE II.]
117
NOTES.
SCENE II.
2. absolute, complete in everything that becomes a man; free
from all defects; cp. Cor. iv. 5. 142, "most absolute sir"; and
below, iii. 7. 40, "The absolute soldiership you have by land."
5. Your will? what is your pleasure? what do you desire?
6. know things, are skilled in the knowledge of the future.
15. He means in flesh, he means in looks, not in the matter of
fortune.
16. paint, heighten your beauty with rouge.
17. Wrinkles forbid! instead of saying 'Heaven forbid!' she
says, 'may wrinkles not come to make that necessary!?
18. his prescience, used jocularly as a title; as we say 'his
worship,' 'his lordship.'
21. I had rather ... drinking, I would rather do anything than
meet with such a fate as that; though to her probably to heat
her liver with drinking would not be a very terrible affliction.
Cp. M. V. i. 1. 81, "And let my liver rather heat with wine.”
23. Good now, now, my good fellow; cp. Temp. i. 1. 16, "Nay,
good, be patient.'
""
24. widow them all, outlive them all.
25. Herod of Jewry, commonly represented in the old mystery
plays as a blustering tyrant, with especial reference to his
slaughter of children in the endeavour to make away with the
predicted Messiah; cp. H. V. iii. 3. 41, “as did the wives of
Jewry At Herod's bloody-hunting slaughtermen"; and below,
iii. 3. 3, 4.
26. find me to marry, discover for me by your foresight that it
is my destiny to marry.
27. companion ... mistress, place me upon an equality with, etc.
29. Ilove... figs, Steevens says that this was a proverbial phrase.
30, 1. You have seen approach, the fortune which awaits.
you is less fair than that you have already experienced.
...
(C
...
32. belike, probably; literally, by like, i.. likelihood: shall
. names, will be illegitimate; cp. T. G. iii. 1. 323, "That's as
much as to say bastard virtues; that, indeed, know not their
fathers and therefore have no names.
>>
34. every, each one; a pronoun here, as in A. Y. L. v. 4. 178,
every of this happy number.”
35. And... wish, and if every wish were fertile; cp. T'im. iv. 3. 187.
36. Out, fool! away with you, you fool! I forgive... witch, if
118
[ACT I.
ANTONY AND CLEOPATRA.
you can prophesy no better than this, you need not be afraid of
being burnt as a witch.
40. drunk to bed, i.e. to go drunk, etc.
42. E'en as ... famine, sc. not at all; the higher the Nile rose,
the richer was the crop, owing to the deposit of alluvial mud;
see below, ii. 7. 21, 2.
43. wild, mad, extravagant in your merry jests.
44. an oily palm, cp. Oth. iii. 4. 36-8, "this hand is moist, my
lady... This argues fruitfulness and liberal heart.”
45. I cannot ear, I cannot do any action however trifling ;
i.e. it is assuredly a fruitful, etc.
...
66
46. worky-day, plain, common; cp. A. Y. L. i. 3. 12, "how
full of briers is this working-day world!" and contrast i. H. IV.
i. 3. 46, "With many holiday and lady terms "; iii. 1. 261,
Sunday citizens," i. e. dressed in their best clothes; worky-day
is the M. E. werkedai, = work-day, pronounced as a trisyllable.
49. I have said, I have given my answer and you will get
nothing more from me.
51, 2. Alexas fortune! come, tell us what fortune is in store
for Alexas.
...
53. Isis, one of the principal Egyptian deities, the goddess of
the earth and fertility.
61. Saw you my lord? we should now say, have you seen
my lord; but the action is here regarded simply as past without
any reference to completion.
64. A Roman thought, a thought about affairs in Rome.
67. at your service, ready to wait upon you.
68. We will... him, I will pretend not to see him.
69. first ... field, first appeared in arms.
72, 3. the time's... Cæsar, the state of affairs then rendered it
necessary for them to lay aside their ill-will and to make common
cause against Cæsar; jointing, here only and in Cymb. v. 4. 142,
v. 5. 440.
74, 5. whose better... them, whose success in the war drove
them at the first encounter out of Italy; drave, the older pre-
terite, used elsewhere by Shakespeare, though drove is more
common with him: what worst? what news worse than this and
worst of all have you to tell me? As in i. 1. 18, Antony is
impatient to get at what is important.
76. The nature... teller, the bringer of evil tidings shares
in the displeasure with which they are received; cp. below, ii. 5.
84, 5, "Though it be honest, it is never good To bring bad
news.
SCENE II.]
119
NOTES.
77. When it ... coward, that is so only when the evil tidings
concern, etc.: On, go on with what you have to tell.
78. are done with me, no longer affect me.
79, 80. Who tells ... flatter'd, I listen as readily to one who
tells me the truth, though his news be of the most fatal character,
as I should to one who had a flattering tale to tell.
81. stiff news, news hard to digest.
82. Extended, seized upon; to extend, or make an extent of,
"lands is a legal phrase, from the words of a writ-extendi facias
-whereby the sheriff is directed to cause certain lands to be
appraised to their full extended value, before he delivers them to
the person entitled under a recognizance, etc., in order that
it may be certainly known how soon the debt will be paid
(Malone); cp. A. Y. L. iii. 1. 17, "let my officers of such
a nature Make an extent upon his house and lands": Euphrates,
with the a short, as frequently in old writers.
>>
83, 4. His conquering ... Ionia, his banner waved triumphantly
through all the regions from Syria, etc., i.e. his march was
one of easy conquest from, etc.
86. Speak... home, speak to me with the greatest plainness :
home, used adverbially, as frequently in Shakespeare, of any
thorough or energetic action; mince.. tongue, do not soften
down, qualify, what is generally said of me; cp. Oth. ii. 3. 247,
Thy honesty and love doth mince this matter, Making it light
to Cassio."
CC
88. in Fulvia's phrase, in the terms which Fulvia uses: taunt
my faults, more commonly it is the person not the thing that is
taunted; in iii. 7. 25 we have "To taunt at slackness."
90-2. O, then ... earing, it is when our active minds are
allowed to lie untilled by wholesome truths that they shoot
up noxious growths, and the telling us of our faults is as the
ploughing of the soil which roots up such growths. A similar
metaphor occurs in Oth. i. 3. 323-30, "Our bodies are our
gardens, to the which our wills are gardeners; so that if we
will... supply it with one gender of herbs, or distract it with
many, either to have it sterile with idleness, or manured with
industry, why the power and corrigible authority of this lies
in our wills."
Knight, who retains the reading of the folios,
winds, remarks, "When do we bring forth weeds'? In
a heavy and moist season, when there are no 'quick winds'
to mellow the earth, to dry up the exuberant moisture, to fit
it for the plough... The quick winds, then, are the voices
which bring us true reports to put an end to our inaction.
When these winds lie still we bring forth weeds. But the
metaphor is carried farther; the winds have rendered the soil
fit for the plough; but the knowledge of our own faults-ills
120
ཀ
ANTONY AND CLEOPATRA.
[ACT I.
-is as the ploughing itself-the 'earing. quick, living, lively,
as in "the quick and the dead"; almost = pregnant. our ills...
earing, the nominative here is the noun clause, our-ills-told-us, as
in Haml. iii. 1. 182, "Whereon his-brains-still-beating puts him
thus From fashion of himself"; for earing, cp. A. W. i. 3. 47,
"He that ears my land spares my team and gives me leave to
in the crop;
and below, i. 4. 49.
""
درو
93. At your noble pleasure, i.e. I shall be ready to attend your
lordship whenever you are pleased to send for me.
94. Sicyon, one of the most ancient cities in Greece, the capital
of Sicyonia, a small district in the north-east of Peloponnesus.
96. upon your will, till such time as you may send for him;
cp. Macb. i. 3. 148, "Worthy Macbeth, we stay upon your
leisure and see Abb. § 191.
""
98. Or love... dotage, or my foolish love for her will be my
ruin; the figure is from losing oneself in a wilderness, forest,
maze.
""
""
102. Importeth... know, it is of importance to you to know;
cp. T. C. iv. 2. 52, "It doth import him much to speak with me.
103. a great spirit, a lofty mind.
104, 5. What our again, that which in our disdain we would
cast away from us, when we have lost it we would fain recover;
cp. M. A. iv. 1. 216-24, "She dying, Shall be lamented, ... for
it so falls out That what we have we prize not to the worth
Whiles we enjoy it, but being lack'd and lost Why... then we
find The virtue that possession would not show us Whiles it
was ours. For What, thus placed at the beginning of a sentence,
see Abb. § 252.
...
105-7. the present... itself, "the pleasure of to-day, by revo-
lution of events and change of circumstances, often loses all its
value to us, and becomes to-morrow a pain " (Steevens); i.e. the
pleasure which I expected in hearing of her death now that her
death has come, turns into a pain. The figure is probably that
of the turn of Fortune's wheel.
107. she's good, being gone, now that she is dead, her merits
are evident to me.
108. could, would willingly shoved her on, in imagination
hastened her death; gladly anticipated her death.
110. the ills I know, sc. those which had just been told him.
...
113. I must hence, I must hasten hence; the verb omitted,
as frequently with a preposition of motion.
114. Why then... women, why then all our women are sure to
die of grief. 115. if they suffer, if they have to undergo.
SCENE II.]
121
NOTES.
116. death's the word, death will be the certain result; word,
watch-word on every lip; cp. J. C. v. 5. 4, Cor. iii. 2. 142.
···
118. Under occasion, when the occasion is of sufficient im-
portance to demand such a sacrifice.
119, 20. though, between... nothing, though when they and a
matter of importance come into conflict, they should be put aside
as not worthy of any consideration.
121. noise, rumour; cp. T. C. i. 2. 12, "The noise goes, this."
122. upon
moment, on a matter of far less importance;
when the impulse given her was much less urgent; cp. Haml.
iii. 1. 86, "enterprises of great pitch and moment.
...
""
...
122-4. I do think dying, I can't help thinking that there
must be in death some strong spirit of love towards her, so readily
does she yield to its influence; mettle and metal are only different
spellings of the same word, the former being used figuratively,
the latter literally, though the two meanings often run so much
into one another that it is not easy to distinguish them. In this
passage of course dies, die, and dying, mean merely the pretence,
simulation, not the reality.
125. past man's thoughts, beyond anything man can conceive.
126. Alack, alas; according to Skeat, probably from M. E.
ah! lak! ah! a loss, ah ! misfortune. passions, ruling feelings.
127. the finest... love, of love sifted of all impurities; the
figure being that of separating the bran from the meal, as in Cor.
i. 1. 149, 50.
127, 8. we cannot tears, what in others would be called
mere sighs and tears, are in her to be described as winds and
waves.
129. report, chronicle as likely to happen; one of the features
of the old almanacs being the prediction of changes in the
weather this cannot
this cannot ... her, such storms of passion cannot
in her be mere skilful imitations of the reality.
133, 4. which not... travel, and not to have had the good fortune
to witness such a wonder would have been a slur upon you as a
world-wide traveller.
··
140-4. When it pleaseth new, when their godships think fit
to take a man's wife from him, they show themselves as the
tailors of the earth, affording us this comforting assurance that
when the garments they have made (here the wives) are worn
out, there are still materials out of which others may be made;
deities, used as a title; members, probably with an allusion to
the scriptural narrative of Eve being made out of one of Adam's
ribs.
145. a cut, a blow, stroke; cp. J. C. iii. 2. 187,
"This was the
122
ANTONY AND CLEOPATRA.
[ACT I.
most unkindest cut of all ": and the case to be lamented, and the
case would be one that might well be lamented.
146, 7. your old petticoat, the death of one wife gives you
the opportunity of wedding another; smock and petticoat, both
articles of women's dress; the latter literally meaning a small
coat, though in fact an under-skirt.
...
147, 8. the tears... sorrow, i.e. you have no real cause for
sorrow at this event; an onion smelt making the eyes water; cp.
below, iv. 2. 35, "And I, an ass, am onion-eyed"; T. S., Induc-
tion, i. 126, “And if the boy have not a woman's gift To rain a
shower of commanded tears, An onion will do well for such a
shift, Which in a napkin (i.e. handkerchief) being close conveyed
Shall in despite enforce a watery eye.”
149. business, troublesome complications; broached, set in
motion; the figure is that of tapping a cask and setting the
liquor a running; F. broche, a spigot, tap. Cp. i. H. IV. v. 1.
21, a portent of broached mischief to the unborn times."
66
150. Cannot... absence, need my presence to set them right.
152. of Cleopatra's, for the double genitive, cp. above, i. 1. 1.
153. your abode, your remaining here; cp. Cymb. i. 6. 53,
"desire My man's abode where I did leave him."
154. light, frivolous.
"
155. Have notice, be warned: break, make known, but with
the idea of doing so in a way that shall not startle; cp. K. J. iv.
2. 227, “I faintly broke with thee of Arthur's death Macb. i.
7. 48, "What beast was 't, then, That made you break this
enterprise to me?"
;
156. expedience, generally explained as expedition, enterprise,
though it seems doubtful whether it is not used for haste in leav-
ing, as for haste in coming, R. II. iii. 287, "Are making hither
with all due expedience"; H. V. iv. 370,
"And will with all ex-
pedience charge on us.
>>
157. part, depart; as frequently.
158. with more urgent touches, as well as other matters which
affect us in a more pressing manner; cp. T. C. ii. 2. 115, "Some
touches of remorse.
""
...
159. strongly. us, urgently call upon us for action; cp.
below, i. 4. 29, "to confound the time That... speaks as loud As
his own state and ours"; Temp. ii. 1. 207, "the occasion speaks
thee."
160. many... friends, many of our confederates; many of our
friends who are interesting themselves in our behalf; to contrive
is more commonly used in Shakespeare with a bad sense. For
"which many my
many before the pronoun, cp. Tim. iii. 6. 11,
near occasions did urge me to put off"; and see Abb. § 85.
SCENE II.]
123
NOTES.
···
161. Petition home, call for our presence in Rome.
162. Hath... dare, has thrown down the gauntlet to; has
challenged to a trial of strength; for dare, as a substantive, cp.
i. H. IV. iv. 1. 78, "It lends A larger dare to our great enter-
prise," though there the word means boldness.
162, 3. commands sea, is all powerful at sea; the expression
is somewhat redundant: slippery, fickle.
...
""
164. link'd, firmly bound; cp. K. J. iii. 1. 228, "coupled and
link'd together with all religious strength of sacred vows ;
Haml. i. 3. 63, "Those friends thou hast, Grapple them to
thy soul with hoops of steel."
...
165. are past, no longer call for recognition.
165-7. begin ... son, are showing a disposition to invest the son
of Pompey the Great with all the dignities which once belonged
to him (the father); Pompey ... dignities, a hendiadys for all the
dignities of Pompey.'
··
...
167. name, reputation.
168. blood and life, courage and high spirit, vital energy.
168, 9. stands up soldier, asserts himself before the world
as_its greatest soldier; cp. above, i. 1. 40, and Cymb. v. 4. 54,
In Britain where was he That could stand up his parallel?
For the, expressing notoriety, see Abb. § 92.
""
169, 170. whose quality ... danger, and unless this claim of his
to be the world's greatest soldier receive a check, the whole em-
pire will be imperilled; world, used here, as in i. 1. above, of the
Roman empire as conterminous with the world. For sides o' the
world, to express immensity of extension, cp. Cymb. iii. 1. 51,
"Cæsar's ambition, Which swell'd so much that it did almost
stretch The sides o' the world.”
>>
170-2. much poison, much is being engendered by the time
which, like a horsehair, though endowed with vitality, is not
really dangerous, i.e. the danger needs only to be promptly met
to be checked in its evil consequences; cp. iii. H. VI. v. 3. 13,
"For every cloud engenders not a storm. The allusion is to
the old belief that a horsehair thrown into water will turn into a
snake; Steevens quotes Holinshed's England, “ A horse-hair laid
in a pale full of the like water will in a short time stirre and
become a living creature.”
172-4. Say,... hence, make it known to those subordinate to
us that we are pleased to determine that it is necessary for us to
quit Egypt without delay. For such with whose as its correla-
tive, see Abb. § 279.
175. I shall, with the first person, shall indicates what is in
evitable, certain, as being fixed by the speaker himself.
124
[ACT I.
ANTONY AND CLEOPATRA.
SCENE III.
1. I did ... since, see note on i. 2. 61.
3. I did... you, you must not let him know that I sent you.
Malone compares 7. C. iv. 2. 72, "I will go meet them and,
my Lord Æneas, We met by chance; you did not find me here."
5. sudden sick, suddenly taken ill.
6-8. if you did... him, if, as you pretend, you really loved him
dearly, you are not taking the right way to excite in him a like
passion; the irregular sequence of tenses here is due to the stress
which Charmian wishes to lay upon the fact that Cleopatra could
not possibly love Antony; if you do love' would have meant 'if
you love, which is possible, though doubtful'; if you did love
means if you loved, which is evidently not the case.'
8. What... not? what is there that I ought to do, which I do
not do? for the omission of the relative, see Abb. §. 244.
9. give him way, yield to him; cp. Temp. i. 2. 186, "'tis a
good dulness, And give it way."
10. the way, i.e. that is the way: to lose him, to lose my hold
upon his affections.
…….
5)
11. Tempt, provoke, defy; cp. R. J. v. 3. 59, "tempt not a
desperate man : so, by following out your line of policy. Abbott
(§ 434) treats too far as a single term, too-far, and as combined
with so in the sense of so excessively; I wish, forbear, an elliptical
expression for 'I should like to see you forbear to try him so far.
Nicholson conjectures 'the wish,' or 'your wish, forbear'; which
>
seems tame.
12. In time... fear, that which we have frequent reason to fear,
we in time come to hate; cp. Cor. iv. 7. 45-8, "but one of these
made him fear'd, So hated, and so banish'd."
13. I am ... sullen, said to Charmian, the part I mean to play
is that of being sick and morose in temper.
14. to give... purpose, to put my intentions into words.
16, 7. It cannot... it, it is impossible that this agony should
be lasting; nature will assuredly give way before it. Cp. 7. N.
ii. 4. 96, “There is no woman's sides Can bide the beating of so
strong a passion As love doth give my heart.'
19. that same eye, your very looks.
20. the married woman, i.e. Fulvia; said with scornful irony
against herself who could not claim that tie to Antony.
25, 6. yet at... planted, yet from the very first I was conscious
of the treachery that was intended against me.
SCENE III.]
125
NOTES.
27. Why should I think, etc., a question of appeal equivalent
to 'it is impossible for me to think,' etc.
28. shake, should shake; subjunctive. For the thought,
Steevens compares Tim. iv. 3. 136-8, "Although, I know, you'll
swear, terribly swear, Into strong shudders and to heavenly
agues The immortal gods that hear you."
29. Who, seeing that you.
29-31. Riotous madness swearing, it would be the very
frenzy of madness to allow oneself to be ensnared by those empty
oaths which break themselves even as they are uttered; cp. Macb.
v. 3. 27, "mouth-honour, breath, Which the poor heart would fain
deny, and dare not.
32. colour, pretext, excuse.
33, 4. when you... then, when your prayer was that you might
be allowed to stay, then was the time for speeches; then there
was no talk of going, which is your theme now.
...
··
35-7. Eternity heaven, then you were full of oaths that
eternal life was in our lips and eyes, that bliss dwelt in our
arched eyebrows, that there was nothing belonging to us, how-
ever trivial, but partook of a heavenly origin. Warburton
explains race as smack, flavour. For the transposition in none
our parts, see Abb. § 12.
37. they are so still, i.e. of heavenly origin.
40, 1. I would... Egypt, I wish I had your height and strength,
for then you would find my courage such as would bring you
to your knees in submission; Egypt, speaking of herself as
sovereign of the country. For the subjunctive were, see Abb.
S$ 301, 368.
4.4
...
43, 4. but my you, but my heart in all its fulness of love
remains in trust with you; use, usufruct, a legal term; cp.
M. V. iv. 1. 383, "I am content, so he will let me have The
other half in use.
27
45. Shines swords, is ablaze with arms wielded in civil
warfare.
46. port, it is doubtful whether the word is here used literally
of the harbour of Rome, i.e. Ostia, or figuratively, meaning to
the very gates.
47, 8. Equality... faction, the existence of two powers so evenly
balanced gives birth to factions that narrowly scan the strength
of each to see which it will be most advantageous to side with ; an
instance of what Abbott calls the confusion of proximity,' the
plural Breed being due to powers intervening between the subject
and its verb.
(
48, 9. the hated... love, those (i.e. Pompey and his party) who
126
ANTONY AND CLEOPATRA.
[ACT I.
were hated when they were weak (and when, therefore, it was
safe to exhibit hatred), having now become strong, find them-
selves suddenly the objects of love.
49. the condemn'd Pompey, Pompey who but a short time ago
was in disgrace; condemn'd, with the first syllable accented.
50-2. Rich... threaten, now dignified with the honours that
were once his father's, is quickly finding his way into the affec-
tions of those who have not prospered under the existing rule,
and who, from their number, are now dangerous.
53, 4. And quietness ... change, and tranquillity, sinking into a
state of disease and weariness from very stagnation, would gladly
be cured by any change however violent; in plain language, men
tired of continued quiet would willingly exchange their state for
any other in which there was more excitement, however danger-
ous the consequences might be ; sick is used in the double sense
of diseased and weary. For the figure, cp. Macb. v. 3. 52, “If
thou couldst, doctor, find her disease (i.e. of his country),
And purge it to a sound and pristine health"; Cor. iii. 1. 154, 5,
"To jump a body with a dangerous physic That 's sure of death
without it," where Staunton conjectures purge for jump.
...
CC
54-6. my more ... death, that which more especially concerns
me (as contrasted with the affairs of the empire in general), and
which should be an assurance to you that my going need not
cause you any anxiety, is the fact of Fulvia's death; for par-
ticular, cp. below, iv. 9. 20, and A. W. ii. 5. 66, my course,
Which holds not colour with the time, nor does The ministration
and required office On my particular"; safe, render safe, i.e.
from all danger of my proving disloyal to you; used again iv. 6.
26 below, in a literal sense.
57, 8. Though age... childishness, though the years of discre-
tion which I have reached could not teach me to abandon my
levity of life, they do teach me not to be so childish as to believe
what you say of Fulvia's being dead.
...
60. here, pointing to the letter he has received: at thy
leisure, whenever you in your royal pleasure may find time to
do so.
61. garboils, commotion, disturbance; the word, which is
from the F. garbouil, a stir, commotion, and of uncertain origin,
occurs again ii. 2. 67 awaked, set in motion: at the last, best,
probably means that the best turn that Fulvia ever did him was
to die. Steevens, comparing Macb. i. 4. 7, 8, "nothing in his
life Became him like the leaving it," looks upon the words as
tribute paid by Antony to his wife's memory. Such an explana-
tion would, no doubt, be in keeping with Antony's words in i. 2.
104-8; but he would not be likely to utter such a sentiment in
the presence of the jealous queen, nor does she appear to take
SCENE III.]
127
NOTES.
them in that sense. Staunton considers best as a vocative ad-
dressed to Cleopatra, which seems a very forced interpretation.
63. the sacred vials, "alluding to the lachrymatory vials, or
bottles of tears, which the Romans sometimes put into the urn
of a friend" (Johnson); Steevens compares T. N. K. i. 5. 4, 5,
Balms, and gums, and heavy cheers, Sacred vials fill'd with
tears."
"C
...
64, 5. Now I see, be, I perceive from the way in which you
have taken the news of Fulvia's death, how you would take the
news of mine.
66. Quarrel no more, forbear your reproaches.
67. The purposes I bear, the intentions which I have come to
disclose to you.
67, 8. which are ... advice, regarding which the advice you
shall give will determine whether I carry them out or abandon
them.
68, 9. By the fire... slime, I swear by the sun whose rays
make fertile the slime deposited by the Nile upon the fields.
""
71. As thou affect'st, according as you prefer the one or the
other; for affect'st, cp. 7. C. iv. 5. 178, "Mock not, that I affect
the untraded oath : lace, i.e. of her stays, so as to allow
her to breathe more freely, she pretending that she is about to
faint. Of course an anachronism.
72. let it be, never mind, do not cut it.
73. So, provided that; the indicative loves indicates her belief
that he does love; the subjunctive love would indicate her doubt
whether he did or did not love; cp. i. H. IV. ii. 4. 312, “Ah,
no more of that, Hal, an thou lovest me!
""
74, 5. give true... trial, bear honest evidence to the truth of
his love, which is capable of enduring any trial it can honourably
be put to.
75. So Fulvia told me, said of course with mischievous irony.
77, 8. say the tears.. Egypt, pretend that the tears you shed
are meant for me.
...
78-80. good now honour, my good fellow, let me see you
play one scene with such perfect imitation as to look like genuine
truth; for good now, cp. Temp. i. 1. 16, "Nay, good, be patient."
80. You'll heat my blood, you will drive me into a furious
passion.
81. You can meetly, that's not at all a bad effort, but you
are capable of still better things; though meet is very common in
Shakespeare, the adverb does not occur elsewhere.
82. And target.. mends, oh, but you must add target also;
128
ANTONY AND CLEOPATRA.
LACT I.
then turning to Charmian, she says banteringly, he is improving,
is he not?
83. The best, sc. that he is capable of, if he will only exert his
powers.
83-5. Look... chafe, see what full justice he does to the part
he has to play of being in a rage; how well he carries out his
assumed rôle. Herculean, "Now it had been a speech of old
time, that the family of the Antonii were descended from one
Anton the son of Hercules, whereof the family took name. This
opinion did Antonius seek to confirm in all his doings; not only
resembling him in the likeness of his body, as we have said be-
fore, but also in the wearing of his garments" (Skeat, Shake-
speare's Plutarch, p. 156).
87. but that's not it, but that is not what I wanted to say.
88. but there's not it, but there's not the subject of my thought.
89. something... would,— it is something of real importance I
wished to say.
90, 1. 0, my... forgotten, "O, this oblivious memory of mine is
as false and treacherous to me as Antony is, and I forget every-
thing" (Steevens); for oblivion = forgetfulness, cp. A. Y. L. ii. 7.
165, "Last scene of all ... Is second childishness and mere ob-
livion"; in all forgotten, utterly oblivious, the termination of
the passive participle "is loosely employed for -ful, -ing, or some
other affix expressing connection" (Abb. § 374).
91-3. But that... itself, if it were not that you as sovereign
necessarily hold idleness as your subject, I should mistake you
for that weakness personified.
93-5. 'Tis sweating... this, you may jest at me as you like, but
what you are pleased to call idleness is a burden to bear which so
near the heart as it is to mine is well nigh too much for me; i.e.
what you take for mere levity, is in reality a grief that almost
crushes me, though I affect to trifle with it.
+
96, 7. Since you, since even those graces on which I pride
myself are the very instruments of my torture when in your eyes
they appear unbecoming. Steevens thinks she is perhaps allud-
ing to what Antony had said in i. 1. 48, 9, "Fie, wrangling queen!
Whom everything becomes"; Eye, properly a transitive verb, but
here used intransitively.
...
………
97. your
hence, to uphold your honour it is necessary that
you should leave Egypt.
98. Therefore ... folly, therefore show yourself deaf and pitiless
to my foolish complaints; unpitied, proleptic, my folly which
will be unpitied by your turning a deaf ear to it.
100. laurel victory, victory crowned with laurel; for the noun
SCENE III.]
NOTES.
129
put for a passive participle, or adjective (laurelled), cp. Haml. iii.
1. 164, "And I ... That suck'd the honey of his music vows."
102-4. Our separation... thee, we, though separated, thus
abide with one another, and thus fly from each other, that you,
though in body remaining here, accompany me in spirit; and I,
though in body going hence, in spirit remain with you; Steevens
thinks the conceit may have been suggested by Sydney's Arcadia,
"She went, they staid; or, rightly for to say, She staid with
them, they went in thought with her."
SCENE IV.
1. see, i.e. from the contents of the letter he holds in his hand,
3. competitor, partner, associate in empire; cp. below, ii. 7.
69, and R. III. iv. 4. 506, “My liege, in Kent the Guildfords
are in arms; And every hour more competitors Flock to their aid.”
4. fishes, see note on ii. 5. 17.
4, 5. wastes... revel, spends the whole night in carousing.
6. of Ptolemy, her brother, to whom she was nominally
married.
7. hardly gave audience, would scarcely condescend to listen
to our envoys.
8. Vouchsafed... partners, deigned to behave as though we had
any share with him in the empire of the world.
9. abstract, epitome.
10. follow, are prone to.
11. enow, among the O. E. forms of the word which we now
write enough, were genoh, ynough, ynow, enow, and anow, and of
these the second, fourth, and fifth are found in Elizabethan
English; inowe, anowe, and other forms ending in e were plural,
as enow is here, and M. V. iii. 5. 24, etc. : darken, obscure; cp.
Cor. ii. 1. 275, "their blaze Shall darken him for ever.
""
12. the spots of heaven, the stars; here likened to the stains
on Antony's character by the vivid contrast they make with the
darkness of the night, as those stains make vivid contrast with
the general background of Antony's excellence. Malone com-
pares Haml. v. 2. 267, 8, "Your skill shall, like a star i̇ the
darkest night, Stick fiery off indeed.'
""
13, 4. hereditary ... purchased, derived from his forefathers
rather than acquired by himself; for a similar contrast, cp.
ii. H. IV. iv. 5. 200, "for what in me was purchased (acquired
by my own exertions, sc. the crown), Falls upon thee in a more
fairer sort," i.e. by hereditary descent.
I
130
ANTONY AND CLEOPATRA.
[ACT I.
14, 5. what he... chooses, cp. Haml. i. 4. 23-6, "So, oft it
chances, in particular men, That for some vicious mole of nature in
them, As, in their birth-wherein they are not guilty, Since
nature cannot choose his origin"; with perhaps an allusion to
Jeremiah, xiii. 23, "Can the Ethiopian change his skin, or the
leopard his spots?" as in R. II. i. 1. 174, 5.
17. Amiss, properly an adverb, standing for "M. E. on misse,
literally in error, where on ... has the usual sense of 'in' and
passes into the form a-, as in ... abed, afoot, asleep" (Skeat,
Ety. Dict.)
...
18. for a mirth, in exchange for a debauch, revel; though it
seems doubtful whether To give a kingdom means to bestow a
kingdom on his entertainer, or to squander the wealth of a king-
dom in a single feast.
18, 9. to sit... slave, to sit at the same table, and go shares in
drinking, with some low wretch.
20. To reel the streets, to go staggering down the streets with
drunken gait; for reel, used transitively, cp. Haml. i. 4. 9,
"Keeps wassail, and the swaggering upspring reels," if upspring
there means a dance, which is doubtful.
20, 1. stand... sweat, see note on i. 1. 54: becomes, is suitable
in a man of his rank.
<
22, 3. As his... blemish, which is an admission that can hardly
be made, for a man must be of an extraordinarily noble nature
not to be affected by such excesses as these. As is here what
Ingleby calls "the conjunction of reminder, being employed by
Shakespeare and his contemporaries to introduce a subsidiary
statement, qualifying, or even contradicting, what goes before,
which the person addressed is required to take for granted, e.g.,
Though you have no beauty, As by my faith I see no more
in you,' etc., A. Y. L. iii. 5. 37, 8; 'Admit no other way
to save his life, As I subscribe not that nor any other,' etc.,
M. M. ii. 4. 88, 9" (Shakespeare, The Man and the Book, Pt. i.
p. 147). For his standing as the antecedent of a relative, and,
of that man, cp. J. C. i. 1. 55, "And do you now strew flowers
in his way That comes in triumph over Cæsar's blood?" and for
composure, materials of a man's composition, cp. T. C. ii. 3.
251, "Thank the heavens, lord, thou art of sweet composure."
=
23, 5. yet must... lightness, yet it is quite impossible for Antony
to excuse his faults, seeing how great is the burden which his
levity casts upon us; for soils, Malone's correction of foils,
cp. L. L. L. ii. 1. 47, 8, "The only soil of his fair virtue's
gloss, If virtue's gloss will stain with any soil."
25-8. If he fill'd... for 't, if he merely wasted his leisure in
excess, he would pay a sufficient penalty for it in the satiety
SCENE IV.]
131
NOTES.
"
and the aches which are the natural consequences; whether
Call on him for 't means call him to account for it,' or
merely visit him,' seems doubtful; for dryness of his bones,
cp. Temp. iv. 1. 260, "Go charge my goblins that they grind
their joints with dry convulsions " ; T. C. ii. 3. 81, Now,
the dry serpigo on the subject!" In this irregular sequence
of tenses, the consequent clause in the present tense gives
vividness to the picture and implies certainty, as in ii. H.
IV. i. 3. 78, 9, "If he should do so, He leaves his back
unarm'd."
28-31. but to... boys, but his waste of such a time as this
which loudly warns him to forsake his revelry, that warning
being emphasized by his condition and ours, deserves such
rebuke as we administer to boys; for confound, see note on i.
1. 45, and for such followed by That, see Abb. § 279; 'tis to
be chid, such conduct is a thing to be chidden, though 't is
used indefinitely; for rate, = chide, cp. M. V. i. 3. 108, "In
the Rialto you have rated me About my moneys and my
""
...
usances.
31-3. who judgement, who, though they are old enough to
know better, are ready to sacrifice the experience they have
gained to the enjoyment of the moment, and so revolt against
the dictates of discretion.
33. Here's more news, Shakespeare uses news both as a
singular and a plural noun, though here the singular verb
might be accounted for as preceding the subject.
36. How 'tis abroad, how things are going on at a distance.
38. That ... Cæsar, who have been loyal to Cæsar merely out
of fear; cp. Macb. v. 4. 13, 4, "And none serve with him
but constrained things Whose hearts are absent too"; Cæsar,
addressed in the third person out of respect.
39. The discontents repair, all dissatisfied spirits make
their way to the sea ports in order to join him; discontents,
the abstract for the concrete, as in K. J. v. 4. 7,
'Lead me
to the revolts of England here"; repair, in this sense, is from
the Lat. repatriare, to return to one's country.
40. Give... wrong'd, speak of him as one who has been shame-
fully ill treated: I should... less, I ought to have known well that
this would be the case.
41. from the primal state, from the earliest times; cp. Haml.
iii. 3. 37, "It hath the primal eldest curse upon it," i.e. the
curse pronounced upon Cain at the beginning of the world.
42. That he... were, that he who is in power and authority
was desired until such time as he acquired power, etc.; the
future in the direct narration here becomes the subjunctive in
132
ANTONY AND CLEOPATRA.
[ACT I.
the indirect, he is wished until he shall be' passing into
'he was wished until he were.'
(C
43, 4. And the... lack'd, and the man whose fortunes are at
the lowest ebb, whose claim to men's love is never recognized
till that claim has lost all strength, comes to be beloved
when his want is felt; ebb'd, the passive participle in form,
but in reality an adjective, derived from the noun by the
addition of -ed; for the figure, cp. Temp. ii. 1. 221-3,
Seb.
Well, I am standing water. Ant. I'll teach you how to flow.
Seb. Do so: to ebb Hereditary sloth instructs me"; dear'd,
Warburton's correction of the folio reading fear'd; for lack'd,
missed, cp. A. W. i. 2. 68, " They that least lend it you shall
lack you first"; Cor. iv. 1. 15.
45-7. Like to... motion, like a flag (i.e. the water-plant, Iris)
that, after the manner of a vagabond having no permanent
abode, is borne forwards and backwards by each flow and ebb of
the tide, following it with the servility of a lackey, till at last it
is rotted away by its constant action.
O
49. ear, plough; see note on i. 2. 105, above: wound, as
though the waters were pained by being put to such a lawless
purpose; for the opposite idea, cp. Haml. iv. 1. 44, "Whose
whisper... may miss our name And hit the woundless air.”
50. hot, furious.
51, 2. the borders... revolt, the dwellers on the coast are
frightened out of their senses by the danger which threatens
them, and the hot-blooded youth of the country go over to these
pirates to take service with them; borders, i.e. borderers, the
abstract for the concrete; for flush, Lat. fluxus, a flowing, i.e.
in whose veins the blood flows swiftly, cp. Haml. iii. 3. 81,
"With all his crime broad blown, as flush as May," i.e. when the
sap in the trees is in full activity; and for flush youth, Haml. i.
1. 98, “ a list of lawless resolutes."
53. peep forth, show itself, however cautiously, outside the
ports.
54, 5. for Pompey's ... resisted, I say 'taken as soon as seen,'
for the fact is that Pompey's name inspires greater awe than
could possibly be felt if he were met and resisted.
S
56. wassails, revels; was hál, i.e. be of good health! a phrase
used at a drinking-bout.
58. at thy heel, closely.
59. whom, for who personifying irrational antecedents, see
Abb. § 264.
60. daintily, with every indulgence: patience, fortitude.
61. Than... suffer, than that with which savages could suffer.
SCENE IV.]
NOTES.
133
62. gilded puddle, puddle covered with a yellow film, not
"the green mantle of the standing pool" that Poor Tom drinks
in Lear, iii. 4. 138, 9, which was the scum formed by duck weed.
63. cough at, reject as undrinkable: did deign, thought worth
eating.
65. the pasture sheets, covers the meadow as with a sheet.
66. browsed'st, fed upon; a word properly used of cattle, from
O. F. broust, a sprig, bud, a young branch or shoot, and here
chosen because of the simile.
68. Which... on, the very sight of which, without its being
tasted, was enough to kill some of those with you.
69. It wounds now, the comparison which I draw between
yourself then and yourself now casts a slur upon your honour.
...
71. So much... not, did not even lose its fulness: of him, as re-
gards him; so, again in M. M. ii. 3. 42, and "'twere pity of my
life"; M. N. D. iii. 1. 44. This description closely follows
Plutarch.
75. Assemble ... council, let us order a council to assemble.
76. in, by, as a consequence of.
77. to inform, with the means of informing.
78, 9. Both what time, with what preparation both by sea
and land I shall be able to face the present occasion; for front,
cp. ii. H. IV. iv. 1. 25, “What well-appointed leader fronts us
here?" Cor. v. 2. 44, "to front his revenges with the easy groans
of old women": encounter, meeting.
···
80. It is... too, it will be my occupation to ascertain the like
particulars of my resources.
81. know, learn.
82. stirs, commotions, outbreaks: I shall beseech you, a more
courteous expression than 'I beseech you.'
84. I knew... bond, I always knew and still acknowledge that
I am bound to do so.
SCENE V.
4. Give... mandragora, not 'give me mandragora to drink,'
but 'enable me, put it in my power, to drink mandragora,' as in
Oth. ii. 3. 209, "Give me to know How this foul rout began";
mandragora, a narcotic plant, originally from the south of
Europe, but grown in England. Ellacombe, Plant Lore of
Shakespeare, mentions two varieties, the Spring Mandrake, which
bears an apple-like fruit, and the Autumn Mandrake, an orna-
mental plant, with pale blue flowers; cp. Oth. iii. 3. 330, “Not
134
ANTONY AND CLEOPATRA.
[ACT I.
poppy, nor mandragora, Nor all the drowsy syrups of the world,
Shall ever medicine thee to that sound sleep Which thou owedst
yesterday."
5. might, sc. if it were possible.
6. My Antony is away, during which my Antony is necessarily
absent.
13. Do bravely, horse! show yourself at your best: wot'st,
properly the past tense of to wit, used by Shakespeare as a pre-
sent: movest, carry along.
14. The demi-Atlas, i.e. who bears up half the world; Atlas,
one of the Titans who made war against Zeus, was condemned as
punishment to bear heaven on his head and hands, or, according to
Homer, to bear the columns which kept heaven and earth asunder.
15. burgonet, a morion or helmet, so called from being first
worn by the Burgundians. Cp. ii. H. VI. v. 1. 204.
17, 8. now I feed... poison, i.e. to dwell upon him and his per-
fections, sweet as it is, is to cause me bitterest pain by making
me more conscious than ever of his absence.
/
18-20. Think on me... time? is he thinking of me who am
tanned by the loving rays of the sun, and in whose face time has
planted such deep wrinkles? Cp. M. V. ii. 1. 1-3, “Mislike me
not for my complexion, The shadow'd livery of the burning sun,
To whom I am a neighbour and near bred": Broad-fronted, with
a wide forehead.
21. above the ground, on earth, alive.
23. make his eyes ... brow, fix his eyes upon my face as though
he could not tear them away.
24. anchor his aspect, cp. Sonn. cxxxvii. 6, If eyes corrupt
by over-partial looks Be anchor'd in the bay where all men ride."
25. his life, i.e. herself.
27, 8. Yet coming... thee, an allusion to the 'grand elixir
which turned base metal into gold; cp. K. J. iii. 1. 78, "To
solemnize this day the glorious sun Stays in his course and plays
the alchemist, Turning with splendour of his precious eye The
meagre cloddy earth to glittering gold."
29. How goes... Antony? how does Antony fare?
31. the last ... kisses, that being the last of many kisses re-
peated over and over again.
32. orient, bright; as in M. N. D. iv. 1. 59, "like round and
orient pearls" sticks in my heart, is riveted in my memory.
34. firm, sc. in his allegiance to her, constant.
35. This treasure of an oyster, this precious pearl, the plunder
of an oyster at whose foot, in addition to which.
SCENE V.]
NOTES.
135
36. To mend, to make it more worthy of accepting: piece, make
complete, enlarge, with a play upon mend; cp. W. T. v. 2. 117,
"Shall we thither and with our company piece the rejoicing?"
37. opulent, it is perhaps doubtful whether this means 'already
opulent,' or 'which shall thereby be made opulent.'
39. soberly, in serious mood; "with dignity" (Schmidt);
arrogant, Boaden's conjecture for arm-gaunt, the reading of the
folios, which has been explained as 'lean for want of food,' or as
'so slender that a man might clasp him,' which seem strange
qualifications for a horse that Antony would ride. Other con-
jectures are ‘termagant,' ‘arm-girt' (i.e. enveloped in armour),
rampant,' 'war-gaunt'; arrogant, which is very close to the
folio reading, well expresses the character which the speaker goes
on to give the horse, and is antithetical to soberly.
40. high, loudly.
41. dumb'd, silenced, made inaudible: beastly, an adverb.
43. nor ... nor, neither nor.
44. well divided, well balanced between excessive mirth and
excessive sadness.
...
45. 'tis the man, it is Antony all over, exactly: but, only.
46. for he would shine, for he wished to show the light of his
countenance.
47. That make ... his, whose looks are moulded upon his ; cp.
Cymb. i. 1. 1-3, our bloods No more obey the heavens than our
courtiers Still seem as does the king.
"C
""
49. his joy, the object of his joy, i.e. herself.
50. mingle, admixture.
51, 2. The violence else, whatever passion you give way to,
that passion becomes you in a way that it would become no one
else.
52. posts, messengers.
53. several, separate.
54. so thick, one after another in such rapid succession; cp.
Mach. i. 3. 97, "As thick as hail Came post with post.'
>>
...
54-6. Who's born... beggar, so ill-fated will be the day on
which I forget to send greetings to Antony, if ever such a day
should come, that any one born that day may expect to die a
beggar.
58. brave, noble.
59. Be choked emphasis, may you be choked if you dare to
repeat such an emphatic eulogy!
62, 3. If thou... men, if you should again venture to draw
such a comparison to the advantage of Cæsar over him who is to
136
ANTONY AND CLEOPATRA.
[ACT I. SC. V.
·F. paragon, Span. paragon A singular word,
me above all men in the world; paragon (substantive) a model of
excellence ...
owing its origin to two prepositions united in a phrase. Span.
para con, in comparison with Span. para, for, to, towards,
which is itself a compound preposition answering to O. Span.
pora, from Lat. pro ad; and con, with, from Lat. cum, with.
Thus it is really equivalent to the three Lat. prepositions pro,
ad, and cum (Skeat, Ety. Dict.).
""
-
..
...
-
...
A
63, 4. By your... you, if you will graciously pardon my saying
so, I, in thus praising Cæsar, am only echoing your own words.
64-6. My salad... then! such words were used by me only
when in the freshness of youth and when my judgement was still
unripe you must be cold in blood to say as I said then. The
punctuation in the text is Warburton's, which is generally
adopted the folios give 'When I was green in judgement, cold
in blood to say,' etc., i.e. when I showed myself green in judge-
ment and cold in blood to use such words. I do not feel sure
that anything is gained by the change.
69. Or I'll... Egypt, or I will empty my kingdom of inhabit-
ants; I would rather empty my kingdom of inhabitants than that
he should not every day receive a fresh greeting from me.
ACT II. SCENE I.
1. shall assist, will necessarily assist; cannot help assisting.
For the notion of necessity, compulsion, in shall, see Abb. § 315.
3. That what... deny, that they do not necessarily refuse a
thing merely because they delay granting it. On the position of
not, see Abb. § 305,
4, 5. Whiles... for, while we are engaged in offering up our
prayers, the thing which we desire is losing its value; ie. its
value to us consists in its being granted at once; Whiles, the
genitive case of while, time, used adverbially, as needs, twi-es
(twice), etc. of ourselves, of what is really best for us.
6. our own harms, things which, if granted, would harm us.
7. for our good, with the object and the result of our being
the better for the refusal.
8. By losing... prayers, we should now say either by the losing
of our prayers,' or 'by losing our prayers'; for of, following a
verbal noun, see Abb. § 178: I shall do well, I am sure to prosper.
9. the sea is mine, I am master of the sea.
10, 1. My powers... full, my power is on the increase, and my
hopes prophetically tell me that it will before long reach its ful-
ACT II. SC. I.]
NOTES.
137
ness. Though the metaphor is evidently that of the crescent
moon growing to the full orb, as Theobald points out, it is perhaps
hardly necessary to alter the reading, as he does, to 'My power's
a crescent.'
12. sits at dinner, is engaged in carousing.
13. without doors, abroad, out of Egypt.
13, 4. Cæsar... hearts, Cæsar, while amassing money, is only
losing the affection of those from whom he wrings it.
15. Of, by neither, i.e. Cæsar or Antony.
17. carry, have with them.
20. Looking for Antony, waiting for Antony to join them.
21. Salt, wanton; cp. Oth. ii. 1. 244, "for the better compass-
ing of his salt and most hidden loose affection?" soften thy
waned lip, give freshness to your lip which has lost its early
beauty; cp. Sonn. cxxxvi. 3, "O thou, my lovely boy, ... Who
hast by waning grown, and therein show'st Thy lovers withering
as thy sweet self grow'st"; the folios give wand, and an anony-
mous conjecture wann'd, i.e. grown wan, is recorded in the Camb.
Shakespeare.
23. Tie up, entangle by the delights of feasting: in a field of
feasts, where he may have full opportunity for indulging himself,
and forget all thoughts of the field of battle.
>>
24. fuming, muddled with the fumes of wine; cp. Temp. v. 1.
67, "their rising senses Begin to chase the ignorant fumes (i.e.
the fumes of ignorance) that mantle their clearer reason
Epicurean, accented on the antepenultimate. The modern notion
of epicureanism, i.e. delight in the pleasures of the sense,
especially of eating and drinking, is a burlesque of the doctrines
of Epicurus. That philosopher taught that pleasure was the
highest good, but by pleasure he meant pure and noble mental
enjoyments such as bring freedom from all influences which dis-
turb the peace of our mind, not sensual indulgences.
:
25. cloyless sauce, piquant enjoyments which bring no satiety
with them; for other adjectives in -less, having both an active
and a passive sense, see Abb. § 3.
26. prorogue his honour, put off the exercise of his honour,
prevent his honour from asserting itself. To prorogue, from Lat.
pro, publicly, and rogare, to ask (the technical term for propos-
ing a measure to a legislative body), properly means to propose a
further extension of office, thence to carry forward from one
meeting to another, and so to defer. A somewhat similar meta-
phor occurs in Sonn. xxx. 1. 2, "When to the sessions of sweet
silent thought I summon up remembrance of things past";
prorogue is used metaphorically again in Per. v. 1. 26, nor
taken sustenance But to prorogue his grief."
<<
138
ANTONY AND CLEOPATRA.
[ACT II.
27. Even ... dulness, even till it is wrapped in a Lethe-like
drowsiness; till, originally a preposition, = to: How now, what's
the matter?
28. deliver, announce.
31. A space... travel, a sufficient space of time for a longer
journey than that which he had to make; for space, used of
time, cp. Lear, v. 3. 53, "To-morrow, or at further space";
Temp. i. 2. 279, "A dozen years; within which space she died
less matter, matter of less importance.
""
32. A better ear, a more willing hearing.
33. donn'd, put on; don, = do on; so doff, = do off; dup, do
up; dout, do out.
34. such a petty war, sc. that against himself: soldiership,
knowledge of warfare; and therefore importance as an antago-
nist.
35. Is twice... twain, is twice as great as that of the other two.
35-8. But let us ... Antony, but I may justly pride myself upon
the fact that my revolt has been regarded by Antony as of
sufficient importance to tear him from indulgence in those
delights of which he is never weary; widow, the brother to
whom she was nominally married having died.
38, 9. I cannot... together, it is not to be expected that Cæsar
and Antony will meet on good terms; for hope, expect, cp.
H. V. iii. 7. 77, "Some of them will fall to-morrow, I hope.
=
40. did... Cæsar, committed offences against Cæsar.
42. moved, incited.
42, 3. I know not... greater, I cannot tell how far the smaller
enmities between them may give way in the presence of the
mightier enmity they feel towards me.
44. stand up against, are in insurrection against.
45. 'Twere... themselves, they would very probably fall out
among themselves; for pregnant, = very probable, clear, cp. Oth.
ii. 1. 239, "as it is a most pregnant and unforced position"; for
square, quarrel, cp. M. N. D. ii. 1. 30, "But now they never
meet in grove or green But they do square, that all their elves
for fear Creep into acorn-cups and hide them there."
=
""
در
46, 7. For they... swords, for each has received from the other
plenty of provocation to make war; for entertained, = harboured
in their minds, R. J. iii. 1. 176, "Who had but newly entertained
revenge.'
48. cement, with the accent on the former syllable.
49. yet, so far; as yet.
50. will have 't, are determined that it shall be.
SCENE I.]
NOTES.
139
50, 1. It only ... hands, the one thing necessary if we wish to
preserve our lives is that we should turn to the best use all the
strength we possess; cp. R. II. ii. 3. 138, "It stands your grace
upon to do him right," where grace, as lives here, is the object of
upon, though more correctly upon in this phrase would be an
adverb; see Abb. § 204.
SCENE II.
2, 3. to entreat... speech, to beg your captain to use soft, etc.
3, 4. I shall ... himself, I cannot promise to do that, but I shall
urge him to answer in a way worthy of himself: move, exasperate,
provoke.
5. Let Antony... head, I trust Antony will treat Cæsar with
the utmost disdain.
8. I would... to-day, I would not show him even so much defer-
ence as to take the trouble to shave before meeting him; though
the words need not be taken literally.
9. stomaching, pride, resentment; the substantive in this sense
is frequent in Shakespeare.
10. Serves for, is proper, fitting, for.
12. passion, mere anger.
13. stir no embers up, do not rake up any old quarrels.
=
15. If we ... here, if we come to a satisfactory agreement; the
only instance of the verb in this sense, though composition,
agreement, is not uncommon: to Parthia, we will set out for
Parthia.
...
16, 7. I do not Agrippa, said in answer to some question put
by Mecenas as they enter.
18, 9. That which ... rend us, the reasons which led us to com-
bine were weighty ones, and nothing trivial should be allowed to
sever us.
...
19, 20. What's amiss heard, let our grievances be stated in
moderate language; for amiss, see note on i. 4. 17.
20-2. when we debate ... wounds, when the causes of a quarrel
are discussed in angry language, the wounds sought to be healed
are only made mortal; the proposition is a general one.
23. The rather, for, all the more because; The, ablative of the
demonstrative pronoun; see Abb. § 94.
24, 5. Touch you ... matter, deal in gentle terms with those
points about which we feel most bitterly, and "let not ill-humour
be added to the real subject of our difference" (Johnson); curst-
ness, shrewishness of language.
26. and to fight, and about to engage.
140
ANTONY AND CLEOPATRA.
[ACT II.
27. I should do thus, said as he grasps Cæsar's hand, or
embraces him.
28. Nay, then, very good, if you will have it so. At Cæsar's
invitation to Antony to be seated, Antony courteously wishes
that Cæsar should seat himself first, and Cæsar yields to his
request.
29, 30. I learn, ... not, I am told that you are vexed at certain
proceedings of mine that do not deserve reproach, or which, if
they do deserve reproach, do not in any way concern you, are
matters of a private nature: I must be laugh'd at, I deserve to
be well laugh'd at.
31. or or, either... or.
34. derogately, in unworthy terms.
36. What was 't to you? in what way did it concern you?
...
39. Did... state, plotted against me: the verb to practise, and
the substantive practice are more often used by Shakespeare in
this bad sense than in any other.
40. Might be my question, might very properly be a matter
for my discussion: How practised? what do you mean by
'practised "? 41. to catch at, to make a guess at.
43. wars, Shakespeare uses the singular and the plural of war
indifferently.
43, 4. and their... war, apparently means, their quarrel with
me had you as its subject, your name was their watchword in
the struggle; but we should have expected 'Had you for theme,'
as Staunton conjectures; other conjectures are you were theme
for' (Johnson), 'For theme was you' (Collier), 'for contestation
Their theme was you' (Rann). Schmidt explains, was "an enter-
prise undertaken in your interest," which is excellent, if only it
can be got from the words. Cp. Cor. i. 1. 224, "it will in time
Win upon power and throw forth greater themes For insurrection's
arguing." Possibly the spelling of the first and second folios,
'theame' is nothing more than a misprint for 'thenne' (then).
...
45, 6. You do... act, you misapprehend the matter you have
taken up; my brother never put me forward as the subject of his
enterprise inquire it, make my inquiries about the matter.
47. learning, information: reports, the abstract for the con-
crete.
48. That drew you, who fought on your side in the quarrel.
48-51. Did he not ... cause, should it not rather be said that in
casting discredit upon your authority, he also cast discredit upon
mine, and in making war upon you did so contrary to my inclina-
tion, since your cause and mine was the same, since our interests
were identical? for stomach, = inclination, disposition, cp. T. C.
...
SCENE II.]
NOTES.
141
iv. 5. 264, "You may have every day enough of Hector, If you
have stomach."
51, 2. Of this... you, in my letters you have already had satis-
factory proof.
52-4. If you'll... this, if you wish to make a quarrel out of mere
odds and ends of grievances,—for you have no whole material out
of which to construct it,-you must look for something else than
this behaviour of my brother; the folios read either 'you have to
make,' or 'you have to take'; not was inserted by Rowe. For
As, see note on i. 4. 22.
#
56. You patch'd... excuses, you talk of my making a quarrel
out of mere odds and ends of grievances, but your excuses were
made out of mere odds and ends of facts, and had nothing whole
about them.
57-61. I know... peace, I am certain that you could not help
feeling how impossible it was for me, whose interests were the
same as yours, to regard with favourable eyes those wars which
were so opposed to my own peace; Very, thorough, an adjective;
attend, in this sense, more commonly of the ears than of the
eyes; fronted, cp. i. H. IV. ii. 2. 62, "you four shall front them
(i.e. set upon, attack, them) in the narrow lane."
62. her spirit, i.e. such a masterful spirit.
63, 4. which with ... easy, which you may teach to go quietly
with a single light rein; a snaffle, is properly a bridle with
a nose-piece, from Du. snavel, a horse's muzzle, and its lightness
is due to the fact of the rein passing through the upper ring of
the bit and so affording less leverage; pace, cp. Per. iv. 6. 68,
CC
My lord, she is not paced yet: you must take some pains to
work her to your manage," where manage carries on the metaphor;
also H. VIII. v. 3. 22.
67-70. So much ... disquiet, I sorrowfully admit that the com-
motions which she, ungovernable as she was, raised up,-commo-
tions which had their origin entirely in her headstrong temper,
though there was a good deal of shrewd cunning about them,-
give you good reason to complain of the disquiet they caused you;
Delius points that she is inherent in her garboils; see note on 1.
3. 61.
Addr
70, 1. for that... it, as regards that matter you cannot but
allow that it was impossible for me to prevent it.
73. pocket up, put up in your pocket without taking the
trouble to read them; so Temp. ii. 1. 67, "Ay, or very falsely
pocket up his report," i.e. hide the truth by taking no notice of it;
and K. J. iii. 1. 200, "Well, ruffian, I must pocket up these
wrongs," i.e. endure them without taking any practical notice of
them, without resenting them.
142
[ACT II.
ANTONY AND CLEOPATRA.
74. Did gibe... audience, drove my messenger out of your pre-
sence with bitter taunts; for missive, more commonly used for
a letter, literally a thing sent, cp. Macb. i. 5. 7, "Whiles I stood
rapt in the wonder of it, came missives from the king, who all-
hailed me 'Thane of Cawdor.""
75. He fell ... admitted, he came suddenly upon me before leave
had been granted for his admission; elsewhere fall upon is used
by Shakespeare in the more literal sense of attack bodily, e.g.
C. E. v. 1. 246, M. M. i. 2. 3.
76, 7. did want morning, was not so sober as I had been
earlier in the day.
...
78. I told ... myself, I told him what my state then was, ad-
mitted that I was not master of myself when I treated him with
such scorn.
79. As to... pardon, the complete present infinitive to imply
an unfulfilled action; see Abb. § 360.
80. Be nothing... strife, have no part in our quarrel.
80, 1. if we ... him, if we must quarrel, let him, and the treat-
ment he received at my hands, be left out of the question.
81-3. You have... with, you have disregarded the stipulation
to which you were bound by oath, and of such disloyalty you
certainly will never be able to accuse me; article, properly a
single clause or item in a stipulation: Soft, gently!
...
85, 6. The honour it, the honour of which he now speaks in
the supposition that I showed myself wanting in it, is a sacred
matter, and therefore I wish to hear all he has to say as to my
shortcomings; the matter concerns me too nearly to be slurred
over without an explicit statement of the points in which I am
supposed by him to have acted unworthily of myself: on, go on
with your charge.
87. The article of my oath, let me hear what you have to say
as to this article to which I was pledged.
89. The which, which being less definite than who is often
qualified in Shakespeare by the definite article.
89-91. Neglected... knowledge, rather you should say that I
failed to lend you arms and aid, and should admit that I failed
to do so only when the intoxication of pleasure had so enslaved
me that I had become a complete stranger to my nobler nature;
for poison'd, cp. Cor. i. 10. 17, "My valour 's poison'd With only
suffering stain by him"; and for bound me up, Temp. i. 2. 486,
My spirits, as in a dream, are all bound up.
(C
>>
91. As nearly as I may, as far as it is possible for me to do so
consistently with my honour.
92-4. but mine ... it, but while my greatness shall not assert
SCENE II.]
NOTES.
143
itself without candour, the candid admission of my shortcomings
shall not be such as to humiliate my greatness.
95. To have me out of Egypt, in order to get me away from
Egypt (sc. by the news of what she was doing); for have, cp.
M. Ñ. D. iii. 1. 174, "To have my love to bed and to arise
C. E. ii. 2. 10, "Your mistress sent to have me home to dinner.
96. For which ... motive, for which I, who was unconsciously
the motive; for motive, occasion, author, applied to a person,
cp. Oth. iv. 2. 43, "Am I the motive of these tears, my lord?"
98. noble, nobly; for adjectives used as adverbs, see Abb. § 1.
99. If it ... further, be pleased to lay no further stress upon;
cp. Cor. ii. 3. 227, "enforce his pride, And his old hate unto you.
100. griefs, grievances; as very frequently in Shakespeare.
""
100-2. to forget... you, by entirely forgetting them you would
show yourselves mindful of the fact that the necessity of the time
urgently calls upon you to be reconciled with one another; cp.
Lear, i. 4. 267, "The shame itself doth speak For instant
remedy"; and above, i. 4. 29; atone, to make at one, to recon-
cile; used also intransitively, Cor. iv. 6. 72, "He and Aufidius
can no more atone Than violentest contrariety."
103-5. Or, if ... again, or, if for the moment you agree to be
friends, you can resume your hostility when you have settled the
business about Pompey, i.e. when Pompey, by being overthrown,
shall be out of the way.
107. Thou... only, i.e. you know nothing about matters of
policy, and had much better hold your tongue.
108. forgot, for the curtailed form of participles, see Abb. §.343.
109. wrong this presence, offer an indignity to this noble com-
pany; cp. Haml. v. 2. 239, "This presence knows," i.e. the king,
queen, and assembled nobles.
"C
110. your considerate stone, for the future you will find me as
silent and discreet as a stone; cp. 7. A. iii. 1. 46, A stone is
silent and offendeth not."
111, 2. I do not... speech, it is not so much the matter of
Enobarbus's speech as its manner that I object to; he talks
flippantly of a matter (sc. a fresh rupture between us as soon as,
by getting rid of Pompey, we no longer have need to act as
friends) which is serious enough, but at the same time he is not
far wrong as to what may happen, 'for 't cannot... friendship.'
113, 4. our conditions... acts, our dispositions showing them-
selves in such different ways; for conditions, cp. M. V. i. 2. 143,
"if he have the condition of a saint, and the complexion of a
devil"; A. Y. L. i. 2. 276.
144
[ACT II.
ANTONY AND CLEOPATRA.
115. What hoop... stanch, what bond would hold our friend-
ship firmly together; the figure is that of a cask held together by
bands so as not to leak; cp. ii. H. IV. iv. 4. 43-7,
"Ă hoop of
gold to bind thy brothers in, That the united vessel of their blood
shall never leak"; Haml. i. 3. 63, "Those friends thou hast,
and their adoption tried, Grapple them to thy soul with hoops of
steel" from edge to edge, from one end of the world to the
other.
...
116. Give me leave, allow me to make a suggestion.
118. by the mother's side, Octavia was the daughter of Caius
Octavius by his second wife Atia, as also was the emperor; but
"There was
Shakespeare here follows Plutarch who says,
Octavia, the eldest sister of Cæsar, not by one mother, for she
came of Ancharia, and Cæsar himself afterwards of Accia'
(Skeat, Shakespeare's Plutarch, p. 179).
121, 2. your reproof... rashness, you might well expect to be
scolded for your rash words; your reproof, the reproof of which
you would be the object; your, used objectively.
127. an unslipping knot, a knot which would not give way
when any strain was put upon it; a slip-knot, in modern usage,
is one that comes untied if one of its ends is pulled: take Antony,
let Antony take; the subjunctive used optatively.
128. to, for whose beauty, for her beauty.
130, 1. Whose virtue... utter, one whose nobility of character
and general excellence are such as no one else could boast.
133. import their dangers, carry with them their own peculiar
dangers; cp. Lear, iv. 3. 5, "Something he left imperfect in the
state,... which imports to the kingdom so much fear and danger.
>>
134. truths... tales, actual facts would be of no more import-
ance than mere idle rumours; to mend the metre, but, as, half,
mere, have been conjecturally inserted before tales.
135. Where ... truths, instead of mere idle rumours being
regarded, as now, for truths.
135-7. her love... her, her love to both would, as a magnet,
draw each closely to the other, and the love of the people in
general to both.
138, 9. For 'tis ... ruminated, for my suggestion is no prompting
of the moment, but one well thought out, and one which my
sense of duty to you has caused me frequently to turn over in
my mind.
140. touch'd, affected, struck.
143. To make this good, to effect what he proposes.
144. His... Octavia, his power as exercised in regard to Octavia.
SCENE II.]
145
NOTES.
145. so fairly shows, is so plausible, has such an appearance of
solving all difficulties.
146. Dream of impediment, think for a moment of offering any
obstacle.
147. Further... grace, give your help to bring about this pleas-
ing settlement of affairs.
148. The heart... loves, may brotherly love ever rule in our
hearts.
150. bequeath, give; more commonly used of leaving property
by will, but not originally having that sense, the derivation being
from A.S. be-cwethan, to say, declare.
"
153. Fly... again, may our affection for each other fall off, re-
volt; cp. Lear, ii. 4. 91, "The images of revolt and flying off":
Happily, amen, this is a happy conclusion, and so may it be!
155. strange, extraordinary.
156. I must
only, I must give him thanks, though I cannot
do more than that.
157. Lest... report, lest I bring upon myself the reproach of
forgetting kindnesses done to me.
158. At heel... him, and then at once challenge him to meet me
with his army; for the definite article omitted in adverbial
sentences, see Abb. § 89.
159. Of, by presently, at once.
160. Or else... us, or else he is certain to seek us out (i.e. with
a view to fighting with us); the present tense gives vividness :
lies, is encamped.
161. About, in the neighbourhood of: Misenum, a promontory
in Campania, the bay of which had been made by Augustus into
an excellent harbour.
162. strength, amount of his forces.
164. fame, report.
165. Would... together! I wish we could have met in battle ;
cp. below, ii. 6. 25, and Cor. i. 4. 4, "Mar. Say, has our general
met the enemy? Mess. They lie in view; but have not spoke as
yet." Haste we for it, let us hasten our preparations for the en-
counter: it, used indefinitely.
166, 7. despatch we... of, let us settle the business of which
we were just now talking, i.e. the marriage with Octavia.
167. With most gladness, with the greatest gladness; cp.
Haml. i. 5. 180, "So grace and mercy at your most need help
you."
...
168. And do view, and I invite you to come to see my
sister; the ellipsis of the nominative, more especially of the first
K
146
ANTONY AND CLEOPATRA.
[ACT II.
person, is not infrequent in Shakespeare when there can be no
doubt as to what the nominative is.
173. Haif the heart of Cæsar, i.e. who are very dear to Cæsar ;
the translation of a Latin poetical phrase used by Horace of
Vergil, Odes, i. 3. 8, "anima dimidium meæ : Mecenas, the
great patron of literature in the Augustan age.
>>
177. digested, carried through, settled: You stayed... Egypt,
you had a fine time of it in Egypt.
178, 9. we did sleep ... drinking, with a pun upon out of coun-
tenance in the sense of a person put to shame by being stared
hard at, and of the daylight put to shame by being of no use to
them; and a second pun upon light in the sense of merry and of
bright.
180, 1. Eight ... there, "When he [Philotus] was in the
kitchen, and saw eight wild boars roasted whole, he began to
wonder at it, and said: 'Sure you have a great number of guests
to supper'. 'No,' quoth he [the cook], 'not many guests, not
above twelve in all'"; the reason given for such prodigality being
that Antony having drunk well that day, or having had matters
of importance to attend to, it was impossible to say at what time
he might order supper, i.e. dinner.
182. by, by the side of, and so in comparison with
...
...
183. more ... feast, more prodigal feasts.
185. triumphant, "of supreme magnificence and beauty
(Schmidt): square, just; cp. Tim. v. 4. 36, "For those that
were, it is not square to take Of those that are, revenges." So
we still speak colloquially of 'square dealing.'
""
187, 8. pursed up his heart, made it completely her own, so to
speak, put it in her purse as she would a coin belonging to her :
upon ... Cydnus, Shakespeare has been charged with inattention
here, because when Cleopatra was on the river, Antony was
seated in the market place; but Clarke points out that the
phrase includes the neighbourhood of the river, just as we speak
of London being on the Thames; Cydnus, a river of Cilicia Cam-
pestris, rising in Mount Taurus, and flowing through the city of
Tarsus; of, appositional, now considered redundant, though we
still speak of the city of London,' 'the county of Kent,' etc.
189-90. There she ... her, there she was seen in all her magnifi-
cence, or my informant's imagination was a fertile one.
192. burnish'd, polished; literally embrowned, and used chiefly
of metals.
193. Burn'd, shone with the brilliancy of flame; the close
collocation of burnish'd and Burn'd is strange, and Seymour
conjectures Flam'd or Blaz'd for the latter word: the poop
... gold, the stern was made of plates of hammered gold.
SCENE II.]
147
NOTES.
195. love-sick, faint with excess of love.
198. As amorous... strokes, as though in love with the strokes
they received: For, as regards.
199. It... description, it made all description utterly in-
adequate; cp. T. C. ii. 2. 91, “ Beggar the estimation which
you prized Richer than sea and land.”
("
200. pavilion, tent; so called because spread out like the
wings of a butterfly. - Lat. papilionem, accusative of papilio, (1)
a butterfly, (2) a tent" (Skeat, Ety. Dict.): cloth-of-gold of
tissue, “¿.e. cloth of gold on a ground of tissue” (Staunton).
201. O'erpicturing that Venus, outdoing in bodily reality that
picture of Venus. According to Warburton, this was the Venus
of Protogenes, a celebrated Greek painter, B.C. 332-300.
202. The fancy ... nature, the imagination of the artist exceeds
in beauty the work of nature; cp. Cymb. v. 5. 163-5,
"for
feature, Ĭaming The shrine of Venus, or straight-pight Minerva,
Postures beyond brief nature."
،
204-6. whose wind... did, "the wind of the fans seemed to
give a new colour to Cleopatra's cheeks, which they were em-
ployed to cool; and what they undid,' i.e. that warmth which
they were intended to diminish or allay, they did, i.e. they
seemed to produce ” (Malone).
206. O, rare for Antony! what a glorious sight to greet
Antony's eyes!
207. Nereides, the fifty daughters of Nereus, a marine divinity
who ruled over the Ægean Sea. Plutarch says, "Her ladies and
gentlewomen also, the fairest of them, were apparelled like the
nymphs Nereids (which are the mermaids of the waters) and like
the Graces; some steering the helm, others tending the tackle
and the ropes of her barge, out of which there came a wonderful
passing sweet savour of perfumes, that perfumed the wharf's
side" (Skeat, Shakespeare's Plutarch, p. 175).
………
208. So many mermaids, each a veritable mermaid in beauty:
the mermaids of fable were not the same as the Nereides, but
answer more to the sirens of ancient mythology, and were
represented as women to the hips and fish downwards: tended
eyes, probably means, waited upon her, ever observant of her
wishes as shown by her looks.
•
209. And made adornings, and lent fresh beauty to the
picture by the grace with which they paid their homage.
Such
seems to be the meaning if the text is genuine. Schmidt ex-
plains, "regarded her with such veneration as to reflect beauty
on her, to make her more beautiful, by their looks." Of the
various conjectures made, the more probable seem adorings' for
adornings (Hanmer), 'bends adoring' (Grant White).
148.
ANTONY AND CLEOPATRA.
[ACT II.
211. Swell ... hands, swell with pride at being handled by such
delicate hands; swell, plural because tackle includes ropes, sails,
etc.
212. That... office, which so nimbly perform the duties of
navigation; for frame, manage, cp. Lear, i. 2. 107, "frame the
business after your own wisdom"; yare and yarely, nimble,
brisk, and nimbly, briskly, are frequent in Shakespeare, and
North's Plutarch, Life of Antony, p. 208, ed. Skeat, has "Cæsar's
ships ... were light of yarage," i.e. easy to handle.
213, 4. A strange... wharfs, a strange perfume, inexplicable in
its origin, strikes the sense (of smell) of those on the neighbour-
ing banks; for invisible, used without reference to sight, cp.
Cymb. iv. 2. 177, ""Tis wonder That an invisible instinct should
frame them To royalty unlearn'd"; for wharfs, in the sense of
banks, not as usually for a place on the shore for lading and un-
lading the goods of vessels, cp. Haml. i. 5. 33, "the fat weed
That roots itself in ease on Lethe wharf"; in using the plural
instead of North's singular (see note on 1. 210, above), Shake-
speare was perhaps thinking of the numerous wharves on the
shore of his own Thames: cast, indicating the eagerness with
which the people rushed forth to greet Cleopatra's approach.
217. the air, i.e. his only audience, there being no one to talk
to: but for vacancy, if it had not been for fear of creating a
vacuum; alluding to an axiom in the peripatetic philosophy
then in vogue, that Nature abhors a vacuum" (Warburton).
CC
218. Had gone, would have gone.
220, 1. sent... supper, sent messengers inviting her to dinner ;
supper, the Lat. cœna, the principal meal of the day, in earlier
times usually eaten about three o'clock in the afternoon, though
in the Augustan age often as late as sunset.
222, 3. It should... entreated, it would be better that he should
be her guest, and this she begged him to become; should “ was
used in a subordinate sentence after a simple past tense, when
shall was used in the subordinate sentence after a simple present,
a complete present, or a future. Hence we may expect to find
should more common in Elizabethan writers than with us, in pro-
portion as shall was also more common "...(Abb. § 326).
224. the word of 'No,' here again the preposition of used
appositionally would now be considered redundant.
226. for his ordinary, as the price of his dinner; ordinary,
public dinner, where each person pays his share... ordinaries
were long the universal resort of gentlemen, particularly in the
reign of James I." They were, as a modern writer well observes,
"The lounging-places of the men of the town and the fantastic
gallants who herded together these resorts were attended also
...
(6
a
SCENE II. ]
149
NOTES.
""
to save charges of housekeeping [Disraeli] Curiosities of
Literature (Nares, Glossary). Cp. A. W. ii. 3. 211, “I did think
thee, for two ordinaries, to be a pretty wise fellow."
...
227. For what... only, i.e. his admiration being so great that
he could do nothing but gaze upon her beauty, and left the feast
untasted: wench, in Shakespeare's day "used as a general
familiar expression, in any variation of tone between tenderness
and contempt" (Schmidt); nowadays usually in a slighting
sense.
231, 2. That she ... forth, so that her inability to speak without
panting only made her seem more charming, and her breathlessly-
spoken words breathed fascination; perfection, a quadrisyllable.
235. stale, make vapid, insipid; cp. J. C. i. 2. 73, “To stale
with ordinary oaths my love To every new protester."
236. cloy, satiate; Malone compares Per. v. 1. 113, 4, “ Who
starves the ears she feeds, and makes them hungry The more she
gives them speech"; and V. A. 19, "And yet not cloy thy lips
with loathed satiety."
238, 9. for vilest... her, for things which in themselves are of
the vilest nature, in her use become charming: that, so that.
240. riggish, wanton; from rig, a frolic.
241. settle, make constant.
243. A blessed lottery, a precious prize that he has drawn in
the lottery of marriage; lottery, properly a game of chance in
which lots are drawn, here the lot, portion, which has fallen to
Antony. Cp. A. Y. L. i. 1. 77.
244. make... guest, consider yourself my guest.
245. abide here, remain in Rome.
SCENE III.
1. The world ... office, affairs of empire and the heavy duties
that my position involves.
...
3. my... prayers, I, on my knees, shall humbly offer up my
prayers. Collier would prosaically transpose knee and prayers.
5. Read report, do not accept the world's report of my
faults.
•
6, 7. I have rule, hitherto I have not adjusted my life to
decorum, but the rest of it shall be well regulated; cp. I. T. v.
1. 52, 'O, that ever I Had squared me to thy counsel!" and
T. C. v. 2. 132, “to square the general sex By Cressid's rule,”
though there meaning to measure by her standard; that to come,
that portion which is to come, is in the future.
150
ANTONY AND CLEOPATRA.
[ACT II.
10. sirrah, sir; generally used towards inferiors, or inferring
disrespect or unbecoming familiarity towards superiors; some-
times, as in v. 2. 229, below, in addressing a woman: you do
Egypt? you evidently wish yourself back in Egypt.
...
...
11. from thence, strictly speaking, redundant, thence, meaning
from that place: Thither, to that place; Mason would read hither.
13. If you
reason, if you are able to do so, let me hear your
reason; if you have any reason for your words, which I doubt, let
me know it.
13, 4. I see it in My motion, I am conscious of it in my mental
sight; for motion, in this sense, cp. A. W. iii. 1. 13, “like a
common and an outward man That the great figure of a council
frames By self-unable motion," i. e. guesses at by a sort of instinct:
have... tongue, am unable to give distinct shape in words.
19. Thy demon, ... thee, your demon, that is the spirit which
keeps watch over you; the first folio reads 'that thy spirit,' i.e.
that spirit of yours, but Shakespeare seems to have taken the
very words of Plutarch, "For thy demon,' said he, (that is to
say, the good angel and spirit that keepeth thee) 'is afraid of his :
and being courageous and high when he is alone, becometh fear-
ful and timorous when he cometh near unto the other '" [i.e.
Caesar's demon] (Skeat, Shakespeare's Plutarch, p. 181). The idea
of a spirit, or spirits, attending a man through life is frequently
alluded to in Shakespeare; cp. e.g. Mach. iii. 1. 56, J. Ĉ. ii. 1.
66, T. C. iv. 4. 52.
21. Where ... not, when Cæsar's demon is not present to over-
awe it: angel, i.e. demon, genius.
22. Becomes a fear, becomes the impersonation of fear; is
utterly cowed; Thirlby conjectures afeard; Walker, afear.
23. Make... you, put as great a distance as you can between
Cæsar and yourself.
24. no more... thee, never except when I say it to you.
26. of... luck, out of, owing to, that luck which belongs to him
by nature: cp. R. III. i. 3. 63, "The king, of his own royal dis-
position.
""
27. 'gainst the odds, even though the odds are in your favour.
27, 8. thy lustre... by, the brilliancy of your character and
exploits is dimmed by the greater splendour of his when he
shows himself; for thickens, cp. Macb. iii. 2. 50, Light
thickens."
، ،
29. Is all... him, in his presence is completely afraid to exer-
cise its ennobling influence over you.
30. he away, he being no longer present: Get thee gone, an
idiom; that is to say, a peculiar form of expression, the principle
:
SCENE III.]
151
NOTES.
•••
of which cannot be carried out beyond the particular instance.
Thus we cannot say either Make thee gone, or He got him (or him-
self) gone.
Phraseologies, on the contrary, which are not
idiomatic are paradigmatic, or may serve as models or moulds
for others to any extent. All expression is divided into these
two kinds" (Craik, on J. C. ii. 4. 2).
31. I would, I desire.
32. shall to, the verb omitted with a preposition of motion, as
frequently: Be it... hap, whether he (the Soothsayer) really is
skilled in the future or that it is mere accident.
33. the very... him, even the dice when thrown turn up as he
(Cæsar) desires; he throws whatever numbers he wishes.
34, 5. my better... chance, my superior skill gives way before
his better luck: speeds, is successful; the radical meaning of the
substantive speed is success.
36. cocks, fighting cocks: still, ever: of, from.
37. When... nought, when the odds in my favour are as every-
thing to nothing; to, as against; cp. Haml. i. 2. 139, 40, "Šo
excellent a king; that was, to this, Hyperion to a satyr."
38. inhoop'd, confined within a hoop, so that neither might
take to flight; Farmer points out that this was the practice in
Shakespeare's day with fighting cocks at odds, though the odds
(in point of breeding, strength, etc.), were in favour of my birds;
though his birds were at a disadvantage.
39, 40. And though... lies, and though I complete this marriage
with Octavia in order that I may not be troubled by Cæsar, it is
in Egypt that my happiness is.
41. commission, the papers giving you authority to settle the
business in Parthia.
SCENE IV.
2. after, on the transposition of prepositions in Elizabethan
English, see Abb. § 203.
3. Will e'en but kiss, will just give a farewell kiss; e'en, em-
phasizing but.
5. become, suit.
6. As... journey, according to my calculations of the time the
journey will take us: the Mount, sc. Misenum; see note on ii.
2. 163.
8. draw... about, oblige me to take a circuitous route.
9. You'll... me, you'll gain two days over me; be there two
days before me : success, meaning nothing more than that
152
ANTONY AND CLEOPATRA.
[ACT II.
which follows, the consequence of an action, was in Shake-
speare's day qualified by various adjectives; and we still speak
of 'ill success,' 'fair success,' 'moderate success,' though not
of 'good success,' the word by itself generally implying that
idea.
SCENE V.
1. moody food, melancholy food for the thoughts; cp. T. N.
i. 1. 1, “If music be the food of love, play on;" and for moody,
iii. H. VI. iv. 6. 13, "such a pleasure as incaged birds Conceive
when after many moody thoughts At last by notes of household
harmony They quite forget their loss of liberty.”
2. trade in love, engage in such business as love.
3. let's to, let us go to: billiards, of course an anachronism.
4. best play, you had better play; a shortened form of 'you
were best play,' on which ungrammatical remnant of ancient
usage, see Abb. § 230.
5. As well ... play'd, a woman might just as well play with,
etc.
8. though... short, though the result be poor, the will is taken
for the deed; cp. M. N. D. v. 1. 83, "For never anything can
be amiss When simpleness and duty tender it:" show'd, Shake-
speare uses shown also as the participle.
9. I'll none now, I've changed my mind and have no longer
any desire to play.
10. angle, rod and line; Lat. angulus, that which is bent.
11. betray, snare; cp. J. C. ii. 1. 204, "for he loves to hear
That unicorns may be betray'd with trees."
16. wager'd... angling, laid a wager on your catching more fish
than he did.
18. With fervency, with joyous eagerness. Plutarch relates
that Antony, being vexed with his want of success when fishing
with Cleopatra, ordered his divers on the next occasion to dive
under water and fasten a live fish on his hook. Cleopatra,
detecting the trick, told her divers, when next she and Antony
went fishing, to be beforehand with those employed by Antony,
and to fasten a salt fish to his hook; and on his triumphantly
drawing this up, she and her attendants "all fell alaughing."
20. I laugh'd ... patience, put him into good humour by her
jests, as in the morning she had put him out of humour by jests
aimed against him.
21. Ere... bed, before nine o'clock in the morning I so plied
him with wine, that he was obliged to sleep off his carouse; the
SCENE V.]
NOTES.
153
ninth hour according to Roman reckoning would mean three
o'clock in the afternoon, their day being computed from six in the
morning; but probably Shakespeare is here reckoning according
to English time; drunk, for this form of the past indicative, see
Abb. § 339.
22. tires, head-dress; the word is merely an abbreviation of
attire, and was used both in that general sense as well as in the
more limited one it has here. For the variety of tires, cp. M. W.
iii. 3. 60, 1, "thou hast the right arched beauty of the brow that
becomes the ship-tire, the tire-valiant, or any tire of Venetian
admittance," i.e. fashionable in Venice.
23. Philippan, Theobald points out that the custom of giving
the name of some victory to a sword worn in it, common in the
romances of later days, is not one for which we have any warrant
in ancient history. He also notes that the battle of Philippi
being the greatest action of Antony's life, to call his sword Philip-
pan was a skilful piece of flattery on Cleopatra's part.
24. Ram... ears, hasten to pour the harvest of your tidings
into my ears; Hanmer would read Rain for Ram, and Delius,
Cram; but in J. C. v. 3. 74, 5, we have, as Malone points out,
the very similar expression "thrusting his report Into his ears,
though there the tidings are evil.
25. barren, without any news; carrying on the metaphor in
fruitful.
26. If thou say so, if you should possibly say so; the subjunc-
tive indicating uncertainty as to what his report was likely to be.
27. mistress, a trisyllable.
27, 8. but well ... him, but if you should be able to announce
that he is well and his own master; for yield, cp. A. W. iii. 1. 10,
"The reasons of our state I cannot yield.
""
30. lipp'd, touched with their lips; cp. Oth. iv. 1. 72: trembled
kissing, trembled as they kissed.
32. we use, we are accustomed; in this sense we use the word
only in its past tense.
33. are well, cp. ii. Henry IV. v. 2. 3, "Ch. Just. How doth
the king? War. Exceedingly well; his cares are now all ended,"
i.e. he is dead: bring it to that, if that is what you have tell; it,
indefinite.
36. go to, used here as an encouragement; more frequently with
angry or scornful emphasis.
37. goodness, well-omened look.
38, 9. so tart... tidings! so sour an expression is a strange one
for proclaiming such good news; favour, as frequently in Shake-
154
[ACT II.
ANTONY AND CLEOPATRA.
speare for the look of the face, but also used for the appearance
generally.
39-41. If not man, if you have to report that things do not
fare well with him, you ought, in order to be in keeping with
your news, to appear in a form as terrible as that of the Furies,
not in that of a man. The Erinyes, or Eumenides as they were
euphemistically called (i.e. the well-meaning goddesses), are re-
presented by Eschylus as having bodies all black, snakes twined
in their hair, and blood dripping from their eyes; for a formal
man, a man in his ordinary appearance, cp. C. E. v. 1. 105, "To
make of him a formal man again," i.e. to restore him to his
ordinary condition of a sensible being.
……
...
44. friends, friendly, on good terms; see Abb. § 25: or not...
him, or at all events not in his power.
45. I'll set... gold, shower down gold upon you.
46. Well said, that is good.
49. Make me, ask of me any reward you choose, however
great.
50, 1. it does... precedence, it takes away from the good news
that had gone before; so, in L. L. L. iii. 1. 83, precedence, is used
of what had been said before.
52, 3. 'But yet'... malefactor, such an expression comes forth
like a gaoler bringing with him some, etc.
54, 5. Pour out... together, let me have the whole of your news,
good and bad, at once; in pack the allusion is to the pack of a
peddler, the whole contents of which she wishes to have displayed
at once; cp. Haml. ii. 2. 614, "That I ... Must ... unpack my
heart with words"; cp. also A. Y. L. iii. 2. 211-3, "I prithee,
take the cork out of thy mouth that I may drink your tidings.'
""
58. I am pale, Charmian, don't you see how pale I have become
at the news, Charmian?
63. unhair thy head, tear every hair out of your head.
65. Smarting pickle, your torture as thus pickled (sc. in
brine) being a lingering one.
66. made not the match, did not bring about the marriage.
68. And make ... proud, and raise you to the highest good
fortune: thou hadst, you received from me.
69. Shall make ... rage, shall be considered to atone for your
offence in exciting my anger.
70, 1. And I... beg, and I will in addition present you with
whatever gift you may in moderation ask; boot, substantive,
from A.S. bót, advantage, profit, means something given into the
bargain, something over and above what has already been men-
tioned, as in T. Č. iv. 5. 40, "I'll give you boot, I'll give you
SCENE V.]
NOTES.
155
three for one," and is most common in the phrase to boot, i.e.
for something in addition; the verb in this sense is not elsewhere
used by Shakespeare; for modesty, - moderation, cp. J. C. iii. 1.
213, "The enemies of Cæsar shall say this, Then, în a friend, it
is cold modesty.'
""
73. made no fault, we now say to commit a fault, to make
a mistake.
74. keep... yourself, keep yourself within the limits of such
behaviour as becomes you; cp. Haml. i. 3. 34, "And keep you in
the rear of your affection."
76. Some ... thunderbolt, i.e. all innocents do not escape the
wrath of heaven, and therefore there is no reason why he should
escape my wrath; you cannot expect me to be more merciful
than heaven.
77. Melt... Nile, let Egypt, etc.; cp. above, i. 1. 33, "Let
Rome in Tiber melt!": kindly, of gentle nature.
78. slave, wretch.
81, 2. These hands... myself, these hands demean themselves
in striking, etc.; it is unworthy of me to strike, etc.
S3. Have... cause, sc. by allowing myself to be such a slave to
love for Antony.
85. gracious, pleasing, welcome.
86, 7. but let... felt, but leave ill tidings to make themselves
known by being felt.
89. worser, for the double comparative, see Abb. § 11.
91. dost... still? do you still stick to that story?
93. So, even though the result were that, etc.
94. scaled, scaly, covered with scales.
95. Narcissus, the beauty of Narcissus; a beautiful youth,
son of the river god Cephissus, for love of whom the nymph
Echo pined away and died.
"This
96. Thou... ugly, Steevens compares K. J. iii. 1. 37,
news has made thee a most ugly man.
...
ور
98. Take you, do not take any offence at that which is not
intended to offend you; offend is here used as with a cognate
accusative.
99. what... do, sc. report his being married.
100. much unequal, very unjust; cp. ii. H. IV. iv. 1. 102,
"To lay a heavy and unequal hand Upon our honours ?"
0,
101, 2. O, that... of! to think that his faults should make
a knave you who are not naturally one! What? you are certain
of his being married? The folios give 'That art not what th'
(or, thou) art sure of'; I have adopted Mason's conjecture.
156
[ACT II.
ANTONY AND CLEOPATRA.
Dyce says that the reading of the folios may mean
"That art
not the evil tidings of which thou givest me such assurance,
and various other explanations have been offered, and con-
jectures made, none of which seem to me to account for the words
should make a knave of thee.
103. merchandise, followed by a plural verb, as being a collec-
tive noun — goods, as tackle in ii. 2. 210, above. Conversely in
M. V. i. 3. 97, we have "I make it breed as fast," referring to
"your gold and silver" in the preceding line used as = money.
104. lie... hand, with the double sense of lying heavy and of
remaining unsold.
105. Good your highness, for the transposition see Abb. § 13.
109. 'tis no matter, but never mind, it is a matter of no
importance.
111. feature, personal appearance; not limited in Shakespeare
as nowadays to parts of the face; cp. Lear. iv. 2. 63, "Be-monster
not thy feature"; Cymb. v. 5. 163,
Cymb. v. 5. 163, “for feature, laming The
shrine of Venus, or straight-pight Minerva."
112. inclination, disposition; cp. Cor. ii. 3. 200, "Thus to have
said... had touch'd his spirit And tried his inclination.”
114. Let him... go, I do not care if I never see him (sc.
Antony) again.
SO
115, 6. Though ... Mars, though looked upon from one point of
view he is as horrible as a Gorgon, from another he is as grand
as Mars; the Gorgon here is Medusa whose head was
terrible that it turned every one who looked at it into stone.
Staunton points out that the allusion is to the "double" pictures
formerly in vogue, in which, says Burton, if you stand before
them "
you see a fair maid, on the one side an ape, on the other
an owl"; cp. H. V. v. 2. 347, "Yes, my lord, you see them
perspectively, the cities turned into a maid"; The other way's,
the other way he is.
SCENE VI.
2. we shall, it is settled that we shall, etc.; we are to, etc. :
meet, fitting.
4. Our written...sent, we have sent you beforehand in writing
what our determination in this matter is, what terms we are pre-
pared to make.
6. If 'twill... sword, whether a knowledge of those purposes
will induce you to sheathe the sword which you have drawn in
rebellion against us.
SCENE VI.]
157
NOTES.
7. tall, stout, sturdy, spirited; as very frequently in Shake-
speare.
9. The senators... world, by whose wisdom alone the world is
governed.
10. factors, agents, vicegerents on earth: I do not know, I say
that I do not know.
11, 2. Wherefore ... friends, why my father should be without
those to avenge his death (as you avenged Cæsar's death), seeing
that I his son am still alive, and with me friends ready to aid in
such a cause.
13. ghosted, haunted as a spirit; see J. C. iv. 3. 275-87; for
ghosted, Steevens compares Burton, Anatomy of Melancholy,
Preface, "What madnesse ghosts this old man? but what
madness ghosts us all?"
14. labouring for him, striving to avenge his murder.
15. pale, his pallor being symptomatic of his envious nature.
16. honest, honourable; Lat. honestus.
17. With the arm'd rest, with the rest of those who took up
arms in the same cause: courtiers... freedom, in love with the
beauty of freedom.
...
18, 9. but that man? except that they were determined that
one man (sc. Julius Cæsar) should be no more than a man, should
not enjoy the despotic power of a god: And that is it, and it is
the same determination that.
23. Take your time, speak on freely.
24. fear, frighten; as very frequently.
25. We'll speak... sea, we will meet, encounter, you at sea;
cp. above, ii. 2. 167.
26. o'ercount thee, outnumber you in our forces.
27. Thou dost ... house, Plutarch relates that when the elder
Pompey's house was put up for sale, it was bought by Antony,
who however refused to pay for it; and the insinuation here, as
Malone observes, is to this circumstance; o'ercount me of, o'er-
count me in the matter of, of expressing the amount of the
excess.
28, 9. since ... may'st, since, like the cuckoo, that builds no
nest of its own, but takes possession of that of another bird
(generally the hedge-sparrow's), you have seized upon my father's
house, keep it as long as you may; cp. Lear, v. 1. 59-61, "And
being fed by us you used us so As that ungentle gull, the cuckoo's
bird, Useth the sparrow; did oppress our nest," i.e. seized upon
it as the cuckoo hatched in the sparrow's nest does when it comes
to maturity.
158
[ACT II.
ANTONY AND CLEOPATRA.
30. is from the present, has nothing to do with the matter in
hand; for other instances of from, away from, see Abb. § 158.
=
32, 3. Which... embraced, into accepting which do not be led
by mere entreaties, but by a consideration of the advantages
resulting from your doing so.
34, 5. To try... fortune, if you aim at, by aiming at, greater
things, such as you imagine may be gained by opposing us; the
infinitive used indefinitely: made me offer Of, offered me.
35. I must, one of the conditions is that I am to.
37-9. Measures, certain amounts, supplies; this 'greed... un-
dinted, and that if we agree upon these terms, we are to separate
without exchange of blows; targes, shields; here a monosyllable,
the g being pronounced hard, as in reneges, i. 1. 8, above.
43. Put... impatience, irritated me a good deal.
44. you must know, I must tell you; not, you must already be
aware.
46, 7. did find ... friendly, the welcome she received was a
friendly.one; friendly, a tertiary predicate.
48. And am thanks, and am prepared, by constantly think-
ing on the debt I owe you, for a liberal repayment of thanks; for
studied, cp. M. V. ii. 2. 205, "Like one well studied in a sad
ostent."
...
51. and thanks to you, and my thanks are due to you.
52. That call'd... hither, whose outbreak hurried me here more
quickly than I had any intention of coming.
55. What counts ... face, what marks, lines, fortune may
have scored upon my countenance; as though the face were a
memorandum book in which fortune cast up her accounts.
56, 7. But in ... vassal, but she shall never force her way into
my bosom so as to enslave my courage; vassal,
"the original
sense is 'servant'; and the word is of Celtic origin, Latinised (in
Low Lat.) as vasallus ... Bret. gwaz, a servant" (Skeat, Ety.
Dict.).
59. composition, agreement; cp. M. M. i. 2. 2, "If the duke
...
come not to composition with the king of Hungary, why then
all the dukes fall upon the king."
60. the next to do, the next thing to be done.
63. take the lot, let the order in which we are to feast each
other be decided by lot.
63, 4. first Or last, sooner or later.
"And set
65. Shall have the fame, shall have that praise from us which it
deserves; for fame, in this sense, cp. Haml. iv. 7. 133,
a double varnish on the fame The Frenchman gave you.”
SCENE VI.]
NOTES.
159
68. so much, sc. "that Julius Cæsar Grew fat with feasting
there."
73. And well... do, and am likely still to fare well.
"C
74. toward, in preparation; cp. Haml. v. 2. 376, O proud
death, What feast is toward in thine eternal cell...?"
79. plainness, sc. of speech.
80. nothing, in no way.
82. lead, sc. the way; i.e. precede me.
84. have known, have met before, been acquainted; cp. Cymb.
i. 4. 36, ((
Sir, we have known together in Orleans."
92. for your own safety, if you value your safety; said of
course in jest.
95. There, in that matter.
97. take, with a play on the word in the sense of catch and
that of taking prisoner as a constable would kissing, making
great friends.
100. No slander, that is no slander.
102. For my... drinking, Menas will not be outdone by Eno-
barbus in boasting.
103. doth ... fortune, is throwing away the fortune that was in
store for him by being on friendly terms with the triumvirs.
105. You've said, sir, quite true.
110. Pray ye, sir? Pardon me, I don't understand you; an ex-
pression of incredulity.
112. is, for the singular verb preceding two singular subjects,
see Abb. § 336.
...
113, 4. If I so, if I were called upon to prophesy in the
matter of their unity, that is not the prediction I should make.
115. I think... more, I think that considerations of policy had
more to do with, etc.; that purpose, of making Cæsar and
Antony friends.
117. band and bond were only different spellings of the same
word.
120. conversation, manner of life, behaviour; in this larger
sense and in that of intercourse, more common in Shakespeare
than in the limited modern sense of familiar discourse.
121. would not have, does not desire to have.
122. which, and that.
123. will to, will return to.
125. author, cause.
126, 7. Antony ... here, Antony will gratify his love in Egypt;
his marriage here was one dictated by politic considerations.
160
[ACT II.
ANTONY AND CLEOPATRA.
128, 9. I have ... you, I wish to propose a toast to you.
130. take, accept; drink the toast.
130, 1. we have... Egypt, we have had plenty of practice in
drinking during our stay in Egypt.
SCENE VII.
STAGE DIRECTION.
a banquet, i.e. a dessert; cp. T. S. v. 2. 9.
1. plants, a pun upon the word in the sense of things planted,
and in that of the soles of the feet, Lat. planta; Steevens com-
pares Chapman's translation of the Iliad, xvi., "Even to the low
plants of his feete, his form was altered."
4. high-coloured, flushed with the wine he has drunk; cp. 1. 121.
5. alms-drink, according to Warburton, "a phrase, amongst
good fellows, to signify that liquor of another's share which his
companions drink to ease him"; explained in Murray's Eng. Dict.
as "the remains of liquor reserved for alms-people.
>>
6. As they... disposition, seems to mean, as they ply each other
hard with the mischievous desire of seeing one another under the
table, Lepidus, affecting to have had as much as he can carry,
cries out enough'; yet all the same, while getting them to accept
his excuses, finds it possible to quiet his scruples against further
indulgence; though perhaps "twere to consider too curiously
to consider" the servant's speech as having any very exact sense.
Clarke explains "as they try each other's temper, as they
gall or plague each other's sensitiveness by their mutual taunts,
but we have no reason for thinking that they were quarrelsome
in their cups; cp. 'disposed,' used absolutely as inclined to
merriment, L. L.L. ii. 250, "Boyet is disposed.'
25 (C
""
9, 10. But it... discretion, but this self-reconciliation to further
drinking stirs up a greater conflict between himself and his dis-
cretion, i.e. only increases his drunkenness.
11, 2. this... fellowship, this is what comes of being ambitious
to be known as the associate of great men lief, gladly; A.S.
lióf, leóf, dear.
13. partisan, a kind of halberd; "etymology doubtful; but
the word must be almost certainly extended from O. H. G. partá,
M. H. G. barte, a battle-axe, which occurs in E. hal-berd"
(Skeat, Ety. Dict.).
...
14-6. To be called ... cheeks, to be summoned to occupy a high
position (such as that of Lepidus in the triumvirate) and to be a
mere cipher in it (as Lepidus was) is to be nothing better than
the empty sockets of the eyes, the absence of which from those
sockets renders the face so painfully hideous. The construction
is a confusion between those who are called... are as the holes,'
1
SCENE VII.]
161
NOTES.
and to be called... is to be as the holes.' In the Ptolemaic
system of astronomy, round the earth, which was the centre of
the system, were nine hollow crystalline spheres consisting of the
seven planets (1-7) including the sun and moon, the fixed stars or
firmament (8), and the Primum Mobile (9); and in or on each of
the seven lower spheres (1-7) was a planet fixed, which was
whirled by that sphere right round the earth in twenty-four
hours, the driving power being the Primum Mobile; here Lepi-
dus is represented as one of these planets, but as giving out no
light. Rolfe well remarks that disaster, an astrological term,
was probably suggested by the figure that precedes.
17, 8. they take ... pyramid, they measure the rise of the Nile
by certain marks in the pyramid set up for that purpose. Malone
quotes from Pory's translation of Leo's History of Africa, "Upon
another side of the island standeth an house alone by itselfe, in
the midst whereof there is a four-square cisterne or channel of
eighteen cubits deep, whereinto the water of Nilus is conveyed
by a certaine sluice under ground. And in the midst of the
cisterne there is erected a certaine piller, which is marked and
divided into so many cubits as the cisterne containeth in depth".
To Indian students this provision for registering the rise of rivers
in 'the rains' will be familiar.
...
19. mean, sc. between a great and a small rise.
20. foison, plenty; fusionem, accusative of Lat. fusio, a pouring
forth; cp. Temp. ii. 1. 163, "but nature should bring forth All
foison, all abundance"; Macb. iv. 3. 88, "Scotland hath foisons
to fill up your will."
21. The more it promises, the greater is the indication of an
abundant harvest.
22. the slime and ooze, the alluvial deposit left by the Nile as
it ebbs.
23. comes to harvest, is rewarded by a harvest without having
any further labour; with them there is no ploughing and harrow-
ing of the ground as in other countries.
26. your, for this colloquial use of your, in appropriating an
object to a person addressed, cp. Haml. iv. 3, 24, 5,
"Your worm
is your only emperor for diet; your fat king and your lean beggar
is but variable service, two dishes, but to one table."
29. A health, let us drink a toast to the health.
30. I'll ne'er out, I'll never shirk a toast.
31, 2. Not till ... then, Enobarbus, playing upon Lepidus's use
of out, says, you certainly will be in the same state of drunken-
ness till you have slept off your debauch.
33. pyramises, the singular pyramis, which is the Greek form
of the word, was in common use in Shakespeare's day, and v. 2.
L
162
ANTONY AND CLEOPATRA.
[ACT II,
61, below, we have the correct plural pyramides; here, as Malone
points out, pyramises is "to mark the indistinct pronunciation
of a man nearly intoxicated, whose tongue is now beginning to
'split what it speaks.
> ""
36. Say in mine ear, whisper to me.
38. Forbear anon, i.e. I will attend to you in a moment.
***
42. it, an early provincial form of the old genitive, used in
Shakespeare "especially when a child is mentioned, as in W. T.
iii. 2. 109, Lear, i. 4. 235, or when one is contemptuously spoken
of as a child" (Abb. § 228); here probably marking Antony's
contempt for the half-drunken Lepidus.
43, 4. the elements, the constituent parts of life; cp. below, v.
2. 288, "I am fire and air; my other elements I give to baser
life" it transmigrates, that which really constitutes it, the
vital principle, passes into some other body.
:
50, 1. With the health... epicure, if the description does not
satisfy him, at all events the toast of his own health which
Antony makes him drink, ought to be enough for him, if any-
thing can be enough.
52. Tell me of that? do you bother me about that subject?
54. for the sake of merit, out of regard to my faithful services.
56. held ... fortunes, been your most faithful follower; cp. Cor.
ii. 3. 107, “I will practise the insinuating nod, and be off to them
most counterfeitly," i.e. pretend the greatest deference to them ;
Oth. i. 1. 10, "These great ones of the city, In personal suit to
make me his lieutenant, Off-capp'd to him."
h
;
58. Be jolly, lords, continue your revels while I leave you for a
minute quick-sands, shifting sands, most dangerous to vessels
quick, alive, moving; here of course the danger of drunkenness.
62. How should that be? how can that possibly be? see Abb.
§ 325: But entertain it, you have only to entertain the idea, admit
the idea to your mind; cp. C. E. ii. 2. 188, "I'll entertain the
offer'd fallacy.
""
64. Hast...
well? you surely must be thoroughly drunk.
66. the earthly Jove, the sole ruler of the earth, as Jove is of
the sky.
67. pales, encloses, limits as with pales, or stakes: inclips, em-
braces; clip in this sense is frequent in Shakespeare.
69. competitors, associates in power, partners; cp. above,
i. 4. 3.
71. are put off, are with the past participle expressing the
present state; have, the activity necessary to cause the present
state fall... throats, cut their throats.
72. there, by that act.
SCENE VII.]
NOTES.
163
}
73. spoke, for the curtailed form of the participle, see Abb.
§ 343: on, of: In me 'tis villany, for me to do such a deed would
be villany.
74. Thou must know, let me tell you.
75, 6. 'Tis not it, my honour does not accommodate itself to
what is profitable, but makes what is profitable accommodate it-
self to it; i.e. my guiding motive is not profit, but honour; cp.
Haml. iii. 2. 212, 3, "For 'tis a question left us yet to prove
Whether love lead fortune, or else fortune love."
...
77. Hath ... act, has led you to be so foolish as to speak of your
intended deed instead of doing it.
77, 8. being done.. done, if you had done the deed without
telling me of your idea, I should afterwards (i.e. when it was
done) have praised it.
79. Desist, give up the idea.
81. pall'd fortunes, fortunes that have waned, decayed. Skeat
traces the origin of pall from the same root SPAL, to fall, totter,
as the words fall and fail.
82, 3. Who seeks... more, Steevens refers to the ancient pro-
verbial rhyme, "He who will not when he may, When he will,
he shall have nay.”
84. I'll pledge... him, I'll drink it in his stead, i.e. he being no
longer in a condition to drink more.
86. till the cup be hid, i.e. to the very brim.
89. A', he; used formerly for he, she, it, they.
91. That it ... wheels, so that it might run the more easily.
Malone points out that "The World goes upon Wheels
title of a pamphlet written by Taylor the water-poet.
was the
ر,
92. increase the reels, help to make the world go the more
merrily; cp. 1. 116, "Cup us, till the world go round."
94. an Alexandrian feast, anything at all equal to the feasts to
which you are accustomed at Alexandria, i.e. when living with
Cleopatra.
95. It ripens towards it, it is fast getting like them: Strike the
vessels, broach the casks; Weber compares Fletcher Monsieur
Thomas, v. 10. 42, "Home, Launce, and strike a fresh piece (i.e.
cask) of wine.
97, 8. when I wash ... fouler, when the only result of my wash-
ing my brain is that it grows fouler.
98. Be... time, accommodate yourself to the occasion; 'do at
Rome as the Romans do,' as we say.
99. Possess it... answer, Delius explains, "to Antony's chal-
lenge to be a child of the time, to allow oneself to be guided by
164
[ACT II.
ANTONY AND CLEOPATRA.
the moment, Octavius makes answer that one must rather be
master of the time, get it into his own hands." The word But,
however, in the next line looks as if Cæsar was accepting
Antony's challenge to drink; and Profess and Propose have been
conjectured in place of Possess, i.e. give the toast and I will
accept it, do justice to it.
100. from all, i.e. drinking.
...
102, 3. Shall we drink? shall we now imitate the dance of
the Bacchic revels as they do in Egypt, and give that solemnity
to our feast?
104. take, join.
105. Till that, for the conjunctional affix, see Abb. § 287.
106. Lethe, oblivion of all cares.
107. Make... music, sound the instruments loudly.
108. The while, during the time that I am placing you in the
proper order.
109. The holding, the burden, refrain; Malone compares an
old pamphlet called The Serving Man's Comfort, 1598,"where
a song is to be sung the under-song or holding whereof is, 'It is
merrie in haul where beards wag all.'
,,,
109, 10. shall bear volley, shall shout the refrain with all
the strength of their lungs; the folios have beate, or beat, for
which Theobald substituted bear, the usual word with burden in
the sense of refrain; cp. Temp. i. 2. 381, “And, fairy sprites, the
burden bear."
•·.
113. pink, explained by some as small, half-closed, in which
sense it was certainly used formerly; by others, as inflamed with
wine; probably the two senses are here combined; for eyne, i.e.
eyen, the old plural, cp. M. N. D. i. 1. 242.
114. fats, vats; a mere variety of dialect, the former being
the Northern, the latter the Southern form.
round, ply us with liquor till the world itself
116. Cup us,
seems to reel.
119. Let me ... off, let me beg you to leave the vessel and come
on shore.
...
119, 20. our graver... levity, this levity is a disgrace to the
weightier business we have in hand.
121. have burnt our cheeks, cp. above, 1. 4, "Lepidus is high-
coloured.
121, 2, strong... wine, Enobarbus, strong as he is, has found
the wine more than a match for him.
123. Splits what it speaks, is no longer distinct in its utterance;
"
SCENE VII.]
NOTES.
165
we talk of a drunken man as 'seeing double,' and Shakespeare
here makes him speak double.
""
123, 4. the wild... all, this motley of drunkenness in which we
have dressed ourselves has made us little better than buffoons;
for disguise, as a euphemism, cp. The Garland of Delight (apud
Nares, Gloss.), "The sailors and the shipmen all, Through foul
excess of wine, Were so disguis'd that on the sea They show'd
themselves like swine ; disguised in liquor' is still a slang
term for 'drunk'; Shakespeare also uses' distemper,' subs. and
verb, in the same euphemistic way, H. V. ii. 2. 54, Haml. iii. 2.
313, Oth. i. 1. 99; Antick'd, 'antic' and 'antique' are the same
word, meaning first 'ancient,' then 'old fashioned,' then 'quaint,'
'ludicrous.'
124. What needs more words? i.e. there is no good in further
words.
125. I'll try... shore, I will make trial of your feasting on
shore (as you have of mine on board ship).
126. And shall, and so you shall; said emphatically; see Abb.
§ 97.
127. But, what... friends, but never mind that; we are now
good friends; said with the drunkard's maudlin sentimentality.
130. what an exclamation of impatience at "these great
fellows" being allowed to depart without the accompaniment of
music.
132. and be hang'd, curse you for being so long about it.
133. There's my cap, said as he joyfully throws up his cap;
cp. Cor. ii. 1. 115, “Take my cap, Jupiter, and I thank thee."
ACT. III. SCENE I.
1. darting Parthia, a reference, carried on in struck, to the
Parthian method of fighting, their horsemen pouring in a shower
of darts as they swarmed round the enemy, and then, as they fled
to avoid close combat, turning in their saddles and discharging
flights of arrows.
2. Crassus and his army were utterly defeated by the Parthians
under Surenas, the general of their King Orodes, on the plains of
Mesopotamia, B.C. 53, and Crassus himself put to death at a
meeting to which he was treacherously lured by Surenas.
4. Pacorus, Păcõrus, son of Orodes.
5. Pays this, sc. the penalty of death.
10. chariots, according to Clarke, the plural here and in
garlands gives "the effect of amplitude and generalization
Walker and Dyce would read chariot.
"" •
166
ANTONY AND CLEOPATRA.
[ACT III.
*****
4.
14. Better to leave, an ellipsis of 'it is.'
15. when him... away, when he whom we serve is not present
(to claim the credit); for this attraction of him to whom under-
stood, cp. Cor. v. 6. 5, "Him I accuse the city ports hath
enter'd ; Haml. ii. 1. 42, "Your party in converse, him you
would sound, He closes with you in this consequence.'
...
17. More... person, more through the agency of their officers
than by personal achievement.
18. of my place, holding the same position as I do now his,
sc. Antony's.
20. by the minute, each minute.
24. darkens him, obscures his fame; cp. Cor. ii. 1. 275,
blaze Shall darken him for ever."
"their
26, 7. in his... perish, in consequence of offending him, my
great deeds would go unrewarded; his, used objectively.
27-9. Thou hast….. distinction, you possess that (sc. intelligence)
without which there is little difference between a soldier and his
sword; a confusion of thought between 'Thou hast that the
absence of which scarce grants distinction between a soldier and
his sword' and Thou hast that without which a soldier and his
sword have scarcely any distinction'; for the thought,. cp. Cor. i.
4. 52-4, "O noble fellow! Who sensibly outdares his senseless
sword, And, when it bows, stands up."
30, 1. I'll humbly... effected, I will humbly inform him what
by the terror of his name, that name which in war acts like
magic, we have managed to do; Ventidius sarcastically says, I
do not presume to use such a familiar term as 'write to him,' but
I will, etc.
...
32. his his, i.e. emphasizing the fact that our success is en-
tirely due to the fact that it was his banners we were carrying,
his well-paid ranks that we were commanding.
34. jaded ... field, driven from the field of battle like sorry
nags; a jade is a worn or worthless horse.
35. He... Athens, his intention is to make for Athens.
...
35-7. whither him, and there we must present ourselves be-
fore him with such haste as is possible, considering what we have
to carry with us: On, there, go forward, you there.
SCENE II.
1. are, see note on ii. 7. 71; the brothers, sc. by marriage.
2. despatch'd, settled, arranged.
3. The other three, i.e. of the four that were here, sc. Cæsar,
SCENE II.]
167
NOTES.
}
Antony, and Lepidus: sealing, attaching their seals to the agree-
ment into which they have entered.
4. To part, at parting; the indefinite infinitive.
5 as Menas says, so Menas tells me.
6. the green sickness, an anæmic disorder of early maidenhood.
'Tis... Lepidus, said contemptuously. 7. loves, pretends to love.
9. he's the Jupiter of men, i.e. Lepidus will tell him so to his
face: sc in 11. 10-3, 15-9, they are mimicking the flattery used by
Lepidus to Cæsar and Antony.
11. the nonpareil, the unequalled one; cp. Cymb. ii. 5. 8, "yet
my mother seem'd The Dian of that time: so doth my wife The
nonpareil of this."
12. Arabian bird, the phoenix, which according to fable existed
single, and after death rose again from its own ashes; cp. Cymb. i.
6. 17, Temp. iii. 3. 23, Samson Agonistes, 1703-5, "Like that self-
begotten bird In the Arabian woods embost, That no second knows
nor third."
...
...
14. plied them praises, laboured hard to praise them ade-
quately; to ply, "to bend, work at steadil¸· · M. E. plien, to
bend... to mould, as wax, Since moulding wax, etc., requires
constant and continued application of the fingers, we hence get
the metaphor of toiling at (Skeat, Ety. Dict.).
...
...
16, 7. Ho, hearts, ... number, a hit at a puerile arrangement of
words much in vogue in Shakespeare's day; hearts going with
Think, tongues with speak, etc., etc. Steevens points out that
bards sang their verses to the harp, poets only commit them to
paper, and that as verses are often called numbers, the verb to
number here means to make verses.
20. They are... beetle, they are the wings on which he, the
dull beetle, rises aloft; shards, the horny wing-cases of the
beetle; in reality only the same word as sherd, i.e. something
shred or broken off; cp. Macb. iii. 2. 42, "The shard-borne beetle
with his drowsy hums Hath rung night's yawning peal": So,
very good.
21. This is to horse, this blast of the trumpet is a summons to
me to mount and be off.
22. Good fortune, i.e. go with you.
23. No further, sir, you must not trouble yourself to accompany
me any further.
25. Use... in 't, show your regard for me by your love to her
who is a great part of me, i.e. very dear to me; cp. above, ii. 2.
173, "Half the heart of Cæsar, worthy Mecenas !'
...
26, 7. As my approof, as I conceive you to be, and as one
fully justifying the pledges I am ready to give of your so proving
168
[ACT III.
ANTONY AND CLEOPATRA.
yourself; for approof, cp. A. W. ii. 5. 3, "of very valiant
approof," i.e. of approved valour.
28. piece of virtue, here piece is used both of a constituent
part of a building, and of something of supreme excellence, as in
Temp. i. 2. 56, Thy mother was a piece of virtue"
; we have
a similar metaphor from building in H. VIII. v. 5. 27, "all
princely graces That mould up such a mighty piece as this is."
(
29. cement, accented on the former syllable, as both sub-
stantive and verb always are in Shakespeare.
30. To keep it builded, to preserve it whole. Malone compares
Sonn. cxix. 11, 2, "And ruin'd love, when it is built anew, Grows
fairer than at first, more strong, far greater.
""
32. without this mean, without having entered into this alli-
ance in order to strengthen our friendship; without employing
Octavia as a means to, etc.
33, 4. Make... distrust, do not offend me by doubting my love
to her: I have said, i.e. I have said what I had to say and am not
going to add to it.
35. Though you curious, however anxious you may be on
that point; cp. Cymb. i. 6. 191, "I am something curious, being
strange, To have them in safe stowage."
37. ends, objects, purposes.
40. The elements, sc. air and water, on her voyage; cp. Oth.
ii. 1. 45, “O, let the heavens Give him defence against the ele-
ments, For I have lost him on a dangerous sea.
""
40, 1. and make comfort, and give you the best of spirits.
...
...
43. The April's ... eyes, the tears are ready to fall from her
eyes, like showers in April; the figure being continued in spring.
44. And these ... on, cp. the old nursery rhyme, "March winds
and April showers Help to bring May flowers"; it, love's spring-
time.
47, 8. Her tongue... tongue, her tongue refuses utterance to
the feelings of her heart, and her heart is too full to convey its
feelings to her tongue.
48-50. the swan's ... inclines, her emotions (in leaving her
brother and going with her husband) are like the down on the
swan's feathers, which when the tide is full (as her heart now is)
moves in neither direction; Shakespeare again refers to swan's-
down, i.e. the soft, filmy, plumage at the extremity of the
feathers, in T. C. i. 1. 58, "her hand... to whose soft seizure
The cygnet's down is harsh."
51. cloud, sorrowful look, portending tears as a cloud in the
sky portends rain.
SCENE II.]
169
NOTES.
52. were he a horse, a cloud, i.e. a dark spot between the eyes
is regarded as a blemish in a horse, it being fancifully supposed
to indicate bad temper. Steevens compares Burton, Anatomy of
Melancholy, "Every lover admires his mistress, though she...
have clouds in her face, be crooked," etc.
57. troubled with a rheum, much given to weeping; Shake-
speare uses rheum of humid secretion from the eyes, mouth, nose;
most frequently the first.
58. What willingly... wail'd, i.e. he would intentionally destroy
and then bewail the destruction; for confound, cp. ii. 5. 91, above.
59. No, sweet Octavia, said in answer to her whispered fears
that he would forget her.
60. still, constantly.
60, 1. the time you,
thinking of you" (Schmidt).
'life shall not last longer than my
62. I'll wrestle... love, my contest with you shall be one as to
which of us has the greater strength of love; said as he embraces
Cæsar as wrestlers embrace when beginning their struggle.
...
63. have you, hold you in my arms.
66. fair, used proleptically; which will thus be rendered fair.
SCENE III.
1. afeard, a here is a corruption of the A.S. intensive prefix
of, the early English form of the verb being 'offeren.'
2. Go to, go to, nonsense, nonsense; said encouragingly.
3. Herod of Jewry, see note on i. 2. 25, above.
14. as me, cp. J. C. i. 3. 76, “No mightier than thyself or me.”
Abbott (§ 210) says that than and as were probably used with a
quasi-prepositional force.
<
"C
17. That's not so good, since Cleopatra immediately after-
wards speaks of dulness of tongue and a dwarfish stature as
being defects, these words must mean that is no great com-
mendation'; though when in i. 1. 32 she speaks of "shrill-tongued
Fulvia," it is not a compliment she is paying; while we know
that to Shakespeare a low voice was an excellent thing in
woman,”
as he says in Lear, v. 3. 273. Probably Cleopatra is
thinking rather of the ready, sprightly, flow of language which
was one of her own greatest charms. Steevens and Malone think
that Shakespeare had Queen Elizabeth in his thoughts, she being
tall of stature and her voyce loud and shrill, as the Continuator
of Stowe's Chronicle says.
170
[ACT III.
ANTONY AND CLEOPATRA.
20. What ... gait! is she at all majestic in her walk!
21. If e'er... majesty, if you have ever had any experience of
majesty that enables you to judge; no doubt thinking of her
own majesty, on which Charmian compliments her in Il. 46, 7.
***
22. station, posture in standing; cp. Haml. iii. 4. 58, "A
station like the herald Mercury.'
""
23. shows, appears as.
24. a breather, one endowed with life.
25. Or I ... observance, if it is not so, you may say that I am
utterly wanting in observation; cp. Oth. iii. 3. 151, "Out of his
scathing and unsure observance."
25, 6. Three ... note, you could not find three men in all Egypt
better qualified for observation: knowing, intelligent.
27. yet, so far as she has been described to me, so far as I can
judge from the particulars given me.
-
30. Charmian, hark, i.e. that is something favourable; Cleo-
patra, a widow herself, would have found more reason for
jealousy if she had been told that Antony's bride was a fres'i
young girl.
34. For the most part, generally speaking: they are... so,
Steevens says that such was the opinion of the old writers upon
physiognomy.
37. As low... it, a cant phrase for as low as it could possibly
be'; cp. Fletcher, The Nice Valour, ii. 1, “At some other time
He'll go as slovenly as heart can wish.
""
39. I will... again, I will employ you to carry back letters to
Antony.
41. A proper man, a fine looking fellow; proper, frequently
used of personal appearance.
...
43. harried, used so roughly; to harry, "to ravage, plunder,
lay waste... A.S. hergian, to lay waste. Literally to over-run
with an army
A.S. herg-, which appears in herg-es, genitive
case of here, an army, a word particularly used in the sense of
destroying host ’” (Skeat, Ety. Dict.).
...
44. no such thing, nothing much, nothing that I need be
jealous of on account of her fascinations. 45. should, ought to.
46, 7. Isis... long, a modern equivalent for Charmion's some-
what slangy form of expression would be, I should rather think
so, considering how long he has been in your service; defend,
forbid that it should be otherwise; cp. R. II. i. 3. 18, “Which
God defend a knight should violate!"
51. I warrant you, of course it will be well.
SCENE IV.]
171
NOTES.
SCENE IV.
2. were, would be.
3. Of semblable import, of like tenour; cp. Haml. v. 2. 214,
"his semblable is his mirror."
4. New... Pompey, i.e. contrary to the agreement between us,
and without asking my assent.
5. To public ear, i.e. in order to win their good-will.
6. scantly, grudgingly.
6-8. when perforce... them, when the circumstances were such
that he could not help speaking of me in honourable terms, he
did so with a very bad grace, as if it went against him to do me
any justice; vented, breathed, uttered.
···
9, 10. When teeth, when he had the best possible occasion for
praising me, he refused to take it, or took it only in a half-
hearted way; for hint, cp. Temp. i. 2. 134, "it is a hint That
wrings mine eyes to 't," i.e. to weeping; from his teeth, out-
wardly, not from his heart.
12. Stomach, resent; cp. above, ii. 2. 9.
17. Undo, and then shall undo.
18, 9. Husband ... prayer, to pray that my husband may win,
and then that my brother may win is to utter a prayer and im-
mediately to cancel it. For Octavia's position, cp. K. J. iii. 1.
331-6, Cor. v. 3. 106-9, where Blanche and Volumnia are re-
spectively in the same dilemma.
*
21, 2. Let your ... it, let your precious love address itself to
that which is best calculated to preserve it, viz. to what is
honourable; consider my honour before all things, and let your
love be guided by that consideration.
24. branchless, bare of all that is worth having.
25. go between 's, act as mediator between Cæsar and myself.
26. the preparation of a war, a force ready for war; cp. Oth.
i. 3. 14, "The Turkish preparation makes for Rhodes."
27. stain, eclipse; cp. R. II. iii. 3. 66, "To dim his glory, and
to stain the track Of his bright passage to the occident
; Sonn.
xxxv. 3, "Clouds and eclipses stain both moon and sun.
Various conjectures have been made in the place of stain, such as
strain (Theobald), stay (Boswell), which Dyce adopts.
28. So... yours, in this way you have what you desire, viz. the
office of mediator between us.
""
29. The Jove of power, the all-powerful Jove.
32. Should... rift, should be used to close up the rift; i.e. if
you two should go to war, peace could only be purchased by an
172
ANTONY AND CLEOPATRA.
[ACT III.
amount of bloodshed too horrible to contemplate; to solder,
ultimately from Lat. solidare, to make firm.
33. where this begins, which of us two was originally in the
wrong.
34-6. for our faults... them, for one of us must be so much
more to blame than the other that it is impossible for you to love
both equally.
36-8. Provide... to, arrange for your departure, choose such
attendants as you please, and give orders for any expenditure
that you may desire.
SCENE V.
5. success, issue, result; see note on ii. 4. 9.
""
7. presently... rivality, shortly afterwards refused to allow
him partnership in the result; in Haml. i. 1. 13, we have, “If
you do meet Horatio and Marcellus, The rivals of my watch,'
and in i. H. IV. iv. 4. 31, "And many moe corrivals and dear
men Of estimation and command in arms," in both of which cases
the word means associates. Elsewhere Shakespeare uses rivals
in its ordinary sense, and rivality does not occur again.
8. and not resting here, and not satisfied with doing this.
9. wrote, the past participle in Shakespeare is more commonly
writ or written.
10. upon his own appeal, he himself being the accuser; an
appeal was a criminal charge made by one who undertook under
penalty to prove it: up, shut up; somewhat similarly we have
in Lear, iv. 6. 281, "Here in the sands Thee I'll rake up.
"}
11. enlarge his confine, set him free; the subjunctive indicat-
ing the doubtfulness of that happening.
12-4. Then, world... other, in plain language, then is the world
divided between Cæsar and Antony, and no obstacle will prevent
those two from fighting till one or other is destroyed.
15. thus, imitating his manner of walk.
15, 6. and spurns... him, and in his irritability kicks at every-
thing however trifling that comes in his way; cp. Haml. iv. 4.
6, "Spurns enviously at straws.”
17. threats the throat, threatens to take the life: that his
officer, that officer of his.
19. For Italy and Cæsar, its destination being Italy to meet
Cæsar.
...
19, 20. More, presently, I have more to tell you, viz. that
Antony desires your immediate attendance.
SCENE V.]
NOTES.
173
20, 1. my news... hereafter, I ought to have told you this first
and let my news wait.
21, 2. Twill be... be, he can have nothing to say to me that
will be of any importance; but never mind: Bring, conduct.
SCENE VI.
1. Contemning Rome, to show how he despises us here, he, etc.
2. here's... of 't, I will give you a specimen of his behaviour.
3. on a tribunal silver'd, on a platform plated with silver; a
tribunal was properly a raised platform on which the tribunes
had their seats when transacting public business, hence a plat-
form generally.
9. He gave ... Egypt, "he did establish Cleopatra a queen of
Egypt," as it runs in North's Plutarch, whose language is very
closely followed throughout this description.
12. I' the common... exercise, in the public arena where the
athletic exercises take place; "where young men do exercise
themselves" (North's Plutarch).
18. gave audience, received petitions, reports, despatches, etc.
19. so, in that guise; personating the goddess Isis.
20. Who... insolence, and they (sc. the people of Rome) sick of
his arrogance.
21. will... him, will withdraw from him any good opinion that
may still remain in their minds.
22. now, just now.
23. Who, for this neglect of inflection, see Abb. § 274.
25. spoil'd, despoiled, plundered: we had... him, we had not
calculated and assigned to him his fair share.
27. unrestored, which I have failed to return to him.
28. of, from.
29. and, being, and he being thus deposed; or, and it being so.
34. his change, sc. from being one of the triumvirate to being
shut up in prison: for, as regards.
36. other, used as a plural pronoun; cp. J. C. i. 3. 91, "In
noble eminence enthron'd and spher'd Amidst the other.”
...
38. Nor must this, nor then must he be yielded to in this
matter: the emphatic double negative.
39. Cæsar, and my lord, i.e. her salutation is to him not only as
Cæsar, ruler of Rome, but as one to whom as the head of her
family she owes allegiance.
40. That ever castaway! to think that I should ever have
...
174
ANTONY AND CLEOPATRA.
[ACT III.
to address you as one who had been scornfully thrown aside as
worthless (which he supposes Antony to have done)!
42. stol'n... thus? come upon us in this stealthy way, i.e. not,
as he goes on to say, with the pomp that befitted her birth and
rank.
44. for an usher, to herald her approach; usher, properly a
door-keeper, Lat. ostiarius, from ostium, a door.
47. Should men, should have been crowded by men who had
climbed up to witness her entry.
...
47, 8. and expectation ... not, and those looking out for her
should have become faint from their long watching for a sight
which did not gratify their desire; expectation, abstract for
concrete.
50. populous, numerous; generally used of a country or place.
51. A market-maid to Rome, as though you were a village
maid on your way to market in Rome : prevented, forestalled.
52. ostentation, manifestation; more commonly used in the
sense of excessive display; for the sake of the metre Theobald
conjectures ostent; Walker, ostention.
52, 3. which, left... unloved, for it, (sc. love) when denied the
opportunity of showing itself, oftentimes ceases to be felt. For
the construction, Schmidt compares C. E. ii. 1. 96, “What ruins
are in me that can be found By him not ruin'd?"; Lear, i. 1. 282,
"You have obedience scanted, And well are worth the want that
you have wanted.” For unloved, Staunton conjectures unpriz'd,
but Cæsar is evidently complaining of not being given the occa-
sion of manifesting his love, not of that love being insufficiently
valued should, ought to have.
54, 5. supplying... greeting, each stage in your progress home
being greeted by increasing numbers: Good my lord, for the
transposition, see Abb. § 13.
57. On, of, by.
58. prepared, were making preparations, raising forces.
58, 9. acquainted... withal, told it to me who was thereby
grieved; grieved, used proleptically; withal, when used as a
preposition, always in Shakespeare at the end of the sentence.
60. pardon, permission, excusing myself for wishing to leave him.
"
60, 1. Which... him, which he no doubt was only too ready to
grant, you being an obstacle to the indulgence of his lust. The
folios give abstract, which Schmidt retains, characterizing
Theobald's conjecture, obstruct, as "idle ; and explaining,
that being
"the shortest way for him and his desires, the
readiest opportunity to encompass his wishes," which seems a
very forced interpretation.
SCENE VI.]
NOTES.
175
62. I have... him, I keep a watch upon his actions, have those
who report to me everything he does; as Macbeth says, Macb.
iii. 4. 131, 2, “There's not a one of them but in his house I keep
a servant fee'd.'
""
63. come... the wind, are brought to me by every wind, i.e. by
every vessel coming from where he is.
66. Hath... her, has summoned him to her, he obeying the
slightest hint from her; a mere nod from her being a command
to him. who, and they two.
75. more larger, for the double comparative, see Abb. § 11:
sceptres, by metonymy for kings.
77. afflict, injure in every possible way.
78. Your letters ... forth, your letters prevented my giving
vent to my anger by an attack upon him.
79, 80. Till we ... danger, till I saw clearly how you had been
deceived by him, and that I myself was inviting danger by being
negligent: be-wronged is my own conjecture for wrong led of the
folios. For negligent danger, Delius compares Macb. i. 5. 58,
"this ignorant present."
81, 2. Be you not necessities, do not allow yourself to fret at
the circumstances of the time which mar the peace of your life by
the necessity of taking such strong measures; the figure is that
of a tempest driving clouds across the serene face of the heaven.
··
▾
83, 4. But let ... way, but let things that are fated go on their
way to destiny without your mourning them. It is possible,
however, that the construction may be 'things determined to
destiny,' i.e. on which destiny has resolved.
85. Nothing... me, than whom nothing can be dearer to me:
abused, ill used.
86. Beyond... thought, beyond anything that could have been
conceived; the metaphor is from archery.
87. make them, make for themselves.
88. Best of comfort, Steevens and Delius take this as =
May the best of comfort be yours!" It seems to me to go
rather with the following words and to mean 'My best com-
forter,' 'my greatest comfort.'
92. large, licentious; cp. M. A. iv. 1. 53, "I never tempted
her with word too large"; there may also be a play upon
the word in the sense of spacious, extravagant.
•
"So
94, 5. And gives ... us, and makes over his power and rule
to an infamous woman who raises a tumult against us; for
regiment, Steevens compares Faerie Queen, ii. x. 30, 3,
when he had resignd his regiment": it, used indefinitely.
97. Be ever patience, let patience ever be your companion.
176
[ACT III.
ANTONY AND CLEOPATRA.
SCENE VII.
3. forspoke, spoken against; for- being = badly, as in forspent,
forshamed; my being in, my taking part in.
5, 6. If now... person? if these wars are now declared against
me, why, etc. The folios give 'not denounced,' and with that
reading the only sense possible would be 'if there is no special
injunction against my taking part in these wars,' etc.; but, as
Antony alone could object, and he shows no inclination to do so,
such sense seems very unsatisfactory; see iii. 6. 65-7, and below,
11. 11-13.
6. Well, I could reply, I could answer that question, if I chose.
8. needs, necessarily; the old genitive used adverbially.
10. What... spared, what ought not then to be spared; what he
will not then be able to spare; i.e. he will have plenty of things
to occupy his feelings, his thoughts, and his time without
their being diverted, as they would be, by your presence.
11. Traduced for levity, scandalously accused of treating
matters with levity.
12. an eunuch, sc. Mardian.
14. A charge war, I bear part of the expenses of the war;
cp. K. J. v. 2. 100, "Is 't not I That undergo this charge?
""
16. Appear... man, show myself there in the capacity of a
man, as I should do if I were king instead of queen.
17. will not, am determined not to.
20. cut, sc. with his vessels; cross.
21. take in, capture; the idea being that of enclosing within
the limits of his possession; cp. above, i. 1. 23.
24, 5. Which might... slackness, such as the worthiest of men
might have aimed against sloth; becomed, the same form of the
participle occurs in Cymb. v. 5. 406, “He would have well be-
comed this place"; taunt at, cast as a taunt at; taunt, - O. F.
tanter, occasional form of tenter, to tempt, prove, try... also to
suggest, provoke... Lat. tentare, to try, prove... assail, agitate”…….
(Skeat, Ety. Dict.).
26. what else? of course.
66
—
27. For that, because; for the conjunctional affix, see Abb.
§ 287: dares, challenges.
31. which... vantage, which are not to his advantage: shakes
off, contemptuously declines.
33. are muleters, consists of mule-drivers; for the form of the
word, cp. ingener, pioner, mutiner, all found in Shakespeare.
34. Ingross'd ... impress, hurriedly got together without any
regard to their fitness for service. Wedgwood (Dict.) has shown
SCENE VII.]
177
NOTES.
that to be pressed, in the sense of compelled to serve, has nothing
to do with press in the sense of crush, squeeze, but is a corruption
of prest, ready, prest-money being ready money advanced when a
man was hired for service, the shilling now given to recruits.
"At a later period," he says, "the practice of taking men for the
public service by compulsion made the word to be understood as
if it signified to force men into the service, and the original
reference to earnest-money was quite lost sight of."
35. that often ... fought, i.e. and are therefore experienced sea-
men.
36. yare, see note on ii. 2. 212, above.
37. fall, befal; cp. L. L. L. ii. 1. 125, "Fair fall the face it
(sc. the mask) covers!"
38. Being... land, your preparations having been made for an
engagement on land.
...
40. The absolute land, the unchallenged supremacy you
have in fighting by land; cp. Haml. v. 2. 111, “believe me, an
absolute gentleman.
41. Distract, weaken by dividing.
41, 2. which doth... footmen, which for the most part consists of
veteran infantry, whose scars testify to experience in their own
kind of warfare, but who are ill adapted for fighting by sea; for
war-mark'd, cp. H. V. iv. Chor. 26, “war-worn coats"; Ford,
The Lady's Trial, ii. 1, “war-overworn habiliments.”
42, 3. leave... knowledge, forgo the opportunity of putting
into execution that military knowledge for which you are so
justly famed.
44. assurance, certainty of success; cp. K. J. ii. 1. 471,
"For by this knot thou shalt so surely tie Thy now unsured
assurance to the crown.
>>
45. merely, entirely; in this sense mere and merely are frequent
in Shakespeare.
46. From firm security, as opposed to that certain safety which
would be yours if you fought on dry ground; for From, = away
from, opposed to, see Abb. § 158.
49. head, promontory.
52. he is descried, his approach has been espied by those sent
to keep a look-out.
55. power, forces; as frequently both in the singular and the
plural.
56. hold, take command of.
58. Away, my Thetis! let us be off, my nymph of the sea!
said in allusion to her offer of ships. Thetis, one of the Nereides;
see note on ii. 2. 207. How now, what is it you have to say?
M
178
[ACT III.
ANTONY AND CLEOPATRA.
60. rotten, the landsman's view.
60, 1. do you ... wounds? have you lost confidence in men like
us whose courage has so often been tried?
62. go a-ducking, take to the water like ducks.
64. foot to foot, in close combat.
66, 7. his...on't, "his whole conduct in the war is not founded
upon that which is his greatest strength (namely, his land force),
but on the caprice of a woman, who wishes that he should fight
by sea" (Malone).
·
68. women's men, the servants, slaves, of a woman.
71. are for sea, are to take part in the naval engagement.
72. we keep whole, our forces remain undivided on land.
73. Carries beyond belief, goes beyond all belief; the figure is
from archery or gunnery.
74, 5. His power spies, his forces marched in so many
separate bodies that our spies were completely deceived as to
their whereabouts; for distractions, cp. I. 41, above; Beguiled,
cp. K. J. iii. 1. 99, “You have beguiled me with a counterfeit.
...
78, 9. With news... some, the time is pregnant with strange
tidings, and each minute it brings some to the birth.
SCENE VIII.
3. keep whole, do not divide your forces.
5. The prescript ... scroll, the instructions laid down in this
paper; cp. Haml. ii. 2. 142, “and then I prescripts gave her.”
6. jump, hazard, chance; not elsewhere used by Shakespeare
as a substantive, though we have the verb in the corresponding
sense in Macb. i. 7. 7, "We 'ld jump the world to come," i.e. risk
what might happen to us in the next world; Cymb. v. 4. 188,
or jump the after inquiry on your own peril.'
66
""
SCENE IX.
1. yond, properly an adverb, yon being the adjective.
2. In eye
battle, face to face with Cæsar's troops drawn
up in battle array; battle in this sense is very common in
Shakespeare.
SCENE X.
1. Naught, ……. naught! all is lost!
...
2. The Antoniad, the name given by Cleopatra to her own
SCENE X.]
179
NOTES.
I
C
vessel out of compliment to Antony: admiral, chief vessel, vessel
carrying the admiral; cp. i. H. IV. iii. 3. 28, "thou art our
admiral, thou bearest the lantern in the poop.' So Milton,
P. L. i. 296, “His spear-to equal which the tallest pine Hewn
on Norwegian hills, to be the mast Of some great ammiral, were
but a wand."
...
3. their sixty, the sixty vessels comprising the Egyptian fleet.
5. synod, assemblage; formerly used chiefly of the gods; now-
a-days in an ecclesiastical sense; from Gk. σúvodos, a coming
together; cp. Cor. v. 2. 74, "the glorious gods sit in hourly
synod about thy particular prosperity": passion, the feeling that
disturbs you so violently.
...
""
6, 7. The greater... ignorance, we have thrown away the larger
half of the world through sheer folly; cantle, from "Old Norman
French cantel med. Lat. cantellus, diminutive of cant, canto,
cantus, corner (1) a nook or corner... (2) a corner or other
portion cut or sliced off (3) a section, or segment ... (4) a part, a
portion"... (Murray, Eng. Dict.); now in use only as the pro-
jecting back part of a cavalry saddle; cp. i. H. ÏV. iii. 1. 100,
"See how this river comes me cranking in, And cuts me, from
the best of all my land, A huge half-moon, a monstrous cantle
out"; there, as here, a segment of a circle.
...
7. have kiss'd away, have lost by mere indulgence of passion.
9. the token'd pestilence, the plague manifested by its sores;
which were called 'God's tokens'; cp. L. L. L. v. 2. 423,
"They have the plague (sc. of love), you are not free, For the
Lord's tokens on you do I see."
10. ribaudred nag, lewd jade; Grant White quotes ribaudrous,
and ribaudrie, Baret's Alvearie, formations from O. F. ribaud,
from which we have ribald; ribaudred is probably a creation of
Shakespeare's own; for nag, in this sense, cp. ii. H. IV. ii.
4. 205.
11. Whom ... o'ertake, who I trust may be seized with leprosy.
12. When vantage... appear'd, when both sides appeared to be
equally matched and neither to have the advantage.
13. or rather ... elder, or, if either side could be said to have
the better of the struggle, the advantage being ours. Steevens
compares J. C. ii. 2. 46, "We are two lions litter'd in one day,
And I the elder and more terrible."
14. The breese upon her, as though stung by the gad-fly.
18. Endure a further view, bear to look any longer at what
happened: She... loof'd, she having turned her vessel towards
the wind in order to flee. Shakespeare seems to have taken the
word from North's Plutarch, where, just before Cleopatra's flight
is mentioned, we have, "Now Publicola seeing Agrippa put forth
180
ANTONY AND CLEOPATRA.
[ACT III.
his left wing of Cæsar's army, to compass in Antonius' ships that
fought, he was driven also to loof off to have more room (ed.
Skeat, p. 212).
19. magic, fascinations.
20. Claps on his sea-wing, hastily sets sail for flight; so to
clap to, to shut hastily, Cor. i. 4. 51; to clap up, to arrange
hastily, K. J. iii. 1. 235: mallard, the male wild-duck; literally
nothing more than the O. F. male, male, with "the suffix -ard
(=Goth. hardus, G. hart, hard)... much used in forming masculine
proper names, to give the idea of force or strength; hence it was
readily added to the O. F. male, producing a word mal-ard, in
which the notion of 'male' is practically reduplicated ”….. (Skeat,
Ety. Dict.).
21. in height, at its full height.
>>
25. out of breath, exhausted.
27. Been... himself, acted with the noble courage he is con-
scious of possessing.
29. are you thereabouts? is that the way of your thoughts?
30. Why, then, ... indeed, if so, if you are meditating a surrender
to Cæsar, it is all over with us; cp. Temp. iv. 1. 54, "be more
abstemious, Or else, good night your vow," i.e. or there will be an
end to your keeping your vow; M. M. v. 1. 301, "Good night to
your redress!" i.e. you need never hope for the redress you seek.
32. 'Tis easy to 't, it will be easy enough to make our way
there; the promontory of Actium being not very far to the
north-west of the Peloponnesus: attend, wait to see.
36. The wounded chance," the broken fortune; so in v. 2. 173,
4, 'Or I shall show the cinders of my spirit Through the ashes of
my chance"", (Malone).
37. Sits... me, is entirely opposed to such a thing; cp. Haml.
i. 3. 56, "The wind sits in the shoulder of your sail.
SCENE XI.
3. lated, belated, benighted, overtaken by darkness (figura-
tively); for its literal use, cp. Macb. iii. 3. 6, "the lated
traveller."
8. show their shoulders, turn their back to the enemy.
12. I follow'd ... upon, I followed her whom, for my cowardice
in doing so, I am now ashamed to face.
...
17. Sweep you, make your path easy for you, enable you to
find safety till you are able to make your peace with Cæsar; cp.
Haml. iii. 4. 204, "they must sweep my way, And marshal me
to knavery."
SCENE XI.]
NOTES.
181
18. replies of loathness, replies that you are unwilling to do so;
cp. Cymb. i. 1. 108, "The loathness to depart would grow.'
""
19, 20. let that... itself, that which abandons itself (as I have
abandoned myself) deserves to be abandoned by others.
21. possess you, put you in possession of.
23. for indeed ... command, I say 'pray you,' for I am no
longer in a position to command.
24. by and by, presently.
30. See you here, sir? do you see that Cleopatra has taken her
seat by you.
35. Yes, my lord, yes; said impatiently, and as hardly con-
scious of whom he is addressing, his thoughts being far off from
his surroundings.
35, 6. he at Philippi... dancer, he at the battle of Philippi
never drew his sword, but wore it at his side like one used for
ornament at dances; cp. A. W. ii. 1. 30-3, "I shall stay here...
Creaking my shoes on the plain masonry, Till honour be bought
up, and no sword worn But one to dance with," said by Bertram
who is not allowed to go to the war; T. A. ii. 1. 38, “Why, boy,
although our mother, unadvised, Gave you a dancing-rapier by
your side."
37. The lean... Cassius, cp. J. C. i. 2. 194, "Yond Cassius has
a lean and hungry look.
38. mad, from Antony's point of view in slaying Cæsar for his
country's sake.
39, 40. Dealt on ... war, fought but by the persons of those
under him, and took no part in the noble strife of clashing
squadrons; cp. above, iii. 1. 15, 6; for squares, cp. H. V. iv. 2.
our peasants, Who ... swarm About our squares of battle
No matter, never mind.
66
""
41. stand by, help me ; pretending that she is about to faint.
44. is unqualitied, has lost all self-possession; is completely
unmanned.
45. Well then, sustain me, if I am to go to him, you must
support me, for I cannot stand by myself.
47, 8. but rescue, unless you come to the rescue by comfort-
ing her.
...
''
49. I have offended reputation, I have sinned against the noble
reputation which once was mine; cp. Oth. ii. 3. 263-5, “O,
have lost my reputation! I have lost the immortal part of my-
self, and what remains is bestial."
I
50. unnoble, ignoble, but with a stronger, more active, force.
51. Egypt, as above, i. 3. 41, 78, etc., for its queen.
-
182
[ACT III.
ANTONY AND CLEOPATRA.
•
51, 4. See ... dishonour, explained by Johnson to mean, "How,
by looking another way, I withdraw my ignominy from your
sight"; which seems a very prosaic sentiment. Antony, I think,
means, 'How I am trying to hide my shame from you by holding
myself aloof and bitterly meditating on the ruin of my power
and reputation.' For the omission of the preposition after
looking back, see Abb. § 200.
55. my fearful sails, my fleeing from the battle in so cowardly
a way.
58. And thou... after, and that I should necessarily follow
you; for shouldst, see Abb. § 326.
60, 1. Thy beck... me, the slightest sign from you would make
me neglect the bidding even of the gods; from, away from, in
opposition to.
"This
62. treaties, proposals for peace; cp. K. J. ii. 1. 481,
friendly treaty of our threaten'd town.
62, 3. dodge... lowness, use every kind of trick and shift such
as those employ whose fortune is at the lowest ebb; for palter
(probably meaning to haggle over worthless trash, from an
obsolete noun palter, rags, and then to shuffle, equivocate), cp.
Macb. v. 8. 20,"And be these juggling fiends no more believed
That palter with us in a double sense.
""
64. bulk, literally trunk, body, then used of anything large
and solid.
69. Fall, let fall; frequently used by Shakespeare as a transi-
tive verb: rates, equals in rate, value.
S
71. our schoolmaster, Euphronius, the tutor of his children by
Cleopatra.
72. full of lead, as heavy in spirit as though made of lead.
73. viands, "the same as Ital. vivanda, victuals, food, eatables.
Lat. uiuenda, neuter plural... considered as a feminine singular,
by a change common in Low Latin - from Lat. uiuendus, future
participle passive of uiuere, to live" (Skeat. Ety. Dict.); more
commonly used of delicate eatables within there, you who are
within there; calling out to the servants.
SCENE XII.
3-6. An argument... by, a proof that he is pretty well stripped
of his glory, seeing that he who a few months ago had any number
of kings to employ as his messengers can now find no one better
than his schoolmaster for such a purpose; for argument, cp.
T. N. iii. 2. 12, "This was a great argument of love in her
toward you."
SCENE XII.]
NOTES.
183
8-10. I was... sea, I was only a short time ago of as little im-
portance in serving his purpose as is the dew-drop in comparison
with the mighty ocean from which it rises. Shakespeare seems to
have supposed that dew, like rain, was caused by evaporation
from the sea. his, its thine office, the duty with which you are
entrusted.
:
11, 2. Lord... Egypt, he salutes you as the disposer of his for-
tune, and asks permission to live in Egypt; Requires, seldom
in Shakespeare in the peremptory sense the word would now
have in such a context; cp. H. VIII. ii. 4. 144, "Most gracious
sir, In humblest manner I require your highness, That it shall
please you to declare," etc., said by Wolsey to the king: which
not granted, but if you refuse this; for this conditional sense of
the participle, cp. W. T. v. 1. 230, "Your honour not o'erthrown
by your desires, I am friend to them and you.
""
15. A private man, as a private person: this for him, so much
I have to deliver on his account.
17-9. and of thee... grace, and begs that to er heirs may be
granted the crown, hereditary to their race, w nich she has for-
feited, and which can only be theirs by your avour; for circle,
cp. Macb. iv. 1. 88, "And wears upon his baby-brow the round
And top of sovereignty"; ii. H. IV. iv. 5. 36, "this is a sleep
That from this golden rigol hath divorced So many English
kings.'
21. Of audience ... fail, shall not be denied either a hearing be-
fore us or the request she makes; for the ellipsis of neither, see
Abb. § 396: so, provided that.
24. unheard, without being favourably listened to: So... both,
this much in answer to both of them.
25. Bring... bands, conduct him through the troops.
27. From, away from.
28. And in our name, pledging my word.
29, 30. add more offers, besides what she asks, make her
offers of other things which may suggest themselves to you;
Grant White conjectures 'add more Offers from thine invention';
Walker, and more From thine invention offer'; but the posi-
tion of offers seems to be intentionally emphatic.
...
30. In ... fortunes, when their fortunes are at the highest
point: perjure, tempt to treachery, cause to forswear.
31. vestal, vestals were the virgin priestesses of the goddess
Vesta, vowed to a life of chastity and celibacy: cunning, skill.
32, 3. Make... law, fix your own reward, if you succeed, and I
will consider its payment as binding upon me as a law. Edicts
at Rome were rules promulgated by magistrates upon entry into
office; and when the practice became common of magistrates
•
184
[ACT III.
ANTONY AND CLEOPATRA.
adopting the edicts of their predecessors, these edicts practically
had the force of ordinary laws.
34. becomes his flaw, adapts himself to his broken fortunes; in
flaw there is perhaps an allusion to another meaning of the word,
common in Shakespeare, viz. sudden bursts of wind.
35, 6. And what... moves, and that which you suppose to be the
case as indicated by every exercise of his bodily and inental facul-
ties; for powers, cp. Haml. iii. 2. 184, "My operant powers their
functions leave to do," said by the Player King when dying.
Steevens compares T. C. iv. 5. 55-7, "There's language in her
eye, her cheek, her lip, Nay, her foot speaks; her wanton spirits
look out At every joint and motion of her body": I shall, for
shall with the first person, see Abb. § 315.
SCENE XIII.
1. Think, and die, despair and die; cp. J. C. ii. 1. 187, "all
that he can do Is to himself; take thought and die for Cæsar."
3, 4. that would... reason, who was willing to subordinate his
reason to his will: What though, even though it was the case
that.
5, 6. whose several ….. other, whose various ranks struck terror
into each other: ranges are the separate battalions which to-
gether made up the whole face presented by the assembled hosts.
See note on i. 1. 38.
7, 8. The itch ... captainship, he could not have chosen a more
unfortunate moment for allowing his passion for Cleopatra to
mar his generalship; to nick, to cut in notches, and so to dis-
figure. Steevens, quoting C. E. v. 1. 175, "His man with
scissors nicks him like a fool," explains "set the mark of folly on
it"; but it is only because Pinch's hair was cut in this disfigur-
ing way that he is made to look like a fool, and the word nicks
does not in itself imply setting the mark of folly.
8-10. at such... question, at a crisis like this when half the
world was at blows with the other half, he being the main subject
of the contest; meered, a verb apparently coined by Shakespeare
from the adjective mere, entire for opposed, used intransitively,
cp. Lear, v. 1. 27, "with others, whom, I fear Most just and
heavy causes make oppose": for question, cp. Haml. i. 1. 111,
so like the king That was and is the question of these wars.
""
10-2. 'twas... gazing, for him to follow you in your flight and
leave his fleet aghast at his desertion was as shameful as it was
ruinous to his hopes.
15. courtesy, kind treatment; so, provided that.
17. grizzled, streaked with grey; F. gris, grey.
SCENE XIII.
185
NOTES.
18. wishes, as though they were a vessel.
20-2. tell him... particular, say that from him in the flower
and glory of youth the world may well expect some exploit of no
ordinary nature; for rose, cp. Haml. iii. 1. 160, "The expectancy
and rose of the fair state."
23. ministers, agents of his will prevail, be victorious.
25-7. I dare... sword, I therefore challenge him to set aside
those adventitious 'braveries' of fortune in which the comparison
is all in his favour, and, sword to sword, i.e. in single combat, to
meet me who have fallen from my high estate; for declined,
T.C. iv. 5. 189, "When thou hast hung thy advanced sword i'
the air Not letting it decline on the declined"; though there is
probably a special allusion to Antony's declining years as com-
pared with Caesar's youth. Grant White adopts Malone's con-
jecture caparisons.

...
29-31. Yes, like sworder? Yes, it is highly probable that
Cæsar, the proud lord of mighty armies, will divest himself of his
lofty estate, and endure to exhibit his prowess in a hand to hand
combat before the eyes of the public. The allusion is, as Henley
points out, to the gladiatorial combats; for staged, cp. below, v.
2. 217, and M. M. i. 1. 69, "I love the people, But do not like to
stage me to their eyes"; for sworder, gladiator, ii. H. VI. iv.
i. 135, "A Roman sworder and banditto slave Murder'd sweet
Tully."
=
31, 2. I see... fortunes, I see that men's judgments are part
and parcel with, of a piece with, their fortunes; i. e. clear-sighted
or obscured according as their fortunes are brilliant or gloomy.
32-4. and things... alike, and external circumstances compel
the mental powers to follow their downward course to ruin.
34-6. That he... emptiness! to think that he, so capable of
gauging capacities, should for a moment imagine that Cæsar now
at the height of his fortune would meet in combat one who has
fallen so low as he has! For full, cp. below, iv. 15. 24, "not the
imperious show Of the full-fortuned Cæsar."
39, 40. Against... buds, those that were so ready to enjoy the
fragrance of the rose when budding, do not hesitate to hold their
noses against it when that fragrance has become rank; the full-
blown rose losing the delicacy of scent which it had when in the
bud; in plain language, those who in the first bloom of my
fortunes thought no worship too fervent, now that those fortunes
are decaying treat me with the scantest courtesy.
41. Mine honesty... square, my feelings of honour and my in-
clinations are beginning to be at variance with each other; cp.
Cor. v. 3. 200, 1, "I am glad thou hast set thy mercy and thy
186
ANTONY AND CLEOPATRA.
[ACT III.
quarrel, see
42, 3. The loyalty... folly, to persist in loyalty to those whose
sense has left them is to convert that loyalty into mere folly; cp.
Cor. iv. 6. 103-5, "who resist Are mock'd for valiant ignorance
And perish constant fools.'
45. Does conquer, shows his superiority to.
46. And earns ... story, and wins honourable mention when the
story is told: Cæsar's will? what is Cæsar's determination in
answer to my request?
47. None but friends, i.e. are present here.
48. So,
Antony, if they are friends to you, they may be
friends to Antony also (and if so, my message is not for their
ears).
honour At difference in thee"; and for square, =
note on ii. 1. 45, above.
...
50. Or needs not us, or has no need for any friends, i.e. his
case is beyond hope.
51. will leap... friend, will joyfully welcome his friendship.
52. Whose... Cæsar, we are the creatures of him whose creature
Antony is, I mean, Cæsar: So, very good.
53-5. Cæsar entreats... Cæsar, Cæsar begs you not to think
of your position except so far as to rely upon the well known
magnanimity of his character.
55. right royal, cp. Haml. iii. 1. 43, “Gracious, so please you
We will bestow ourselves," said to the king.
56, 7. He knows... him, he is aware that your friendliness to
Antony is due to fear, not to love; cp. Macb. v. 4. 13, "And
none serve with him but constrained things Whose hearts are
absent too.'
59. constrained blemishes, blemishes forced upon you.
""
61. yielded, willingly surrendered.
62. But conquer'd merely, but wrested from me by pure force.
62, 3. To be ... Antony, Antony would, I fancy, give a very
different version of the story.
64. That we sinking, i.e. like rats quitting a drowning
vessel: cp. Temp., "A rotten carcase of a boat, the very rats
Instinctively have quit it.'
66. require, desire; see note on iii. 12. 12, above.
66, 7. for he... give, for he almost begs you to make trial of
his generosity; is not only ready to be generous, but is anxious
to have the opportunity given him of being so.
•••
...
69. would warm his spirits, would make his heart glow with
joy; give him more than ordinary pleasure.
SCENE XIII.]
NOTES.
187
71. shrowd, protection; cp. the verb, Temp. ii. 2. 42, "I will
here shrowd till the dregs of the storm be past." A shrowd, or
shroud, now used only of the garment in which a dead body is
dressed, originally meant a garment or covering generally, and is
closely connected with shred.
72. The universal landlord, now lord of the whole world.
74. in deputation, by proxy.
77, 8. from his... Egypt, I wait to hear from him whose com-
mands all men obey what doom he pronounces upon Egypt; for
the participle in -ing used in a passive sense, see Abb. § 372.
79-81. Wisdom... it, when prudence and fortune are at variance
(i.e. when prudence dictates a course that is opposed to the risks
which fortune would run), if the former exerts itself to the
utmost, no mischance has power to paralyse it. On may, with a
negative, see Abb. § 310.
81, 2. Give me ... hand, permit me to express my homage by
touching your hand with my lips.
82. Your Cæsar's father, Octavius was in reality the grand-
son of Julius Cæsar's sister, but was adopted by Julius Cæsar.
83. When he ... in, when his thoughts were upon conquest; for
taking in, cp. i. 1. 23, above.
85. As it rain'd kisses, as though a shower of kisses were
falling; cp. above, i. 2. 130: Favours, i.e. she is bestowing
favours.
87. fullest, most richly endowed with everything that becomes
a man; cp. above, 1. 35.
89. Approach, there, calling out to his attendants: kite, foul
creature; as in Lear, i. 4. 284, from the kite's fondness for
carrion.
91. a muss, a scramble; Cotgrave gives "A la groée, The
boyish scrambling for nuts, etc., cast on the ground; a Musse";
a word common in the old dramatists, and said to be from F.
mousche, a fly.
93. this Jack, this impudent rascal; in which sense the word
is very frequent in Shakespeare.
94. better, safer.
98, 9. of she here….. Cleopatra ? of her who was once Cleopatra,
but whom I do not know how to name now, for she is evidently
not the same person she was; for she, in place of her, cp. Oth.
iv. 2. 3, "you have seen Cassio and she together."
100. cringe his face, distort his face with grins of agony; to
cringe is now used intransitively only, in the sense of bending
low, fawning.
105. blasted, sc. in reputation.
188
[ACT III.
ANTONY AND CLEOPATRA.
109. looks on feeders, shows favour to mere menials; there
seems no necessity to take feeders either here or in Tim. ii. 2.
168, for parasites, as Schmidt does.
110. boggler, blunderer.
111. when we... hard, when we become hardened in our faults.
112. O misery on 't, O, the misery of such a state! seel, close
up; to seel a hawk's eyes was to pass a thread through the lids
so as to obscure its sight for the time and accustom it to the
hood. Sir Emerson Tennant speaks of the practice as still in
vogue in Ceylon, and as being used in place of a hood. Cp. Oth.
i. 3. 270.
113. In our own... judgements, another metaphor from hawking,
in which the hawk after long confinement was subjected to a
course of scouring diet; the technical term for which was to
enseam.
114, 5. while we strut... confusion, while we strut about so
proudly with the only result of marching to our ruin; To, mark-
ing the result; confusion and confound in this sense are frequent
in Shakespeare.
115. 0, ... this? sc. that you believe so badly of me.
117. trencher, literally a plate on which to cut up things; F.
trencher, to cut.
118. hotter, more sensual.
119. Unregister'd... fame, not commonly known.
120. Luxuriously, lustfully; with which the substantive,
adjective, and adverb are always used by Shakespeare.
121. temperance, chastity; in Macb. iv. 3. 92 used of
abstinence from drinking; should be, ought to be.
123, 4. that will... you! that is ready enough to take any
small gratuities that may be offered him, and to thank the giver
with the common thanks of beggars, God requite you!' quit,
frequently in the sense of repay, whether the repayment be good
or evil; from the adjective quit, released, set free.
125, 6. this kingly... hearts, this hand worthy to receive the
seal and pledge of the love of monarchs; see what she herself
says of her hand, ii. 5. 29, 30.
...
127, 8. Upon the hill herd! See Psalms, lxviii. 15, xxii. 12,
"As the hill of Basan, so is God's hill: even an high hill, as the
hill of Basan"; "Many oxen have come about me: fat bulls of
Basan close me in on every side."
128. savage, bitter, such as to drive me mad.
129. civilly, with moderation.
129-31. were like... him, would be as though one led to execu-
SCENE XIII.]
NOTES.
189
+
tion should thank the hangman for his adroitness in fixing the
halter round his neck; for yare, see note on iii. 7. 35, above.
135. Thou wast... daughter, that a daughter was not then born
to him instead of a son destined to such disgrace.
137. for following him, for being ready to obey his behests.
138. fever, give you the ague.
140. thy entertainment, the manner in which you have been
welcomed here: look, thou say, take care to tell him.
142. harping on, dwelling upon; constantly sounding the same
note; cp. Cor. ii. 3. 260, Haml. ii. 2. 189.
146. orbs, spheres ; see note on ii. 7. 14, above.
147. abysm, abyss; literally that which has no bottom. The
form here is from "O. F. abisme; from Low Lat. abyssimus, a
superlative form, denoting the lowest depth" (Skeat, Ety. Dict.) :
mislike, be incensed at.
149. enfranched, enfranchised, set free; O. F. franc, free.
151. to quit me, to pay me out, to be on a level with me; see
note on 1. 123, above.
153, 5. Alack,... Antony, alas, our earthly moon is eclipsed and
her eclipse foretells my ruin and nothing else; i.e. Cleopatra no
longer shines upon me, and from this it is plain that my downfall
is at hand. For the notion that eclipses were ominous of evil,
cp. Lear, i. 2. 112, "These late eclipses in the sun and moon por-
tend no good to us.
""
155. I must ... time, I must wait till his passion subsides; it
is no use my saying anything while he is still in such a state
of frenzy.
156. mingle eyes, exchange loving looks.
157. ties his points, is a mere menial; the points are the
strings or laces used in tying parts of the dress, especially the
hose: Not... yet? do you not yet know me well enough to be sure
of my constancy?
160. poison.. source, poison it at the very spring from which
it issues, sc. my heart.
161. in, on; determines, dissolves; literally comes to an end.
162. Cæsarion, her son by Julius Cæsar.
163. the memory, all that is a memorial; cp. Lear, iv. 7. 7,
"These weeds are memories of those worser hours"; Cor. iv. 5.
77, "a good memory, And witness of the malice and displeasure
Which thou shouldst bear me.
>>
165. discandying, melting; cp. below iv. 12. 22, and for candy,
= congeal, Temp. ii. 1. 279, "twenty consciences, That stand
'twixt me and Milan, candied be they And melt ere they molest."
190
[ACT III.
ANTONY AND CLEOPATRA.
Candy is crystalized sugar, from Arabic qand, sugar: this pelleted
storm, this storm of pellets, hail-stones.
166, 7. till... prey, till they have found a grave in the stomachs
of the flies and gnats of the Nile; cp. Macb. iii. 4. 72, 3,
"If charnel-houses and our graves must send Those that we bury
back, our monuments (i.e. tombs) Shall be the maws of kites" (said
of Banquo's ghost appearing at the feast).
168. sits down, is certain to encamp; to begin his siege;
cp. Cor. iv. 7. 28, "All places yield to him ere he sits down.”
169. oppose his fate, meet and curb the good fortune to which
he seems destined; cp. H. V. ii. 4. 64, and let us fear The
native mightiness and fate of him."
170. held, sc. together.
171. knit, united again: fleet, Steevens shows by numerous
examples that fleet and float were formerly synonymous: most
sea-like, in thoroughly sea-like trim; thoroughly sea-worthy.
172. heart, courage.
174. in blood, covered with the blood of my enemies; but with
an allusion to the phrase as used of a stag when in full vigour ;
cp. i. H. VI. iv. 2. 48, "If we be English deer, be then in blood
Not rascal-like, to fall down with a pinch, But rather, moody-mad
and desperate stags"; Cor. iv. 5. 225, "But when they shall see,
sir, his crest up again, and the man in blood, they will,” etc.
175. I and... chronicle, I and my sword will deserve a glorious
fame; cp. above, 1. 46.
176. There's... yet, there is not the least reason to despair; it,
used indefinitely; cp. below, 1. 192.
177. That's... lord! bravely said, my lord! Cp. Temp. i. 2.
299, Cor. v. 3. 76.
178. I will ... breathed, the treble- in treble-sinewed belongs
equally to hearted and breathed; for breathed, endowed with
breath, the opposite of short-winded, cp. L. L. L. v. 2. 659, "A
man so breathed that certain he would fight; yea From morn
till night.”
179. maliciously, sparing no one.
179, 80. when mine... lucky, when prosperity made me care-
less; when good fortune made things seem trivial to me; cp.
R. J. v. 2. 18, "The letter was not nice, but full of charge "; R.
III. iii. 7. 175, "My lord, this argues conscience in your grace,
But the respects thereof are nice and trivial." Warburton
explains nice, as delicate, courtly; Schmidt, as tender, delicate,
dainty.
181. set my teeth, i.e. with vicious determination.
SCENE XIII.]
191
NOTES.
183. gaudy, joyous; from Lat. gaudium, joy; the term gaudy
day is still in use at Oxford for a feast day.
185. Let's mock... bell, let us keep up our revels paying
no heed to the flight of time.
186. I had poor, I had intended to keep it, not with rejoic-
ing and mirth, but in sorrow and gloom.
...
190, 1. and to-night... scars, and to-night I'll make them drink
till the wine shows itself through their scars.
192. There's sap in't yet, cp. Lear. iv. 6. 266, "Then there's
life in't"; and 1. 176, above.
193, 4. for I will... scythe, i.e. as to which of us shall reap the
greater slaughter; the scythe more commonly ascribed to Time
is here put into the hand of Death.
195. Now lightning, now he will give way to any extravag-
ance of madness.
196. out of fear, so that fear is no longer felt; out of, beyond.
197. estridge, ostrich; a form found again in i. H. IV. iv.
1. 98. The word ostrich is from Lat. avis strouthio, i.e. ostrich-
bird, from Gk. σrpovłíwv, an ostrich, from στpověós, a bird.
benga a p
PETER STU
197-9. and I see... heart, and I see moreover that as Antony's
intellect grows weaker, his courage comes back to him; the idea
seems to be taken from the increase of fever as the bodily strength
diminishes.
200. It eats... with, it destroys that which was its trustiest
weapon..
@
Baku Beč i Z
ACT IV. SCENE I.
1. as he had power, as he would do if he had power; see Abb.
§ 107.
4. Cæsar to Antony, said with scorn at the idea of one like
himself deigning to fight with one like Antony.
5. I have... die, if I wish to die there are plenty of ways of
doing so without demeaning myself to single combat with him.
As this might imply that in such a combat he would be sure to be
worsted, Hanmer and Upton would read He hath for I have, in-
serting I before Laugh. Farmer thinks that Shakespeare was
misled by the translation of Plutarch in which the passage is as
follows: "Antonius sent again to challenge Cæsar to fight him;
Cæsar answered that he had many other ways to die than so,
where he is ambiguous. But it seems to be rather forcing the
words in the text to make them imply more than the risk there
would necessarily be in such a combat.
در
192
[ACT IV.
ANTONY AND CLEOPATRA.
6. must think, cannot help seeing.
8. Give him no breath, give him no breathing time; allow him
no respite by which he may recover strength.
9. Make... distraction, take advantage of the distracted state
in which he now is; for boot, see note on ii. 5. 70.
9, 10. never... itself, men carried away with passionate anger,
as he is now, ever neglect the precautions necessary to safety.
10. our best heads, our ablest generals.
14. to fetch him in, to capture him; cp. Cymb. iv. 2. 141, “The
which he hearing might break out and swear He 'ld fetch us
in."
...
15. store, abundance.
16. have earn'd the waste, have well deserved that we should
be lavish in feasting them.
SCENE II.
3. twenty times, for this transposition of the adverbial phrase,
see Abb. § 420.
4. He is... one, he is so immeasurably your superior that it
would be unworthy of him to fight with you.
5, 6. or... Or, either or.
...
...
7. Shall, sc. which shall; for the omission of the relative, see
Abb. § 244 Woo 't, wouldst, or wilt; a provincial form.
8. 'Take all,' "let the survivor take all. No composition;
victory or death" (Johnson); cp. Lear, iii. 1. 15, "unbonneted
he runs, And bids what will take all."
10. bounteous, lavish in our enjoyment; cp. Tim. i. 1. 263,
we 'll share a bounteous time In different pleasures."
"C
11. rightly honest, thoroughly loyal.
13. have fellows, have shared your duties as servants.
14. tricks, caprices, fancies.
16-9. I wish... done, I wish that I could be made into so many
persons, while you were all together made into my single self, so
that I might repay you by loyalty as devoted as yours has been
to me.
...
22, 3. As when command, as when I was lord of an empire
as obedient to my commands as you have been.
25. period, end.
...
26, 7. or if, shadow, or if you do see me again, it may be as
but a shadow of my former glory, and a mangled shadow too;
¿e. as a corpse mangled with wounds.
SCENE II.]
NOTES.
193
31. Married... death, an allusion to the words of the Marriage
Service, "I M. take thee N. to my wedded wife [or husband],
to have and to hold from this day forward... till death us do
part
""
33. yield, reward; cp. Macb. i. 6. 13, "Herein I teach you
How you shall bid God 'ild us for your pains."
34. To give... discomfort, by making them so sad; the infini-
tive used indefinitely.
35. am onion-eyed, have tears in my eyes; see note on i. 2.
147, above.
36. Ho, ho, ho! a mocking laugh at Enobarbus's doleful words.
37. take, blast by her malignant powers; cp. Haml. i. 1. 163,
"The nights are wholesome; then no planets strike, No fairy
takes"; Lear, ii. 4. 166, "Strike her young bones, You taking
airs."
39. take me, interpret my words.
41. To burn ... torches, to keep up your revelry all night long.
42. of, as regards.
44. death and honour, a hendiadys for 'an honourable death.'
45. consideration, all serious thoughts.
SCENE III.
1. Brother, i.e. in arms: the day, the decisive day.
5. Belike, probably; literally, by like, i.e. likelihood.
9. Here we, i.e. will keep watch.
10. an absolute hope, a certain hope; a hope free from all
doubts.
12. full of purpose, resolutely determined.
STAGE DIRECTION. Hautboys, F. haut, high, and bois, wood;
a wooden instrument of high tone.
14. signs well, is a good omen.
15. What ... mean? what can this possibly mean?
16, 7. 'Tis ... him, see note on i. 3. 84.
22. so far ….. quarter, so far as the limits of our watch extend;
cp. K. J. v. 5. 20, "Well; keep good quarter and good care to-
night.
>>
23. give off, cease: Content, very good.
N
194
[ACT IV.
ANTONY AND CLEOPATRA.
SCENE IV.
2. chuck, a term of endearment; literally, chicken.
3. mine iron, my armour of mail.
5. brave, defy.
6. let be, let it alone; i.e. this is not work for you; your work
is to steel my heart with courage, not to arm my body with iron.
...
7. false, false, that is all wrong.
8. Sooth, in truth, assuredly.
9. Seest fellow? ¿, you see how completely I am armed?
10. Briefly, quickly.
13. daff, put off; a weakened form of doff, i.e. do off: shall...
storm, may expect a rough handling.
15. tight, adroit, handy; cp. M. W. i. 3. 38, "bear you these
letters tightly"; despatch, make haste.
16. my wars, the wars I shall make; the manner in which
I shall fight; Shakespeare uses the singular and the plural
indifferently.
17. The royal occupation, the noble way in which I shall
occupy myself.
18. A workman, one who does not play at fighting.
19. That... charge, well skilled in the onset.
20. betime, early; literally, by (the) time, in good time; the
form betimes is more comnion, the final -s being due to the habit
of adding -s or -es to form adverbs, as in whiles, besides, etc.
22. have on ... trim, are clad in full armour; cp. H. V. iv.
Chor. 13, "The armourers, accomplishing the knights, With
busy hammers closing rivets up.”
23. port, gate of the city: expect, are waiting for.
25. morrow, morning; M. E. morwe, by change of final -we
into -ow: 'Tis well blown, is in full blossom, .e. the sun is
shining brightly in the sky; cp. Haml. iii. 1. 81, "With all his
crimes broad blown, as flush as May." Delius takes blown as
referring to the trumpets.
27. means, is determined.
28. well said, well done; as frequently in Shakespeare.
30-2. rebukeable compliment, one who should be so cere-
monious as to pay any less courtly compliment than this would
deserve that people should cry shame upon him; for check,
reproof, cp. M. W. iii. 4. 84, "against all checks, rebukes and
manners, I must advance the colours of my love"; and for stand
...
SCENE IV.
195
NOTES.
On, J. C. ii. 2, 13, "Cæsar, I never stood on ceremonies"; Macb.
iii. 4. 119, "Stand not upon the order of your going."
34. I'll bring you to 't, I'll lead you into the thick of the fight.
35. Please you, if it please you.
37. Determine, bring to a conclusion.
38. Then, Antony,— sc. would be sure of victory: on, go for-
ward.
SCENE V.
2, 3. Would thou... land, see above, iii. 7. 60, 1, where the
soldier, begging Antony to fight by land, says, "do you mis-
doubt This sword and these my wounds?" once, on a former
occasion.
9. 'I am... thine,' I am no longer a follower of yours.
13. jot, tittle, smallest portion; from Gk. iota, the smallest
letter of the alphabet.
14. subscribe, sign.
17. Enobarbus! .e. to think that one ever so loyal should
have deserted me!
SCENE VI.
2. took, taken; see Abb. § 343.
6, 7. Prove... freely, if this prove a prosperous day to us, the
world throughout its length and breadth shall bring forth the
olive in abundance, i.e. shall enjoy the blessings of peace, the
olive being its symbol; Schmidt takes bear as wear; but cp.
ii. H. IV. iv. 4. 87, "There is not now a rebel sword unsheathed,
But Peace puts forth her olive every where." For the three-
nook'd world it is usual to compare K. J. v. 7. 116, 7, "Come
the three corners of the world in arms, And we shall shock them ";
but there "the three corners of the world means the rest of
the world outside England, which the Bastard considers as the
fourth corner; while here the allusion seems to be to the fact of
the world having been divided among Cæsar, Antony, and
Lepidus.
9. Plant, that he place; or, to place: revolted, i.e. from
Antony.
11. Upon himself, i.e. those who are properly his.
12, 3. went... Antony, went to Judæa on the pretext of negoti-
ating on Antony's affairs; "him [Alexas] Antonius had sent
unto Herodes, King of Jurie, hoping still to keep him his friend,
that he should not revolt from him. But he remained there,
r
196
ANTONY AND CLEOPATRA.
[ACT IV.
and betrayed Antonius. For where he should have kept Herodes
from revolting from him, he persuaded him to turn to Cæsar
(Skeat, Shakespeare's Plutarch, p. 218).
15. for this pains, for the trouble he took in this matter.
17. have entertainment, have been taken into service; cp.
Cor. iv. 3. 49, "the centurions and their charges... already in
the entertainment"; and A. W. iv. 1. 17, "He must think us
some band of strangers i' the adversary's entertainment.”
20. joy, rejoice, be happy.
21, 2. with ... overplus, with gifts from himself in addition.
23. on my guard, to the place where I was on guard.
26, 7. best... host, it would be well you should see him out of
the army; safed, cp. above, i. 3. 55: I must... office, I cannot do
so, for I must go about my own duties.
29. a Jove, as great and noble as Jove himself.
earth, I am pre-eminently the villain of the earth;
for alone, cp. 7. N. i. 1. 15, "That it alone is high fantastical " ;
and for the, denoting notoriety, see Abb. § 92.
•
...
31. And feel ... most, and no one could feel it as bitterly as
I do.
33. better, more loyal.
33, 4. when ... gold! seeing how generously he rewards my
base desertion : blows, makes it full almost to bursting; cp. in a
literal sense ((
something blown,” v. 2. 347.

35, 6. If swift... thought, if the swift throbs of sorrow do not
break it, I will use means which shall finish the business more
swiftly than sorrow; for thought, cp. iii. 13. 1, above.
39. My... life, i.e. the latter part of my life; for the transposi-
tion, see Abb. § 423.
SCENE VII.
1. we have... far, we have ventured too far; allowed our
eagerness to outstrip our discretion.
2. has work, is hard pressed; has as much as he can do to hold
his own, to maintain his position.
2, 3. and our... expected, and they press us more vigorously
than we imagined possible; our, used objectively; cp. H. VIIÏ.
ii. 4. 208, "you remember How under my oppression I did reek.”
4 this is fought indeed! this is real fighting!
5. droven, for other instances of irregular participial forma-
tions, see Abb. § 344.
SCENE VII.]
NOTES.
197
ཟ..སྨྱན། ..
my
""
6. With... heads, with their heads bound up with cloths; cp.
Haml. ii. 2. 529, "a clout upon that head Where late the diadem
stood. It has been suggested that clouts may here mean cuffs,
blows; but Shakespeare does not elsewhere use the word in this
sense, nor would about be so well in keeping with it as with
cloths: apace, rapidly; literally on pace.
7. like a T, shaped like a T.
...
8. But now H, a play upon the word ache, formerly as a sub-
stantive pronounced like the letter; so in M. A. iii. 4. 56,
"Beat. I am exceeding ill: heigh-ho! Marg. For a hawk, a
horse, or a husband? Beat. For the letter that begins them all,
H."
9, 10. and our... victory, and our advantage is sufficient to
give us a glorious victory: score, mark, brand.
11. And snatch... behind, catch them by the neck, as dogs
snap up ('pinch,' in the old technical language) hares.
13. thy spritely comfort, the spirited encouragement you gave
me.
14. Come thee, see Abb. § 212: I'll halt after, I will limp after
you as well as I can.
SCENE VIII.
2. gests, exploits; Lat. gesta, things carried out; neuter plural
passive participle of gero, to carry, bear.
5. For doughty-handed are you, for brave warriors have you
shown yourselves; doughty, from A.S. dugan, to be strong.
6, 7. Not as... mine, not like mere hired servants, but as if the
cause was as much yours as mine: shown, sc. yourselves.
8. clip, embrace.
10. the congealment, the clotted blood.
10, 1. kiss... whole, make whole your gashes by kissing them.
12. fairy, enchantress.
13. day o' the world, sunshine, glory, of the world.
14. Chain, sc. with her embrace: attire and all, dressed as you
stand.
15. proof of harness, armour of proof; weapons and armour are
'proved' by being subjected to a more violent test of their
strength than they will have to endure when in use; harness,
now used only of the equipment of a horse, originally meant
armour of iron.
16. triumphing, with the accent on the penultimate.
198
[ACT IV.
ANTONY AND CLEOPATRA.
17. O infinite virtue, O, thou hero of unbounded valour;
virtue, the Lat. virtus, that which especially becomes a man sc.
courage; cp. Cor. i. 1. 41, "proud; which he is even to the
altitude of his virtue.”
18. The world's great snare, i.e. war: nightingale, a compli-
ment to the fascination of her voice.
19, 20. though grey... brown, though threads of silver are
beginning to mix with the brown of my youth.
22. Get goal... youth, win as many goals as younger men; for
every goal they get of us, can get one of them; not get the better
of youth, but prove their equals; goal, in such games as football,
hockey, etc., the space between two uprights through which it
is the object to force the ball; in racing, the winning post; F.
gaule, a pole.
23. Commend ... hand, deign to allow him to kiss your hand in
token of your favour.
26. Destroy'd... shape, assumed his shape to work destruc-
tion; cp. Cor. ii. 1. 236, "As if that whatsoever god who leads
him Were slily crept into his human powers And gave him grace-
ful posture.'
28, 9. carbuncled... car, set with carbuncles like the wheels of
Phoebus's chariot; cp. Cymb. v. 5. 189-90, "had it been a
carbuncle of Phabus' wheel"; an allusion to Ovid's description
of Phoebus's chariot, Meta. Bk. ii.
31. like... them, with such proud step as becomes those who
own them (and have used them so valiantly); owe, for own, the
final -n being dropped.
33. camp, to furnish quarters, room, for.
66
...
...
34. And drink... fate, and drink toasts to our success in
to-morrow's battle; carouse, a drinking-bout. Originally an
adverb meaning 'completely' or 'all out,' i.e. to the bottom,'
used of drinking. Whence the phrase 'to quaff carouse,' to drink
deeply... Also spelt garouse F. carouse,
G. garous,
adverb... [which] signifies literally 'right out,' and was especially
used of emptying a bumper to any one's health... Similarly the
phrase allaus was sometimes used, from the G. all aus, all out,
in exactly the same connection It even found its way into
English. Thus Beaumont and Fletcher: 'Why, give's some wine
then, this will fit us all; Here's to you, still my captain's friend!
All out!' Beggar's Bush, ii. 3. 58 "... (Skeat, Ety. Dict.).
..
35. Which peril, in which we may expect right glorious
hazard.
36. blast ear, split the ear of the city, i.e. send forth an ear-
splitting blast.
37. Make... tabourines, let the blast of the trumpets mix in
...
-
SCENE VIII.]
199
NOTES.
confusion of sound with the rattle of the drums; tabourines,
properly a diminutive of tabor, which was itself a small drum.
38. That heaven... together, that the sounds of the drums and
trumpets may be mingled with their echoes; cp. Haml. v. 2.
86-9," And let the kettle (i.e. the kettle-drum) to the trumpet
speak, The trumpet to the canoneer without, The cannons to the
heavens, the heavens to earth.”
SCENE IX.
1. relieved, i.e. by the sentinels whose watch it will then be.
2. court of guard, the place where the guard musters for
sentinel duty; cp. Oth. ii. 1. 220, "The lieutenant to-night
watches on the court of guard."
3. embattle, parade for the battle; cp. K. J. iv. 2. 200, " a
many thousand warlike French That were embattailed and rank'd
in Kent."
5. A shrewd one to's, one that cost us dear in the number
slain; shrewd, literally accursed.
6. Stand close, keep where we shall not be seen.

8-10. When men ... repent, when men who were traitors to
their cause are remembered with scorn and hatred, bear witness
that wretched Enobarbus, traitor though he was, confessed to
you contrition for his treachery; record, here accented on the
latter syllable.
12. O sovereign... melancholy, O, moon to whose influence the
deepest melancholy is due; an allusion to lunacy, madness
caused by the moon.
13. disponge, pour down as from a sponge.
14. a very... will, which, if it were not utterly rebellious to
my will would leave me.
18. finish, put an end to.
20. in thine own particular, as far as you individually are con-
cerned; for particular, personal relation, cp. above, i. 3. 54,
and Lear, ii. 4. 295.
=
21. in register, in its record of such criminals.
22. fugitive, deserter.
27. Swoons, is in a fainting fit.
28. for, in behalf of, in request for. Collier's MS. Corrector
gives 'fore, which seems tempting.
30. raught, reached.
31. Demurely, Clarke remarks that this word " seems not
inaptly to express the solemnly measured beat, the gravely
200
ANTÓNY AND CLEOPATRA.
[ACT IV.
regulated sound of drums that summon sleeping soldiers to wake,
and prepare themselves for a second day's fighting after a first
that has just been described by the listeners as 'a shrewd one to
us""; and by those who have heard the sound at the first streak
of dawn as it rouses a sleeping camp, this explanation will
probably be accepted. Of the various conjectures perhaps
Dyce's 'Do merrily' is the best.
32. of note, of mark, of rank.
33. Is fully out, has expired.
SCENE X.
6. order for sea is given, orders have been given by me to pre-
pare to engage by sea.
7. They... haven, they have already sailed out of the harbour;
for forth, as a preposition = out from, cp. M. N. D. i. 1. 164, "If
thou lov'st me then, Steal forth thy father's house to-morrow
night." In the folios the line is left incomplete at haven; the
conjecture in the text, which is Staunton's, seems to be more
simple and satisfactory than any of those recorded.
8. appointment, equipment.
9. And look... endeavour, and watch their attack upon our fleet.
SCENE XI.
1, 2. But shall, unless we are attacked, we will remain in-
active by land, and this I fancy we shall be allowed to do.
3. Is forth, has gone forth.
3, 4. To the ... advantage, march forward to the valleys and
there let us post ourselves to the best advantage.
SCENE XII.
...
1. Yet, so far.
3. Straight, straightway, immediately: how go, how mat-
ers are likely to fare.
...
4. augurers, the form always used by Shakespeare, except in
Sonn. cvii. 6, Phan. 7, where he has the more common form,
augur. The anecdote of the swallows is from Plutarch.
5. grimly, gloomily.
7. Is ... dejected, is at one moment full of sanguine courage, at
the next downcast: by starts, by rapid alternation.
8, 9. His fretted... not, his fortunes of mingled good and evil
alternately elate him with the hope of retaining what he has and
SCENE XII.]
201
NOTES.
depress him with the fear of disaster befalling him; in fretted
the figure is that of lines interlacing or crossing each other, as in
J. C. ii. 1. 104, " yon gray lines That fret the clouds are messen-
gers of day"; fret being a term in heraldry meaning a bearing
composed of bars crossed and interlaced, though Shakespeare
may have also had in his mind the idea of 'to fret' in the sense
of to vex, harass, literally to eat into, to corrode. In the former
sense the word is from O. F. frete, an iron band, in the later from
A. S. fretan, contracted from for-etan, for- intensive, and etan, to
eat.
...
12. cast up, i.e. in their joy: carouse, see note on iv. 8. 34.
13. long lost, long parted from each other: Triple-turn'd,
"from Julius Cæsar to Cneius Pompey, from Pompey to Antony,
and, as he suspects now, from him to Octavius Cæsar" (Staunton).
1
14. novice, youth; from nouicius, extended from nouus, new;
a term specially used of those who have recently taken the vows
of a religious life. Antony's jealousy of Cæsar's youth is re-
peatedly manifested in the play.
15. Makes... thee, makes war upon thee alone; you are now
the one object of my hatred; for the transposition of only, see
Abb. § 420.
16. upon my charm, upon her who has bewitched me with her
fascinations; abstract for concrete.
20. shake hands, i.e. in parting; cp. Macb. i. 2. 21, "Till he
faced the slave: Which ne'er shook hands, nor bade farewell to
him, Till he unseam'd him from the nave to the chaps.
""
21. That ... heels, that followed me so lovingly and closely; cp.
M. N. D. ii. 1. 203, 4, “I am your spaniel; and, Demetrius, The
more you beat me, I will fawn on you: Use me but as your
spaniel, spurn me, strike me, Neglect me, lose me; ouly give me
leave Unworthy as I am, to follow you.'
"}
22. Their wishes, all they desired: discandy, melt away from
me; cp. above, iii. 13. 165.
23. is bark'd, is stripped bare; an allusion to the stripping the
bark off a tree which thereby quickly dies.
...
25. this grave charm, if the reading is genuine, probably
means, as Steevens says, this deadly, or destructive, piece of
witchcraft; gay, great, and grand have been conjectured in place
of grave; possibly the word was brave, in the sense of showy,
magnificent.
26. Whose eye home, a glance of whose eye was sufficient to
send me forth to make war, or to recall me home from doing so.
27. Whose... crownet, whose love was the highest glory of ny
life; crownet, i.e. coronet, literally a small crown; cp. Cymb. i.
6. 4, "O, that husband! My supreme crown of grief!"
202
ANTONY AND CLEOPATRA.
[ACT IV
28. right, true, very: at fast and loose, by her trickery; an
allusion to a game called pricking at the belt or girdle, often em-
ployed at fairs and such gatherings to cheat the credulous out of
their superfluous pence, and also to the cajolery of gipsies.
29. to the... loss, to utter ruin.
30. What, an exclamation of impatience in summoning an
attendant: Avaunt! out of my sight! begone! from the F.
phrase en avant, forward! march! avant being from the Lat. ab,
from, and ante, before.
33. blemish Cæsar's triumph, by killing you, rob Cæsar of the
glory of carrying you in his train as he enters Rome in triumph.
34. hoist thee up, i.e. as a spectacle: plebeians, accented on
the first syllable, as in Cor. i. 9. 7, v. 4. 39.
35. spot, blemish, disgrace.
37. For poor'st... doits, for a few farthings; doits, a small
Dutch coin worth half a farthing; Thirlby's correction of dolts,
which some editors retain, taking diminutives in the sense
of diminutive persons, as in T. C. v. 1. 38. But with this read-
ing for could only have the sense of 'for the gratification of,' a
very forced one; while Malone's objection that Cleopatra would
be shown for nothing is of little value, since Shakespeare was
evidently thinking of the exhibition of monsters, strange fishes,
etc., at fairs, etc., in his own country. Cp. Temp. ii. 2. 28-34,
"A strange fish! Were I in England now, and had but this
fish painted, not a holiday fool there but would give a piece of
silver: there would this monster make a man ; any strange beast
there makes a inan: when they will not give a doit to relieve a
lame beggar, they will lay out ten to see a dead Indian."
38. Patient, long-suffering; who has had to endure so much at
Antony's hands.
39. With ... nails, "i.e. with nails which she suffered to grow
for this purpose" (Warburton).
39-42. 'Tis well... many, it is as well you have gone, or I should
have killed you; I say 'well,' if it be well to live; though in
truth it would have been better for you to die by my fury than
to suffer death many times, as you will in the terrors to which
your cowardice will be exposed; cp. J. C. ii. 2. 32, 3, "Cowards
die many times before their deaths; The valiant never taste of
death but once."
43. Nessus, a Centaur slain by Hercules with a poisoned arrow.
On Hercules sending to his wife for a garment to be used in
offering sacrifice, she, jealous of a rival, dipped it in the blood of
Nessus, and sent it by the hands of his attendant Lichas, whom
Hercules, in the agony caused by the poison of the garment,
seized and threw into the sea.
SCENE XII.]
203
NOTES.
44. Alcides, a patronymic from Alceus, the father of Hercules.
45. on the... moon, referring to the great height to which
Lichas was thrown before falling into the sea; an expression
used again in Cor. i. 1. 217, "they threw their caps As they
would hang them on the horns o' the moon.
>>
46. those hands, hands like those.
47. Subdue.. self, destroy myself, your right noble descendant.
48, 9. and ‍I ... plot, and I fall a victim to the plot between
them.
...
SCENE XIII.
2. Than shield, than the Telamonian Ajax was for the shield
of Achilles, promised by his mother Thetis to the bravest among
the Greeks. In the contest which arose for its possession Ajax
was defeated by Ulysses, and, going mad from his disappoint-
ment, slew himself; Telamon, really the name of his father, after
whom he was called Telamonius, to distinguish him from Ajax,
son of Oïleus.
3. emboss'd, when a hound, or the animal hunted, foamed at
the mouth from exhaustion, it was said to be embossed, from the
resemblance of the foam globules to bosses; cp. 7. S. Ind. i. 17,
"the poor cur is emboss'd," said of a hound returning from the
chase. The word in this sense is from the F. embosser, to swell
or arise in bunches; as used in A. W. iii. 6. 107, "we have almost
embossed him," it is from the F. embosquer, to shroud in a wood.
5, 6. The soul... off, not more terrible is the disruption of body
and soul than the departure of greatness from one who has long
enjoyed it; Malone compares H. VIII. ii. 3. 15, 6, "'tis a suffer-
ance panging As soul and body 's severing."
9. And word... piteously, and let your description be full of
pathos.
10. bring me, sc. word.
SCENE XIV.
1. Eros... me, are you sure that it is I whom you behold, not
some illusion? i. e. can I possibly be the Antony I was?
2. dragonish, shaped like a dragon; for the whole description,
cp. Haml. iii. 2. 393-9.
5. forked, with two or more peaks.
6. nod, seem to bow themselves, as trees in a wind.
7. And mock... air, though they are but an illusion of the
atmosphere.
204
ANTONY AND CLEOPATRA.
[ACT IV
8. pageants, an allusion to the theatrical spectacles so common
at festivals in Shakespeare's day, in which events, exploits, etc.,
were symbolized by animals and scenery constructed of wood.
9. even with a thought, with the swiftness of thought.
10, 1. The rack... water, the floating vapour blots out so that
it can no more be distinguished than the different particles of
water in its mass; The rack, "the winds in the upper region,
which move the clouds above (which, sc. clouds, we call the
rack)," Bacon, Sylva Sylvarum; to limn is to paint, literally to
illuminate, and to dislimn to efface, blot out what had been
painted.
12. knave, originally meaning boy; then, as here, servant.
14. Yet cannot... shape, yet cannot continue in this shape in
which you now behold me; i.e. my glory having now departed,
I must cease to be the Antony you knew.
15. Egypt, Cleopatra ; as in i. 3. 41, 78, etc.
17, 8. Which, ... lost, and to that heart of mine, until I had
lost it by being enslaved to Cleopatra, a million other hearts,
now lost, were bound by strongest ties of love.
i
19, 20. Pack'd cards... triumph, entered into a plot with
Cæsar, and cheated me out of my glory with the result that my
enemy has triumphed over me; or, perhaps, with the object, in-
tention, that my enemy should triumph over me; to pack the
cards is to shuffle them (of course unfairly) that the higher ones
may fall to the dealer himself or to his partner; in triumph,
Warburton sees allusion to the trump card, so called because it
triumphs over cards of another suit; but to false-play to an
adversary's trump would have no meaning here.
21, 2. there is ourselves, it is still in our own power (what-
ever our enemies may do) to put an end to our lives (and so
escape their vengeance); ourselves, with strong emphasis.
...
23. She has ... sword, i.e. has ruined me by her treachery; for
the insertion of She, see Abb. § 243.
24, 5. her fortunes ... entirely, her fortunes went hand in hand
with yours; her interests were absolutely identical with yours:
saucy, in daring to pretend that Cleopatra had been loyal.
25. the death, the death deserved by all traitors; cp. H. V.
iv. 1. 181, "where they feared the death (sc. which their crimes
had merited), they have borne life away.
""
29. unto thy hand, ready to your desire; as you would do it.
31, 2. a tearing... Antony, a groan which rent her breast,
stopped her utterance, while pronouncing your name.
32, 3. it was... lips, only half of it was pronounced by her lips,
SCENE XIV.]
NOTES.
205
the other half getting no further than her heart: render'd, gave
back to its giver.
35. Unarm, Rowe inserted me after this word, but Shakespeare
appears to vary the accent on Eros.
36, 7. That thou... richly, you may think yourself very fortu
nate in escaping with your life after bringing me such news.
38-9. The seven-fold... heart, the seven-fold shield of Ajax
would not be strong enough to resist the fierce throbbings of my
heart; from, proceeding from.
40. thy continent, that which holds you in; cp. Lear, iii. 2.
58,"close pent-up guilt Rive your concealing continents," i.e. the
breasts of the guilty persons.
42. No more a soldier, I have done with fighting.
43. From me awhile, leave me for a time.
44. o'ertake thee, i.e. in your flight to another world; cp. H.
V. iv. 6. 15, 6, "Tarry, dear cousin Suffolk! My soul shall thine
keep company to heaven.'
درو
45. Weep for my pardon, entreat my pardon with tears.
46. All length is torture, all longer life is torture.
46, 7. since... farther, since the light which guided my steps
through life has gone out, let me lie down and no longer wander
about in the darkness which its extinction leaves.
48. Mars... does, is utterly thrown away.
48, 9. yea, very... strength, yea, all strong efforts only con-
found themselves by their strength; what should be the source
of success only ensures failure: seal then, let me then bring
things to their end; the affixing of a seal being necessary to con-
clude an agreement.
51. couch on flowers, lie on banks of flowers in the Elysian
fields: we 'll hand in hand, we will walk hand in hand.
52. sprightly port, animated bearing, demeanour; with a play
on sprightly, i.e. like spirits; gaze, sc. in wonder and admiration.
¡
53. her Æneas, the Æneas whom she loved so well; Dido,
Queen of Carthage, according to Vergil's version of her story,
fell desperately in love with Eneas when he landed on her
shores on his way to Italy, and when he left her, put an end to
her own life; Shakespeare appears to have forgotten that Vergil
represents her as shunning Eneas in the lower world: shall
want troops, shall no longer be followed by troops of admiring
attendants.
54. And all ... ours, and the whole world of spirits flock
about us.
58. Quarter'd the world, apportioned the world as I pleased.
1
206
ANTONY AND CLEOPATRA.
[ACT IV.
59. With ships made cities, i.e. his vessels being so capacious
as to carry in each of them the population of a city.
59, 60. condemn woman, condemn myself for lacking the
courage, etc.
60-2. less noble ... myself,' and for possessing a mind less noble
than that of her who by ending her own life tells Cæsar that her
only conqueror is herself; Shakespeare frequently entangles him-
self with less and more, and Malone thinks this is an instance of
his doing so. It seems more probable that from lack we must
supply a verb such as possess, own, am endowed with. Dyce
follows Rowe in reading 'less noble-minded,' i.e. I being less,
etc.
63. the exigent, the hour of need; the moment at which action
is imperatively necessary; cp. J. C. v. 1. 19, "Why do you cross
me in this exigent?"
...
64-6. when I ... horror, when I should see disgrace and horror
following on my trail in such a way that escape was impossible;
the figure is that of hounds running down their prey; cp. H. V.
Prol. i. 6-8, "and at his heels Leash'd in like hounds should
famine, sword, and fire Crouch for employment"; though there
the hounds are represented as waiting to be sent in pursuit on,
at, on receiving.
""
68. defeat'st, foil, disappoint; cp. J. C. i. 3. 92, “Cassius from
bondage will deliver Cassius... Therein, ye gods, you tyrants do
defeat.
69. Put... cheek, nerve yourself to the deed; do not blench
at it.
70. Parthian, because it was the Parthians who gave him more
trouble than any of those with whom he warred.
71. enemy, used as an adjective; cp. Lear, v. 3. 220, "his
enemy king"; Cor. iv. 4. 24, "This enemy town": lost
: lost ... not,
failed to do, their sureness of aim being paralysed by fear.
72. window'd, placed in a window as a spectator.
73. pleach'd, folded; not in contentment but in utter dejec-
tion; a word generally used of the twining of boughs or branches;
Lat. plectere, to weave.
74. corrigible, submissive to correction; in its more proper
passive sense; in Oth. i. 3. 329, "the power and corrigible
authority of this lies in our wills," used in an active sense,
corrective.
74, 5. his face shame, his face betraying how deeply his
humiliation had penetrated; how the iron had entered into his
soul wheel'd seat, chariot.
:
76, 7. branded ... ensued, burnt in as with a hot iron the dis-
...
SCENE XIV.]
207
NOTES.
grace of him who followed; indelibly marked his fallen estate;
ensued, now used only of a train of events, the consequences of
an act.
SO. Most ... country, with great profit to, etc.
83, 4. Or thy... unpurposed, otherwise all the services you
have rendered me up to this time will be in my sight but as
things accidental, not as due to intention.
86. Wherein... lies, which comprises everything in the world
that deserves to be reverenced by men; cp. i. H. IV. iii. 2. 151,
"And I will call him to so strict account, That he shall render
every glory up, Yea, even the slightest worship of his time,” i.e.
the slightest reverence he has ever received.
87. Lo thee! cp. H. VIII. i. 1. 202, "Lo, you, my lord"; and
even with an accusative following, iii. H. VI. v. 2. 23, "Lo now
my glory smear'd in dust and blood!" as though the word were
a verb, not an interjection.
89. why, for which; the instrumental case of E. E. hwa, who.
94. there then, said as he stabs himself; there, that is what
I do.
95. Thrice-nobler, many times nobler; thrice-, used in-
definitely.
...
97. I should, I ought to do.
98, 9. Have record, have, by the example of courage they
have shown me, won a higher place in the record of noble deeds.
99, 100. but I ... death, but I will go to death with the joyful-
ness of a bridegroom; Steevens compares M. M. iii. 1. 83-5, “If
I must die, I will encounter darkness as a bride And hug it in
mine arms.
""
102. dies thy scholar, is thy pupil in death.
104. despatch me, quickly put an end to me.
106. The star, i.e. of the world.
107. And time period, and all things have come to an end.
111. fortunes, i. e. ruined fortunes.
112. This sword... Cæsar, if I but show this sword and tell
him what has happened, I may make sure of Cæsar's favour.
113. enter, introduce favourably; perhaps with allusion to the
term technically used of admission to a University or an Inn of
Court.
***
117. Sufficing death, strokes sufficing to cause death:
absolute, see note on i. 2. 2.
120. a prophesying fear, a prophetic fear; a presentiment.
121, 3. for when ... Cæsar, for when she discovered that you
208
ANTONY AND CLEOPATRA
[ACT IV.
suspected her of making terms with Cæsar,—a suspicion utterly
without foundation.
124. Would not be purged, refused to be cured by any protes-
tations of hers.
125. how it might work, what effect the news might have upon
you.
133. woe are we, "in the earliest writers 'woe!' is found
joined with the dative inflection of the pronoun,' woe is (to) us,'
woe is (to) me. As early as Chaucer, and probably earlier, the
sense of the inflection was weakened, and 'woe' was used as a
predicate: 'I am woe,'' we are woe,' etc. Hence Shakespeare
uses 'sorrow' thus... In early English both constructions are
found. In Anglo-Saxon, Mätzner has only met with the dative
construction'" (Abb. § 230).
133, 4. you may out, that you may not survive all your
followers; with the idea of their being worn out in the discharge
of their duties.
...
135, 6. do not ... sorrows, do not gratify cruel fate by spending
on it anything so precious as your regrets.
136-8. bid that…..lightly, if we welcome that which comes with
the intention of grieving us, we rob it of all satisfaction by
appearing to treat it with contempt.
139. I have ... friends, ¿.e. in return for being your leader in so
many engagements, I now ask you to carry me.
140. for all, for all the many services you have rendered me.
SCENE XV.
4-6. our size... it, the sorrow I feel, commensurate to the
reason I have for it, cannot help showing itself with equal ampli-
tude; the passage is somewhat tautological.
7. His death's... dead, to mend the metre, Steevens inserts
madam after death's; Keightley, he is after but.
10. sphere, see note on ii. 7. 14, above.
10, 1. darkling... world, let the shores of the world, with their
various aspects, remain in darkness; darkling, "there were some
adverbs in O. E. originally dative feminine singular, ending in
-inga, -unga, -linga, -lunga. A few of these, without the dative
suffix, exist under the form -ling or long, as head-long (O. E.
headlinge), sideling, sidelong, dark-ling (darklong), flatling and
flatlong" (Morris, Hist. Outlines of English Accidence, p. 194).
13. Peace! i.e. do not grieve so violently.
16. should be, ought to be.
*
SCENE XV.]
NOTES.
209
19. I here... awhile, I earnestly entreat death to delay awhile.
21. dare not, sc. come down to receive the kiss.
23, 5. not the ... me, the proud triumphal entry of Cæsar shall
never be adorned by my presence in his train; imperious, im-
perial, as frequently in Shakespeare; a brooch was an ornament
often worn in the hat or in some conspicuous part of the dress;
for its figurative sense, cp. R. II. v. 5. 66, "love to Richard Is a
strange brooch in this all-hating world"; Haml. iv. 7. 94, "he
is the brooch indeed And gem of all the nation."
>:
25, 6. if knife... operation, knife going with Edge, serpents
with sting, drugs with operation. In Haml. iii. 1. 161, "The
courtier's, soldier's, scholar's, eye, tongue, sword," we have the
same irregular correspondency, "courtier's" going with " eye,'
"scholar's" with "tongue," and "soldier's" with "sword."
28. still conclusion, silent inspection from which she forms her
inferences.
28, 9. shall acquire... me, shall not have the proud satisfaction
of looking upon me with her quiet disdain.
31. gone, dead.
32. Here's sport indeed! "The pathos of this exclamation, so
piteous in the contrast it implies between the fallen queen's pre-
sent occupation and the diversions of her happier times, is quite
lost on Mr. Collier's unsusceptible commentator, who coolly reads
'Here's port indeed!'" (Staunton).
33, 4. Our strength... weight, our strength has all gone out
into our heavy woe, and hence the feebleness of our efforts; hence
what would be an easy task is labour too heavy for us.
35. Mercury, or rather Hermes (for the attributes of the Roman
Mercury only partially resembled those of the Greek divinity),
was the agent and general minister of the gods, of Zeus or Jupi-
ter more particularly.
37. Wishers... fools, mere wishing, without effort, is futile.
38. where lived, where you have ever found what really
meant life to you, sc. in her embrace.
39. Quicken with kissing, find fresh life in the meeting of our lips.
43. rail so high, abuse Fortune in such violent terms.
44. the false housewife Fortune, that treacherous hussy, vixen,
Fortune; cp. H. V. v. 1. 85, "Doth Fortune play the huswife
with me now?", i.e. is she going to desert me with her usual
treachery?
...
45. Provoked... offence, losing her temper at my insulting
language, and venting her anger upon her own wheel.
46. Of Cæsar ... safety, make terms with Cæsar with whom
alone your honour and your person will be safe.
MAI VAKAN
0
210
ANTONY AND CLEOPATRA.
[ACT IV.
47. They do... together, the two things are incompatible; if I
seek the safety of my person, I lose my honour.
51. now at my end, now that I am dying.
53. In feeding... fortunes, in allowing them to dwell with de-
light upon the bright fortunes of my former days.
54, 5. Wherein... noblest, in the enjoyment of which my life
was that of the greatest and noblest prince in the world; the
folios put a comma after lived and none after fortunes; I have
followed Theobald and Dyce.
56-8. Not cowardly ... vanquish'd, yielding in no cowardly
fashion to my countryman, a brave Roman bravely vanquished
by a fellow-Roman.
59. I can no more, my strength is spent; for can, as a finite
verb, cp. Bacon, Essays, Of Great Place, "In evil the best con-
dition is not to will; the second not to can.
""
woo 't, see note on iv. 2. 7, above.
60. Hast me? can you bear to leave me alone, with none to
protect me? shall I abide, is it for me to stay behind you ?
62. a sty, a place fitted for swine only.
•••
64. the garland of the war, he who was the ornament and
glory of the war.
65. The soldier's pole, the word garland in the previous line
evidently suggested the word pole, Shakespeare thinking of the
village festivities in which a pole, the central point of the sports,
is decked with garlands of flowers. There may also be the idea of
a conspicuous mark round which the soldier might rally, as in
Cor. v. 3. 72-5, "that thou mayst ... stick i' the wars Like a
great sea-mark, standing every flaw, And saving those that eye
thee!"
66. the odds, Shakespeare uses odds both as a singular and as
a plural; for the former cp. H. V. iv. 3. 5, "'tis a fearful odds";
L. L. L. i. 2. 183, "too much odds"; Cor. iii. 1. 245, "But now
'tis odds beyond arithmetic."
67. remarkable, "In Shakespeare's time, the word 'remarkable'
bore a far more impressive and appropriate meaning than with
us. It then expressed not merely observable or noteworthy, but
something profoundly striking and uncommon" (Staunton).
68. Beneath the visiting moon, i.e. for the moon to notice as
she looks down upon our earth; similarly of the sun, R. II. i. 3.
275, "All places that the eye of heaven visits.'
70, 1. Royal Egypt, Empress, adjuring her by every name and
title; so Haml. i. 4. 44, 5, "I'll call thee Hamlet, King, father,
royal Dane."
SCENE XV.]
211
NOTES.
73-5. No more... chares, I am no longer an empress, but merely
a woman, and one as much subject to such miserable pangs as she
who earns her livelihood as a milkmaid and performs the meanest
drudgery; chares, the word "means (1) a time or turn; (2) a
turning about; (3) a movement; (4) a piece or turn of work.
A.S. cierr, cyrr, a turn, space of time, period. A.S. cyrran, to
turn (Skeat, Ety. Dict.): It were for me, it would become
me.
""
...
...
-
76. injurious, spiteful.
77. To tell them, and to tell them; or, perhaps, as a way of
telling them.
79. is sottish, becomes none but fools.
81. To rush death, to force our way into the dark abode of
death.
82. How ...
... women? what ails you? do not look so wretched.
83. cheer, properly countenance, from O. F. chere, chiere, the
face; thence, good cheer: a bright look, cheerfulness.
85. sirs, for this word applied to women, Dyce compares
Beaumont and Fletcher, The Coxcomb, iv. 3. 45, where the
Mother says to Viola, Nan, and Madge, "Sirs, to your task, and
show this little novice How to bestir herself"; and presently
afterwards Nan and Madge call each other Sirrah, as in v. 2. 229,
below; also A King and No King, ii. 1, Sirs, leave me all,"
5 said by Panthea to her waiting-women; Philaster, iv. 3. 53,
"Sirs, feel my pulse," said to Arethusa and Euphrasia (disguised
as Bellario).
(C
...
86, 7. and then, fashion, and then let us do after the noble
Roman custom, whatever is brave and noble, i. e. commit suicide,
as a brave Roman would do when life was no longer worth living.
89. case, the body which once contained the spirit.
91. But... end, except that resolute courage which will speedily
end our troubles.
ACT V. SCENE I.
2, 3. Being .. makes, tell him that now he is so utterly
worsted, his hesitation in yielding himself up to us is mere
mockery, a mere farce; Schmidt refers frustrate to pauses ;
frustrate, here a trisyllable, as though there were a vowel be-
tween the t and the r; see Abb. § 477.
4. that, sc. the sword he is offering to Cæsar.
5, thus, i.e. with a drawn and bloody sword in your hand.
7. whilst ... spoke, so long as he was alive.
212
[ACT V.
ANTONY AND CLEOPATRA.
8, 9. I wore haters, I looked upon my life as something to be
spent in the destruction of his enemies; the figure is that of a
dress worn for some special purpose, and also conveys the idea
that to him life was as something external which could be put off
at will, not an essential part of his being.
...
9. If thou please, if you should be pleased; the subjunctive
indicating uncertainty, doubt.
10, 1. as I was... Cæsar, you will find me as loyal to yourself
as I was to Antony while he lived.
14, 5. should ... crack, should be accompanied by a more
terrible report, burst of sound.
15-7. the round world... dens, the round world in its convul-
sions might have been expected to shake lions out of their dens
into the peaceful streets, and to hurl citizens into the dens thus
emptied; .e. might have been expected to destroy all settled
order. In 1. 15, something is deficient, and various conjectures
have attempted to fill the gap.
19. moiety, used here in its strict sense, half; Lat. medietas,
but elsewhere in Shakespeare frequently for a portion generally.
21. self, same.
22. Which writ... did, which set the stamp, character, of his
honour upon everything it did.
23, 4. Hath... heart, i.e. it is to its very courage that it owes
its own destruction; Splitted, the only form of the participle
used by Shakespeare.
25. I... it, I drew it out of his wound; with the idea involved
of its being something precious that properly belonged to the
wound.
27, 8. The gods ... kings, may the gods chide me if I do not
feel that this is news which should bring tears into the eyes of
kings; i.e. assuredly it is news that should, etc.
29. nature, natural feeling; cp. Macb. i. 5. 46, "That no com-
punctious visitings of nature Shake my fell purpose.
""
30. Our ... deeds, those deeds which we have most persistently
striven to accomplish.
30, 1. His taints... him, in him his blemishes and his noble
qualities were equally great; the figure is that of two equal sums
staked in a wager; cp. Per. iv. 2. 34, "the commodity wages
not with the danger.
""
32. Did steer humanity, guided a man in his voyage through
life will give us, are determined to give us.
:
33. to make us men, to prevent our being your equals.
36. to this, to no other result than this.
SCENE I.]
NOTES.
213
37. Diseases, in which light he regards Antony in reference to
his own sound health, his own political well-being.
37-9. I must... thine, it was fated that either I should be
beheld by you with my glory dimmed, or that I should now be
looking upon you in that condition; for look, Hanmer reads
look'd, and Dyce follows him, but the present tense seems more
graphic.
39. we could together, it was impossible for two like our-
selves to live quietly side by side; the figure is that of two
animals in the same stall or pen.
...
40. In the whole world, even though our stall was the whole
wide world.
41. With tears... hearts, with tears of no less worth than, etc.
42, 3. my competitor... design, who fully rivalled me in lofti- /
ness of aim; mate, associate.
44. in the front of war, in facing perils.
46. his, its.
46-8. that our stars this, that our destinies, incapable of
combining in friendship, should in our ends set us, who were
equals, so far apart from each other; to this, expresses the result
of the strife.
...
49. meeter, more fitting; when we shall not be interrupted.
50. The business... him, the urgency of this man's business
shows itself in his looks; cp. Macb. 1. 2. 46, "What a haste
looks through his eyes! So should he look That seems to speak
things strange."
51. him, for this redundant pronoun, see Abb. § 414.
52. A poor Egyptian yet, it is difficult to see what force yet
has here. Johnson takes the meaning to be "yet a servant of
the Queen of Egypt, though so soon to become a subject of Rome";
Clarke, "I have been hitherto no more than a poor Egyptian;
but at present-now that my queen is bereft of all-I am a
messenger from Cleopatra to Octavius Cæsar";
Delius says
the meaning underlying the words is that after Cleopatra's
death Egypt as a kingdom will be a thing of the past. Perhaps
the meaning is 'one who, though conquered, still boasts himself
an Egyptian,' whence, being taken as of what country?
=
53. Confined... monument, shut up in that which is the only
possession left to her, viz. her monument.
55. preparedly, by due preparation frame, adapt.
57. by some of ours, by the mouth of some messenger of ours.
58. honourable, honourably; the adverbial inflection in kindly
belonging in sense to honourable also; for other instances of this
ellipsis, see Abb. § 397.
214
ANTONY AND CLEOPATRA.
[ACT V.
59, 60. for Cæsar... ungentle, for it is impossible for me to be
ungentle however long I live; the folios read leave; Dyce adopts
Tyrwhitt's conjecture learn.
62, 3. give her ... require, comfort her with such assurances as
may be necessary to soothe the grief in which you find her; he
is to estimate the character, violence, of her grief and to make
his offers accordingly.
64. greatness, sc. of mind; the magnanimity which might lead
her to make away with herself rather than submit to be taken
prisoner.
65. defeat us, disappoint us; defeat our object.
65, 6. her life... triumph, to carry her alive to Rome would be
an everlasting glory to my triumph. Plutarch's words are "he
[Cæsar] thought that if he could take Cleopatra, and bring her
alive to Rome, she would marvellously beautify and set out his
triumph" (Skeat, Shakespeare's Plutarch, p. 222).
67. with your speediest, with your best speed; bring, sc. word.
68. how, in what state of mind.
69. along, sc. with him.
70. To second, to help by his assurances and persuasions.
74. How hardly... war, what great provocations I had, and
how gladly I would have resisted them had it been possible.
75, 6. How calm... writings, how calm my letters to him
always were, having nothing in them that might provoke him.
77. What ... this, the proofs I can show you of my moderation.
279. ***
SCENE II.
1, 2. My desolation... life, my desolate, widowed state is a
prelude to an existence less miserable than this; i.e. reconciles
me to the thought of death: Cæsar, i.e. emperor; cp. R. III. iv.
4. 336, "And she shall be sole victress, Cæsar's Cæsar."
3. knave, servant.
5. To do... deeds, i.e. to put an end to one's life.
6. Which shackles... change, which takes from accident and
change the power of reaching us.
7, 8. Which sleeps... Cæsar's, which produces a state in which
one sleeps a lasting sleep and has no need to taste the dug by
which poor and rich, great and small, alike are nourished, i.e. no
need of the sustenance of life. “The difficulty of the passage,'
says Johnson, "if any difficulty there be, arises only from this,
that the act of suicide, and the state which is the effect of suicide
SCENE II.]
215
NOTES.
are confounded." The reading in the text is Theobald's correc-
tion of dung, the reading of the folios, which some editors retain,
Delius comparing i. 1. 35, above, "our dungy earth alike Feeds
beast as man," and Clarke, Tim. iv. 3. 444, "the earth's a thief,
That feeds and breeds by a composture stolen From general
excrement"; but there seems a considerable difference between
speaking of the earth as fertilized by manure into furnishing
food, and a human being feeding on dung.
10, 1. And bids... thee, and desires that you will carefully con-
sider by granting what terms he will be able to satisfy you.
That he is prepared to grant her any terms she may ask, is em-
phasized by his allowing her ample time to fix them (study on),
by his assuming that they will be easy terms to her (fair), and by
his recognizing that it is for her to specify, for him to concede
(Thou mean'st to have him grant).
14, 5. I do not... trusting, to me who can gain nothing by
trusting, it matters little if I am deceived.
16. his beggar, for his suppliant.
17. to keep decorum, in order to behave in a way befitting her
rank.
20, 1. He gives thanks, in doing so he gives me of what pro-
perly is my own that which I will thank him for on my knees;
for the ellipsis of the preposition, see Abb. § 394.
...
23. Make your ... lord, do not hesitate freely and fully to make
your appeal to my master.
26. Your sweet dependency, that you cheerfully acknowledge
yourself to be dependent upon him for everything.
27. pray in aid, "a term used for a petition made in a court
of justice for the calling in help from another that hath an
interest in the cause in question" (Hanmer); i.e. will not only
be anxious of himself to show you kindness, but will be glad to
have it suggested to him how he may add to that kindness.
29, 30. I send him got, "I allow him to be my conqueror ;
I own his superiority with complete submission " (Johnson).
...
...
31. A doctrine, a lesson; cp. L. L. L. iv. 3. 302, "Fromi
women's eyes this doctrine I derive."
34. Of, by.
41, 2. What, languish? what, am I denied even that
remedy, death, that sets free our very dogs from lingering
diseases? cp. R. J. i. 2. 49, "One desperate grief cures with
another's languish.
""
44. undoing of yourself, your own destruction.
45. well acted, handsomely displayed.
216
ANTONY AND CLEOPATRA.
[ACT V.
45, 6. which your forth, which generosity will be frustrated
by your death.
...
48. Worth... beggars! who has a much better claim upon you
than the babes and beggars you are always so ready to relieve of
their troubles: temperance, moderation, self-restraint.
50, 1. If idle... neither, if idle talk will for once in a way
show itself necessary for the occasion, I will not sleep either.
Idle talk is generally unnecessary, useless. Here, as a means of
keeping her awake, and so of helping her to wear out her
strength, it may have its use. Johnson explains "if it will be
necessary_now for once to waste a moment in idle talk of my
purpose, I will not sleep neither"; Steevens, "If it be necessary,
for once, to talk of performing impossibilities, why, I'll not sleep
neither"; Clarke, "If it be needful to prate of my intentions."
Malone and Ritson believe a line to be lost; Hanmer reads acces-
sary for necessary, and Staunton follows him.
52. Do... can, in spite of all Cæsar's efforts to stop me.
53. pinioned, with my hands fettered.
54. be chastised with, subject myself to the scorn of.
56. varletry, rabble; varlet originally meant a young vassal, a
youth, then a servant, a groom, a low fellow.
57. censuring, censorious.
57, 8. Rather me! I would rather lie dead in a ditch in
Egypt! that in comparison would seem to me gentle treatment.
...
59. stark-nak'd, Dyce gives other examples of nak'd as a mono-
syllable.
60. Blow... abhorring, befoul me till I become a spectacle loath-
some to the sight; Blow, in this sense is to deposit eggs; cp.
Temp. iii. 1. 63, "to suffer The flesh-fly blow my mouth.
61. pyramides, the Greek plural of pyramis.
62-4. You do... Cæsar, you picture to yourself horrors which
you have no reason to fear at the hands of Cæsar.
67. I'll take ... guard, I will take charge of her.
68. content, please, satisfy.
70. employ me to him, use me as your agent with him.
75. Is't not your trick? is it not a way you have?
81. The little ... earth, cp. H. V. Prol. i. 13, " or may we cram
Within this wooden the very casques That did affright the air
at Agincourt?", said of the Globe Theatre which was circular in
shape. So, in M. N. D. iii. 2. 188, "yon fiery oes," i.e. stars,
and L. L. L. v. 2. 45, "O that your face were not so full of O's,”
¿.e. marks of the small-pox.
SCENE II.]
NOTES.
217
82. His legs... ocean, cp. J. C. i. 2. 135, “Why, man, he doth
bestride the narrow world Like a Colossus, and we petty men
Walk under his huge legs."
83. Crested the world, served as a crest to the world; "allud-
ing to some of the old crests in heraldry, where a raised arm on
a wreath was mounted on the helmet" (Percy).
83, 4. his voice... spheres, his voice was endowed with all the
music of the tuneful spheres. The harmony of the spheres was a
doctrine of Pythagoras, according to whom the heavenly bodies
in their motion could not but occasion a certain sound or note,
the notes of them altogether forming a regular musical scale or
harmony. Cp. M. V. v. 1. 60, 1, "There's not the smallest orb
which thou behold'st But in his motion like an angel sings";
T. N. iii. 1. 119-21, "I had rather hear you to solicit that Than
music from the spheres" and that to friends, that musical tone
being used to his friends; for and that, used to give emphasis
and call attention to an additional circumstance, see Abb. § 95.
85. to quail, an intransitive verb used with a transitive sense :
the orb, sc. of the world.
86. For, as for, as regards.
87, 8. an autumn.. reaping, it was a harvest which the more
it was reaped, the more plentiful was the crop. Cp. Temp. iv. 1.
114, 5, "Spring come to you at the farthest In the very end of
harvest!"
...
88-90. his delights in, his delights were as sportive as the
gambols of dolphins in the ocean, which in their joy leap out of
the element they live in. As dolphins in their gambols leap out
of the water, their curved backs are conspicuous.
90, 1. in his ... crownets, for his servants (those who wore his
livery) he had kings and nobles; crownets, coronets; cp. H. V.
Prol. ii. 10, "And hides a sword from hilts unto the point With
crowns imperial, crowns and coronets," i.e. crowns such as are
worn by emperors, by inferior sovereigns, and by peers.
92. plates, silver coins; literally flat pieces, F. plat, flat.
Steevens compares Marlowe, Jew of Malta, ii. 3. 104, 9, "And if
he has, he is worth three hundred plates"; "Rat'st thou this
Moor but at two hundred plates ?”
93. might be, could possibly be.
...
95. You lie, gods, your lie is so monstrous that it reaches
even to the ears of the gods; cp. Haml. iii. 3. 36, “O, my
offence is rank, it smells to heaven.
97. It's past... dreaming, is a conception to which no dream
is adequate.
218
[ACT V.
ANTONY AND CLEOPATRA.
97-100. nature... quite, nature does not possess the material
that can rival the strange creations of fancy; yet for nature to
conceive an Antony would be to produce a master-piece by its
contrast condemning the shadowy efforts of fancy as utterly
worthless; for vie, used with a sort of cognate accusative, cp.
Per. iv. Prol. 33, "With the dove of Paphos might the crow Vie
feathers white."
102. As... weight, in a manner corresponding to its burden.
102-5. would I... root, may I never succeed when in pursuit of
some coveted object, if your grief does not in its rebound strike
me with grief to the very bottom of my heart; for the figure, cp.
H. V. iv. 3. 105-7, "like to the bullet's grazing, ... killing in
relapse of mortality"; for instances of the definite article
omitted after prepositions in adverbial phrases, see Abb. § 89.
107. what... knew, what I could wish you knew.
116. Will have it thus, are determined that I should humble
myself before you.
117. Take... thoughts, do not be prompt to imagine that any
evil is intended against you.
119. Though... flesh, though felt so acutely.
120. sir, lord, master.
121, 2. I cannot... clear, I cannot so cet forth, plead, my
cause as to show myself free from blame.
123. like frailties which, we should now say either such
frailties as,' or 'frailties like those which.'
125. extenuate, palliate; cp. Oth. v. 2. 342, "nothing extenuate
Nor set down aught in malice." In M. N. D. i. 1. 120, the word
is used as = mitigate; in J. C. iii. 2. 42, as = detract from.
Bacon, Adv. Learn. i. 2. 3, and Letter of Advice to Essex, uses it
for depreciate, and in his Colours of Good and Evil, 7, for weaken:
enforce, dwell upon, and so exaggerate, cp. above, ii. 2. 99.
126. If you... intents, if you adapt yourself to my intentions
regarding you, show yourself willing to second me.
128. A benefit change, that this change of fortunes instead
of being a calamity shall be a gain to you.
130. Antony's course, i.e. suicide.
..
130, 1. you shall purposes, you will not only rob yourself of
the advantages which I design for you, but put, etc.
...
134. And may... world, Cæsar having used the words I'll take
my leave in the sense of 'I'll bid you farewell,' Cleopatra adapts
them to another, and says, 'the whole world is yours and there-
fore you are free to go through it from end to end.'
SCENE II.]
219
NOTES.
134-6. and we... please, but for us, who are but the symbols
of your glory, it is only to stay where you are pleased to place
us; scutcheons, an abbreviated form of escutcheon, a painted
shield containing the armorial bearings of a knight, etc., com-
monly affixed over the doorway of his house, etc.; ultimately
from Lat. scutum, a shield.
137. You shall... Cleopatra, in everything that concerns you I
shall be guided by your advice; i.e. you are not to regard your-
self as a mere possession of mine to be dealt with as I please ;
Cleopatra, used in ceremonious respect.
138. brief, abstract, summary; cp. M. N. D. v. i. 42,
is a brief how many sports are ripe.'
""
139. 'tis exactly valued, the exact value of the whole is set
down.
...
"There
140. Not admitted, a few trifles being left out; admitted was
altered by Theobald to omitted, on the ground that she after-
wards appeals to her treasurer to confirm her statement that she
has reserved nothing to herself. But, as Johnson points out,
"she is angry afterwards that she is accused of having reserved
more than petty things."
143. Upon his peril, at the risk of being punished if he does
not speak the truth.
146. seal my lips, close my lips for ever; the first and second
folios give seele, and some editors print seel, as though the figure
was from sewing up the eyes of a hawk, as in iii. 13, 112, but the
term is never found as applied to the mouth, whereas the phrase
seal the mouth or lips is a common one.
151. How pomp... yours, how ready men are to follow those in
power; those who were once my followers will now quickly go
over to you.
154. wild, mad.
155, 6. What... thee, what (said as she advances to strike
him), do you retreat before me? you will be ready enough, I
warrant, to desert me; Go back being used in the literal and
the figurative sense. In the latter sense Schmidt takes the
phrase here as = be worsted.
156, 7. I'll catch... wings, I will catch your eyes with mine,
and would do so even if they had wings.
158. O rarely base! "base in an uncommon degree (Steevens).
159. wounding shame, piercing, cruel shame.
161, 2. Doing... meek, condescending to honour by your presence
one so humbled by adversity.
"2
163, 4. Parcel.. envy, make up the sum total of my disgraces
by adding the item of his malice to the general account.
220
[ACT V.
ANTONY AND CLEOPATRA.
165. lady trifles, trifles such as women value.
166. Immoment, of no moment, importance: dignity, value.
167. modern, ordinary, commonplace; as always in Shake-
speare.
168. token, sc. of my regard, respect.
169. Livia, Cæsar's wife.
170, 1. must I ….. bred? is it fitting that I should be exposed by
one brought up by me, one who owes everything in life to me?
172. Beneath... have, even more keenly than my other mis-
fortunes.
173, 4. Or I... chance, or I shall show the still smouldering
embers of my spirits through the ashes of my fortune; by the
ashes of my chance she means only her burnt-out fortune, her
fortune in which the fire is completely extinct, though the embers
of her spirit still glow with heat. Ingleby, Shakespeare Hermen-
eutics, p. 158, says chance is "nonsense" and would read glance.
Hanmer gave mischance for my chance, and Walker conjectures
change; for chance, cp. above, iii. 2. 36, "I'll yet follow The
wounded chance of Antony": a man, one worthy of the name of
man.
175. Thou wouldst ... me, would feel pity for me and would not
have exposed me as you have done: Forbear, retire, withdraw;
cp. Cymb. i. 1. 68, "We must forbear: here comes the gentle-
man, The queen and princess.
""
176. misthought, misjudged; cp. iii. H. VI. ii. 5. 108, "How
will the country for these woeful chances Misthink the king and
not be satisfied!"
...
178. We answer name, we personally pay the penalty which
the acts of others deserved; for answer, cp. K. J. iv. 2. 89, "This
must be answer'd either here or hence"; Delius connects in our
name with others' merits, i.e. acts committed by others in our
name; for merits, used in an ambiguous sense, cp. Lear, v. 3. 44,
so to use them As we shall find their merits and our safety
May equally determine.'
"C
""
180, 1. Not what ... conquest, I do not include among the pos-
sessions which are mine by right of conquest either the things
you have kept back or those to which you have confessed.
183, 4. Cæsar's ... sold, I am no huckster to care to enrich
myself with mere merchandise when winning you for a prize;
with you, together with you; for make prize, cp. R. III. iii. 7.
187, "A beauty-waning and distressed widow Made prize and
purchase of his lustful eye." Schmidt explains prize as estimation,
taking with you, I suppose, as = like you.
SCENE II.]
221
NOTES.
185. Make not... prisons, do not think of yourself as a prisoner
when in reality you are at liberty.
186. to dispose you, to dispose of you, to make such arrange-
ments regarding you; cp. C. E. i. 2. 73, "And tell me how thou
hast disposed thy charge.
""
187. counsel, advice: Feed, and sleep, i.e. take your ease.
191. words me, tries to persuade me with cajoling words.
194. are for the dark, are bound for the darkness, sc. of death.
195. I have spoke already, I have already given orders on the
subject, i.e. of the snakes by whose agency she is going to put an
end to her life.
196. put it to the haste, see that the matter is quickly arranged.
199. Which my love.. obey, which my love to you makes it a
religious duty, sacred obligation, to obey.
203. Make this, turn this to the best account you may.
...
208. Thou... shown, you will be treated as a doll from Egypt.-
and exhibited, etc.
209-11. mechanic ... view, we shall be hoisted on the shoulders
of miserable artizans: cp. J. C. i. 1. 7, "Where is thy leathern
apron and thy rule?" Cor. iv. 6. 96, "You have made good work,
You and your apron-men"; apron, formerly spelt napron, O. F.
naperon, a large cloth.
i
212. Rank of gross diet, smelling rankly of their coarse food.
213. their vapour, their foul breath.
214. lictors, attendants on Roman magistrates, who had to
clear the road when blocked, to inflict punishment on criminals,
to see that proper respect was paid to the magistrates, etc., etc.
...
215. scald, scabby, scurvy; afflicted with the scall, i.e. an
eruption on the skin; cp. H. V. v. 1. 5, "the rascally, scald,
beggarly, lousy, pragging knave, Pistol."
216. Ballad... tune, write and sing utterly out of tune ballads
in mockery of us; cp. A. W. ii. 1. 175, Traduc'd by odious
ballads": quick, quick-witted.
217. Extemporally... us, with ready ingenuity put us on the
stage: present, represent, act; cp. M. W. iv. 6. 20, "To-night
Must my sweet Nan present the Fairy Queen."
220. squeaking, because, until after the Restoration, the parts
of women were played by boys, whose voices were often 'cracked';
cp. Haml. ii. 2. 447, "Pray God, your voice, like a piece of un-
current gold, be not cracked within the ring," said to the boy
who is to act a female part: boy, represent; the actor being a boy.
225. To fool their preparation, to make their designs utterly
ridiculous; conquer, upset.
222
[ACT V.
ANTONY AND CLEOPATRA.
226. absurd, altered by Theobald to assur'd; but to Cleopatra,
who knows she has the means of foiling their intentions, they
may well seem absurd.
227. Show me, set me off, attire me so as to appear.
228, 9. I am ... Antony, I feel as if I were again going to sail
in my barge on the Cydnus to meet, etc. : sirrah, see note on iv.
15. 85, above.
230. despatch, quickly bring this business to an end.
231. chare, see note on iv. 15. 75, above.
233. rural fellow, rustic, countryman.
234. That... denied, who refuses to be kept away from.
236. What instrument, for the transposition of the article,
see Abb. § 422.
238. placed, fixed immoveably.
239. Of woman, of woman's nature, weakness.
240. marble-constant, as firm as marble; cp. Macb. iii. 4 22, "I
had else been perfect, Whole as the marble, founded as the rock."
...
240, 1. now... mine, I no longer acknowledge the inconstant
moon as the planet that guides my destiny.
242. Avoid, withdraw.
243. worm, snake; as frequently in Shakespeare.
247. immortal, mortal, deadly.
252. something, somewhat.
254, 5. makes... worm, gives the snake a very good character.
255, 6. but he they do, Warburton, whose sense of humour
does not appear to have been great, would transpose all and half,
but Shakespeare no doubt intended the clown to make the
blunder.
...
256. fallible, infallible, certain.
259. I wish... worm, I hope you will find the snake all that
you could wish.
262. will do his kind, will act according to its nature; cp.
A. W. i. 3. 67, "Your marriage comes by destiny, Your cuckoo
sings by kind."
267. it shall be heeded, proper precautions shall be taken.
271. simple, ignorant, foolish.
273. dress, with a play upon the word in the sense of cook and
that of attire.
277. get thee gone, see note on ii. 3. 30.
280. Immortal longings, longings after immortality.
SCENE II.]
223
NOTES.
281. moist, moisten.
282. Yare, yare, quick, quick; see note on ii. 2. 212, above.
284. mock, laugh at, deride.
285, 6. which the gods... wrath, which the gods give men in
order to excuse themselves for afterwards treating them with
such reverses of fortune.
·
287. Now ... title! now may my courage prove me worthy to
be called your wife.
...
288. I am air, have nothing in me of the baser elements,
earth and water; cp. H. V. iii. 7. 22-4, "he is pure air and fire:
and the dull elements of earth and water never appear in him."
289. I give ... life, I leave to be eaten by worms: have you
done? have you finished attiring me?
290. the last... lips, sc. in the kisses she gives them.
292. Have I ... lips? have I the poison of the asp in my lips,
that you fall dead at their touch? Iras is to be supposed to have
secretly applied the asp to herself when she brought the robe,
crown, etc.; and Clarke points out that throughout the scene
she has shown eagerness for death; aspic, the form is French;
from Lat. aspidem, accusative of aspis, a snake.
293. nature, human life, mortal existence.
295. and is desired, and yet is desired.
296, 7. If thus ... leave-taking, if with such painless effort your
spirit takes its flight, it is evident that one need not make much
ado about quitting the world.
299. weep, show their sympathy with us in our deaths.
300. curled, with his hair carefully dressed; cp. Oth. i. 2. 68,
"The wealthy curled darlings of our nation."
...
301, 2. He'll make have, he will ask her for news of me,
and will reward her for her answer with that kiss to win which is
to me to win heaven: mortal, deadly.
303. intrinsicate, closely tied; Shakespeare seems to have
compounded the word from intrinsic and intricate, though the
two words have no connection; in Lear, ii. 2. 81, he has intrinse
in the same sense, "the holy cords ... Which are too intrinse t'
unloose." Marston, in the prose introduction to his Scourge of
Villainy, says of Torquatus (i.e. Jonson), "Yet when... it (sc. his
first Satire) shall come into the late perfumed fist of Torquatus
... I know he will vouchsafe it some of his new-minted epithets
(as real, intrinsecate, Delphic), when in my conscience he under-
stands not the least part of it"; as though the word had been
'minted' by Jonson.
لله
224
ANTONY AND CLEOPATRA.
[ACT V.
306, 7. That I... unpolicied! that I might hear you jeer, as I
do, and as you would be certain to do, at Cæsar for being so
easily outwitted.
...
309. That asleep, i.e. instead of being lulled to sleep as a
baby is by being suckled: 0, break! i.e. my heart!
313. In this vile world? completing her mistress' broken sen-
tence.
315. lass, generally used as a term of endearment for a girl;
here probably, as in R. J. v. 3. 102, 3, Shakespeare has the idea
of death having fallen in love with Cleopatra: Downy windows,
eyelids soft as down; cp. Cymb. ii. 2. 22, "would underpeep
her lids, To see the enclosed lights, now canopied Under these
windows."
:
317. Of, by awry, disordered; properly an adverb, com-
pounded of on and wry.
:
318. mend it, set it straight and then play, said with ironical
reference to Cleopatra's words, 1. 231, she having now no duties
to do.
322. beguiled, deceived; cp. iii. 7. 75, above.
324. Charmian, done?"Charmian managed the introduc-
tion of the rural fellow' with the asps " (Grant White).
...
328, 9. thy thoughts... this, your anticipations are realized in
the spectacle of these dead bodies.
330. To see perform'd, to see already performed.
331. A way there... Cæsar,' make way there for Cæsar, clear
the road.
332. augurer, prophet; augurs did not lay claim to foreseeing
events, but merely announced the will of heaven as to what was
to be done or not to be done; for the form of the word, see note
on iv. 12. 4, above.
333. Bravest last, showing herself braver at the end of her
life than ever before.
...
334, 5. She levell'd... way, she guessed my intentions regard-
ing her, and, accustomed as she was to rule, exercised her will in
this matter, was as imperious in her death as she had been
throughout her life; in levell'd the figure is that of taking aim,
here a sure aim; cp. M. V. i. 2. 41, "according to my descrip-
tion, level at my affection.'
""
339. but now, only a moment ago: she stood and spake, she
was standing up and able to speak.
340. trimming up, setting in order.
341. tremblingly she stood, she trembled as she stood.
SCENE II.]
NOTES.
225
345, 6. As she ... grace, as though she would ensnare another
Antony in the mighty fascinations of her beauty.
347. a vent, an emission: and something blown, and some
swelling; Johnson takes something adverbially.
349. trail, the mark left by a snake as it crawls.
353. conclusions, experiments; cp. Cymb. i. 5. 18, "is 't not
meet That I did amplify my judgement in Other conclusions ? "
356. her Antony, the Antony she loved so well.
357. clip, enclose.
358, 9. High events... them, such mighty events are not with-
out their deep effect upon those to whom they are due.
359-61. and their ... lamented, and the story of such events is
as much made up of pity for those who suffered as of honour for
those who caused them to suffer.
363, 4. see... solemnity, take measures that their funeral may
be conducted with fitting splendour.
P
INDEX TO NOTES.
A
Absolute, i. 2. 2; iii. 7. 43.
Adornings, ii. 2. 209.
Afeard, iii. 3. 1.
Affect'st, i. 3. 71.
Alack, i. 2. 126.
Alms-drink, ii. 7. 5.
Amiss, i. 4. 17.
Angle, ii. 5. 10.
Answer, v. 2. 178.
Antick'd, ii. 7. 124.
Apace, iv. 7. 6.
Appeal, iii. 5. 10.
Appointment, iv. 10. 8.
Aprons, v. 2. 210.
Approof, iii. 2. 27.
Approves, i. 1. 60.
Arabian bird, iii. 2. 12.
Argument, iii. 12. 3.
Article, ii. 2. 82.
Aspic, v. 2. 292.
Assurance, iii. 7. 44.
Atone, ii. 2. 102.
Augurers, iv. 12. 4; v. 2. 332.
Awry, v. 2. 317.
B
Ballad (vb.), v. 2. 216
Banquet, ii. 7. 1.
Basan, iii. 13. 127.
Battle, iii. 9. 2.
Becomed, iii. 7. 24.
Beguiled, iii. 7. 75.
Bellows, i. 1. 9.
226
Bequeath, ii. 2. 150.
Betray, ii. 5. 11.
Blood, in, iii. 13. 174.
Blows, iv. 6. 34.
Boot (vb.), ii. 5. 70.
Borders, i. 4. 51.
Bounteous, iv. 1. 10.
Bourn, i. 1. 16.
Break, i. 2. 155.
Breathed, iii. 13. 178.
Breese, iii. 10. 14.
Brief (sb.), v. 2. 138.
Broached, 1. 2. 149.
Broad-fronted, i. 5. 20.
Browsed'st, i. 4. 66.
Bulk, iii. 11. 64.
Burgonet, i. 5. 15.
Burnished, ii. 2. 192.
с
Cæsarion, iii. 13. 162.
Can, iv. 15. 59.
Cantle, iii. 10. 6.
Carbuncled, iv. 8. 28.
Carouse, iv. 8. 34.
Chafe (sb.), i. 3. 85.
Chance, iii. 10. 36; v. 2. 174.
Chares, iv. 15. 75.
Charm, iv. 12. 25.
Check, iv. 4. 31.
Chuck, iv. 4. 2.
Circle, iii. 12. 18.
Claps on, iii. 10. 20.
Clip, iv. 7. 8.
Cloud, iii. 2. 51.
INDEX TO NOTES.
227
Clouts, iv. 7. 6.
Colour, i. 3. 32.
Competitor, i. 4. 3 ; ii. 7. 69.
Composition, ii. 6. 59.
Conclusions, v. 2. 353.
Conditions, ii. 2. 113.
Confine (sb.), iii. 5. 11.
Confound, i. 1. 45 ; i. 4. 28.
Congealment, iv. 8. 10.
Considerate, ii. 2. 110.
Continent, iv. 14. 40.
Conversation, ii. 6. 120.
Corrigible, iv. 14. 74.
Courser's hair, i. 2. 171.
Court of guard, iv. 9. 2.
Crassus, iii. 1. 2.
Crested, v. 2. 83.
Cringe, iii. 13. 100.
Cuckoo, ii. 6. 28.
Cut (sb.), i. 2. 145.
Cydnus, ii. 2. 188.
D
Daff, iv. 4. 13.
Damn, i. 1. 24.
Dancer, iii. 11. 36.
Dare (sb.), i. 2. 162.
Darkens, iii. 1. 24.
Darkling, iv. 15. 10.
Dear'd, i. 4. 44.
Declined, iii. 13. 27.
Demi-Atlas, i. 5. 14.
Demon, ii. 3. 19.
Demurely, iv. 9. 31.
Deputation, iii. 13. 74.
Derogately, ii. 1. 34.
Determines, iii. 13. 161; iv. 4. 37.
Digested, ii. 2. 177.
Diminutives, iv. 12. 37.
Discandy, iii. 13. 165.
Discontents, i. 4. 39.
Disguise, ii. 7. 123.
Disposition, ii. 7. 6.
Distractions, iii. 7. 74.
Doits, iv. 12. 37.
Donn'd, ii. 1. 33.
Doughty-handed, iv. 8. 5.
Dug (sb.), v. 2. 7.
E
Earing, i. 2. 92; i. 4. 29.
Ebb'd, i. 4. 43.
Edge, ii. 2. 115.
Edict, iii. 12. 31.
Emboss'd, iv. 13. 3.
Enemy (adj.), iv. 14. 71.
Enow, i. 4. 11.
Entertained, ii. 1. 46.
Entertainment, iv. 6. 17.
Epicurean, ii. 1. 24.
Estridge, iii. 13. 197.
Euphrates, i. 2. 82.
Exigent, iv. 14. 63.
Expedience, i. 2. 156.
Extended, i. 2. 82.
Extenuate, v. 2. 125.
F
Fast and loose, iv. 12. 28.
Favour, ii. 5. 38.
Feature, ii. 5. 111.
Feeders, iii. 13. 109.
Fetch in, iv. 1. 14.
Flag, i. 4. 45.
Flaw, iii. 12. 34.
Fly off, ii. 2. 153.
Foison, ii. 7. 20.
Forgotten, i. 3. 91.
Forspoke, iii. 7. 3.
Frame, ii. 2. 212.
Fretted, iv. 12. 8.
Friends, ii. 5. 44.
Fronted, ii. 2. 61.
Full, iii. 13. 35.
Fuming, ii. 1. 24.
G
Garboils, i. 3. 61; ii. 7. 67.
Gaudy, iii. 13. 183.
Gests, iv. 8. 2.
Ghosted, ii. 6. 13,
Gilded, i. 4. 62.
Goal, iv. 8. 22.
Gorgon, ii. 5. 115.
Grates (vb.), i. 1. 18.
Grizzled, iii. 13. 17.
228
ANTONY AND CLEOPATRA.
H
Halt, iv. 7. 14.
Harping, iii. 13. 142.
Harried, iii. 3. 43.
Hautboys, iv. 3. 12.
Herod, i. 2. 25.
High-coloured, ii. 7. 4.
Holding (sb.), ii. 7. 109.
Homager, i. 1. 31.
Horns o' the moon, iv. 12. 45.
Hoop, ii. 2. 115.
Housewife, iv. 15. 44.
I
Inhooped, ii. 3. 38.
Immoment, v. 2. 166.
Imperious, iv. 15. 23.
Import, ii. 2. 133.
Importeth, i. 2. 102.
Impress, iii. 7. 34.
Intrinsecate, v. 2. 303.
Invisible, ii. 2. 213.
Isis, i. 2. 53.
J
Jack, iii. 13. 93.
Jaded, iii. 1. 34.
Jot, iv. 5. 13.
Jump (sb.), iii. 8. 6.
K
Kite, iii. 13. 89.
Knave, v. 2. 3.
Knit, iii. 13. 171.
L
Lady trifles, v. 2. 165.
Languish (sb.), v. 2. 42.
Large, iii. 6. 92.
Lass, v. 2. 315.
Lated, iii. 11. 3.
Laurel (adj.), i. 3. 100.
Loathness, iii. 11. 18.
Loof'd, iii. 10. 18.
Lot, ii. 6. 63.
Lottery, ii. 2. 243.
Luxuriously, iii. 13. 120.
M
Magic, iii. 10. 19.
Mandragora, i. 5. 4.
Measures, ii. 6. 37.
Mecænas, ii. 2. 173.
Meered, iii. 13. 10.
Mermaids, ii. 2. 208.
Mince, i. 2. 86.
Mingle (sb.), i. 5. 50.
Misenum, ii. 2. 161.
Missive, ii. 2. 74.
Moiety, v. i. 19.
Motion, ii. 3. 14.
Motive, ii. 2. 96.
Muleters, iii. 7. 33.
N
Narcissus, ii. 5. 95.
Nature, v. 1. 29.
Nereides, ii. 2. 207.
Nessus, iv. 12. 43.
Nice, iii. 13. 180.
Nick, iii. 13. 8.
Noise, i. 2. 121.
Nonpareil, iii. 2. 11.
Novice, iv. 12. 14.
0
O, v. 2. 81.
Obstruct, iii. 6. 61.
Odds, iv. 15. 66.
O'erpicturing, ii. 2. 201.
Onion, i. 2. 147.
Onion-eyed, iv. 2. 35.
Orbs, iii. 13. 146.
Ordinary (sb.), ii. 2. 226.
Orient, i. 5. 32.
Ostentation, iii. 6. 52.
P
Pacorus, iii. 1. 4.
Pack, ii. 5. 54.
Pack'd cards, iv. 14. 19.
Pageants, iv. 14. 8.
Pales, ii. 7. 67.
Pall'd, ii. 7. 81.
M
INDEX TO NOTES.
229
Paragon (vb.), i. 5. 62.
Particular (sb.), i. 3. 54; iv. 9.
20.
Partizan, ii. 7. 13.
Patch'd, ii. 2. 56.
Pavilion, ii. 2. 200.
Perjure, iii. 12. 30.
Philippan, ii. 5. 23.
Piece, iii. 2. 28.
Plated, i. 1. 4.
Plates, v. 2. 92.
Plants, ii. 7. 1.
Pleach'd, iv. 14. 73.
Plied, iii. 2. 14.
Points, iii. 13. 157.
Pole, iv. 15. 65.
Possess, ii. 7. 99.
Pray in aid, v. 2. 27.
Precedence, ii. 5. 51.
Pregnant, ii. 1. 45.
Preparation, iii. 4. 26.
Prescience, i. 2. 18.
Prescript, iii. 8. 5.
Process, i. 1. 28.
Property, i. 1. 58.
Proof, iv. 8. 15.
Prorogue, ii. 1. 26.
Purchased, i. 4. 14.
Pursed, ii. 2. 187.
Pyramid, ii. 7. 18.
Quail (vb.), v. 2. 85.
Qualities, i. 1. 54.
Quarter, iv. 3. 22.
Quarter'd, iv. 14. 58.
Quick-sands, ii. 7. 58.
Quit, iii. 13. 151.
Ꭱ
Rack, iv. 14. 10.
Ranged, i. 1. 34.
Reel (vb.), i. 4. 20.
Regiment, iii. 6. 94.
Remarkable, iv. 15. 67.
Rencges, i. 1. 8.
Repair, i. 4. 39.
Report, i. 2. 129.
Requires, iii. 12. 12.
Rheum, iii. 2. 57.
Rivality, iii. 5. 7.
Rivetted, iv. 4. 22.
Rose, iii. 13. 20.
Ruminated, ii. 2. 139.
S
Salad (adj.), i. 5. 64.
Salt, ii. 1. 21.
Scald (adj.), v. 2. 215.
Scutcheons, v. 2. 135.
Semblable, iii. 4. 3.
Shards, iii. 2. 20.
Shrowd, iii. 13. 71.
Sicyon, i. 2. 94.
Sirrah, ii. 3. 10; v. 2. 229.
Sirs, iv. 15. 85.
Slippery, i. 2. 162.
Smock, i. 2. 146.
Snaffle, ii. 2. 63.
Soberly, i. 5. 39.
Speeds, ii. 3. 35.
Sphere, ii. 7. 14.
Spots, of heaven, i. 4. 12.
Sprightly, iv. 14. 52.
Square, ii. 3. 66; iii. 13. 41.
Staged, iii. 13. 30.
Stain, iii. 4. 27.
Stale (vb.), ii. 2. 235.
Station, iii. 3. 22.
Stomach, ii. 2. 50; iii. 4. 12.
Stomaching, ii. 2. 9.
Studied, ii. 6. 48.
Strike, ii. 7. 95.
Success, ii. 4. 9.
Supper, ii. 2. 221.
Sworder, iii. 13. 31.
Synod, iii. 10. 5.
T
Tabourines, iv. 8. 37.
Tackle (pl.), ii. 2. 211.
Take in, i. 1. 23; iii. 7. 24.
Targes, ii. 6. 40,
Tawny, i. 1. 6.
230
ANTONY AND CLEOPATRA.
Temperance, iii. 13. 121.
Tempt, i. 3. 11.
Tended, ii. 2. 208.
Theme, ii. 2. 44.
Thetis, iii. 7. 58.
Thick, i. 5. 54.
Thickens, ii. 3. 27.
Thought, iv. 6. 36.
Three-nook'd, iv. 6. 6.
Tight, iv. 4. 15.
Tires (sb.), ii. 5. 22.
Token'd, iii. 10. 9.
Toward, ii. 6. 74.
Traduc'd, iii. 7. 11.
Treaties, iii. 11. 62.
Trencher, iii. 13. 117.
Tribunal, iii. 6. 3.
Triple, i. 1. 12.
Triumphant, ii. 2. 185.
U
Unqualitied, iii. 11. 44.
Usher, iii. 6. 44.
V
Vacancy, ii. 2. 217.
Varletry, v. 2. 56.
Vassal, ii. 6. 57.
Vent, v. 2. 347.
Vestal, iii. 12. 31.
Vials, sacred, i. 3. 63.
Viands, iii. 11. 73.
Virtue, iv. 8. 17.
W
Waned, ii. 1. 21.
Wassails, i. 4. 56.
Weet, i. 1. 39.
Wench, ii. 2. 227.
Windows, v. 2. 315.
Woe, iv. 14. 133.
Worky-day, i. 2. 46.
Worm, v. 2. 243.
Y
Yare, iii. 7. 36.
Yarely, ii. 2. 212.
Yield, ii. 5. 28.
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