%£>% hok^£KL Tfoff Copyright ]^^ COPYRIGHT DEPOSIT; (MR 7) Room in Cleopatra's Palace i ANTONY AND CLEOPATRA DRAMATIS PERSONS friends to Antony. friends to Caesar. Mark Antony, 1 OcTAVius C^SAR, \ triumvirs. M. tEmilius Lepidus, J Sextus Pomteius. DoMiTius Enobarbus, Ventidius, Eros, SCARUS, Dercetas, Demetrius, | Philo, J M^CENAS, 1 Agrippa, dolabella, Proculeius, Thyreus, Gallus, Menas, 1 Menecrates, \ friends to Pompey. Varrius, J Taurus, lieutenant-general to Caesar. Canidius, lieutenant-general to Antony. SiLius, an officer in Ventidius's army. EuPHRONius, an ambassador from Antony to Caesar. Alexas, 1 Mardian, a Eunuch, I .^„„ j ^^ r^1„„.,„^„„ Seleucus, j- attendants on Cleopatra. DiOMEDES, J A Soothsayer. A Clown. Cleopatra, Queen of Egypt. Octavia, sister to Caesar and wife to Antony. JJ^^g^^'^^' j attendants on Cleopatra. Officers, Soldiers, Messengers, and other Attendants. Scene: /m several parts of the Roman empire. Atrium in Cesar's House ACT I Scene I. Alexandria, A Room in Cleopatra's Palace Enter Demetrius and Philo Philo. Nay, but this dotage of our general's O'erflows the measure. Those his goodly eyes, That o'er the files and musters of the war Have glow'd like plated Mars, now bend, now turn The office and devotion of their view Upon a tawny front ; his captain's heart. Which in the scuffles of great fights hath burst 29 30 Antony and Cleopatra [Act i The buckles on his breast, reneges all temper And is become the bellows and the fan To cool a gypsy's lust. — Flourish. Enter Antony, Cleopatra, her Ladies ^ the Train, with Eunuchs fanning her Look, where they come ! lo 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. Cleopatra. If it be love indeed, tell me how much. Antony. There 's beggary in the love that can be reckon'd. Cleopatra. I '11 set a bourn how far to be belov'd. Antony. Then must thou needs find out new heaven, new earth. Enter an Attendant Attendant. News, my good lord, from Rome. Antony. Grates me ; the sum. Cleopatra. Nay, hear them, Antony. Fulvia perchance is angry ; or, who knows 20 If the scarce-bearded Caesar have not sent His powerful mandate to you, ' Do this, or this ; Take in that kingdom, and enfranchise that ; Perform 't, or else we damn thee ' ? Antony. How, my love ! Cleopatra, l^erchance, — nay, and most like, — You must not stay here longer, your dismission Is come from Caesar ; therefore hear it, Antony. Scene I] Antony and Cleopatra 31 Where 's Fulvia's process ? Caesar's, I would say ? both ? — Call in the messengers. — As I am Egypt's queen, Thou blushest, Antony, and that blood of thine 30 Is Caesar's homager ; else so thy cheek pays shame When shrill-tongu'd Fulvia scolds. — The messengers ! Antony. Let Rome in Tiber melt, and the wide arch Of the rang'd 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 \_Embracing. And such a twain can do 't, in which I bind, On pain of punishment, the world to weet We stand up peerless. Cleopatra. Excellent falsehood ! 40 Why did he marry Fulvia, and not love her ? — I '11 seem the fool I am not ; Antony Will be himself. Antony. But stirr'd by Cleopatra. — Now, for the love of Love and her soft hours, Let 's not confound the time with conference harsh j There 's not a minute of our lives should stretch Without some pleasure now. What sport to-night ? Cleopatra. Hear the ambassadors. Antony. Fie, wrangling queen ! Whom every thing becomes — to chide, to laugh, To weep ; whose every passion fully strives 50 To make itself, in thee, fair and admir'd ! No messenger but thine ; and all alone To-night we '11 wander through the streets and note 32 Antony and Cleopatra [Act I The qualities of people. Come, my queen ; Last night you did desire it. — Speak ~fiot to us. \Exeunt Antojty and Cleopatra with their train. Demetiiits. Is Caesar with Antonius priz'd so slight? Philo. Sir, sometimes, when he is not Antony, He comes too short of that great property Which still should go with Antony. Demetrius. I am full sorry That he approves the common liar, who 60 Thus speaks of him at Rome ; but I will hope Of better deeds to-morrow. Rest you happy ! \_Exeunt. Scene II. The Same. Another Room Enter Charmian, .Iras, Alexas, and a Soothsayer Charmian\\uOrA Alexas, sweet Alexas, most any thing Alexas, athiost most absolute Alexas, where 's the soothsayer that you praised so to the queen? j O, that I knew this husband, which, you say, must «— —^ Agrippa. Good fortune, worthy soldier, and farewell Enter C^sar, Antony, Lepidus, and Octavia Antony. No further, sir. CcEsar. 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, 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 30 The fortress of it ; for better might we Have lov'd without this mean, if on both parts This be not cherish'd. Antony. Make me not offended In your distrust. Ccesar. I have said. Antony. You shall not find. Though you be therein curious, the least cause For what you seem to fear. So, the gods keep you. Scene II] Antony and Cleopatra 91 And make the hearts of Romans serve your ends ! We will here part. Ccesar. Farewell, my dearest sister, fare thee well ; The elements be kind to thee, and make 40 Thy spirits all of comfort ! fare thee well. Ociavia. My noble brother ! ,— — Antony. The April 's in her eyes ; it is love's spring, And these the showers to bring it on. — Be cheerful. Octavia. Sir, look well to my husband's house, and — Ccesar. What, Octavia ? Octavia. I '11 tell you in your ear. Antony. 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. Enobarbus. \^Aside to Agrippa'] Will Csesar weep ? 50 Agrippa. S^Aside to Enobarbus^ He has a cloud in 's face. Enobarbus. \_Aside to Agrippa~\ He were the worse for that, were he a horse ; So is he, being a man. Agrippa. \_Aside to Enobarbus'] Why, Enobarbus, When Antony found Julius Caesar dead, He cried almost to roaring ; and he wept When at Philippi he found Brutus slain. Enobarbus. \_Aside to Agrippa] That year, indeed, he was troubled with a rheum ; gi Antony and Cleopatra [Act ill What willingly he did confound he wail'd, Believe 't, till I wept too. CcEsar. No, sweet Octavia, You shall hear from me still ; the time shall not Outgo my thinking on you. Antony. Come, sir, come: I '11 wrestle with you in my strength of love. Look, here I have you ; thus I let you go, And give you to the gods. Ccdsar. Adieu ; be happy 1 Lepidus. Let all the number of the stars give light To thy fair way ! Ccesar. Farewell, farewell ! \_Kisses Octavia, Antony, Farewell ! \Trumpets sound. Exeunt. Scene III. Alexandria. Cleopatrd s Palace Enter Cleopatra, Charmian, Iras, and Alexas Cleopatra. Where is the fellow? Alexas. Half afeard to come. Cleopatra. Go to, go to. — Enter the Messenger as before Come hither, sir. Alexas. Good majesty, Herod of Jewry dare not look upon you But when you are well pleas'd. I Scene III] Antony and Cleopatra 93 Cleopatra. That Herod's head I '11 have ; but how, when Antony is gone Through whom I might command it? — Come thou near. Messenger. Most gracious majesty, — " ■' Cleopatra. Didst thou behold Octavia? Messefiger. Ay, dread queen. — — "■** Cleopatra. Where ? 10 Messenger. Madam, in Rome I look'd her in the face, and saw her led Between her brother and Mark Antony. Cleopatra. Is she as tall as me ? Messenger. She is not, madam. Cleopatra. Didst hear her speak? is she shrill-tongu'd or low? Messenger. Madam, I heard her speak; she is low- voic'd. Cleopatra. That 's not so good ; he cannot like her long. Charmian. Like her ! O Isis ! 't is impossible. Cleopatra. I think so, Charmian ; dull of tongue and dwarfish ! — What majesty is in her gait? Remember, If e'er thou look'dst on majesty. Messenger. She creeps ; Her motion and her station are as one ; She shows a body rather than a life, A statue than a breather. Cleopatra. Is this certain? Messenger. Or I have no observance. 94 Antony and Cleopatra [Act iii Charmian. Three in Egypt Cannot make better note. Cleopatra. He 's very knowing, I do perceive 't. There 's nothing in her yet. — The fellow has good judgment. Charmian. Excellent. Cleopatra. Guess at her years, I prithee. Messenger. Madam, She was a widow, — Cleopatra. Widow ! — Charmian, hark. 30 Messenger. And I do think she 's thirty. Cleopatra. Bear'st thou her face in mind ? is 't long or round ? Messenger. Round even to faultiness. Cleopatra. For the most part, too, they are foolish that are so. — Her hair, what colour? Messenger. Brown, madam ; and her forehead As low as she would wish it. Cleopatra. 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; 40 Our letters are prepar'd. \_Exit Messenger. Charmian. A proper man. Cleopatra. Indeed, he is so ; I repent me much That I so harried him. Why, methinks, by him. This creature 's no such thing. Charmian. Nothing, madam. Scene IV] Antony and Cleopatra 95 Cleopatra. The man hath seen some majesty, and should know. Charmian. Hath he seen majesty? Isis else defend, And serving you so long ! Cleopatra. I have one thing more to ask him yet, good Charmian. But 't is no matter ; thou shalt bring him to me Where I will write. All may be well enough. 50 Charmian. I warrant you, madam. [^Exeunt. Scene IV. Athens. A Room in Antony's House Enter Antony and Octavia Antony. N^y, nay, Octavia, not only that, — That were excusable, that, and thousands more Of semblable import, — but he hath wag'd New wars 'gainst Pompey, made his will and read it To pubHc ear. 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. Octavia. O my good lord, - ^. - 10 Believe not all ; or, if you must beheve. 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 ! ' g6 Antony and Cleopatra [Act ill 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. 'Antony. Gentle Octavia, 20 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 meantime, lady, I '11 raise the preparation of a war Shall stain your brother. Make your soonest haste ; So your desires are yours. Octavia. Thanks to my lord. The Jove of power make me — most weak, most weak — Your reconciler ! Wars 'twixt you twain would be 30 As if the world would cleave, and that slain men Should solder up the rift. Antony. When it appears to you where this begins. Turn your displeasure that way ; for our faults Can never be so equal that your love Can equally move with them. Provide your going ; Choose your own company, and command what cost Your heart has mind to. \_Exeunt, Scene V. The Same. Another Room Enter Enobarbus and Eros, meeting Enobarbus. How now, friend Eros ! -— .. Eros. There 's strange news come, sir. Scene VI] Antony and Cleopatra 97 Etiobarbus. What, man? E?'os. Caesar and Lepidus have made wars upon Pompey. E?iobarbus. This is old ; what is the success ? Eros. Caesar, having made use of him in the wars 'gainst Pompey, presently denied him rivahty, 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 ; 10 so the poor third is up, till death enlarge his confine. Eiiobai'bus. 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 murther'd Pompey. Enobai-biis. Our great navy 's rigg'd. E7'os. For Italy and Caesar. More, Domitius ; My lord desires you presently ; my news . 20 I might have told hereafter. Enobarbus. 'T will be nought j But let it be, — Bring me to Antony. Eros. Come, sir. \_Exeunt. Scene VI. Roiiie. Ccesar's House Enter C^sar, Agrippa, and M^cenas CcBsar. Contemning Rome, he has done all this, and more, ANTONY — 7 98 Antony and Cleopatra [Act III In Alexandria. Here 's the manner of 't : I' the market-place, on a tribunal silver'd, Cleopatra and himself in chairs of gold Were publicly enthron'd ; at the feet sat Csesarion, whom they call my father's son, And all the unlawful issue that their lust Since then hath made between them. Unto her He gave the stabhshment of Egypt, made her Of lower Syria, Cyprus, Lydia, 10 Absolute queen. Mcecenas. This in the public eye? Ccesar. V 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 't is reported, so. Mcecenas. Let Rome be thus Inform'd. Agrippa. Who, queasy with his insolence 20 Already, will their good thoughts call from him. Ccesai'. The people know it, and have now receiv'd His accusations. Agrippa, Who does he accuse? Ccesar. Caesar; 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 Scene VI] Antony and Cleopatra 99 Some shipping unrestor'd ; lastly, he frets That Lepidus of the triumvirate Should be depos'd, and, being, that we detain All his revenue. Agrippa. Sir, this should be answer'd. 30 Ccesar. 'T is done already and the messenger gone. I have told him Lepidus was grown too cruel, That he his high authority abus'd 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. Mcecenas. He '11 never yield to that. Ccesar. Nor must not then be yielded to in this. Enter Octavia with her Train Octavia. Hail, Caesar, and my lord ! hail, most dear Caesar ! Ccesar. That ever I should call thee castaway ! 40 Octavia. You have not call'd me so, nor have you cause. Ccesar. Why have you stolen upon us thus? You come not Like Caesa r's siste r ; the wife of Antony Should have an array 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 L.of lOO Antony and Cleopatra [Act iii Should have ascended to the roof of heaven, Rais'd by your populous troops ; but you are come 50 A market-maid to Rome, and have prevented The ostentation of our love, which, left unshown. Is often left unlov'd. We should have met you By sea and land, supplying every stage With an augmented greeting. Octavia. Good my lord, To come thus was I not constrain' d, but did it On my free will. My lord, Mark Antony, .-- Hearing that you prepar'd for war, acquainted My grieved ear withal, whereon I begg'd His pardon for return. CcBsar. Which soon he granted, 60 Being an obstruct 'tween his lust and him. Octavia. Do not say so, my lord. CcBsar. I have eyes upon him. And his affairs come to me on the wind. Where is he now? Octavia. My lord, in Athens. """ Ccesar. No, my most wronged sister ; Cleopatra Hath nodded him to her. He hath given his em- pire Up to a whore, who now are levying The kings o' the earth for war. He hath assem- bled Bocchus, the king of Libya ; Archelaus Of Cappadocia ; Philadelphos, king 70 Of Paphlagonia ; the Thracian king, Adallas ; Scene VI] Antony and Cleopatra loi King Malchiis 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. Octavia. Ay me, most wretched, That have my heart parted betwixt two friends That do afflict each other ! CcBsai\ Welcome hither; Your letters did withhold our breaking forth Till we perceiv'd both how you were wrong led 80 And we m neghgent danger. Cheer your heart ; Be you not troubled with the time, which drives O'er your content these strong necessities, But let determ.in'd things to destiny Hold unbewail'd their way. Welcome to Rome ; Nothing more dear to me. You are abus'd 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. Agrippa. Welcome, lady. .^ 90 M(Bcenas. Welcome, dear madam. Each heart in Rome does love and pity you ; Only the adulterous Antony, most large - 1— In his abominations, turns you off. And gives his potent regiment to a trull, That noises it against us. Octavia. Is it so, sir? 102 Antony and Cleopatra [Act ill Ccesar. Most certain. Sister, welcome ; pray you, Be ever known to patience. My dear'st sister ! \_Exeunt. Scene VII. Near Actium. Antonfs Camp Enter Cleopatra and Enobarbus Cleopatra. I will be even with thee, doubt it not. Enobarbus. But why, why, why? Cleopatra. Thou hast forspoke my being in these wars And say'st it is not fit. Enobarbus. Well, is it, is it? Cleopatra. Is 't not denounc'd against us ? why should not we Be there in person? Enobarbus. Your presence needs must puzzle Antony, Take from his heart, take from his brain, from 's time, What should not then be spar'd. He is already Traduc'd for levity, and 't is said in Rome lo That Photinus, an eunuch, and your maids Manage this war. Cleopatra. Sink Rome, and their tongues rot That speak against us ! A charge we bear i' the war. And, as the president of my kingdom, will Appear there for a man. Speak not against it; I will not stay behind. Enobarbtcs. Nay, I have done. Here comes the emperor. II Scene VII] Antony and Cleopatra 103 Enter Antony and Canidius Antony. 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? 20 Cleopatra. Celerity is never more admir'd Than by the negligent. Anto7iy. A good rebuke, Which might have well becom'd the best of men, To taunt at slackness. — Canidius, we Will fight with him by sea. Cleopatra. By sea ! what else ? Canidius. Why will my lord do so ? Antony. For that he dares us to 't. Enobarbus. So hath my lord dar'd him to single fight. Canidius. Ay, and to wage this battle at Pharsalia Where Caesar fought with Pompey ; but these offers. Which serve not for his vantage, he shakes off, 30 And so should you. Enobarbus. Your ships are not well mann'd ; Your mariners are muleters, reapers, people ,««..«««— Ingross'd by swift impress'^ ifi C8esar'"s" fleet Are those that often have 'gainst Pompey fought. Their ships are yare, yours heavy ; no disgrace Shall fall you for refusing him at sea. Being prepar'd for land. Antony. By sea, by sea ! Enobarbus. Most worthy sir, you therein throw away I04 Antony and Cleopatra [Act 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 forego The way which promises assurance, and Give up yourself merely to chance and hazard From firm security. Antony. I '11 fight at sea. Cleopatra. I have sixty sails, Caesar none better. Antony. Our overplus of shipping will we burn ; And, with the rest full-mann'd, from the head of Actium Beat the approaching Caesar. But if we fail, We then can do 't at land. — Enter a Messenger Thy business ? 50 Messenger. The news is true, my lord ; he is de- scried ; Caesar has taken Toryne. Antony. Can he be there in person ? 't is impossible ; Strange that his power should be. — Canidius, Our nineteen legions thou shalt hold by land, And our twelve thousand horse. We '11 to our ship. — Away, my Thetis ! — Enter a Soldier How now, worthy soldier? Soldier. O noble emperor, do not fight by sea ; Trust not to rotten planks. Do you misdoubt Scene VII] Antony and Cleopatra 105 This sword and these my wounds ? Let the Egyptians And the Phoenicians go a-ducking ; we 61 Have us'd to conquer, standing on the earth And fighting foot to foot. Antony. Well, well. — Away ! \_Exeunt Antony ^ Cleopatra, and Enobarbus, Soldier. By Hercules, I think I am i' the right. Canidms, 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. '"" Soldier. " -' You keep by land The legions and the horse whole, do you not? Canidius. Marcus Octavius, Marcus Justeius, Publicola, and Cselius, are for sea, 70 But we keep whole by land. This speed of Caesar's Carries beyond behef. Soldier. While he was yet in Rome, His power went out in such distractions as Beguil'd all spies. Canidius. Who 's his lieutenant, hear you? Soldier. They say, one Taurus. Canidius. Well I know the man. Enter a Messenger Messenger. The emperor calls Canidius. Canidius. With news the time's with labour, and throes forth Each minute some. \_Exeunt, io6 Antony and Cleopatra [Act ill Scene VIII. A Plain near Actium Enter C^^isar, and Taurus, with his army^ inarching Ccesar. Taurus ! Taurus. My lord! Ccesar. Strike not by land j 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. \_Exeunt. Scene IX. Another Part of the Plain Enter Antony and Enobarbus Antony. Set we our squadrons on yond side o' the hill In eye of Caesar's battle, from which place We may the number of the ships behold And so proceed accordingly. \_Exeunt. Scene X. Another Part of the Plain Canidius marcheth with his land army one way over the stage ; aiid Taurus, the lieutenant of Caesar, the other way. After their going in, is heard the noise of a sea- fight Alarum. Enter Enobarbus Enobarbus. Naught, naught, all naught ! I can be- hold no longer. The Antoniad, the Egyptian admiral, I Scene X] Antony and Cleopatra 107 With all their sixty, fly and turn the rudder ; To see 't mine eyes are blasted. Enter Scarus Scarus. Gods and goddesses, A]l the whole synod of them ! Enobarbus. What 's thy passion? Scarus. The greater cantle of the world is lost With very ignorance ; we have kiss'd away Kingdoms and provinces. Enobarbus. How appears the fight ? Scarus. On our side like the token'd pestilence, Where death is sure. Yon ribaudred nag of Egypt, — 10 Whom leprosy o'ertake ! — "i*^ tlie midst o' the fight, When vantage like a pair of twins appear'd Both as the same, or rather ours the elder, The brize upon her, like a cow in June, Hoists sails and flies. Enobarbus. That I beheld ; Mine eyes did sicken at the sight and could not Endure a further view. Scarus. 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. 20 I never saw an action of such shame ; Experience, manhood, honour, ne'er before Did violate so itself. Enobarbus. Alack, alack ! io8 Antony and Cleopatra [Act ill Enter Canidius Canidius. 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 ! Enobarbus. Ay, are you thereabouts? Why, then, good night indeed. Canidius. Toward Peloponnesus are they fled. Scarus. 'Tis easy to 't ; and there I will attend What further comes. Canidius. To Caesar will I render My legions and my horse ; six kings already Show me the way of yielding. Enobarbus. I '11 yet follow The wounded chance of Antony, though my reason Sits in the wind against me. \_Exeunt. Scene XI. Alexandria. Cleopatra's Palace Enter Antony with Attendants Antony. Hark ! the land bids me tread no more upon 't ; It is asham'd to bear me ! — Friends, come hither ; I am so lated in the world that I Have lost ray way for ever. — I have a ship Laden with gold ; take that, divide it ; fly, And make your peace with Caesar. All. Fly ! not we. Scene XI] Antony and Cleopatra 109 Antony. I have fled myself and have instructed cowards To run and show their shoulders. — P'riends, be gone ; I have myself resolv'd upon a course Which has no need of you ; be gone. 10 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. 20 I will possess you of that ship and treasure. Leave me, I pray, a Httle ; pray you now. — Nay, do so ; for indeed I have lost command. Therefore I pray you. I '11 see you by and by. \Sits down. Enter Cleopatra led by Charmian and Iras ; Eros following Eros. Nay, gentle madam, to him, comfort him. Iras. Do, most dear queen. Charmian. Do ! why, what else? Cleopatra. Let me sit down. O Juno ! Anto7iy. No, no, no, no, no. Eros. See you here, sir? 30 Antony. O fie, fie, fie ! no Antony and Cleopatra [Act iii Charmian. Madam ! Iras. Madam, O good empress ! Eros. Sir, sir, — Antony. Yes, my lord, yes ; he at Philippi kept His sword e'en like a dancer, while I struck The lean and wrinkled Cassius, and 't was 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. 40 Cleopatra. Ah, stand by ! Eros. The queen, my lord, the queen. Iras. Go to him, madam, speak to him ; He is unqualitied with very shame. Cleopatra. Well then, sustain me ; — O ! Eros. Most noble sir, arise ; the queen approaches. Her head 's declin'd, and death will seize her but Your comfort makes the rescue. Antony. I have offended reputation, A most unnoble swerving. Eros. Sir, the queen. 50 Antony. O, whither hast thou led me, Egypt? See How I convey my shame out of thine eyes By looking back what I had left behind Stroy'd in dishonour. Cleopatra. O my lord, my lord, ■ Forgive my fearful sails ! I little thought You would have follow' d. Antony. Egypt, thou knew'st too well My heart was to thy rudder tied by the strings. 11 Scene XII] Antony and Cleopatra iii 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 60 Command me. Cleopatra. O, my pardon ! Antony. 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 pleas'd, 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. Cleopatra. Pardon, pardon ! Antony. Fall not a tear, I say ; one of them rates All that is won and lost. Give me a kiss ; 70 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. Scene XII. Egypt. CcEsar's Camp Enter Cesar, Dolabella, Thyreus, with others Ccesar. Let him appear that 's come from An- tony. — Know you him? 112 Antony and Cleopatra [Act iii Dolabella. Caesar, 't is 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. Enter Euphronius, Ambassador from Antony 1 CcEsar. Approach, and speak. Euphronius. 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. Ccesar. Be 't so; declare thine office. lo Euphronius. 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. CcBsar. For Antony, I have no ears to his request. The queen 20 Of audience nor desire shall fail, so she From Egypt drive her all-disgraced friend, Or take his hfe there ; this if she perform. She shall not sue unheard. So to them both. Scene XIII] Antony and Cleopatra 1 13 Euphronius, Fortune pursue thee ! CcBsar, Bring him through the bands. — \_Exit Euphr'onius, [ To Thy7'eiis~\ To try thy eloquence, now 't is time ; dispatch. From Antony win Cleopatra ; promise, And in our name, what she requires ; add more, From thine invention, offers. Women are not In their best fortunes strong, but want will perjure 30 The ne'er-touch'd vestal. Try thy cunning, Thyreus ; Make thine own edict for thy pains, which we Will answer as a law. Thy7'eus. Caesar, I go. Ccesar. Observe how Antony becomes his flaw, And what thou think'st his very action speaks In every power that moves. Thyreus. Caesar, I shall. [^Exeunt Scene XIII. Alexandria. Cleopatra' s Palace Enter Cleopatra, Enobarbus, Charmian, and Iras C/eopatra. What shall we do, Enobarbus? Enobarbus. Think and die. Cleopatra. Is Antony or we in fault for this ? Enobarbus. 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? ANTONY — 8 114 Antony and Cleopatra [Act iii The itch of his affection should not then Have nick'd his captainship ; at such a point, When half to half the world oppos'd, he being The mered question. 'T was a shame no less lo Than was his loss, to course your flying flags And leave his navy gazing. Cleopatra. Prithee, peace. Enter Antony with Euphronius the Ambassador Antony. Is that his answer? Euphrofiius. Ay, my lord. Antony. The queen shall then have courtesy, so she Will yield us up. Euphronius. He says so. Antony. Let her know 't. — To the boy Caesar send this grizzled head, And he will fill thy wishes to the brim With principalities. Cleopatra. That head, my lord? Antony. To him again. Tell him he wears the rose 20 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 Caesar. I dare him therefore To lay his gay comparisons apart. And answer me decHn'd, sword against sword. Ourselves alone. I '11 write it ; follow me. \_Exeunt Antony and Euphronius. Scene XIII] Antony and Cleopatra 115 Enobarbus. \_Aside\ Yes, like enough, high-battled Caesar will Unstate his happiness and be stag'd to the show 30 Against a sworder ! I see men's judgments 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 Caesar will Answer his emptiness ! — Caesar, thou hast subdued His judgment too. Enter an Attendant Attendant. A messenger from Caesar. Cleopatra. 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. 40 \_Exit Attendant. Enobarbus. \_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 fallen lord Does conquer him that did his master conquer And earns a place i' the story. Enter Thyreus Cleopatra. Caesar's will? Thyreus. Hear it apart. Cleopatra. None but friends ; say boldly. Thyreus. So, haply, are they friends to Antony. ii6 Antony and Cleopatra [Act ill Enobarbus. He needs as many, sir, as Caesar has, Or needs not us. If Caesar please, our master 50 Will leap to be his friend ; for us, you know Whose he is we are, and that is Caesar's. Thy reus. So. — Thus then, thou most renown'd : Caesar entreats, Not to consider in what case thou stand'st Further than he is Caesar. Cleopatra. Go on; right royal. Thyreus. He knows that you embrace not Antony As you did love, but as you fear'd him. Cleopatra. O ! Thyreus. The scars upon your honour, therefore, he Does pity, as constrained blemishes, Not as deserv'd. Cleopatra. He is a god and knows What is most right ; mine honour was not yielded, But conquer'd merely. Enobarbus. \_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. \_Exit. Thyreus. Shall I say to Caesar What you require of him ? for he partly begs To be desir'd 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 70 Scene XIII] Antony and Cleopatra 117 And put yourself under his shroud, The universal landlord. Cleopatra. What 's your name ? Thyreus. My name is Thyreus. Cleopatra. Most kind messenger, Say to great Csesar 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. Thyreus. 'T is your noblest course. Wisdom and fortune combating together, If that the former dare but what it can, 80 No chance may shake it. Give me grace to lay My duty on your hand. Cleopatra. Your Caesar's father oft, When he hath mus'd of taking kingdoms in, Bestow'd his Hps on that unworthy place, As it rain'd kisses. Re-enter Antony and Enobarbus Antony. Favours, by Jove that thunders ! — What art thou, fellow? Thyreus. One that but performs The bidding of the fullest man, and worthiest To have command obey'd. Enobarbics. \_Aside~\ You will be whipp'd. Antony. Approach, there ! — Ah, you kite ! — Now, gods and devils ! 1 1 8 Antony and Cleopatra [Act III Authority melts from me ; of late, when I cried ' Ho ! ' 9c Like boys unto a muss, kings would start forth And cry ' Your will ? ' Have you no ears ? I am Antony yet. — Enter Attendants Take hence this Jack, and whip him. Enobarbus. \_Aside'\ 'T is better playing with a lion's whelp Than with an old one dying. Antony. Moon and stars ! Whip him. — Were 't twenty of the greatest tributaries That do acknowledge Caesar, 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 100 And whine aloud for mercy. Take him hence. Thyreus. Mark Antony ! Antony. Tug him away ; being whipp'd. Bring him again ; the Jack of Csesar'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 abus'd By one that looks on feeders? Cleopatra. Good my lord, — Antony. You have been a boggier ever ; no II Scene XIII] Antony and Cleopatra 119 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 judgments, make us Adore our errors, laugh at 's while we strut To our confusion. Cleopatra. O, is 't come to this ? Afttony. I found you as a morsel cold upon Dead Caesar'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, 120 Though you can guess what temperance should be, You know not what it is. Cleopatra. Wherefore is this ? Antony. To let a fellow that will take rewards And say '■ God quit you ! ' be familiar with My playfellow, your hand, this kingly seal And pHghter 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 130 For being yare about him. — Re-enter Attendants with Thyreus Is he whipp'd? I Attendant. Soundly, my lord. Antony. Cried he? and begg'd a' pardon? I Attendant. He did ask favour. I20 Antony and Cleopatra [Act iii Antony. If that thy father live, let him repent Thou wast not made his daughter ; and be thou sorry To follow Caesar 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 Caesar, Tell him thy entertainment ; look thou say 140 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 't is 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 mishke My speech and what is done, tell him he has Hipparchus, my enfranchis'd bondman, whom He may at pleasure whip, or hang, or torture, 150 As he shall like, to quit me. Urge it thou ; Hence with thy stripes, begone ! \_Exit Thyreus. Cleopatra. Have you done yet? Antony. Alack, our terrene moon Is now eclips'd, and it portends alone The fall of Antony ! Cleopatra. I must stay his time. Antony. To flatter Caesar, would you mingle eyes With one that ties his points? Cleopatra. Not know me yet? Antony. Cold-hearted toward me? Cleopatra. Ah, dear, if I be so, Scene xiiij Antony and Cleopatra 121 From my cold heart let heaven engender hail, And poison it in the source, and the first stone 160 Drop in my neck ; as it determines, so Dissolve my life ! The next Csesarion smite ! Till by degrees the memory of my womb, 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 ! Antony. I am satisfied. Caesar sits down in Alexandria, where I will oppose his fate. Our force by land Hath nobly held ; our sever 'd navy too 170 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 Hps, I will appear in blood; I and my sword wiU earn our chronicle. There 's hope in 't yet. Cleopatra. That 's my brave lord ! Antony. I will be treble-sinew'd, hearted, breath'd. And fight maliciously ; for when mine hours Were nice and lucky, men did ransom lives 180 Of me for jests, but now I '11 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. Cleopatra. It is my birthday ; 122 Antony and Cleopatra [Act iii I had thought to have held it poor, but, since ray lord Is Antony again, I will be Cleopatra. Antony. We will yet do well. Cleopatra. Call all his noble captains to my lord. Antony. Do so, we '11 speak to them ; and to-night I '11 force 190 The wine peep through their scars. — Come on, my queen ; There 's sap in 't yet. The next time I do fight I '11 make Death love me, for I will contend Even with his pestilent scythe. \_Exeunt all but Enobarbus. Enobarbus. Now he '11 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, 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 200 Some way to leave him. \_Exit. 1 Old Egyptian Palace ACT IV Scene I. Before Alexandria. Ccesar's Camp Enter C^sar, Agrippa, and M^cenas, with his Army ; C^SAR reading a letter Ccesar. 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, Csesar to Antony. Let the old ruffian know I have many other ways to die, meantime Laugh at his challenge. McBcenas. Caesar 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. 123 124 Antony and Cleopatra [Act IV Ccesar. Let our best heads . lo Know that to-morrow the last of many battles We mean to fight. Within our files there are, Of those that serv'd 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 Antony, He will not fight with me, Domitius. Enobarbus. No. Antony. Why should he not ? Enobarbus. He thinks, being twenty times of better fortune. He is twenty men to one. Antony. To-morrow, soldier, By sea and land I '11 fight ; or I will live. Or bathe my dying honour in the blood Shall make it hve again. Woo't thou fight well ? Enobarbus. I '11 strike, and cry ' Take all.' Antony. Well said ; come on. ■ — Call forth my household servants ; let 's to-night Be bounteous at our meal. — Enter three or four Servitors Give me thy hand, lo Thou hast been rightly honest ; — so hast thou ; — Scene IIJ Antony and Cleopatra 125 Thou, — and thou, — and thou ; — you have serv'd me well, And kings have been your fellows. Cleopatra. \^Aside to Enobarbtts~\ What means this? Enobarbus. \Aside to Ckopatra~\ 'T is one of those odd tricks which sorrow shoots Out of the mind. Antony. 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 ! Antony. Well, my good fellows, wait on me to- night ; 20 Scant not my cups, and make as much of me As when my empire was your fellow too And suffer'd my command. Cleopatra. \_Aside to Enobarbus'] What does he mean ? Enobarbus. [Aside to Cleopatra] To make his followers weep. Antony. Tend me to-night; May be it is the period of your duty. Haply you not shall see me more, or if, A mangled shadow ; perchance to-morrow You '11 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 30 Married to your good service, stay till death. 126 Antony and Cleopatra [Act IV Tend me to-night two hours, I ask no more, And the gods yield you for 't ! Enobarbus. What mean you, sir, Look, they weep j For shame, To give them this discomfort? And I, an ass, am onion-eyed. Transform us not to women. Antony. 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 40 To burn this night with torches. Know, my hearts I hope well of to-morrow, and will lead you Where rather I '11 expect victorious hfe Than death and honour. Let 's to supper, come, And drown consideration. \_Exeunt. Scene III. The Satne. Before the Palace Enter two Soldiers to their guard 1 Soldier. Brother, good night ; to-morrow is the day. 2 Soldier. It will determine one way ; fare you well. Heard you of nothing strange about the streets? 1 Soldier. Nothing. What news? 2 Soldier. Belike 't is but a rumour. you. I Soldier. Good night to Well, sir, good night. Enter two other Soldiers 2 Soldier. Soldiers, have careful watch. Scene III] ^ Antony and Cleopatra 127 3 Soldier. And you. Good night, good night. \_They place themselves in every corner of the stage, 4 Soldier. Here we ; and if to-morrow Our navy thrive, I have an absolute hope 10 Our landmen will stand up. 3 Soldier. 'T is a brave army And full of purpose. \_Music of the hautboys as under the stage. 4 Soldier. Peace ! what noise ? 1 Soldier. List, list ! 2 Soldier. Hark ! I Soldier. Music i' the air. 3 Soldier. Under the earth. 4 Soldier. It signs well, does it not? 3 Soldier. No. 1 Soldier. Peace, I say ! What should this mean? 2 Soldier. 'T is the god Hercules, whom Antony lov'd. Now leaves him. 1 Soldier. Walk ; let 's see if other watchmen Do hear what we do. \They advance to a7iother post. 2 Soldier. How now, masters ! AIL \_Speaking together'] How now ! How now ! do you hear this ? I Soldier. Ay ; is 't not strange ? 3 Soldier. Do you hear, masters? do you hear? 20 I Soldier. Follow the noise so far as we have quarter ; Let 's see how it will give off. All, Content. 'T is strange. \_Exeunt. 128 Antony and Cleopatra [Act IV Scene IV. The Same. A Room in the Palace Enter Antony and Cleopatra, Charmian, and others attending Antony, Eros ! mine armour, Eros ! Cleopatra. Sleep a little. Antony. No, my chuck. — Eros, come ; mine armour, Eros ! Enter Eros ivith armour Come, good fellow, put mine iron on. — If fortune be not ours to-day, it is Because we brave her. — - Come. Cleopatra. Nay, I '11 help too. What 's this for ? Antony. Ah, let be, let be ! thou art The armourer of my heart. False, false ; this, this. Cleopatra. Sooth, la, I '11 help ; thus it must be. Antony. Well, well ; We shall thrive now. — Seest thou, my good fellow ? Go put on thy defences. Eros. Briefly, sir. lo Cleopatra, Is not this buckled well? Antony. Rarely, rarely ; He that unbuckles this till we do please To daft' 't for our repose shall hear a storm. — Thou fumblest, Eros, and my queen 's a squire More tight at this than thou ; dispatch — O love, Scene IV] Antony and Cleopatra 129 That thou couldst see my wars to-day, and knew'st The royal occupation ! thou shouldst see A workman in 't. — 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 20 And go to 't with delight. Soldier. A thousand, sir, Early though 't be, have on their riveted trim And at the port expect you. [_Shout. Trumpets flourisli. Enter Captains and Soldiers Captain. The morn is fair. — Good morrow, general. All. Good morrow, general. Antotiy. 'T is 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. Rebukable \_Kisses her. And worthy shameful check it were to stand 31 On more mechanic compHment ; I '11 leave thee Now, Hke a man of steel. — You that will fight, Follow me close; I '11 bring you to 't. — Adieu. \_Exeiint Antony, Ei'os, Captains, and Soldiers. Charmian. Please you, retire to your chamber. Cleopatra. Lead me. He goes forth gallantly. That he and Caesar might ANTONY — 9 ijo Antony and Cleopatra [Act IV Determine this great war in single fight ! Then, Antony, — but now — Well, on. [_Exeunt.\ Scene V. Alexandria, Antonfs Camp Trumpets sound. Enter Antony and Eros ; a Soldier meeting them Soldier. The gods make this a happy day to Antony ! Antony. Would thou and those thy scars had once prevail' d To make me fight at land ! Soldier. 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. Antony. Who 's gone this morning? Soldier. Who ! One ever near thee ; call for Enobarbus, He shall not hear thee, or from Csesar's camp Say ' I am none of thine.' Antony. What say'st thou? Soldier. Sir, He is with Caesar. Eros. Sir, his chests and treasure lo He has not with him. Antony. Is he gone ? Soldier. Most certain. Antony. Go, Eros, send his treasure after ; do it. Scene VI] Antony and Cleopatra 131 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 ! — Dispatch. — Enobarbus ! [^Exeunt. Scene VI. Alexandria. CcEsar's Camp Flourish. Enter C^sar, Agrippa, ivith Enobarbus, and others CcEsar, Go forth, Agrippa, and begin the fight. Our will is Antony be took alive ; Make it so known. Agrippa. Csesar, I shall. \_Exit. CcBsar. 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 Messenger. Antony Is come into the field. CcEsar. Go charge Agrippa Plant those that have revolted in the van. That Antony may seem to spend his fury 10 Upon himself. \_Exeunt all but Enobarbus. Enobarbus. Alexas did revolt and went to Jewry On affairs of Antony, there did persuade Great Herod to incline himself to Caesar, 132 Antony and Cleopatra [Act IV And leave his master Antony ; for this pains Caesar 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 CcBsar^s Soldier. Enobarbus, Antony 20 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. Ejiobarbus. I give it you. Soldier. Mock not, Enobarbus ; I tell you true. Best you safd the bringer Out of the host ; I must attend mine office. Or would have done 't myself. Your emperor Continues still a Jove. \^Exif. Enobarbus. I am alone the villain of the earth, 30 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. \_Exit. Scene VII] Antony and Cleopatra 133 Scene VII. Field of Battle between the Camps Alarum. Drums and trumpets. Enter Agrippa and others Agrippa. Retire, we have engag'd ourselves too far. Caesar himself has work, and our oppression Exceeds what we expected. \_Exeunt. Alarum. Enter Antony, and Scarus wounded Scarus. O my brave emperor, this is fought indeed ! Had we done so at first, we had droven them home With clouts about their heads. A?itoiiy. Thou bleed'st apace. Sca?'us. I had a wound here that was like a T, But now 't is made an H. Antony. They do retire. Scarus. We '11 beat 'em into bench-holes ; I have yet Room for six scotches more. 10 Enter Eros Eros. They are beaten, sir, and our advantage serves For a fair victory. Scarus. Let us score their backs, And snatch 'em up, as we take hares, behind ; 'T is sport to maul a runner. Antojiy. I will reward thee Once for thy sprightly comfort and tenfold For thy good valour. Come thee on. Scarus. I '11 halt after. \_Exeunt 134 Antony and Cleopatra [Act IV Scene VIII. Under the Walls of Alexandria Alarum. Enter Antony, in a march; Scarus, with others Antony. 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 '11 spill the blood That has to-day escap'd. I thank you all, For doughty-handed are you and have fought Not as you serv'd 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 lo The honour'd gashes whole. — \_To Seams'] Give me thy hand. Enter Cleopatra, attended To this great fairy I '11 commend thy acts. Make her thanks bless thee. — \^To Cleopatra] O thou day o' the world, "" ~ Chain mine arm'd neck ; leap thou, attire and all. Through proof of harness to my heart and there Ride on the pants triumphing ! Cleopatra. Lord of lords ! O infinite virtue, com'st thou smiling from The world's great snare uncaught? Scene IX] Antony and Cleopatra 135 Antony. ^ My nightingale, We have beat them to their beds. What, girl ! though grey Do something mingle with our younger brown, yet ha' we A brain that nourishes our nerves and can 21 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. Cleopatra. I '11 give thee, friend, An armour all of gold ; it was a king's. Antony. He has deserv'd it, were it carbuncled Like holy Phoebus' car. — Give me thy hand. Through Alexandria make a jolly march ; 30 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. Scene IX. Ccesar's Camp Sentinels at their post I Soldier. If we be not reliev'd within this hour. We must return to the court of guard. The night 136 Antony and Cleopatra [Act iv Is shiny, and they say we shall embattle By the second hour i' the morn. 2 Soldier. This last day was A shrewd one to 's. Enter Enobarbus Enobarbus. O, bear me witness, night, — 3 Soldier. What man is this? 2 Soldier. Stand close, and list him. Enobarbus. Be witness to me, O thou blessed moon, When men revolted shall upon record Bear hateful memory, poor Enobarbus did Before thy face repent ! 1 Soldier, Enobarbus ! 3 Soldier. Peace ! Hark further. Enobarbus. 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 ; 20 But let the world rank me in register A master-leaver and a fugitive. O Antony ! O Antony ! \^Dies. 2 Soldier. Let 's speak To him. Scene xj Antony and Cleopatra 137 I Soldier. Let 's hear him, for the things he speaks May concern C?esar. 3 Soldier. Let 's do so. But he sleeps. 1 Soldier. Swoons rather, for so bad a prayer as his Was never yet for sleep. 2 Soldier. Go we to him. 3 Soldier. Awake, sir, awake ! speak to us. 2 Soldier. Hear you, sir ? I Soldier. The hand of death hath raught him. \_Drujns afar off.'\ Hark ! the drums Demurely wake the sleepers. Let us bear him 30 To the court of guard ; he is of note. Our hour Is fully out. 3 Soldier. Come on, then ; he may recover yet. \Exeu7it with the body. Scene X. Between the two Cajjips Enter Antony and Scarus, with their Army Antony. Their preparation is to-day by sea; We please them not by land. Scarus. For both, my lord. Antony. I would they 'd fight i' the fire or i' the air ; We 'd 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, now, Where their appointment we may best discover, And look on their endeavour. \_Exeunt, 138 Antony and Cleopatra [Act iv Scene XI. Another Part of the Same Enter C^sar, and his Army CcBsar, But being charg'd, 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. Scene XII. Another Part of the Same I Enter Antony and Scarus Antony. Yet they are not join'd. Where yond pine doeSi stand, I shall discover all ; I '11 bring thee word Straight hoW 't is like to go. \_Exit. Scarus.] 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 Antony. All is lost ; This foul Egyptian hath betrayed me. 10 My fleet hath yielded to the foe ; and yonder They cast their caps up and carouse together Scene XII] Antony and Cleopatra 139 Like friends long lost. — Triple-turn'd whore ! 't is thou Hast sold me to this novice, and my heart Makes only wars on thee. — Bid them all fly; For when I am reveng'd upon my charm, I have done all. — Bid them all fly ; begone. — \_Exil Scarus. 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 20 That spaniell'd me at heels, to whom I gave Their wishes, do discandy, melt their sweets On blossoming Caesar ; 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 bosom was my crownet, my chief end, — Like a right gypsy,' hath, at fast and loose, Beguil'd me to the very heart of loss. — What, Eros, Eros ! — Enter Cleopatra Ah, thou spell ! Avaunt ! 30 Cleopatra. Why is my lord enrag'd against his love ? Antony. Vanish, or I shall give thee thy deserving And blemish Caesar's triumph. Let him take thee And hoist thee up to the shouting plebeians. Follow his chariot, like the greatest spot Of all thy sex; most monster-Hke, be shown For poor'st diminutives, for dolts ; and let 14O Antony and Cleopatra [Act IV Patient Octavia plough thy visage up With her prepared nails. \_Exit Cleopatra.'] 'T is well ii thou 'rt gone, * If it be well to live ; but better 't were 40 Thou fell'st into my fury, for one death Might have prevented many. — Eros, ho ! — The shirt of Nessus is upon me ; teach me, Alcides, thou mine ancestor, thy rage ; Let me lodge Lichas on the horns o' the moon. And with those hands that grasp'd the heaviest club Subdue my worthiest self. The witch shall die ! To the young Roman boy she hath sold me and I fall Under this plot ; she dies for 't. — Eros, ho ! \_Exif. ' Scene XIII. Alexandria. Cleopatra'' s Palace Enter Cleopatra, Charmian, Iras, and Mardian Cleopatra. Help me, my women ! -O, he is more mad Than Telamon for his shield ; the boar of Thessaly Was never so emboss'd. Charmian. To the monument ! There lock yourself and send him word you are dead. The soul and body rive not more in parting Than greatness going off. Cleopatra. To the monument ! — Mardian, go tell him I have slain myself; Say that the last I spoke was ' Antony,' And word it, prithee, piteously. Hence, Mardian, And bring me how he takes my death. — To the monu- ment ! \^Exeunt. Scene xivj Antony and Cleopatra 141 Scene XIV. The Same. Another Room Enter Antony and Eros Antony. Eros, thou yet behold'st me ? Eros. Ay, noble lord. Antony. Sometime we see a cloud that 's dragonish, A vapour sometime like a bear or lion, A tower'd citadel, a pendent rock, A forked mountain, or blue promontory With trees upon 't, that nod unto the world And mock our eyes with air. Thou hast seen these signs ; They are black vesper's pageants. Eros. Ay, my lord. Antony. That which is now a horse, even with a thought The rack dislimns and makes it indistinct 10 As water is in water. Eros. It does, my lord. Antony. My good knave Eros, now thy captain is Even such a body ; here I am Antony, Yet cannot hold this visible shape, my knave. I made these wars for Egypt and the queen, — Whose heart I thought I had, for she had mine, Which whilst it was mine had annex'd unto 't A million moe, now lost, — she, Eros, has Pack'd cards with Caesar and false play'd my glory Unto an enemy's triumph. — 20 Nay, weep not, gentle Eros; there is left us Ourselves to end ourselves. — 142 Antony and Cleopatra [Act iv Enter Mardian O, thy vile lady ! She has robb'd me of my sword. Mardian. No, Antony; My mistress lov'd thee and her fortunes mingled With thine entirely. Antony. Hence, saucy eunuch ; peace ! She hath betray'd me and shall die the death. Mardian. Death of one person can be paid but once, And that she has discharg'd. What thou wouldst do Is done unto thy hand ; the last she spake Was ' Antony ! most noble Antony ! ' 30 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. Antony. Dead, then? Mardian. Dead. Antony. Unarm, Eros ; the long day's task is done And we must sleep. — \To Mardian'] That thou depart'st hence safe Does pay thy labour richly ; go. — \_Exit Mardian.] 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, 40 Crack thy frail case ! — Apace, Eros, apace. — No more a soldier. — Bruised pieces, go ; Scene XIV] Antony and Cleopatra 143 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 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 ! 50 Where souls do couch on flowers we '11 hand in hand, And with our sprightly port make the ghosts gaze ; Dido and her ^^neas shall want troops And all the haunt be ours. — Come, Eros, Eros ! Re-enter Eros Eros. What would my lord? Antony. Since Cleopatra died I have liv'd 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 60 Than she which by her death our Caesar 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. 144 Antony and Cleopatra [Act IV Thou strik'st not me, 't is Caesar thou defeat'st. Put colour in thy cheek. Eros. The gods withhold me ! Shall I do that which all the Parthian darts, 7° Though enemy, lost aim and could not? Atitony. 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 Caesar, drawn before him, branded His baseness that ensued ? Eros. I would not see 't. Antony. Come, then ; for with a wound I must be cur'd. Draw that thy honest sword which thou hast worn Most useful for thy country. Eros. O, sir, pardon me ! 80 Antony. When I did make thee free, swor'st thou not ' then To do this when I bade thee ? Do it at once, Or thy precedent services are all But accidents unpurpos'd. Draw, and come. Eros. Turn from me, then, that noble countenance Wherein the worship of the whole world lies. Antony. Lo thee ! \_Turning from him. Eros. My sword is drawn. Ajttony. Then let it do at once The thing why thou hast drawn it. Eros, My dear master, Scene XIV] Antony and Cleopatra 145 My captain, and my emperor, let me say, 90 Before I strike this bloody stroke, farewell. Antony. 'T is said, man ; and farewell. Ei'os. Farewell, great chief. Shall I strike now? Antony. Now, Eros. Eros. Why, there then! — Thus I do escape the sorrow Of Antony's death. \_Kills himself, Antony. 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 A bridegroom in my death and run into 't 100 As to a lover's bed. Come, then; and, Eros, Thy master dies thy scholar ; to do thus \_Faning on his sword. I learn'd of thee. How ! not dead? not dead? — The guard, ho ! — O, dispatch me ! Enter Dercetas and Guard 1 Guard. What 's the noise? Antony. I have done my work ill, friends ; O, make an end Of what I have begun ! 2 Guard. The star is fallen. I Guard. And time is at his period. All. Alas, and woe ! Antony. Let him that loves me strike me dead. ANTONY — 10 146 Antony and Cleopatra [Act IV 1 Guard. Not I. 2 Guard. Nor I. 109 3 Guard. Nor any one. \_Exeunt Guard. Dercetas. Thy death and fortunes bid thy followers fly. This sword but shown to Caesar, with this tidings, Shall enter me with him. Enter Diomedes Diomedes. Where 's Antony? Dercetas. There, Diomed, there. Diomedes. Lives he? Wilt thou not answer, man ? \_Exit Dercetas. Antony. Art thou there, Diomed? Draw thy sword and give me Sufficing strokes for death. Diomedes. Most absolute lord, My mistress Cleopatra sent me to thee. Antony. When did she send thee ? Diomedes. Now, my lord. Antony. Where is she? Diomedes. Lock'd in her monument. She had a prophesying fear 120 Of what hath come to pass ; for when she saw — Which never shall be found — you did suspect She had dispos'd with Caesar, and that your rage Would not be purg'd, she sent you word she was dead. But, fearing since how it might work, hath sent Scene XV] Antony and Cleopatra 147 Me to proclaim the truth, — and I am come, I dread, too late. Afitofiy. Too late, good Diomed. Call my guard, I prithee. Dio77iedes. What, ho, the emperor's guard ! The guard, what, ho ! Come, your lord calls ! 130 Enter four or five of the Guard of Antony Antony. Bear me, good friends, where Cleopatra bides ; 'T is the last service that I shall command you. I Guard. Woe, woe are we, sir, you may not live to wear All your true followers out. All. Most heavy day ! Antony. 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 now, good friends, 139 And have my thanks for all. \_Exeunt, hearing Antony. Scene XV. The Same. A Monument Enter Cleopatra, and her maids aloft, with Charmian and Iras Cleopatra. O Charmian, I will never go from hence. Charmian. Be comforted, dear madam. 148 Antony and Cleopatra [Act iv Cleopatra. 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. — Enter, below, Diomedes How, now ! is he dead ! Diomedes. 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 Cleopatra, O sun. Burn the great sphere thou mov'st in ! darkling stand 10 The varying shore o' the world ! — O Antony, Antony, Antony ! — Help, Charmian, — help, Iras, help ; — Help, friends below ; let 's draw him hither. Antony. Peace ! Not Caesar's valour hath o'erthrown Antony, But Antony's hath triumph'd on itself. Cleopatra. So it should be, that none but Antony Should conquer Antony ; but woe 't is so ! Antony. I am dying, Egypt, dying ; only I here importune death awhile until Of many thousand kisses the poor last 20 I lay upon thy lips. Cleopatra. I dare not, dear, — Scene XV] Antony and Cleopatra 149 Dear my lord, pardon, — I dare not, Lest I be taken : not the imperious show Of the full-fortun'd Caesar 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 rae, my women, — we must draw thee up. — 30 Assist, good friends. Antony. O, quick, or I am gone. Cleopatra. 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 liv'd ; Quicken with kissing ; had my lips that power. Thus would I wear them out. AIL A heavy sight ! 40 Antony. I am dying, Egypt, dying. — Give me some wine, and let me speak a little. Cleopati^a. No, let me speak ; and let me rail so high That the false huswife Fortune break her wheel, Provok'd by my offence. 150 Antony and Cleopatra [Act IV Antony. One word, sweet queen ; Of Caesar seek your honour with your safety. — O ! Cleopatra, They do not go together. Antony. Gentle, hear me : None about Caesar trust but Proculeius. Cleopatra. My resolution and my hands I '11 trust, None about Caesar. 50 Antony. 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 liv'd 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. Cleopatra. Noblest of men, woo't die ? Hast thou no care of me ? shall I abide 60 In this dull world which in thy absence is No better than a sty? — O . see, myjvom en, [^ Antony dies. The crown o' the earth doth melt. — My lord ! — O, wither'd is the garland of the war, The soldier's pole is fallen ; young boys and girls Are level now with men ; the odds is gone. And there is nothing left remarkable Beneath the visiting moon. Charniian. O, quietness, lady ! Iras. She is dead too, our sovereign. Charmian. Lady ! Scene XV] Antony and Cleopatra 151 Iras. Madam ! Charmian. O madam, madam, madam ! Iras. Royal Egypt, 70 Empress ! Charmian. Peace, peace, Iras ! Cleopatra. No more but e'en a woman, and com- manded 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 stolen our jewel. All 's but naught; Patience is sottish, and impatience does Become a dog that's mad. Then is it sin 80 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 'U 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 90 But resolution and the briefest end. \_Exeunt; those above bearing off Antonyms body. ^dM^ Interior of Monument ACT V Scene I. Alexandria. Ccesar's Camp Enter C^sar, Agrippa, Dolabella, MiECENAS, Gallus, Proculeius, and others, his council of war C(Bsar. Go to him, Dolabella, bid him yield ; Being so frustrate, tell him he mocks The pauses that he makes. Dolabella. Caesar, I shall. \^Exit. Enter Dercetas, with the sword of Antony Ccesar. Wherefore is that? and what art thou that dar'st Appear thus to us? Dercetas. I am call'd Dercetas ; Mark Antony I serv'd, who best was worthy 152 Scene ij Antony and Cleopatra 153 Best to be serv'd ; whilst he stood up and spoke, He was my master, and I wore my Hfe To spend upon his haters. If thou please To take me to thee, as I was to him 10 I '11 be to Caesar; if thou pleasest not, I yield thee up my life. Ccasar. What is 't thou say'st? Dercetas. I say, O Caesar, Antony is dead. Ccesa?'. 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. Dercetas. He is dead, Caesar ; Not by a public minister of justice, 20 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, Sphtted the heart. This is his sword, I robb'd his wound of it ; behold it stain 'd With his most noble blood. Cmsa7\ Look you sad, friends? The gods rebuke me but it is tidings To wash the eyes of kings. Agrippa. And strange it is That nature must compel us to lament Our most persisted deeds. 154 Antony and Cleopatra [Act V Mcecenas. His taints and honours 30 Wag'd equal with him. Agrippa. A rarer spirit never Did steer humanity ; but you, gods, will give us Some faults to make us men. Caesar is touch'd. Macenas. When such a spacious mirror 's set before him. He needs must see himself. Ccesar. 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, 40 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 ; 50 We '11 hear him what he says. — Whence are you? Egyptian. A poor Egyptian yet. — The queen my mistress, Scene I] Antony and Cleopatra 155 Confin'd in all she has, her monument, Of thy intents desires instruction, That she preparedly may frame herself To the way she 's forc'd to. CcBsar. 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 Csesar cannot live To be ungentle. Egyptian. So the gods preserve thee ! \^Exit. Ccesar. Come hither, Proculeius. Go and say, 61 We purpose her no shame. Give her what com- forts 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. Proculeius. Caesar, I shall. \^Exit. Ccesar. Gallus, go you along. — \_Exit Gallus.'\ Where 's Dolabella, To second Proculeius? All Dolabella! 70 Ccesar. 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 156 Antony and Cleopatra [Act v In all my writings. Go with me and see What I can show in this. \_Exeunt. Scene II. Alexandria. A Room in the Monument Enter Cleopatra, Charmian, and Iras Cleopatra. My desolation does begin to make A better life. 'T is paltry to be Csesar ; Not being Fortune, he 's but Fortune's knave, A minister of her will ; and it is great To do that thing that ends all other deeds, Which shackles accidents and bolts up change. Which sleeps, and never palates more the dung. The beggar's nurse and Caesar's. Enter, to the gates of the monument, Proculeius, Gallus, and Soldiers Proculeius. Caesar sends greeting to the Queen of Egypt, And bids thee study on what fair demands 10 Thou mean' St to have him grant thee. Cleopati^a. W^hat 's thy name? Proculeius. My name is Proculeius. Cleopatra. ' Antony Did tell me of you, bade me trust you ; but I do not greatly care to be deceiv'd That have no use for trusting. If your master Would have a queen his beggar, you must tell him Scene II] Antony and Cleopatra 157 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 20 Will kneel to him v^^ith thanks. Proculeius. Be of good cheer ; You 're fallen 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. Cleopatra. Pray you, tell him I am his fortune's vassal, and I send him The greatness he has got. I hourly learn 30 A doctrine of obedience and would gladly Look him i' the face. Proculeius. This I '11 report, dear lady. Have comfort, for I know your plight is pitied Of him that caus'd it. Gallus. You see how easily she may be surpris'd. — [Here Proculeius and two of the Guard as- cend the 77ionument by a ladder placed against a windoiv, and, having de- scended, come behind Cleopatra. Some of the Guard unbar and open the gates. \^To Proculeius'] Guard her till Caesar come. [Exit. Iras. Royal queen ! 158 Antony and Cleopatra [Act V Charniian. O Cleopatra ! thou art taken, queen. Cleopatra. Quick, quick, good hands. \_Drawing a dagger. Proculeius. Hold, worthy lady, hold ! \_Seizes and disarms her. Do not yourself such wrong, who are in this 40 Reliev'd, but not betray'd. Cleopatra. What, of death too, That rids our dogs of languish? Proculeius. Cleopatra, 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. Cleopatra. Where art thou. Death? Come hither, come ! come, come, and take a queen Worth many babes and beggars ! Proculeius. O, temperance, lady ! Cleopatra. Sir, I will eat no meat, I '11 not drink, sir ; If idle talk will once be necessary, 50 I '11 not sleep neither. This mortal house I '11 ruin, Do Caesar what he can. Know, sir, that I Will not wait pinion' d at your master's court. Nor once be chastis'd 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 Scene II] Antony and Cleopatra 159 Blow me into abhorring ! rather make 60 My country's high pyramides my gibbet And hang me up in chains ! Proculeius. You do extend These thoughts of horror further than you shall Find cause in Caesar. Enter Dolabella Dolabella, Proculeius, What thou hast done thy master Caesar knows, And he hath sent for thee ; for the queen, I '11 take her to my guard. Proculeius. So, Dolabella, It shall content me best ; be gende to her. — \To Ckopatra.~\ To Caesar I will speak what you shall please, If you '11 employ me to him. Cleopatra. Say, I would die. 70 \_Exeunt Proculeius and Soldiers. Dolabella. Most noble empress, you have heard of me ? Cleopatra. I cannot tell! **■— Dolabella. Assuredly you know me. Cleopatra. No matter, sir, what I have heard or known. You laugh when boys or women tell their dreams ; Is 't not your trick? Dolabella. I understand not, madam. Cleopatra. I dream'd there was an Emperor Antony. — 0, such another sleep, that I might see But such another man ! Dolabella. If it might please ye, — i6o Antony and Cleopatra [Act v Cleopatra. His face was as the heavens ; and therein stuck A sun and moon, which kept their course and hghted 80 The little O, the earth. Dolabella. Most sovereign creature, — Cleopatra. 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 ratthng thunder. For his bounty, There was no winter in 't ; an autumn 't was That grew the more by reaping ; his delights Were dolphin-like ; they show'd his back above The element they liv'd in ; in his livery 90 Walk'd crowns and crownets ; realms and islands were As plates .dropp'd from his pocket. Dolabella. Cleopatra ! Cleopatra. Think you there was, or might be, such a man As this I dream'd of? Dolabella. Gentle madam, no. Cleopatra. 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. Dolabella. Hear me, good madam. 100 Your loss is as yourself, great ; and you bear it As answering to the weight. Would I might never \ Scene II] Antony and Cleopatra i6i O'ertake pursued success but I do feel, By the rebound of yours, a grief that smites My very heart at root. Cleopatra. I thank you, sir. Know you what Caesar means to do with me ? Dolabella. I am loath to tell you what I would you knew. Cleopatra. Nay, pray you, sir, — Dolabella. Though he be honourable, — Cleopatra. He '11 lead me, then, in triumph? Dolabella. Madam, he will ; I know 't. no [^Flourish, and shout within, ^Make way there : Caesar !' Enter Caesar, Callus, Proculeius, M/ecenas, Seleucus, and others of his Train Ccesar. Which is the Queen of Egypt ? Dolabella. It is the Emperor, madam. \_Cleopatra kneels. Ccesar. Arise, you shall not kneel. I pray you rise ; rise, Egypt. Cleopatra. Sir, the gods Will have it thus ; my master and my lord I must obey. Ccesar. 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. Cleopatra. Sole sir o' the world, 120 I cannot project mine own cause so well ANTONY — II 1 62 Antony and Cleopatra [Act V To make it clear, but do confess I have Been laden with like frailties which before Have often sham'd our sex. CcBsar. Cleopatra, know, 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 130 Of my good purposes, and put your children To that destruction which I '11 guard them from, If thereon you rely. I '11 take my leave. Cleopatra. And may, through all the world : 't is yours, and we. Your scutcheons and your signs of conquest, shall Hang in what place you please. Here, my good lord. Ccesar. You shall advise me in all for Cleopatra. Cleopatra. This is the brief of money, plate, and jewels, I am possess'd of; 'tis exactly valued. Not petty things admitted. — Where 's Seleucus? 140 Seleucus. Here, madam. Cleopatra. This is my treasurer ; let him speak, my lord, Upon his peril, that I have reserv'd To myself nothing. — Speak the truth, Seleucus. Seleucus. Madam, I had rather seal my lips than, to my peril. Speak that which is not. r Scene II] Antony and Cleopatra 163 Cleopatra. What have I kept back? Seleucus. Enough to purchase what you have made known. CcEsar. Nay, blush not, Cleopatra; I approve Your wisdom in the deed. Cleopatra, See, Caesar ! O, behold, 150 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 hir'd ! — What, goest thou back? thou shalt Go back, I warrant thee ; but I '11 catch thine eyes. Though they had wings. — Slave, soulless villain, dog! O rarely base ! CcRsar. Good queen, let us entreat you. Cleopatra. O Caesar, what a wounding shame is this. That thou, vouchsafing here to visit me, 160 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 Caesar, That I some lady trifles have reserv'd, 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 170 With one that I have bred ? The gods ! it smites me 164 Antony and Cleopatra [Act v 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 a man, Thou wouldst have mercy on me. Ccesar, Forbear, Seleucus. \_Exit Seleucus, Cleopatra. Be it known, that we, the greatest, aie misthought For things that others do ; and when we fall We answer others' merits in our name. Are therefore to be pitied. Ccesar. Cleopatra, Not what you have reserv'd, nor what acknowledg'd, 180 Put we i' the roll of conquest ; still be 't yours. Bestow it at your pleasure, and believe Caesar '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. Cleopatra. My master, and my lord ! Ccesar. Not so. Adieu. \_Flourish. Exeunt Ccesar and his Train. Cleopatra. He words me, girls, he words me, that I should not 191 I Scene II] Antony and Cleopatra 165 Be noble to myself; — but, hark thee, Charmian. [ Whispers Charmian. Iras. Finish, good lady ; the bright day is done And we are for the dark. Cleopatra. Hie thee again. I have spoke already, and it is provided ; Go put it to the haste. Charmian. Madam, I will. Re-enter Dolabella Dolabella. Where is the queen? Charmia7z. Behold, sir. \_Exit. Cleopatra. Dolabella ! Dolabella. Madam, as thereto sworn by your command. Which my love makes religion to obey, I tell you this : Caesar through Syria 200 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. Cleopatra. Dolabella, I shall remain your debtor. Dolabella. I your servant. Adieu, good queen ; I must attend on Caesar. Cleopatra. 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 210 1 66 Antony and Cleopatra [Act V Uplift us to the view ; in their thick breaths, Rank of gross diet, shall we be enclouded And forc'd to drink their vapour. Iras. The gods forbid ! Cleopatra. Nay, 't is 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 220 I' the posture of a whore. Iras. O the good gods ! Cleopatra. Nay, that 's certain. Iras. I '11 never see 't ; for, I am sure, my nails Are stronger than mine eyes. Cleopatra. Why, that 's the way To fool their preparation and to conquer Their most absurd intents. — Re-enter Charmian 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 '11 dispatch indeed ; 230 And, when thou hast done this chare, I '11 give thee leave To play till doomsday. — Bring our crown and all. — Wherefore 's this noise ? \_Exit Iras. A noise withm. Scene II] Antony and Cleopatra 167 Enter a Guardsman Guardsman. Here is a rural fellow That will not be denied your highness' presence ; He brings you figs. Cleopatra. Let him come in. — \_Exit Guardsmanr\ What poor an instrument May do a noble deed ! he brings me hberty. My resolution 's plac'd, and I have nothing Of woman in me ; now from head to foot I am marble-constant, now the fleeting moon 240 No planet is of mine. Re-enter Guardsman, with Clown bringing in a basket Guardsman. This is the man. Cleopatra. Avoid, and leave him. — \_Exit Guardsman. 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 bit- ing is immortal; those that do die of it do seldom or never recover. Cleopatra. Rememberest thou any that have died on 't? 250 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 he, — 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 1 68 Antony and Cleopatra [Act v 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. Cleopatra. Get thee hence ; farewell. Clown, I wish you all joy of the worm. 260 \_Setting down his basket. Cleopatra. Farewell. Clown. You must think this, look you, that the worm will do his kind. Cleopatra. Ay, ay j farewell. Clown. Look you, the worm is not to be trusted but in the keeping of wise people ; for, indeed, there is no goodness in the worm. Cleopatra. Take thou no care ; it shall be heeded. Clown. Very good. Give it nothing, I pray you, for it is not worth the feeding. 270 Cleopatra, Will it eat me ? 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 whoreson devils do the gods great harm in their women ; for in every ten that they make, the devils mar five. Cleopatra. Well, get thee gone ; farewell. Clown, Yes, forsooth ; I wish you joy o' the worm. \_Exit. Re-e7iter Iras with a robe, crown, etc. Cleopatra. Give me my robe, put on my crown ; I have Scene II] Antony and Cleopatra 169 Immortal longings in me. Now no more 281 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 Caesar, 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 ? 290 Come then, and take the last warmth of my lips. — Farewell, kind Charmian. — Iras, long farewell. \_Kisses them. Iras falls and dies. Have I the aspic in my hps? Dost fall? If thou and nature can so gently part. The stroke of death is as a lover's pinch, Which hurts and is desir'd. Dost thou lie still? If thus thou vanishest, thou tell'st the world It is not worth leave-taking. Charmian. Dissolve, thick cloud, and rain ; that I may say The gods themselves do weep ! Cleopatra. This proves me base ; If she first meet the curled Antony, 301 He '11 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 lyo Antony and Cleopatra [Act V Of life at once untie ; poor venomous fool, Be angry and dispatch. O, couldst thou speak, That I might hear thee call great Caesar ass Unpolicied ! Charmian, O eastern star ! Cleopatra. Peace, peace ! Dost thou not see my baby at my breast That sucks the nurse asleep ? Charmian. O, break ! O, break ! 310 Cleopatra. As sweet as balm, as soft as air, as gentle, — Antony ! — Nay, I will take thee too. — \_Applying another asp to her arm. What should I stay — \_Dies. Charmian. In this wild 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 ; 1 '11 mend it and then play — Enter the Guard, rushing in I Guard. Where is the queen? Charmian. Speak softly, wake her not. I Guard. Caesar hath sent — Charmian. Too slow a messenger. — {^Applies an asp. O, come apace, dispatch ! I partly feel thee. 322 Scene II] Antony and Cleopatra 171 1 Guard. Approach, ho ! All 's not well ; Caesar 's beguil'd. 2 Guard. There 's Dolabella sent from Caesar ; call him. 1 Guard. What work is here ! — Charmian, is this well done ? Charmian. It is well done, and fitting for a princess Descended of so many royal kings. Ah, soldier ! IVies. Re-enter Dolabella Dolabella. How goes it here ? 2 Guard. All dead. Dolabella. Caesar, thy thoughts Touch their effects in this ; thyself art coming 33° To see perform'd the dreaded act which thou So sought'st to hinder. [ Within. ' A way there, a way for Caesar ! ' Re-enter Caesar, and all his Train, marching Dolabella. O sir, you are too sure an augurer ; That you did fear is done. Ccesar. 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. Dolabella. Who was last with them ? I Guard. A simple countryman that brought her figs ; This was his basket. CcBsar. Poison'd, then. I Guard. O Caesar, 172 Antony and Cleopatra [Act V This Charmian liv'd but now ; she stood and spake. 340 I found her trimming up the diadem On her dead mistress ; trembhngly she stood And on the sudden dropp'd. CcEsar, O noble weakness ! If they had swallow'd poison, 't would appear By external swelling ; but she looks like sleep, As she would catch another Antony In her strong toil of grace. Dolabella. Here, on her breast, There is a vent of blood and something blown ; The like is on her arm. I Guard. This is an aspic's trail, and these fig-leaves Have slime upon them such as the aspic leaves 351 Upon the caves of Nile. Ccesar. 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 360 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. \_Exeunt. NOTES Prow of Roman Galley NOTES Introduction The Metre of the Play. — It should be understood at the outset that metre, or the mechanism of verse, is something alto- gether distinct from the music of verse. The one is matter of rule, the other of taste and feeling. Music is not an absolute necessity of verse ; the metrical form is a necessity, being that which consti- tutes the verse. The plays of Shakespeare (with the exception of rhymed pas- sages, and of occasional songs and interludes) are all in unrhymed or blank verse ; and the normal form of this blank verse is illus- trated by the second line of the present play, "O'erflows the measure. Those his goodly eyes." This line, it will be seen, consists of ten syllables, with the even syllables (2d, 4th, 6th, 8th, and loth) accented, the odd syllables 175 176 Notes (ist, 3d, etc.) being unaccented. Theoretically, it is made up of five feet of two syllables each, with the accent on the second sylla- ble. Such a foot is called an iambus (plural, iambuses, or the Latin iambi~), and the form of verse is called iambic. This fundamental law of Shakespeare's verse is subject to certain modifications, the most important of which are as follows : — 1. After the tenth syllable an unaccented syllable (or even two such syllables) may be added, forming what is sometimes called a female line ; as in i. i. 8 : "The buckles on his breast, reneges all temper." The rhythm is complete with the first syllable of temper, the second being an extra eleventh syllable. In ii. 3. 4 ("To them for you. Good night, sir. — My Octavia") we have two extra syllables, the rhythm being complete with the second syllable of Octavia. 2. The accent in any part of the verse may be shifted from an even to an odd syllable ; as in i. i. i : "Nay, but this dotage of our general's," and i. i. 11 : "Take but good note, and you shall see in him." In both lines the accent is shifted from the second to the first syllable. This change occurs very rarely in the tenth syllable, and seldom in the fourth ; and it is not allowable in two successive accented syllables. 3. An extra unaccented syllable may occur in any part of the line; as in i. I, 15 and 20. In 15 the second syllable of brggary is superfluous, and in 20 that of Fulvia. In line 59 (a female line) the word am is superfluous. 4. Any unaccented syllable, occurring in an even place immedi- ately before or after an even syllable which is properly accented, is reckoned as accented for the purposes of the verse ; as, for instance, in lines I and 32. In i the last syllable oi generaVs, and in 32 that of messengers, are metrically equivalent to accented syllables ; and so with the third syllable of punishment in 39, of qualities in 54, and of Antony in 57. 5. In many instances in Shakespeare words must be lengthened in order to fill out the rhythm : — Notes 177 {a) In a large class of words in which e or i is followed by another vowel, the e or i is made a separate syllable; as ocean, opinion, soldier, patience, partial, marriage, etc. For instance, in this play, i. 2. 97 ("Extended Asia from Euphrates") appears to have only nine syllables, but Asia is a trisyllable ; and Octavia (generally a trisyllable) is a quadrisyllable in ii. 5. 60: "Madam, he's married to Octavia." This lengthening occurs most frequently at the end of the line, but there are few instances of it in this play. {]}) Many monosyllables ending in r, re, rs, res, preceded by a long vowel or diphthong, are often made dissyllables ; z.% fare, fear, dear, fire, hair, hour, more, your, etc. If the word is repeated in a verse, it is often both monosyllable and dissyllable; as in M. of V. iii. 2. 20: "And so, though yours, not yours. Prove it so," where either yours (preferably the first) is a dissyllable, the other being a monosyllable. In _/. C. iii. i. 172: "As fire drives out fire, so pity, pity," the first fire is a dissyllable. if) Words containing / or r, preceded by another consonant, are often pronounced as if a vowel came between or after the conso- nants; as in ii. 5. 27: "Thou kill'st thy mistress [mist(e)ress]; but well and free"; v. i. 2: "Being so frustrate [frust(e)rate], tell him he mocks"; T. of S. ii. i. 158: "While she did call me rascal fiddler" [fiddl(e)er]; A. W., iii. 5. 43: "If you will tarry, holy pilgrim" [pilg(e)rim] ; C. of E. v. I. 360 : "These are the par- ents of these children" (childeren,the original form of the word); W. T. iv. 4. 76: "Grace and remembrance [rememb(e) ranee] be to you both ! " etc. (^d) Monosyllabic exclamations {ay, O, yea, nay, hail, etc.) and monosyllables otherwise emphasized are similarly lengthened ; also certain longer words; as commandement in M. of V. iv. I. 442 ; safety (trisyllable) in Ham. i. 3. 21; business (trisyllable, as originally pronounced) '\n J. C. iv. I. 22: "To groan and sweat under the business " (so in several other passages) ; and other words mentioned in the notes to the plays in which they occur. ANTONY — 1 2 lyS Notes 6. Words are also contracted for metrical reasons, like plurals and possessives ending in a sibilant, as balance, horse (for horses and horse'' s^, princess, sense, marriage (plural and possessive), targes (see note on ii. 6. 39), etc. So with many adjectives in the superlative (like coldest, stern''st, kindest, sccrefst, etc.) and certain other words. 7. The accent of words is also varied in many instances for met- rical reasons. Thus we find both revenue and revenue in the first scene of the M. N. D. (lines 6 and 158), cSndenin^d (see note on i. 3. 49) and condhnn'' d, record and recdrd (noun; see on iv. 9. 8), mdture a.nd mature, pur szie z.n<\ pzcrsue, distinct and distinct, etc. These instances of variable accent must not be confounded with those in which words were uniformly accented differently in the time of Shakespeare; like aspect (see on i. 5. 24), impSrtune (see on iv, 15. 19), Euphrates (see on i. 2. 97), sepulchre (verb), per- sever (never persevere^, perseverance, 7-heumatic, etc. 8. Alexandrines, or verses of twelve syllables, with six accents, occur here and there in the plays ; as i. i. 29 and 31, i. 3. 63, ii. I. 16, etc. They must not be confounded with female lines with two extra syllables (see on i above) or with other lines in which two extra unaccented syllables may occur. 9. Incomplete verses, of one or more syllables, are scattered through the plays. See i. i. 19, 25, i. 2. 83, 84, 106, etc. 10. Doggerel measure is used in the very earliest comedies (Z. Z. Z. and C. of E. in particular) in the mouths of comic characters, but nowhere else in those plays, and never anywhere in plays written after 1598. 11. Rhyme occurs frequently in the early plays, but diminishes with comparative regularity from that period until the latest. Thus, in Z. Z. Z. there are about iioo rhyming verses (about one-third of the whole number), in the M. N. D. about 900, in Richard II. and R. and J. about 500 each, while in Cor. there are only about 40, in the Temp, only two, and in the W. T. none at all, except in the chorus introducing act iv. Songs, interludes, and other matter I I Notes 179 not in ten-syllable measure are not included in this enumeration. In the present play, out of some 2600 ten-syllable verses, only 34 are in rhyme. Alter )iate rhymes are found only in the plays written before 1599 or 1600. In the M. of V. there are only four lines at the end of iii. 2. In Much Ado and A. Y. L. we also find a few lines, but none at all in this and subsequent plays. Rhymed couplets, or "rhyme-tags," are often found at the end of scenes. In Ham. 14 out of 20 scenes, and in Macb. 21 out of 28, have such "tags "; but in the latest plays they are not so frequent. In this play only 4 out of 42 have them. The Tef?ip. has but one, and the IV. T. none. 12. In this edition of Shakespeare, the final -ed of past tenses and participles in verse is printed -d when the word is to be pro- nounced in the ordinary way ; as in glowed, line 4, transform'' d, line 12, beloved, line 16, etc., of the first scene. But when the metre re- quires that the -ed be made a separate syllable, the e is retained ; as in entertained, ii. i. 46, where the word is a quadrisyllable. The only variation from this rule is in verbs like cry, die, sue, etc., the -ed of which is very rarely, if ever, made a separate syllable. Shakespeare's Use of Verse and Prose in the Plays. — This is a subject to which the critics have given very little atten- tion, but it is an interesting study. This play has scenes entirely in verse, and others in which verse and prose are mixed. In general, we may say that verse is used for what is distinctly poetical, and prose for what is not poetical. The distinction, however, is not so clearly marked in the earlier as in the later plays. The second scene of the M. of V., for instance, is in prose, because Portia and Nerissa are talking about the suitors in a familiar and playful way ; but in the T. G. of V., where Julia and Lucetta are discussing the suitors of the former in much the same fashion, the scene is in verse. Dowden, commenting on Rich. II., remarks : " Had Shakespeare written the play a few years later, we may be certain that the gardener and his servants (iii. 4) would not have uttered stately 1 80 Notes speeches in verse, but would have spoken homely prose, and that humour would have mingled with the pathos of the scene. The same remark may be made with reference to the subsequent scene (v. 5) in which his groom visits the dethroned king in the Tower." Comic characters and those in low life generally speak in prose in the later plays, as Dowden intimates, but in the very earliest ones doggerel verse is much used instead. See on 10 above. The change from prose to verse is well illustrated in the third scene of the M. of V. It begins with plain prosaic talk about a business matter ; but when Antonio enters, it rises at once to the higher level of poetry. The sight of Antonio reminds Shylock of his hatred of the Merchant, and the passion expresses itself in verse, the vernacular tongue of poetry. We have a similar change in the first scene of /. C, where, after the quibbling " chaff " of the mechanics about their trades, the mention of Pompey reminds the Tribune of their plebeian fickleness, and his scorn and indignation flame out in most eloquent verse. The reasons for the choice of prose or verse are not always so clear as in these instances. We are seldom puzzled to explain the prose, but not unfrequently we meet with verse where we might expect prose. As Professor Corson remarks (^Introduction to Shake- speare^ 1889), " Shakespeare adopted verse as the general tenor of his language, and therefore expressed much in verse that is within the capabilities of prose ; in other words, his verse constantly encroaches upon the domain of prose, but his prose can never be said to encroach upon the domain of verse." If in rare instances we think we find exceptions to this latter statement, and prose actually seems to usurp the place of verse, I believe that careful study of the passage will prove the supposed exception to be apparent rather than real. Some Books for Teachers and Students. — A few out of the many books that might be commended to the teacher and the critical student are the following: Halliwell-Phillipps's Outlines of the Life of Shakespeare (7th ed. 1887); Sidney Lee's Life of I Notes 1 8 1 Shakespeare (1898 ; for ordinary students, the abridged ed. of 1899 is preferable); Schmidt's Shakespeare Lexicon (3d ed. 1902); Littledale's ed. of Dyce's Glossa?y (1902); Bartlett's Concordance to Shakespeare (1895); Abbott's Shakespearian Granwiar (1873) ; Furness's "New Variorum" ed. of the plays (encyclopaedic and exhaustive) ; Dowden's Shakspere : His Mind and Art (American ed. 1 881); Hudson's Life, Art, and Characters of Shakespeare (revised ed. 1882); Mrs. Jameson's Characteristics of Women (several eds. ; some with the title, Shakespeare Heroines') ; Ten Brink's Five Lectures on Shakespeare (1895); Boas's Shakespeare and His Predecessors (1895); Dyer's Folk-lore of Shakespeare (American ed. 1884); Gervinus's Shakespeare Coi7imentaries (Bun- nett's translation, 1875); Wordsworth's Shakespeare's Knowledge of the Bible (3d ed. 1880); Elson's Shakespeare in Music (1901). Some of the above books will be useful to all readers who are interested in special subjects or in general criticism of Shakespeare. Among those which are better suited to the needs of ordinary readers and students, the following may be mentioned: Mabie's William Shakespeare : Poet, Dramatist, and Man (1900); Dow- den's Shakspere Primer (1877; small but invaluable); Rolfe's Shakespeare the Boy (1896 ; not a mere juvenile book, but useful for reference concerning the home and school life, the games and sports, the manners, customs, and folk-lore of the poet's time); Guerber's Myths of Greece and Rome (for young students who may need information on mythological allusions not explained in the notes). H. Snowden Ward's Shakespeare's Toivn and Times (2d ed. 1902) and John Leyland's Shakespeare Country (2d ed. 1903) are copiously illustrated books (yet inexpensive) which may be particularly com- mended for school libraries. Abbreviations in the Notes. — The abbreviations of the names of Shakespeare's plays will be readily understood ; as T. N. for Twelfth Night, Cor. for Coriolamis, 3 Hen, VL. for The Third Part of King Henry the Sixth, etc. P. P. refers to 1 82 Notes The Passionate Pilgrim ; V. and A. to Venus and Adonis ; L. C. to Lover'' s Complaint ; and Sonn. to the Sonnets. Other abbreviations that hardly need explanation are Cf. {confer, compare), Fol. (following), Id. {idein, the same), and Prol. (pro- logue). The numbers of the lines in the references (except for the present play) are those of the " Globe " edition (the cheapest and best edition of Shakespeare in one compact volume), which is now generally accepted as the standard for line-numbers in works of ref- erence (Schmidt's Lexicon, Abbott's Grammar, Dowden's Primer, the publications of the New Shakspere Society, etc.). The Historical Sources of the Play. — The following are the chief passages in North's Plutarch which illustrate the play : — Act I. Scene IV. — " Cicero on the other side, being at that time the chiefest man of authority and estimation in the city, he stirred up all men against Antonius : so that in the end he made the senate pronounce him an enemy to his country, and appointed young Caesar sergeants to carry axes before him, and such other signs as were incident to the dignity of a Consul or Praetor : and, moreover, sent Hircius and Pansa, then Consuls, to drive Antonius out of Italy. These two Consuls, together with Caesar, who also had an army, went against Antonius that besieged the city of Modena, and there overthrew him in battle : but both the Consuls were slain there. "Antonius, flying upon this overthrow, fell into great misery all at once : but the chiefest want of all other, and that pinched him most, was famine. Howbeit he was of such a strong nature, that by patience he would overcome any adversity : and the heavier fortune lay upon him, the more constant shewed he himself. Every man that feeleth want or adversity, knoweth by virtue and discre- tion what he should do : but when indeed they are overlaid with extremity, and be sore oppressed, few have the hearts to follow that which they praise and commend, and much less to avoid that they reprove and mislike : but rather to the contrary, they yield to their Notes 183 accustomed easy life, and through faint heart, and lack of courage, do change their first mind and purpose. And therefore it was a wonderful example to the soldiers, to see Antonius, that was brought up in all fineness and superfluity, so easily to drink puddle water, and to eat wild fruits and roots : and moreover, it is reported, that even as they passed the Alps, they did eat the barks of trees, and such beasts as never man tasted of their flesh before. . . . " Antonius being thus inclined, the last and extremest mischief of all other (to wit, the love of Cleopatra) lighted on him, who did waken and stir up many vices yet hidden in him, and were never seen to any : and if any spark of goodness or hope of rising were left him, Cleopatra quenched it straight, and made it worse than before. The manner how he fell in love with her was this. An- tonius, going to make war with the Parthians, sent to command Cleopatra to appear personally before him when he came into Cilicia, to answer unto such accusations as were laid against her, being this : that she had aided Cassius and Brutus in their war against him. The messenger sent unto Cleopatra, to make this summons unto her, was called Dellius ; who when he had throughly consid- ered her beauty, the excellent grace and sweetness of her tongue, he nothing mistrusted that Antonius would do any hurt to so noble a lady, but rather assured himself, that within few days she should be in great favour with him. Thereupon he did her great honour, and persuaded her to come into Cilicia, as honourably furnished as she could possible ; and bad her not to be afraid at all of Antonius, for he was a more courteous lord than any that she had ever seen. Cleopatra on the other side, beheving Dellius' words, and guessing by the former access and credit she had with Julius Caesar and C. Pompey (the son of Pompey the Great) only for her beauty, she began to have good hope that she might more easily win Antonius. For Cgesar and Pompey knew her when she was but a young thing, and knew not then what the world meant: but now she went to Antonius at the age when a woman's beauty is at the prime, and she also of best judgment. So she furnished herself with a world 184 Notes 1 of gifts, store of gold and silver, and of riches and other sumptuous ornaments, as is credible enough she might bring from so great a house, and from so wealthy and rich a realm as Egypt was. But yet she carried nothing with her wherein she trusted more than in herself, and in the charms and enchantment of her passing beauty and grace. Act II. Scene II. — "Therefore, when she was sent unto by divers letters, both from Antonius himself and also from his friends, she made so light of it, and mocked Antonius so much, that she disdained to set forward otherwise, but to take her barge in the river of Cydnus ; the poop whereof was of gold, the sails of purple, and the oars of silver, which kept stroke in rowing after the sound of the music of flutes, howboys,^ cithernes,^ viols, and such other instruments as they played upon in the barge. And now for the person of her self, she was laid under a pavilion of cloth of gold of tissue, apparelled and attired like the goddess Venus, commonly drawn in picture : and hard by her, on either hand of her, pretty fair boys apparelled as painters do set forth god Cupid, with little fans in their hands, with the which they fanned wind upon her. Her ladies and gentlewomen also, the fairest of them, were appar- elled like the nymphs Nereids (which are the mermaids of the waters) and like the Graces ; some steering the helm, others tend- ing the tackle and ropes of the barge, out of which there came a wonderful passing sweet savour of perfumes, that perfumed the wharf's side, pestered^ with innumerable multitudes of people. Some of them followed the barge all along the river-side : others also ran out of the city to see her coming in. So that in the end, there ran such multitudes of people one after another to see her, that Antonius was left post* alone in the market-place, in his impe- rial seat, to give audience : and there went a rumour in the people's 1 hautboys. In 2 Hen. IV. ill. 2. 351 (the only instance of the word in S.) the folio has " hoeboy." 2 guitars. 3 crowded. Cf. Cor. iv. 6. 7, 4 posted. Notes 185 mouths, that the goddess Venus was come to play with the god Bacchus, for the general good of all Asia. When Cleopatra landed, Antonius sent to invite her to supper to him. But she sent him word again, he should do better rather to come and sup with her. Antonius therefore, to shew himself courteous unto her at her arrival, was contented to obey her, and went to supper to her : where he found such passing sumptuous fare, that no tongue can express it. . . . " Now Antonius was so ravished with the love of Cleopatra, that though his wife Fulvia had great wars, and much ado with Caesar for his affairs, and that the army of the Parthians (the which the king's lieutenants had given to the only 1 leading of Labienus) was now assembled in Mesopotamia, ready to invade Syria ; yet (as though all this had nothing touched him) he yielded himself to go with Cleopatra unto Alexandria, where he spent and lost in childish sports (as a man might say) and idle pastimes, the most precious thing a man can spend (as Antiphon saith), and that is, time. For they made an order between them, which they called Amimetobion (as much to say, no life comparable and matchable with it), one feasting each other by turns, and in cost exceeding all measure and reason. And for proof hereof, I have heard my grandfather Lam- pryas report, that one Philotas, a physician, born in the city of Am- phissa, told him that he was at that present time in Alexandria, and studied physic ; and that having acquaintance with one of An- tonius' cooks, he took him with him to Antonius' house (being a young man desirous to see things), to shew him the wonderful sumptuous charge and preparation of one only supper. When he was in the kitchen, and saw a world of diversities of meats, and amongst others eight wild boars roasted whole, he began to wonder at it, and said : ' Sure you have a great number of guests to supper.' The cook fell a-laughing, and answered him : ' No,' quoth he, * not many guests, nor above twelve in all : . but yet all that is boiled 1 sole. 1 86 Notes or roasted must be served in whole, or else it would be marred straight ; for Antonius peradventure will sup presently or it may be a pretty while hence, or likely enough he will defer it longer, for that he hath drunk well to-day, or else hath had some other great matters in hand : and therefore we do not dress one supper only, but many suppers, because we are uncertain of the hour he will sup in.' . . . Act I. Scene I. — "But now again to Cleopatra. Plato writeth that there are four kinds of flattery : but Cleopatra divided it into many kinds. For she (were it in sport, or in matters of earnest) still devised sundry new delights to have Antonius at commandment, never leaving him night nor day, nor once letting him go out of her sight. For she would play at dice with him, drink with him, and hunt commonly with him, and also be with him when he went to any exercise or activity of body. And sometime 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. Now though most men misliked this manner, yet the Alexandrians were commonly glad of this jollity, and liked it well, saying very gallantly and wisely : ' that Antonius shewed them a comical face, to wit, a merry countenance : and the Romans a tragical face, to say, a grim look.' Act II. Scene V. — But to reckon up all the foolish sports they made, revelling in this sort, it were too fond^ a part of me, and therefore I will only tell you one among the rest. On a time he went to angle for fish, and when he could take none, he was as angry as could be, because Cleopatra stood by. Wherefore he secretly commanded the fishermen, that when he cast in his line, they should straight dive under the water, and put a fish on his hook 1 foolish. Notes 187 which they had taken before : and so snatched up his angling-rod, and brought up a fish twice or thrice. Cleopatra found ^ it straight, yet she seemed not to see it, but wondered at his excellent fishing : but when she was alone by herself among her own people, she told them how it was, and bad them the next morning to be on the water to see the fishing. A number of people came to the haven, and got into the fisher-boats to see this fishing. Antonius then threw in his line, and Cleopatra straight commanded one of her men to dive under water before Antonius' men, and to put some old salt-fish upon his bait, like unto those that are brought out of the country of Pont. When he had hung the fish on his hook, Antonius, thinking he had taken a fish indeed, snatched up his line presently.2 Then they all fell a-laughing. Cleopatra laughing also, said unto him : ' Leave us, my lord, Egyptians (which dwell in the country of Pharus and Canobus) your angling-rod : this is not thy profession, thou must hunt after conquering of realms and countries.' Act I. Scene II. — "Now Antonius delighting in these fond and childish pastimes, very ill news were brought him from two places. The first from Rome, that his brother Lucius and Fulvia his wife fell out first between themselves, and afterwards fell to open war with Caesar, and had brought all to nought, that they were both driven to fly out of Italy. The second news, as bad as the first : that Labienus conquered all Asia with the army of the Parthians, from the river of Euphrates and from Syria unto the country of Lydia and Ionia. Then began Antonius with much ado a little to rouse himself, as if he had been wakened out of a deep sleep, and, as a man may say, coming out of a great drunken- ness. So, first of all he bent himself against the Parthians, and went as far as the country of Phoenicia : but there he received lamentable letters from his wife Fulvia. Whereupon he straight returned towards Italy, with two hundred sail: and as he went, 1 discovered. 2 at once, Cf. ii. 2. 160, iii. 4. 15, etc. below. 1 88 Notes took up his friends by the way that fled out of Italy to come to him. By them he was informed, that his wife Fulvia was the only cause of this war : who being of a peevish, crooked, and trouble- some nature, had purposely raised this uproar in Italy, in hope thereby to withdraw him from Cleopatra. Act II. Scene II. — " But by good fortune his wife Fulvia, going to meet with Antonius, sickened by the way, and died in the city of Sicyon : and therefore Octavius Cgesar and he were the easilier made friends again. For when Antonius landed in Italy, and that men saw Caesar asked nothing of him, and that Antonius on the other side laid all the fault and burden on his wife Fulvia ; the friends of both parties would not suffer them to unrip any old matters, and to prove or defend who had the wrong or right, and who was the first procurer of this war, fearing to make mat- ters worse between them : but they made them friends together, and divided the empire of Rome between them, making the sea Ionium the bounds of their division. For they gave all the prov- inces eastward unto Antonius, and the countries westward unto Csesar, and left Africa unto Lepidus : and made a law, that they three, one after another, should make their friends Consuls, when they would not be themselves. This seemed to be a sound coun- sel, but yet it was to be confirmed with a straighter ^ bond, which fortune offered thus. There was Octavia, the eldest sister of Caesar, not by one mother, for she came of Ancharia, and Caesar himself afterwards of Accia. It is reported, that he dearly loved his sister Octavia, for indeed she was a noble lady, and left the widow of her first husband Caius Marcellus, who died not long before : and it seemed also that Antonius had been widower ever since the death of his wife Fulvia. For he denied not that he kept Cleopatra, neither did he confess that he had her as his wife : and so with reason he did defend the love he bare unto this Egyp- tian Cleopatra. Thereupon every man did set forward this mar- 1 stricter. Notes 189 riage, hoping thereby that this lady Octavia, having an excellent grace, wisdom, and honesty, joined unto so rare a beauty, when she were with Antonius (he loving her as so worthy a lady de- serveth) she should be a good mean ^ to keep good love and amity betwixt her brother and him. So when Csesar and he had made the match between them, they both went to Rome about this marriage, although it was against the law that a widow should be married within ten months after her husband's death. How- beit the senate dispensed with the law, and so the marriage proceeded accordingly. Act II. Scenes VI mid VII. — " Sextus Pompeius at that time kept in Sicilia, and so made inroads into Italy with a great num- ber of pinnaces and other pirates' ships, of the which were cap- tains two notable pirates, Menas and Menecrates, who so scoured all the sea thereabouts, that none durst peep out with a sail. Furthermore, Sextus Pompeius had dealt very friendly with An- tonius, for he had courteously received his mother when she fled out of Italy with Fulvia, and therefore they thought good to make peace with him. So they met all three together by the mount of Misena, upon a hill that runneth far into the sea : Pompey having his ships riding hard by at anchor, and Antonius and Caesar their armies upon the shore-side, directly over against him. Now, after they had agreed that Sextus Pompeius should have Sicily and Sardinia, with this condition, that he should rid the sea of all thieves and pirates, and make it safe for passengers, and withal, that he should send a certain 2 of wheat to Rome, one of them did feast another, and drew cuts ^ who should begin. It was Pom- peius' chance to invite them first. Whereupon Antonius asked him: 'And where shall we sup?' 'There,' said Pompey; and shewed him his admiral galley which had six banks of oars : ' that,' said he, ' is my father's house they have left me.' He spake it to 1 means. See R. and J. iii. 3. 45, etc. 2 a certain quantity. 3 lots. Cf. C. of E. v. I. 422^ " We'll draw cuts for the senior." li 190 Notes _^ taunt Antonius, because he had his father's house, that was Pom- pey the Great. So he cast anchors enow ^ into the sea, to make his galley fast, and then built a bridge of wood to convey them to his galley, from the head of mount Misena: and there he wel- comed them, and made them great cheer. Now in the midst of the feast, when they fell to be merry with Antonius' love unto Cleopatra, Menas the pirate came to Pompey, and whispering in his ear, said unto him : ' Shall I cut the cables of the anchors, and make thee lord not only of Sicily and Sardinia, but of the whole empire of Rome besides ? ' Pompey, having paused a while upon it, at length answered him : ' Thou shouldest have done it, and never have told it me ; but now we must content us with that we have : as for myself, I was never taught to break my faith, nor to be counted a traitor.' The other two also did likewise feast him in their camp, and then he returned into Sicily. Act II. Scene III. — "Antonius, after this agreement made, sent Ventidius before into Asia to stay the Parthians, and to keep them they should come no further : and he himself in the mean time, to gratify Caesar, was contented to be chosen Julius Caesar's priest and sacrificer, and so they jointly together dispatched all great matters concerning the state of the empire. But in all other manner of sports and exercises, wherein they passed the time away the one with the other, Antonius was ever inferior unto Caesar, and alway lost, which grieved him much. With Antonius there was a soothsayer or astronomer of Egypt, that could cast a figure, and judge of men's nativities, to tell them what should happen to them. He, either to please Cleopatra, or else for that he found it so by his art, told Antonius plainly, that his fortune (which of itself was excellent good, and very great) was altogether blem- ished and obscured by Caesar's fortune : and therefore he coun- selled him utterly to leave his company, and to get him as far from him as he could, ' For thy demon,' said he (that is to say, the 1 enough. Cf. i. 4. 11 below, Notes 191 good angel and spirit that keepeth thee), *is afraid of his: and being courageous and high when he is alone, becometh fearful and timorous when he cometh near unto the other.' Howsoever it was, the events ensuing proved the Egyptian's words true : ifor it is said, that as often as they two drew cuts for pastime, who should have anything, or whether they played at dice, Antonius alway lost. Oftentimes when they were disposed to see cock- fight, or quails that were taught to fight one with another, Csesar's cocks or quails did ever overcome. . . . Act III. Scene I. — "In the meantime, Ventidius once again overcame Pacorus (Orodes' son, king of Parthia) in a battle fought in the country of Cyrrestica, he being come again with a great army to invade Syria : at which battle was slain a great number of the Parthians, and among them Pacorus, the king's own son. This noble exploit, as famous as ever any was, was a full revenge to the Romans of the shame and loss they had received before by the death of Marcus Crassus : and he made the Parthians fly, and glad to keep themselves within the confines and territories of Meso- potamia and Media, after they had thrice together been overcome in several battles. Howbeit Ventidius durst not undertake to fol- low them any farther, fearing lest he should have gotten Antonius' displeasure by it. Notwithstanding, he led his army against them that had rebelled, and conquered them again : amongst whom he besieged Antiochus king of Commagena, who offered him to give a thousand talents to be pardoned his rebellion, and promised ever after to be at Antonius' commandment. But Ventidius made him answer, that he should send unto Antonius ; who was not far off, and would not suffer Ventidius to make any peace with Antiochus, to the end that yet this little exploit should pass in his name, and that they should not think he did anything but by his lieutenant Ventidius. The siege grew very long, because they that were in the town, seeing they could not be received upon no reasonable composition, determined valiantly to defend themselves to the last man. Thus Antonius did nothing, and yet received great shame, 192 Notes n repenting him much that he took not their first offer. And yet at the last he was glad to make truce with Antiochus, and to take three hundred talents for composition. Thus after he had set order for the state and affairs of Syria, he returned again to Athens : and having given Ventidius such honours as he deserved, he sent him to Rome, to triumph for the Parthians. Ventidius was the only man that ever triumphed of the Parthians until this present day, a mean man born, and of no noble house or family : who only came to that he attained unto, through Antonius' friendship, the which delivered him happy occasion to achieve great matters. And yet to say truly, he did so well quit himself in all his enterprises, that he confirmed that which was spoken of Antonius and Caesar, to wit, that they were alway more fortunate when they made war by their lieutenants than by themselves. For , Sossius, one of Antonius' lieutenants in Syria, did notable good ■j service : and Canidius, whom he had also left his lieutenant in the borders of Armenia, did conquer it all. So did he also overcome the kings of the Iberians and Albanians, and went on with his ■ conquests unto mount Caucasus. By these conquests the fame of - Antonius' power increased more and more, and grew dreadful unto all the barbarous nations. Act III. Scene IV. — "But Antonius, notwithstanding, grew to j be marvellously offended with Cgesar, upon certain reports that j had been brought unto him, and so took sea to go towards Italy with three hundred sail. And because those of Brundusium would not receive his army into their haven, he went farther unto Taren- tum. There his wife Octavia, that came out of Greece with him, besought him to send her unto her brother, the which he did. Octavia at that time was great with child, and moreover had a sec- ond daughter by him, and yet she put herself in journey, and met with her brother Octavius Caesar by the way, who brought his two chief friends, Maecenas and Agrippa, with him. She took them aside, and with all the instance ^ she could possible, intreated them 1 urgency. Notes 193 they would not suffer her, that was the happiest woman of the world, to become now the most wretched and unfortunatest creature of all other. ' For now,' said she, ' every man's eyes do gaze on me, that am the sister of one of the emperors, and wife of the other. And if the worst counsel take place (which the gods for- bid) and that they grow to wars: for yourselves, it is uncertain to which of them two the gods have assigned the victory or overthrow. But for me, on which side soever the victory fall, my state can be but most miserable still.' . . . " When Octavia was returned to Rome from Athens, Caesar com- manded her to go out of Antonius' house, and to dwell by herself, because he had abused ^ her. Octavia answered him again, that she would not forsake her husband's house, and that if he had no other occasion to make war with him, she prayed him then to take no thought for her : ' For,' said she, ' it were too shameful a thing, that two so famous captains should bring in civil wars among the Romans, the one for the love of a woman, and the other for the jealousy betwixt one another.' Now as she spake the word, so did she also perform the deed : for 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. Furthermore, when Antonius sent any of his men to Rome, to sue for any office in the common- wealth, she received them very courteously, and so used herself unto her brother, that she obtained the things she requested. Act III. Scene VI. — " Howbeit thereby, thinking no hurt, she did Antonius great hurt. For her honest love and regard to her husband made every man hate him, when they saw he did so un- kindly use so noble a lady : but the greatest cause of their malice unto him was for the division of lands he made among his children in the city of Alexandria. And, to confess a troth,'-^ it was too 1 deceived. See Much Ado, v. 2, 100, etc. 2 truth. See M. N. D. ii. 2, 36, etc. ANTONY — 13 194 Notes arrogant and insolent a part, and done (as a man would say) in derision and contempt of the Romans. For he assembled all the people in the showplace, where young men do exercise themselves, and there, upon a high tribunal silvered, he set two chairs of gold, the one for himself, and the other for Cleopatra, and lower chairs for his children ; then he openly published before the assembly, that first of all he did establish Cleopatra queen of Egypt, of Cyprus, of Lydia, and of the lower Syria ; and at that time also Caesarion king of the same realms. This Caesarion was supposed to be the son of Julius Csesar, who had left Cleopatra great with child. Secondly, he called the sons he had by her the kings of kings, and gave Alexander for his portion Armenia, Media, and Parthia, when he had conquered the country ; and unto Ptolemy for his portion Phoenicia, Syria, and Cilicia. And therewithal he brought out Alexander in a long gown after the fashion of the Medes with a high cop-tank ^ hat on his head, narrow in the top, as the kings of the Medes and Armenians do use to wear them: and Ptolemy apparelled in a cloak after the Macedonian manner, with slippers on his feet and a broad hat, with a royal band or diadem. Such was the apparel and old attire of the ancient kings and successors of Alexander the Great. So after his sons had done their humble duties, and kissed their father and mother, presently a company of Armenian soldiers, set there of purpose, compassed the one about, and a like company of Macedonians the other. Now for Cleopatra, she did not only wear at that time (but at all other times else when she came abroad) the apparel of the goddess Isis, and so gave audience unto all her subjects, as a new Isis. " Octavius Caesar reporting all these things unto the Senate, and oftentimes accusing him to the whole people and assembly in Rome, he thereby stirred up all the Romans against him. An- tonius on the other side sent to Rome likewise to accuse him, and 1 conical. Cf. T. of S. v. i. 69: "a copatain hat" (one with a high crown) . II Notes 195 the chiefest points of his accusations he charged him with were these. First, that having spoiled Sextus Pompeius in Sicily, he did not give him his part of the isle. Secondly, that he did detain in his hands the ships he lent him to make that war. Thirdly, that having put Lepidus their companion and triumvirate 1 out of his part of the empire, and having deprived him of all honours, he retained for himself the lands and revenues thereof, which had been assigned unto him fur his part. And last of all, that he had m manner divided all Italy amongst his own soldiers, and had left no part of it for his soldiers. Octavius Caesar answered him again : that for 2 Lepidus, he had indeed deposed him, and taken his part of the empire from him, because he did over cruelly use his author- ity. And secondly, for 2 the conquests he had made by force of arms, he was contented Antonius should have his part of them, so that he would likewise let him have his part of Armenia. And thirdly, that for 2 his soldiers, they should seek for nothing in Italy, because they possessed Media and Parthia, the which provinces they had added to the empire of Rome, valiantly fighting with their emperor and captain. . . . Act III. Scene VII. — " Now after that Caesar had made suffi- cient preparation, he proclaimed open war against Cleopatra, and made the people to abolish the power and empire of Antonius, because he had before given it up unto a woman. And Caesar said furthermore, that Antonius was not master of himself, but that Cleopatra had brought him beside himself by her charms and amorous poisons : and that they, that should make war with them, should be Mardian the eunuch, Photixms, and Iras (a woman Cleopatra's bed-chamber, that frizzled her hair, and dressed hej head) and Charmion, the which were those that ruled all the affairs of Antonius' empire. Act IV. Scene XII. — " Before this war, as it is reported, many signs and wonders fell out. . . . The admiral-galley of Cleopatra 1 sic ; for triumvir. 2 as for. Cf. iii. 13. 51. below. 196 Notes was. called Antoniad, in the which there chanced a marvellous i!ll sign : swallows had bred under the poop of her ship, and there came others after them that drave away the first, and plucked down their nests. Act III. Scene VI. — " Now when all things were ready, and that they drew near to fight, it was found, that Antonius had no less than 500 good ships of war, among which there were many galleys that had eight and ten banks of oars, the which were sumptuously furnished, not so meet for fight as for triumph : an hundred thousand footmen, and 12,000 horsemen; and had with him to aid him these kings and subjects following: Bocchus king of Lybia, Tarcondemus king of high Cilicia, Archelaus king of Cappadocia, Philadelphus king of Paphlagonia, Mithridates king of Comagena, and Adallas king of Thracia. All which were there? every man in person. The residue that were absent, sent their armies : as Polemon, king of Pont, Manchus king of Arabia, Hero- des king of Jewry ; and furthermore Amyntas king of Lycaonia and of the Galatians : and besides all these, he had all the aid the king of Medes sent unto him. Now for Caesar, he had 250 ships of war, 80,000 footmen, and well near as many horsemen as hi'.i enemy Antonius. Antonius for his part had all under his domin- ion from Armenia and the river of Euphrates, unto the sea Ionium and Illyricum. Octavius Csesar had also, for his part, all that which was in our hemisphere or half-part of the world, from lUyria unto the ocean sea upon the west : then all from the ocean unto mare Siculum : and from Africa, all that which is against Italy, as Gaul and Spain. Furthermore, all, from the province of Cyrenia to Ethiopia, was subject unto Antonius. Act III. Scene VII. — " Now Antonius was made so subject to a woman's will, that though he was a great deal the stronger by land, yet for Cleopatra's sake he would needs have this battle tried by sea: though he saw before his eyes, that for lack of water-men his captains did prest^ by force all sorts of men out of Greece that 1 impress. Notes 197 they could take up in the field, as travellers, muleteers, reapers, harvest-men, and young boys ; and yet could they not sufficiently furnish his galleys : so that the most part of them were empty, and could scant row, because they lacked water-men enough. But on the contrary side, Caesar's ships were not built for pomp, high and great, only for a sight and bravery,^ but they were light of yarage,^ armed and furnished with water-men as many as they needed, and had them all in readiness in the havens of Tarentum and Brundu- sium. So Octavius Caesar sent unto Antonius, to will him to delay no more time, but to come on with his army into Italy : and that for his own part he would give him safe harbour to land without any trouble ; and that he would withdraw his army from the sea, as far as one horse could run, until he had put his army ashore, and had lodged his men. Antonius on the other side bravely sent him word again and challenged the combat of him man for man, though he were the elder ; and that if he refused him so, he would then fight a battle with him in the fields of Pharsalia as Julius Caesar and Pompey had done before. Now whilst Antonius rode at anchor, lying idly in harbour at the head of Actium, in the place where the city of Nicopolis standeth at this present, Caesar had quickly passed the sea lonitmi, and taken a place called Toryne, before Antonius understood that he had taken ship. . . . " So when Antonius had determined to fight by sea, he set all the other ships on fire but three score ships of Egypt, and reserved only the best and greatest galleys, from three banks unto ten banks of oars. * Into them he put two and twenty thousand fighting men, with two thousand darters and slingers. Now as he was setting his men in order of battle, there was a captain, a valiant man, that had served Antonius in many battles and conflicts, and had all his body hacked and cut : who, as Antonius passed by him, cried out unto him, and said : * O noble emperor, how cometh it to pass that 1 show. Cf. Ham. p. 270. 2 management. Qi.yare in iii. 7. 35, etc., below. 198 Notes you trust to these vile brittle ships ? What, do you mistrust these wounds of mine, and this sword? Let the Egyptians and Phoeni- cians fight by sea, and set us on the main land, where we use to conquer or to be slain on our feet.' Antonius passed by him and said never a word, but only beckoned to him with his hand and head, as though he willed him to be of good courage, although indeed he had no great courage himself. . . . Act III. Scene X. — " Howbeit the battle was yet of even hand, and the victory doubtful, being indifferent to both ; when sud- denly they saw the threescore ships of Cleopatra busily about their yard-masts and hoising^ sail to fly. So they fled through the middest '^ of them that were in fight, for they had been placed behind the great ships, and did marvellously disorder the other ships. For the enemies themselves wondered much to see them sail in that sort, with full sail towards Peloponnesus. There Antonius shewed plainly, that he had not only lost the courage and heart of an emperor, but also of a valiant man ; and that he was not his own man (proving that true which an old man spake in mirth, that the soul of a lover lived in another body, and not in his own) ; he was so carried away with the vain love of this woman, as if- he had been glued unto her, and that she could not have removed without moving of him also. For when he saw Cleopatra's ship under sail, he forgot, forsook, and betrayed them that fought for him, imbarked upon a galley with five banks of oars, to follow her that had already begun to overthrow him, and would in the end be his utter destruction. . . . Act III. Scene XI. — "Then Antonius sent unto Canidius, to return with his army into Asia by Macedon. Now for himself, he determined to cross over into Africa, and took one of his carects ^ 1 hoisting. See Rich. III. iv. 4. 529. 2 midst. The early eds. have iniddest in 2 Hen. IV. iv. 8. 64. 3 ships of burden. Cf. C. of E. iii. 2. 140 : " whole armadoes of caracks." Notes 199 or hulks loden ^ with gold and silver, and other rich carriage,^ and gave it unto his friends, commanding them to depart, and seek to save themselves. They answered him weeping, that they would neither do it, nor yet forsake him. Then Antonius very courteously and lovingly did comfort them, and prayed them to depart ; and wrote unto Theophilus, governor of Corinth, that he would see them safe, and help to hide them in some secret place, until they had made their way and peace with Caesar. . . . " But now to return to Antonius again. Canidius himself came to bring him news, that he had lost all his army by land at Actium : on the other side he was advertised also, that Herodes king of Jurie, who had also certain legions and bands with him, was revolted unto Caesar, and all the other kings in like manner : so that, saving those that were about him, he had none left him. All this notwithstand- ing did nothing trouble him : and it seemed that he was contented to forgo all his hope, and so to be rid of all his cares and troubles. Thereupon he left his solitary house he had built by the sea, which he called Tiinoneon, and Cleopatra received him into her royal palace. He was no sooner come thither, but he straight set all the city on rioting and banqueting again, and himself to liberality and gifts. He caused the son of Julius Caesar and Cleopatra to be en- rolled (according to the manner of the Romans) amongst the num- ber of young men : and gave Antyllus, his eldest son he had by Fulvia, the man's gown, the which was a plain gown without gard ^ or embroderie, of purple. For these things, there was kept great feasting, banqueting and dancing in Alexandria many days together. . . . Act V. Scene II. — " Cleopatra in the meantime was very care- ful* in gathering all sorts of poisons together, to destroy men. Now to make proof of those poisons which made men die with 1 laden. S. uses loaden interchangeably with laden. 2 stores. Cf. Temp. v. i. 3 and M. W. ii. 2. 179. ^ edging. ■* industrious. 200 Notes least pain, she tried it upon condemned men in prison. For when she saw the poisons that were sudden and vehement, and brought speedy death with grievous torments ; and in contrary manner, that such as were more mild and gentle had not that quick speed and force to make one die suddenly: she afterwards went about to prove 1 the stinging of snakes and adders, and made some to be applied unto men in her sight, some in one sort, some in another. So when she had daily made divers and sundry proofs, she found none of them all she had proved so fit as the biting of an aspick, the which causeth only a heaviness of the head, without swooning or complaining, and bringeth 'a great desire also to sleep, with a little sweat in the face ; and so by little and little taketh away the senses and vital powers, no living creature perceiving that the patients feel any pain. For they are so sorry when any body awaketh them and taketh them up, as those that be taken out of a sound sleep are very heavy and desirous to sleep. Act III. Scene XII. — "This notwithstanding, they sent am- bassadors unto Octavius Csesar in Asia, Cleopatra requesting the realm of Egypt for their children, and Antonius praying that he might be suffered to live at Athens like a private man, if Csesar would not let him remain in Egypt. And because they had no other men of estimation about them, for that some were fled, and those that remained they did not greatly trust, they were enforced to send Euphronius, the schoolmaster of their children. For Alexas Laodicean, who was brought into Antonius' house and favour by means of Timagenes, and afterwards was in greater credit with him than any other Grecian (for that he had ever been one of Cleo- patra's ministers to win Antonius, and to overthrow all his good determinations to use his wife Octavia well) : him 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, and betrayed Antonius. For where he should have kept Herodes from 1 test. Cf. Cymb. i. 5. 38, etc. Notes 20 1 revolting from him, he persuaded him to turn to Csesar: and trust- ing king Herodes, he presumed to come in Caesar's presence. Hovvbeit Herodes did him no pleasure, for he was presently taken prisoner, and sent in chains to his own country, and there by Caesar's commandment put to death. Thus was Alexas, in Antonius' life-time, put to death for betraying of him. Furthermore, Caesar would not grant unto Antonius' requests : but for Cleopatra, he made her answer, that he would deny her nothing reasonable, so that she would either put Antonius to death, or drive him out of her country. Act III. Scene XIII. — " Therewithal he sent Thyreus one of his men unto her, a very wise and discreet man : who bringing letters of credit from a young lord unto a noble lady, and that besides greatly liked her beauty, might easily by his eloquence have per- suaded her. He was longer in talk with her than any man else was, and the queen herself also did him great honour : insomuch as he made Antonius jealous of him. Whereupon Antonius caused him to be taken and well-favouredly ^ whipped, and so sent him unto Caesar : and bad him tell him, that he made him angry with him, because he showed himself proud and disdainful towards him ; and now specially, when he was easy to be angered, by reason of his present misery. 'To be short, if this mislike thee,' said he, ' thou hast Hipparchus, one of my enfranchised bondmen, with thee : hang him if thou wilt, or whip him at thy pleasure, that wt; may cry quittance.' From henceforth Cleopatra, to clear herself of the suspicion he had of her, made more of him then ever she did. For first of all, where ^ she did solemnize the day of her birth very meanly and sparingly, fit for her present misfortune, she now in contrary manner did keep it with such solemnity, that she exceeded all measure of sumptuousness and magnificence : so that the guests that were bidden to the feasts, and came poor, went away rich. Now things passing thus, Agrippa by divers letters sent one after 1 soundly. 2 whereas. See Lear, i. 2. 89, etc. 202 Notes another unto Caesar, prayed him to return to Rome, because the affairs there did of necessity require his person and presence. Thereupon he did defer the war till the next year following : but when winter was done, he returned again through Syria by the coast of Africa, to make wars against Antonius and his other cap- tains. When the city of Pelusium was taken, there ran a rumour in the city, that Seleucus (by Cleopatra's consent) had surrendered the same. But to clear herself that she did not, Cleopatra brought Seleucus' wife and children unto Antonius, to be revenged of them at his pleasure. Furthermore, Cleopatra had long before made many sumptuous tombs and monuments, as well for excellency of workmanship, as for height and greatness of building, joining hard to the temple of Isis. Thither she caused to be brought all the treasure and precious things she had of the ancient kings her prede- cessors : as gold, silver, emeralds, pearls, ebony, ivory, and cinna- mon, and besides all that, a marvellous number of torches, faggots, and flax. So Octavius Caesar, being afraid to lose such a treasure and mass of riches, and that this woman for spite would set it on fire and burn it every whit, he always sent some one or other unto her from him, to put her in good comfort, whilst he in the mean- time drew near the city with his army. So Caesar came and pitched his camp hard by the city, in the place where they run and manage their horses. Act IV. Scene I. — "Antonius made a sally upon him, and fought very valiantly, so that he drave Caesar's horsemen back, fighting with his men even into their camp. Then he came again to the palace, greatly boasting of this victory, and sweetly kissed Cleopatra, armed as he was when he came from the fight, recom- mending one of his men of arms unto her, that had valiantly fought in this skirmish. Cleopatra, to reward his manliness, gave him an armour and headpiece of clean i gold: howbeit the man-at-anns, when he had received this rich gift, stole away by night and went pure. Notes 203 to Caesar. Antonius sent again to challenge Caesar to fight with him hand to hand. Caesar answered him, ' That he had many other ways to die than so.' Act IV. Scene 11. — " Then Antonius, seeing there was no way more honourable for him to die than fighting valiantly, he de- termined to set up his rest,i both by sea and land. So being at supper (as it is reported) he commanded his officers and household servants that waited on him at his board, that they should fill his cups full, and make as much of him as they could : ' For,' said he, ' you know not whether you shall do so much for me to-morrow or not, or whether you shall serve another master : and it may be you shall see me no more, but a dead body.' This notwithstanding, perceiving that his friends and men fell a-weeping to hear him say so, to salve that he had spoken, he added this more unto it, ' that he would not lead them to battle, where he thought not rather safely to return with victory, than valiantly to die with honour.' Act IV. Scene III. — " Furthermore, the self-same night, within a little of midnight, when all the city was quiet, full of fear and sorrow, thinking what would be the issue and end of this war, it is said that suddenly they heard a marvellous sweet harmony of sun- dry sorts of instruments of music, with the cry of a multitude of people, as they had been dancing, and had sung as they use in Bacchus' feasts, with movings and turnings after the manner of the Satyrs : and it seemed, that this dance went through the city unto the gate that opened to the enemies, and that all the troupe, that made this noise they heard, went out of the city at that gate. Now such as in reason sought the depth of the interpretation of this wonder, thought that it was the god unto whom Antonius bare singular devotion to counterfeit and resemble him, that did forsake them. Act IV. Scene X. — "The next morning by break of day, he went to set those few footmen he had in order upon the hills adjoining 1 make a stand. See R. and y. v. 3. no, etc. 204 Notes 1 unto the city : and there he stood to behold his galleys which departed from the haven, and rowed against the galleys of the en- emies, and so stood still, looking what exploits his soldiers in them would do. But when by force of rowing they were come near unto them, they first saluted Caesar's men ; and then Caesar's men resaluted them also, and of two armies made but one : and then did altogether row toward the city. Act IV. Scenes XII and XIII. — " When Antonius saw that his men did forsake him, and yielded unto Caesar, and that his foot- men were broken and overthrown, he then fled into the city, crying out that Cleopatra had betrayed him unto them with whom he had made war for her sake. Then she, being afraid of his fury, fled into the tomb which he had caused to be made, and there she locked the doors unto her, and shut all the springs of the locks with great bolts, and in the mean time sent unto Antonius to tell him that she was dead. Antonius believing it, said unto himself: ' What doest thou look for further, Antonius, sith ^ spiteful fortune hath taken from thee the only joy thou hadst, for whom thou yet reservedst thy life ? ' When he had said these words, he went into a chamber and unarmed himself, and being naked ^ said thus : ' O Cleopatra, it grieveth me not that I have lost thy company, for I will not be long from thee : but I am sorry that, having been so great a captain and emperor, I am indeed condemned to be judged of less courage and noble mind than a woman.' Act IV. Scene XIV. — "Now he had a man of his called Eros, whom he loved and trusted much, and whom he had long before caused to swear unto him, that he should kill him when he did command him : and then he willed him to keep his promise. His man, drawing his sword, lift ^ it up as though he had meant to have stricken his master : but turning his head at one side, he thrust his sword into himself, and fell down dead at his master's foot. Then 1 since. Cf. Ham. ii. 2. 12, etc. 2 without arms. Cf. 0th. v. 2. 258, etc. 3 lifted. Cf. Genesis, vii. 17, xiv. 22, etc. Notes 205 said Antonius : ' O noble Eros, I thank thee for this, and it is valiantly done of thee, to shew me what I should do to myself, which thou couldest not do for me.' Therewithal he took his sword, and thrust it into his belly, and so fell down upon a little bed. The wound he had killed him not presently, ^ for the blood stinted^ a little when he was laid: and when he came somewhat to himself again, he prayed them that were about him to despatch him. But they all fled out of the chamber, and left him crying out, tormenting himself: until at last there came a secretary unto him (called Diomedes) who was commanded to bring him into the tomb or monument where Cleopatra was. Wh«n he heard that she was alive, he very earnestly prayed his men to carry his body thither, and so he was carried in his men's arms into the entry of the monument. Act IV. Scene XV. — "Notwithstanding, Cleopatra would not open the gates but came to the high windows, and cast out certain chains and ropes, in the which Antonius was trussed ^ : and Cleo- patra her own self, with two women only, which she had suffered to come with her into these monuments, trised* Antonius up. They that were present to behold it said they never saw so pitiful, a sight. For they plucked up poor Antonius, all bloody as he was, and drawing on with pangs of death : who holding up his hands to Cleopatra, raised up himself as well as he could. It was a hard thing for these women to do, to lift him up : but Cleopatra, stoop- ing down with her head, putting to all her strength to her utter- most power, did lift him up with much ado, and never let go her hold, with the help of the women beneath that bad her be of good courage, and were as sorry to see her labour so as she herself. So when she had gotten him in after that sort, and laid him on a bed, she rent her garments upon him, clapping her breast, and scratch- ing her face and stomach. Then she dried up his blood that had bewrayed 5 his face, and called him her lord, her husband, and 1 at once. 2 ceased, 3 wound. •* drew. 5 berayed, disfigured. Cf. rayed in T. of S. iii. 2. 54 and iv. i. 3. 2o6 Notes emperor, forgetting her own misery and calamity for the pity and compassion she took of him. Antonius made her cease her lament- ing, and called for wine, either because he was athirst, or else for that he thought thereby to hasten his death. When he had drunk, he earnestly prayed her, and persuaded her, that she would seek to save her life, if she could possible, without reproach and dis- honour : and that chiefly she should trust Proculeius above any ■: man else about Caesar. And as for himself, that she should not lament nor sorrow for the miserable change of his fortune at the end of his days : but rather that she should think him the more fortunate, for the former triumphs and honours he had received ; considering that while he lived, he was the noblest and greatest prince of the world ; and that now he was overcome, not cowardly, but valiantly, a Roman by another Roman. Act V. Scene I. — "As Antonius gave the last gasp, Proculeius came that was sent from Caesar. For after Antonius had thrust his sword in himself, as they carried him into the tombs and monu- ments of Cleopatra, one of his guard (called Dercetaeus) took his sword with which he had stricken himself, and hid it : then he secretly stole away, and brought Octavius Caesar the first news of his death, and shewed him his sword that was bloodied. Caesar hearing this news, straight withdrew himself into a secret place of his tent, and there burst out with tears, lamenting his hard and ^ miserable fortune, that had been his friend and brother-in-law, his ' equal in the empire, and companion with him in sundry great exploits and battles. Then he called for all his friends and shewed them the letters Antonius had written to him, and his answers also sent him again, during their quarrel and strife : and how fiercely and proudly the other answered him, to all just and reasonable matters he wrote unto him. Act V. Scene II. — " After this, he sent Proculeius, and com- manded him to do what he could possible to get Cleopatra alive, fearing lest otherwise all the treasure would be lost : and further- more, he thought that if he could take Cleopatra, and bring her Notes 207 alive to Rome, she would marvellously beautify and set out his triumph. But Cleopatra would never put herself into Proculeius' hands, although they spake together. For Proculeius came to the gates that were thick and strong, and surely barred, but yet there were some cranewes ^ through the which her voice might be heard; and so they without understood, that Cleopatra demanded the king- dom of Egypt for her sons : and that Proculeius answered her that she should be of good cheer, and not be afraid to refer all unto Caesar. After he had viewed the place very well, he came and reported her answer unto Caesar : who immediately sent Callus to speak once again with her, and bad him purposely hold her in talk, whilst Proculeius did set up a ladder against that high window by the which Antonius was trised ^ up, and came down into the monu- ment with two of his men, hard by the gate where Cleopatra stood to hear what Callus said unto her. One of the women which was shut up in her monuments with her, saw Proculeius by chance as he came down, and skreeked ^ out : ' O poor Cleopatra, thou art taken.' Then when she saw Proculeius behind her as she came from the gate, she thought to have stabbed herself in with a short dagger she wore of purpose by her side. But Proculeius came suddenly upon her, and taking her by both the hands, said unto her : ' Cleopatra, first thou shalt do thyself great wrong, and secondly unto Caesar, to deprive him of the occasion and opportunity openly to shew his bounty and mercy, and to give his enemies cause to accuse the most courteous and noble prince that ever was, and to appeach ^ him, as though he were a cruel and merciless man, that were not to be trusted.' So even as he spake the word, he took her dagger from her, and shook her clothes for fear of any poison hidden about her. . . . " Shortly after, Casar came himself in person to see her, and to comfort her. Cleopatra, being laid upon a little low bed in poor 1 crannies. 2 drawn. See p. 205, above. 3 shrieked. * impeach, accuse. See Rich. II. v. 2. 79, 102, etc. 2o8 Notes 1 estate (when she saw Caesar come into her chamber), suddenly rose up, naked in her smock, and fell down at his feet marvellously dis- figured : both for that she had plucked her hair from her head, as also for that she had martyred all her face with her nails ; and besides, her voice was small and trembling, her eyes sunk into her head with continual blubbering ; ^ and moreover, they might see the most part of her stomach torn in sunder. To be short, her body was not much better than her mind : yet her good grace and comeliness and the force of her beauty was not altogether defaced. But notwithstanding this ugly and pitiful state of hers, yet she shewed herself within, by her outward looks and countenance. When C^sar had made her lie down again, and sat by her bedside, Cleopatra began to clear and excuse herself for that she had done, laying all to the fear she had of Antonius : Ceesar, in contrary man- ner, reproved her in every point. Then she suddenly altered her speech, and prayed him to pardon her, as though she were afraid to die, and desirous to live. At length, she gave him a brief and memorial of all the ready money and treasure she had. But by chance there stood one Seleucus by, one of her treasurers, who, to seem a good servant, came straight to Caesar to disprove Cleopatra, that she had not set in all, but kept many things back of purpose. Cleopatra was in such a rage with him, that she flew upon him, and took him by the hair of the head, and boxed him well-favouredly.^ Caesar fell a-laughing and parted the fray. 'Alas,' said she, 'O Caesar : is not this a great shame and reproach, that thou having vouchsafed to take the pains to come unto me, and done me this honour, poor wretch and caitiff^ creature, brought into this pitiful and miserable state : and that mine own servants should come now to accuse me ? though it may be I have reserved some jewels and trifles meet for women, but not for me (poor soul) to set out myself 1 crying. Cf. R. aitd y. iii. 3. 87. 2 beat him soundly. Cf. p. 201, above. 3 wretched. Cf. 0th. iv. i. 109, etc. Notes 209 withal, but meaning to give some pretty presents and gifts unto Octavia and Livia, that they, making means and intercession for me to thee, thou mightest yet extend thy favour and mercy upon me,' Caesar was glad to hear her say so, persuading himself thereby that she had yet a desire to save her life. So he made her answer, that he did not only give her that to dispose of at her pleasure which she had kept back, but further promised to use her more honourably and bountifully than she would think for : and so he took his leave of her, supposing he had deceived her, but indeed he was deceived himself. There was a young gentleman, Cornelius Dolabella, that was one of Caesar's very great familiars, and besides did bear no ill will unto Cleopatra. He sent her word secretly (as she had requested him) that Csesar determined to take his journey through Syria, and that within three days he would send her away before with her children. When this was told Cleopatra, she requested Csesar that it would please him to suffer her to offer the last obla- tions of the dead unto the soul of Antonius. This being granted her, she was carried to the place where his tomb was, and there falling down on her knees, embracing the tomb with her women, the tears running down her cheeks, she began to speak in this sort : ' O my dear lord Antonius, it is not long sithence ^ I buried thee here, being a free woman : and now I offer unto thee the funeral sprinklings and oblations, being a captive and prisoner ; and yet I am forbidden and kept from tearing and murdering this captive body of mine with blows, which they carefully guard and keep only to triumph of thee : look therefore henceforth for no other honours, offerings, nor sacrifices from me : for these are the last which Cleo- patra can give thee, sith now they carry her away. Whilst we lived together, nothing could sever our companies : but now, at our death, I fear me they will make us change our countries. For as thou, being a Roman, hast been buried in Egypt : even so, wretched creature, I, an Egyptian, shall be buried in Italy, which shall be all 1 since. See Cor. iii. i. 47. ANTONY — 14 2IO Notes the good that I have received by thy country. If therefore the gods where thou art now have any power and authority, sith our gods here have forsaken us, suffer not thy true friend and lover to be carried away alive, that in me they triumph of thee : but receive me with thee, and let me be buried in one self ^ tomb with thee. For though my griefs and miseries be infinite, yet none hath grieved me more, nor that I could less bear withal, than this small time which I have been driven to live alone without thee.' "Then having ended these doleful plaints, and crowned the tomb with garlands and sundry nosegays, and marvellous lovingly embraced the same, she commanded they should prepare her bath ; and when she had bathed and washed herself, she fell to her meat, and was sumptuously served. Now whilst she was at dinner, there came a countryman and brought her a basket. The soldiers that warded 2 at the gates, asked him straight what he had in his basket. He opened his basket, and took out the leaves that covered the figs, and shewed them that they were figs he brought. They all of them marvelled to see so goodly figs. The countryman laughed to hear them and bad them take some if they would. They believed he told them truly, and so bad him carry them in. After Cleo- patra had dined, she sent a certain table ^ written and sealed unto Caesar, and commanded them all to go out of the tombs where she was, but the two women ; then she shut the doors to her. Csesar, when he had received this table, and began to read her lamenta- tion and petition, requesting him that he would let her be buried with Antonius, found straight what she meant, and thought to have gone thither himself: howbeit, he sent one before in all haste that might be, to see what it was. Her death was very sudden : for those whom Caesar sent unto her ran thither in all haste possible, and found the soldiers standing at the gate, mistrusting nothing, nor understanding of her death. But when they had opened the doors, they found Cleopatra stark-dead, laid upon a bed of gold, 1 same. Often used by S. as an adjective, 2 watched. 3 tablet, letter. See Cymb. iii. 2. 39, etc. Notes 211 attired and arrayed in her royal robes, and one of her two womep, which was called Iras, dead at her feet : and her other woma:^ (called Charmion) half dead, and trembling, trimming the diaden-i which Cleopatra wore upon her head. One of the soldiers seeing her, angrily said unto her : ' Is that well done, Charmion ? ' * Very well,' said she again, ' and meet for a princess descended from the race of so many noble kings : ' she said no more, but fell dow dead hard by the bed. Some report that this aspick was brought unto her in the basket with figs, and that she had commanded them to hide it under the fig-leaves, that when she should think to take out the figs, the aspick should bite her before she should see her : howbeit, that when she would have taken away the leaves for the figs, she perceived it, and said, * Art thou here, then ? ' And so, her arm being naked, she put it to the aspick to be bitten. Others say again, she kept it in a box, and that she did prick and thrust it with a spindle of gold, so that the aspick, being angered withal, leapt out with great fury, and bit her in the arm. Howbeit few can tell the troth.i For they report also, that she had hidden poison in a hollow razor which she carried in the hair of her head ; and yet was there no mark seen on her body, or any sign discerned that she was poisoned, neither also did they find this serpent in her tomb : but it was reported only, that there was seen certain fresh steps or tracks where it had gone, on the tomb-side toward the sea, and specially by the door-side. Some say also that they found two little pretty 2 bitings in her arm, scant to be discerned : the which it seemeth Caesar himself gave credit unto, because in his triumph he carried Cleopatra's image, with an aspick biting of her arm. And thus goeth the report of her death. Now Caesar, though he was marvellous sorry for the death of Cleopatra, yet he wondered at her noble mind and courage, and therefore commanded she should be nobly buried, and laid by Antonius : and willed also that her two women should have honourable burial." 1 truth. See p. 193 above. 2 minute. Cf. v. 2. 243 below. 212 Notes [Act ACT I Scene I.— 4. Plated. Cf. Rich. II. i. 3. 28: "Thus plated in habiliments of war." 5. Office. Service ; as often. 6. A ta-wny front. Tennyson refers to her in A Drea?n of Fair IVoineii, as a " queen, with swarthy cheeks," and some critics have supposed that he forgot she was of pure Greek blood, being the daughter of Ptolemy Auletes and a lady of Pontus ; but in a letter to me he called attention to " the polish'd argent of her breast" in another stanza of the same poem. He says that he described her, as S. does in i. 5, 19, as "with Phoebus' amorous pinches black," not as a half- African. 8. Reneges. Denies, disclaims ; as in Lear, ii. 2. 84 : " Renege, affirm," etc. Coleridge would spell the word " reneagues," as it was pronounced. The quartos of Lear have " Reneag." 10. To cool. Johnson, not seeing that the bellows and the fan were both meant to cool, would read "To kindle and to cool a gypsy's lust." Malone quotes Spenser, F. Q. ii. 9. 30 : — " An huge great payre of bellowes, which did styre Continually, and cooling breath inspyre." For the contemptuous use of gypsy, cf. R. and J. ii. 4. 44 : " Dido a dowdy, Cleopatra a gypsy." See also iv. 12. 28 below. 12. Triple. Third; as one of the triumvirate. Cf. A. W. ii. I. Ill : — " Which, as the dearest issue of his practice, And of his old experience the only darling. He bade me store up, as a triple eye, Safer than mine own two, more dear." 15. There's beggary, etc. Cf. R. and J. ii. 6. 32: "They are but beggars who can count their worth." Cf. 0\dd, Alet. xiii. : " Pauperis est numerare pecus " (it is the poor man who counts his Scene I] Notes 213 herd), which Golding translates: "Tush! beggars of their cattel use the numbers for to know." 17. Then must thou needs, etc. "Thou must set the boundary of my love at a greater distance than the present visible universe affords" (Johnson). 18. Grates me ; the sujji. It grates upon my ear, it vexes me ; so be brief. The 2d folio has " Rate me, the summe ;" and Rowe reads " Rate me the sum." 19. Them. S. makes news both singular and plural. Cf. iii. 7. 51 below: "The news is true." 23. Take in. Take, subdue ; as in Co7-. i. 2. 24 : " To take in many towns," etc. 28. Process. Summons ; the legal sense of the word. Malone quotes Minsheu, Diet. 1617 : "The writings of our common lawyers sometimes call that the processe, by which a man is called into the court and no more." 31. Homager. Vassal ; the only instance of the word in S. 34. Rang'd. Well ordered. Cf. Cor. iii. i. 206: — " To bring the roof to the foundation, And bury all, which yet distinctly ranges, In heaps and piles of ruin." 35. Our dungy earth. Cf. W. T.\\. i. 157: " the whole dungy earth." See on v. 2. 7 below. 39. To weet. To wit, to know. Elsewhere in the early eds. the speUing is " wit ; " as in M. of V. ii. 9. 90, A. Y. Z. v. i. 57, etc. 43. But stirred by Cleopatra. But influenced or inspired by Cleopatra. 44. Love. The goddess of love, or Venus. Cf. C. of E. iii. 2. 52: "Let Love, being light, be drowned if she sink." 45. Confound. Consume, spend ; as in i. 4. 28 below. Cf. Cor. i. 6. 17 : " How couldst thou in a mile confound an hour? " 53. We '// wander through the streets. Cf. extract from North, p. 186 above. 214 Notes [Act I 60. That he approves, etc. " That he proves the common liar, fame, in his case to be a true reporter " (Malone). Cf. AI. of V. iii. 2. 79 : " approve it with a text," etc. 61. Hope of. Cf. M. for M. iii. i. i: "So then you hope of pardon from Lord Angelo?" etc. Scene II. — The stage-direction in the folio is " Enter Enobar- bus, Lamprius, a Southsayer, Rannius, Lticillius, Charmian, Iras, Mardian the Eunuch, and Alex as ; " but Lamprius, Rannius, and Lucillius take no part in the dialogue. Perhaps, as Steevens sug- gests, they may have been in it as it was first written by S., and their names were accidentally left here after their speeches had been struck out. It is not the only instance of the kind in S. I. Lamprias, or La^npryas, is mentioned by Plutarch. See p. 185 above. 4. Charge. The folios have "change ; " corrected by Theobald. Some retain " change," making it = vary, give a different appear- ance to. 23. Heat my liver. Cf M. of F. i. i. 81 : "And let my liver rather heat with wine," etc. For the liver as the seat of love, cf. Much Ado, iv. I. 233 : " If ever love had interest in his liver," etc. 25. Good now. A not uncommon vocative construction. Cf. C. of E. iv. 4. 22, W. T. V. I. 19, etc. See also i. 3. 78 below. 27. Herod. Cf. iii. 3. 3, iii. 6. 73, and iv. 6. 14 below. Herod was a familiar character in the mysteries of the early stage, on which he was represented as "a fierce, haughty, blustering tyrant." Cf. Ham. iii. 2. 16: "it out-herods Herod, etc." Charmian's wish is therefore " for a son who may arrive at such power and dominion that the proudest and fiercest monarchs of the earth may be brought under his yoke." 31. I love long life better than figs. A proverbial expression. 34. Belike. It is likely, I suppose. Johnson explains the speech thus : " If I have already had the best of my fortune, then I sup- pose I shall never name children, that is, I am never to be mar- Scene II] Notes 215 ried. However, tell me the truth, tell me, ' how many boys and wenches? ' " Cf. T. G. of V. iii. i. 321. 36. Fertile. The folios have " foretell " or " foretel ;" corrected by Theobald (the conjecture of Warburton). 37. I forgive thee for a witch. Alluding to the proverb, " You '11 never be burnt for a witch." Herford explains it " as being a wizard, and hence privileged to utter home-truths." 49. An oily palm, etc. Malone compares 0th. iii. 4. 36: — "This hand is moist, my lady. . . . This argues fruitfulness and liberal heart." 51. Worky-day. Ordinary, common. Cf. ^. K Z. i. 3. I2: "this working-day world." 60. Alexas, — co7ne^ etc. In the folio this is printed as if it were the speech of Alexas : *' Alexas. Come, his Fortune," etc. Theo- bald was the first to suggest the correction, which is required by the sense, and is, moreover, confirmed (though I am not aware that this has been noted) by the fact that elsewhere the prefix to the speeches of Alexas is the abbreviation " Alex.^'' In the folio the proper names in the text are generally in italics, and this one was somehow mistaken for the prefix to a speech. 65. Hear me this prayer. Cf. v. I. 51 below: "We '11 hear him what he says," etc. 88. Jointing. Joining ; used by S. only here and in Cymb. v. 4. 142 and V. 5. 440. 90. Drave. For the form, cf. T. and C. iii. 3. 190, R. and J. i. I. 127, etc. Drove is the more comm.on form of the past tense in S. For the participle he has di'iven, except in iv. 7. 5 below {droven) and 2 Hen. VI. iii. 2. 84 {drove, which Schmidt thinks may be the past tense). For drave, oi. Joshua, xvi. lo, xxiv. 12, etc. 95. As. As if. Cf. iv. I. I below. 97. Extended. Seized upon; a legal use of the word. Cf. extent — %q.\zvlXQ. in A. Y.L. iii, i. 17. Steevens quotes Massinger, New Way to Pay Old Debts : " This manor is extended to my use." 2 1 6 Notes [Act Asia is here a trisyllable ; and Euphrates (the only instance of the word in S.) is accented on the first syllable, as by other writers of the time. Cf. Drayton, Polyolbion, 21: "That gliding go in state, like swelling Euphrates." loi. Home. Without reserve or " mincing." Cf. 6>//z. ii. i. 166: " He speaks home," etc. 106. Minds. The folios have " windes " or " winds," which some retain as " a figurative image for the brisk, wholesomely search- ing winds that make the earth duly fruitful instead of letting it lie stagnant and overgrown with idle weeds ; as well as for the wholesomely rough breath of public censure and private candour which prevent the growth of moral weeds, and allow good fruits to spring up." 107. Earing. Tilling, ploughing. Cf. A. W. i. 3. 47 : " He that ears my land spares my team," etc. See also i. 2. 105 below ; and cf. Deuteronomy, xxi. 4, Isaiah, xxx. 24, etc. Warburton para- phrases the passage thus : "While the active principle within us lies immerged in sloth and luxury, we bring forth vices instead of virtues, weeds instead of flowers and fruits ; but the laying before us our ill condition plainly and honestly, is, as it were, the first culture of the mind, which gives hope of a future harvest." III. Stays upon your will. Cf. Macb. i. 3. 148: "we stay upon your leisure;" Ham. iii. 2. 112: "they stay upon your patience," etc. 119. Contempt doth. The ist folio has " contempts doth," the 2d "contempts do" ; but it is more likely that contempt was mis- printed contempts than that do was made doth. Possibly S. wrote "contempts doth." Cf. R. and J., prol. 8. Abbott (^Grammar, 334) calls it " the 3d person plural in -th.^^ Hath often occurs with a plural subject. 121. By revolution lowering. Decreasing with the lapse of time. Johnson sees an allusion to " the sun's diurnal course ; " but it seems to be rather to the turning of a wheel, probably sug- gested by the familiar "wheel of Fortune." Cf. iv. 15. 44 below. 1 Scene II] Notes 217 Steevens paraphrases it thus : " The pleasure of to-day, by revolu- tion of events and change of circumstances, often loses all its value to us, and becomes to-morrow a pain." 123. Could. Could willingly, would fain. 138. Upon fa?' poor e J' moment. For less reason, or for a matter of less moment. 144. Call her winds and waters sighs and tears, "Dignify her expenditure of air and water by the name of sighs and tears." Malone was at first inclined to read " call her sighs and tears winds and waters," but finally decided that the text is as S. wrote it. Of course, Enobarbus means just what he says, and there is a humour in it which Malone appears to have missed. 158. When it pleaseth, &tc. "When the deities are pleased to take a man's wife from him, this act of theirs makes them appear to man like the tailors of the earth : affording this comfortable reflection, that the deities have made other women to supply the place of his former wife ; as the tailor, when one robe is worn out, supplies him with another" (Malone). 165. The tears live in an onion, etc, Cf. onion-eyed \x\ iv. 2. 35 below ; also T. of S. ind. i. 126 and A. W. v. 3. 321. 171. Your abode. Your abiding or remaining here. Cf. Cymb. i. 6. 53: — " Beseech you, sir, desire My man's abode where I did leave him ; " that is, ask him to stay there. 174. Expedience. Expedition ; as in I Hen. IV. i. i. 33 : "In forwarding this dear expedience." Elsewhere it is = haste ; as in Rich. II.\\. I. 287 and Hen. V. iv. 3. 70. 175. Part. Depart; as often. Cf. T.N. v. i. 394 : "We will not part from hence," etc. 176. More urgent touches. " Things that touch me more sensi- bly, more pressing motives " (Johnson). Cf. Cymb. i. i. 135 : — " a touch more rare Subdues all pangs, all fears." 2 1 8 Notes [Act I 178. Many our contriving friends. Many friends who are busy in our interests. For the order, cf. T. of A. iii. 6. 11 : " many my near occasions." 179. Petition us at home. Are calling for our presence at home. 180. Dare. Defiance; again used as a noun (= daring, bold- ness) in I Hen. IV. iv. i. 78: "A larger dare to our great enter- prise." 183. To throw, etc. That is, to transfer his name and honours to his son. 187. Quality. Disposition, character. Cf. i. i. 54 above. 188. The sides 6' the world. The expression occurs again in Cymb. iii. I. 51. Danger is not elsewhere used by S. as a verb. 189. The courser'' s hair. Alluding to the old notion, still current in some places among children and the illiterate, that a horse-hair put into water will turn into a worm or snake. 191. Such whose. For the relative after such, cf. i. 4. 28 below. Scene III. — i. I did not see him sitice. Cf. Hen. V. iv. 7. 58: " I was not angry since I came to France," etc. 3. / did not send you. " You must go as if you came without my order or knowledge " (Johnson). Cf. T. and C. iv. 2. 72: — " I will go meet them ; and, my lord ^neas, We met by chance, you did not find me here." 8. / do not ? The elhpsis of the relative is common. 10. The way to lose hi?fz. That is, it is the way. 11. I wish. Apparently used like " I pray," etc. 16. The sides of nattire, etc. Steevens quotes T. N. ii. 4. 96 : — " There is no woman's sides Can bide the beating of so strong a passion." 28. Though you in swearing, etc. Cf. T. of A. iv. 3. 137 : — " Although, I know, you 'II swear, terribly swear Into strong shudders and to heavenly agues The immortal gods that hear you." I Scene III] Notes 219 32. Colour. Pretext; as in Hen. VIII. i. i. 178: — " Under pretence to see the queen his aunt — For 't was indeed his colour," etc. 35. Eternity was in our lips, etc. A taunting repetition of what Antony had formerly said of her. 36. In our brows' betit. Steevens quotes K. John, iv. 2. 90 : " Why do you bend such solemn brows on me? " 37. Was a race of heaven. Was of heavenly origin. Some make it = " had a smack or flavour of heaven." 44. In use. In trust ; a legal term. Cf. M. of V. iv. I. 383 : — " I am content, so he will let me have The other half in use, to render it, Upon his death, unto the gentleman . That lately stole his daughter." 46. Port. Some make this = gate, as in iv. 4. 23 belovi' ; but, as Pompey was approaching by sea, the reference is more probably to Ostia, the harbour of Rome. If it had the other meaning, we should expect the plural, as in Cor. v. 6. 6. 48. Breed. Probably an instance of " confusion of proximity." 49. Coiidemn''d. Accented on the first syllable because coming before the noun. 51. Thrived. The only instance of the participle in S. We find the past tense thrived in Per. v. 2. 9. 53. Would purge. Would be cured. Cf. the transitive use in W. T. iv. 4. 790, Rich. II. i. i. 153, Macb. v. 3. 52, etc. 54. Particular. Private concern. For the use of more, cf. K.John, ii. i. 34: "a more requital," etc. 55. Safe. Render safe ; used as a verb by S. only here and in iv. 6. 26 below. 58. It does from childishness. That is, from being so childish as to believe you. She does not believe at first that Fulvia is really dead. Malone explains it : "I am not so childish as to have apprehensions from a rival that is no more ; " which seems a very 220 Notes [Act I childish interpretation. The reply of Antony clearly favours the other. 6i. Garboils. Disturbances, turmoils, "tantrums." The only other instance of the word in S. is ii. 2. 67 below. Steevens quotes Stanyhurst, ^neid, 1 582: "Now manhood and garboils I chaunt and martial horror." At the last, best. This has been variously interpreted, but prob- ably refers to the last part of the letter, or that giving the good news of Fulvia's death. This explanation is confirmed by Cleo- patra's reply. Steevens calls it a " conjugal tribute to the memory of Fulvia," and compares Malcolm's eulogium on the thane of Cawdor, Macb. i. 4. 7 : — " nothing in his life Became him like the leaving of it." Boswell says : " Surely it means her death was the best thing I have known of her, as it checked hex garboils.''^ 63. Vials. " Alluding to the lachrymatory vials, or bottles of tears, which the Romans sometimes put into the urn of a friend " (Johnson). Cf. Two Noble Kinsmen, i. 5. 4: "Sacred vials fill'd with tears." 68. The fii'c, etc. That is, the sun. 71. Affecfst. Pleasest, likest. The ist folio has "affects," a not uncommon contraction of such forms. 73. So Antony loves. Some editors make this = thus (that is, in this uncertain, fickle way) Antony loves ; but I think that so = if : I am quickly ill, — and as quickly well again if Antony only loves me. For so, cf. ii. 5. 94 below. The reply of Antony is consistent with either interpretation. 78. Good now. See on i. 2. 25 above. For Egypt = queen of Egypt, cf. 41 above, and i, 5. 34, iii. il. 51, 56, etc., below. 81. Meetly. Well; the only instance of the word in S. 84. Herculean. Antony triced his descent from Anton, a son of Hercules. Cf. iv. 12. 44 below. Scene III] Notes 221 85. The carriage of his chafe. His chafed or angry bearing. The noun chafe is used by S. only here ; but cf. the verb in Cor. iii. 3. 27, Hen. VIII. i. i. 123, iii. 2. 206, etc. For carriage, cf. C. of E. iii. 2. 14: "Teach sin the carriage of a holy saint," etc. 90. O, my oblivion is a very Antony, etc., " O, this oblivious memory of mine is as false and treacherous as Antony is, and I forget every thing" (Steevens). For oblivion = forgetfulness in this subjective sense, cf. Ham. iv. 4. 40 : " Bestial obhvion," etc. For forgotten, cf. our use of mistaken. Here there is probably a play upon the double sense of the word. 91. But that your royalty, etc. But that your sovereignty can make frivolousness subservient to your purpose, I should take you for frivolousness itself. Warburton explained it : " But that your charms hold me, who am the greatest fool on earth, in chains, I should have adjudged you to be the greatest ; " and Steevens thus : " but that your queenship chooses idleness for the subject of your conversation, I should take you for idleness itself;" but he sug- gested that it might mean, " But that I know you to be a queen, and that your royalty holds idleness in subjection to you, exalting you far above its influence, I should suppose you to be the very genius of idleness itself." Warburton considered that Cleopatra's reply favoured his interpretation (taking idleness to refer to An- tony, as he had used it) ; but it may be better explained by mine. Clarke paraphrases the reply thus : " Ah ! it is hard work to sus- tain such trifling so near the heart (or with so much of earnest feeling beneath it) as Cleopatra has carried on this trifling of hers." 96. My becomings kill me, etc. The meaning seems to be that she reckons her very graces as her deadly enemies if they do not gain his favour. Steevens thinks there may be an allusion to what Antony has said of her in i. i. 49 above. S. uses becoming as a noun only here and in Sonn. 150. 5. 100. Laurel. The 2d folio has " Lawrell'd," which many edi- tors prefer. I 222 Notes [Act I 103. That thou, residing here, etc. Steevens remarks that the conceit may have been suggested by Sidney's Arcadia : — " She went, they staid ; or, rightly for to say, She staid with them, they went in thought with her." Scene IV. — 3. Co?npeHtor. Associate ; as in ii. 7. 74 and v. i. 42 below. 6. Ptolemy. Used, as in 17 below, because the queen belonged to the line of Ptolemies. Cf. iii. 12. 18 below. 9. The abstract of all faults. "A microcosm of sinfulness" (Schmidt). II. Enow. The old plural of enough. Cf. M. of V. iii. 5. 24, iv. I. 29, Hen. V. iv. i. 240, iv. 2. 28, etc. 12,13. His faults, ^tz. The comparison is elliptically expressed, but intelligible enough. Cf. Cymb. v. 5. 120 : — "One sand another Not more resembles that sweet rosy lad Who died, and was Fidele." 14. Purchased. Acquired. Cf. A. Y. L. iii. 2. 360: "Your accent is something finer than you could purchase in so removed a dwelling," etc. 20. Peel the streets. For the transitive use, cf. Ham. i. 4. 9 : " Keeps wassail, and the swaggering up-spring reels." 22. As. Nearly =y^r or though; as in ii. 2. 53 below. Com- posure =■■ composition ; as in T. and C. ii. 3. 25 1 : " thou art of sweet composure." In the only other instance of the word in S. ( T. and C. ii. 3. 109, where the folios have " counsel ") it is = combination. 24. Soils. Stains, blemishes. S. does not use the plural any- where else. When zae do bear, etc. " When his trifling levity throws so much burden on us" (Johnson). S. is fond of playing on the various senses of light. I Scene ivj Notes 223 25. IfhefilVd, etc. " If Antony followed his debaucheries at a time of leisure, I should leave him to be punished by their natural consequences, by surfeiis and dry bones " (Johnson) . Call on him — call him to account ; or, perhaps, "visit him" (Schmidt). 28. Confound. See on i. i, 45 above; and iox stick . . . tAal, on i. 2. 191. 31. Being mature in knowledge. That is, being old enough to know better. Hanmer reads "who, immature," etc.; but the expei'ience and judgment that follow imply that the boys are mature enough to k7iow what is right, though they may not have the manly strength to resist temptation. 33. Here 's more Jtews. See on i. i. 21 ^above. We often, how- ever, find the singular verb before a plural subject. 39. Discontents. Malcontents ; as in i Hen. IV. v. i. 76 : *' fickle changelings and poor discontents." 40. Give. Represent ; as in Cor. i. 9. 55 : "To us that give you truly." 43. Ebfd. That has ebbed, or declined. Cf. Te?np. ii. i. 226: " Ebbing men ; " and Lear, v. 3. 19 : — " great ones That ebb and flow by the moon." For the form, ci. forgotten in i. 3. 91 above. 44. Comes dear'd. Becomes endeared. The folios all have "fear'd;" corrected by Theobald (the conjecture of Warburton). 45. Flag. The yellow iris, commonly called the "water flag" in the time of S. 46. Lackeying. The folios have " lacking ; " corrected by The6- bald. 49. Ear. Plough. See on i. 2. 107 above. 52. Lack blood to think on V. Turn pale at the thought of it. Flush youth — youth in its perfection, or ripening to manhood. 56. Wassails. Carousals. Cf. Z. L. L. v. 2. 318: "at wakes and wassails," etc. 224 Notes [Act I 57. Modena. iVccented here (the only instance of the word in S.) on the second syllable. Cf. North, p. 182 above. 61. Suffer. That is, suffer with. The ellipsis of the preposition in relative sentences is common. 62. Stale. Urine. Gilded = covered with yellow scum. 71. Latik'd. Became lank or thin ; the only instance of the verb in S. ^ T is pity of /ii??t occurs again in Ot/i. ii. 3. 130, Cf. T. N. ii. 5. 14, M. N. D. iii. i. 44, etc. 79. Front. Face, encounter. Cf. 2 Hen. IV. iv. i. 25 : " What well-appointed leader fronts us here? " See also ii. 2. 61 below. 84. For my bond. That is, to be my bounden duty. Scene V. — 4. Mandragora. Mandrake ; a soporific. Cf. 0th. iii. 3. 330: — " Not poppy, nor mandragora, Nor all the drowsy syrups of the world, Shall ever medicine thee to that sweet sleep Which thou ow'dst yesterday ; " and Webster, Duchess of Malfy, iv. 2 : — " Come, violent death, Serve for mandragora, and make me sleep ; " 13. Wofst. Knowest ; used by S. only in the present tense and the participle wotting. For the latter, see W. T. iii. 2. 77. 14. Demi-Atlas. Cf. 3 Hen. VI. v. I. 36: "Thou art no Atlas for so great a weight." 15. Bu7gonet. A kind of helmet. Cf. 2 Hen. VI. v. I. 204 : "This day I '11 wear aloft my burgonet." 23. In. Into ; as often. 24. Anchor his aspect. Cf. Sonn. 137. 6 : — " If eyes corrupt by over-partial looks Be anchor'd in the bay where all men ride," etc. Aspect is accented on the last syllable, as regularly in S. Scene V] Notes 225 27. That great medicuie. Alluding to the "grand elixir" of the alchemists. Cf. A. W. v. 3. 102 : — " Plutus himself, That knows the tinct and multiplying medicine, Hath not in nature's mystery more science Than I have in this ring." 34. Egypt. See on i. 3. 78 above. 39. Arm-gaunt. A puzzle to the critics, who have suggested many emendations : as " arm-girt," " termagant," " war-gaunt," " arrogant," " rampaunt " or " ramping," etc. Various attempts have been made to explain arm-gmmt, but I have no doubt that it is a misprint. The poet's word was not improbably " rampaunt," though the article an favours "arrogant." 41. DumFd. The folios have " dumbe " or " dumb ; " corrected by Theobald. We find " dumbs " in Per. v. prol. 5 : " Deep clerks she dumbs." For the adverbial beastly, cf. T. of S. iv. 2. 34, Cymb. v. 3. 27, etc. 50. Alingle. S. uses the noun only here and in iv. 8. 37 below. 53. Several. Separate ; as often. Cf. 68 and iii. 13. 5 below. 54. So thick. In such quick succession. Cf. Macb. i. 3. 97: — "As thick as tale Came post with post." 62. Paragon. The verb is used in different though related senses in Hen. VI IT. ii. 4. 230 and 0th. ii. i. 62. 65. Cold in blood, etc. The pointing is that of Warburton, and is generally adopted ; the folio joins the words to what precedes. 69. Unpeople Egypt. By sending out messengers. ACT II Scene I. — i. Shall. Will; as often. 3. They not deny. For the transposition of not, cf. ii. 2. 35 below. ANTONY — 15 2 26 Notes [Act II 4. Whiles. Used by S. interchangeably with while. " The meaning is, while we are praying, the thing for which we pray is losing its value " (Johnson). 10. Aly powers are crescent. For the following it, cf. T. of A. iii. 6. loi : — " Who, stuck and spangled with your flatteries, Washes it off," etc. 21. Salt. Wanton, lustful. Cf. 0th. ii. I. 244, iii. 3. 404, etc. Wan^d = faded, declined. Cf. 3 //en. V/. iv. 7.4: — " I shall interchange My waned state for Henry's regal crown." The folio has "wand," and some editors read " wann'd." Cf. //am. ii. 2. 580 : "all his visage wann'd." 24. Epicurean. Accented on the antepenult, as in other writers of the time. S. uses the word only here and (in prose) in M. W. ii. 2. 300. 25. Cloy less. Uncloying. Cf. helpless = unhelping {V. and A. 604, Rich ///. i. 2. 13, etc.), sightless = unseen (Macb. i. 7. 23), etc. 26. Prorogue. " Linger out, keep in a languishing state " (Schmidt). 27. Lethe' d. Oblivious ; used by S. only here. For the noun Lethe, cf. ii. 7. 1 12 below. 31. A space for. Time long enough for. Space is often used of time ; as in Temp. i. 2. 279 : " within which space she died;" A. W. ii. 3. 188: "the coming space," etc. 37. Egypfs widow. Julius C?esar had married her to young Ptolemy, who was afterwards drowned. 38. //ope. Expect, suppose ; as in //en. V. iii. 7. 77 : " Some of them will fall to-morrow, I hope." Boswell remarks that it was considered a blundering use of the word in the time of Elizabeth, as appears from Puttenham, Arte of English Poesie : " Such manner of uncouth speech did the Tanner of Tamworth use to king Edward the fourth, which Tanner having a great while mistaken him, and Scene II] Notes 227 used very broad talke with him, at length perceiving by his traine that it was the king, said thus with a certaine rude repentence : I hope I shall be hanged to-morrow ! For [I feare me] I shall be hanged, whereat the king laughed agood, not only to see the Tan- ners vaine feare, but also to heare his ill-shapen terme." 45. Pregnant. Very probable. Cf. Cymb. iv. 2, 325: " O, 't is pregnant, pregnant ! " Square = quarrel. Cf. M. N>D. ii. i. 30: " And now they never meet . . . But they do square," etc. So squarer = quarreller in Much Ado, i. I. 82. 49. Yet not know. Do not yet know. For the transposition, cf. iv. 12. I below. 50. Stands our lives upon. Behooves us as we value our lives. Cf. Rich. II. ii. 3. 138: "It stands your grace upon to do him right," etc. Scene II. — 8. I would not shave V. That is, I would not show him even that degree of respect. 9. Stomaching. Giving way to anger or resentment. S. uses the verb only here and in iii. 4. 12 below. For the noun ( = wrath), see Lear, v. 3. 74, etc. 15. Compose. Agree, make terms. Cf. composition in ii. 6. 58 below. 16. I do not know, etc. This is part of the conversation be- tween Ccesar and Maecenas as they come in. 21. Loud. In high words. Cf. Otk. ii. i. 150: "Had tongue at will, and yet was never loud," etc. 25. Nor curstness grow to the matter. " Let not ill-humour be added to the real subject of our difference" (Johnson). S. uses curstness only here, but cf. curst in Lear, ii. i. 67: "with curst speech," etc. 35. Not concerted. See on ii. 1.3 above. 40. How intend you, practised? "What do you mean by prac- tised? The word was often = plot; as in Lear, iii. 2. 57: "prac- tis'd on man's life," etc. 228 Notes [Act II 44. Was theme for you. Had you for its theme, was on your account. 46. Did urge me in his act. Made use of my name as a pretence for the war. 47. Reports. "Reporters" (Pope's reading). S. uses reporter only in 190 below. 50. Stomach. Disposition, inclination. Cf. Hen. V. iv. 3. 35 : " he which hath no stomach to this fight," etc. 51. Having alike your cause? I being engaged in the same cause with you (Malone). 52. Patch a quarrel. Make a quarrel, as it were, out of mere shreds and pieces. In the next line the not is not in the folios, but was inserted by Rowe. A few editors follow the folio, but their attempts to explain the passage are forced and unsatisfactory. For as, see on i. 4. 22 above. 60. With graceful eyes attend. Look graciously or approvingly upon. 61. Fronted. Opposed. Cf. i. 4. 79 above. 62. / would you had, etc. " I wish you were married to such another spirited woman; and then you would find that, though you can govern the third part of the world, the management of such a woman is not an easy matter" (Malone). Spirit is a monosyl- lable, as often. 64. Pace. Teach paces to, break in. Cf. Hen. VIII. v. 3. 22 : — . " those that tame wild horses Pace 'em not in their hands to make 'em gentle, But stop their mouths with stubborn bits, and spur 'em, Till they obey the manage." 67. Garboils. See on i. 3. 61 above. 70. Did you too much disquiet. S. has do with many nouns with which we should not now use it ; as " do danger " (y. C. ii. i. 17), "do our country loss" (^Hen. V. iv. 3. 21), "do him disparage- ment" (7?. and J. i. 5. 72), "do him shame" (A*, of L. 597, Sonn.. Scene II] NoteS llg 36. 10), "do him ease" {T. of S. v. 2. 179, Ham. i. i. 131), etc. For that— but for all that, nevertheless. 74. Missive. Messenger. Cf. 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.' " S. uses the word only twice. 78. I'old Jiini of myself. Told him the condition I was in, when he had his last audience. 85. The honour is sacred, etc. "The theme of honour which he now speaks of, namely, the religion of an oath, for which he supposes nie not to have a due regard, is sacred; let him there- fore urge his charge, that I may vindicate myself" (Malone). 94. Without it. That is, without my honesty. 98. Noble. Cf. Hen. VIII. ii. 4. 141 : " she 's noble born ; " and Cor. iii. 2. 6 : " You do the nobler." 99. Enforce. Urge, lay stress upon ; as in Cor. ii. 3. 227 : " enforce his pride," etc. 100. Griefs. Grievances. Cf. J. C. i. 3. 118 : "redress of all these griefs ; " Id. iv. 2. 42 : " Speak your griefs softly," etc. 102. Atone. Reconcile. Cf. Rich. II. i. i. 202 : " Since we cannot atone you," etc. III. Your considerate stone. That is, / am as silent as a stone. The meaning seems obvious enough, but changes have been sug- gested. Steevens cites many passages to show that " still as a stone" was a common simile. Cf. T. A. iii. i. 46: "A stone is silent and offendeth not." Considerate = discreet, circum- spect. 116. What hoop, etc. Cf. 2 Heji. IV. iv. 4. 43 : "A hoop of gold to bind thy brothers in." 123. Were well deservhi of rashness. Would be well deserved for your rashness. 129. To his wife. Cf. /. C. ii. I. 293, Harji. i. 2. 14, etc. See also Matthew, iii. 9, Luke, iii. 8, etc. 134. Import. Carry with them. 145. Power unto. Elsewhere we have of (^Ham. ii. 2. 27, etc.), 230 Notes [Act 11 upon (as in i. 3. 23 above), in {^Much Ado, iv. i. 75, etc.), and over (^Rich. III. i. 2. 47. etc.). 157. / must thank him only, etc. I must just thank him, lest I be thought forgetful of his courtesies ; and then I will defy him. 159. At heel of that. Cf. Ham. iii. 2. 341 : "But is there no sequel at the heels of this mother's admiration?" See also T. of A. i. I. 27, etc. 162. The Mount Misenum. The promontory in the Bay of Naples, now known as the Punta di Miseno. 165. So is the fame. Such is the report. 168. Most. Utmost, greatest ; as in Ham. i. 5. 180 : "at your most need," etc. 169. To my sister's view. To see my sister; the "objective genitive." 178. Digested. The ist folio has "disgested"; an old form of the word. So in Cor. i. I. 154 andy. C i. 3. 205 we find " disgest." 181. Eight wild boars roasted, etc. See extract from North, p. 185 above. 187. Square to her. Just to her. Cf. T. of A. v. 4. 36 : — "All have not offended; For those that were, it is not square to take Of those that are, revenges." 189. Upon the river of Cydnus. Mason criticised this as "an instance of negligence and inattention in S.," since, according to 216 below, Antony, being then in the market-place, did not see her on the river ; which reminds one of Yellowplush's surprise at finding that Boulogne-sur-Mer was on the shore and not " on the sea." Upo7i the river means " on the shores of the river," including the " city." 193. The barge she sat in, etc, Cf. North, p. 184 above. 201. Cloth-ofgold of tissue. Explained by some as = cloth-of- gold in tissue or texture ; but Staunton is probably right in making it — " cloth-of-gold on a ground of tissue." He says that the Scene II] Notes 23 1 expression " repeatedly occurs in early English books." He might have added that S. takes it from North. See p. 184 above. 202. That Venus. Warburton says that this means " the Venus of Protogenes, mentioned by Pliny." 207. What they undid did. That is, seemed to produce the glow they were intended to allay. Johnson thought it would be better to read " what they did, undid." 209. Tended her V the eyes. Apparently = waited upon her looks. Clarke compares M. N. D. iii. i. 168: "gambol in his eyes." Steevens cites Ha7n. iv. 4. 6 : " We shall express our duty in his eye ;" that is, in our personal attendance upon him. 210. And made their bends adornings. This is the great crux of the play. The notes upon it in the Variorum of 1821 fill six pages, and include some very amusing matter. More recent commenta- tors have added a good deal more of the same sort. If the old text be right, the simplest explanation is that they made their obeisance, or bowed, with such grace that it added to their beauty ; or, as Steevens puts it, " each inclined her person so gracefully that the very act of humiliation was an improvement of her own beauty." This idea of grace in doing service follows naturally enough the mention of their waiting upon her in the preceding line. The part of North's account which corresponds to made their bends adornings seems to be the statement that the gentlewomen were apparelled "like the Graces," and this must suggest a refer- ence to grace in their movements. 1 believe that in all that has been written on the passage, no one has called attention to the very close paraphrase of North which S. gives : " Her ladies and gentlewomen . . . were apparelled //i^ //z^ nymphs i\'^^rfZ(r/j' (which are the mermaids of the waters) and" — after getting so far we have only to seek a parallel for " like the Graces ; " and may we not find it in made their bends adornings ? — made their very obei- sance, as they tended her, like that of the Graces waiting on Venus. 211. Tackle. As a kind of "collective" noun, it here takes a plural verb. 232 Notes [Act II 212. Szuell. Perhaps suggested by the swelling of the sails, and possibly with the added figurative idea of palpitating, as it were, with pleasure at the touch. 213. Yarely. Readily, deftly. Cf. yare ( = quick) in v. 2. 283 below. 215. Wharfs. Banks; used by S. only here and in Ham. i. 5. 11 : " on Lethe wharf." 218. Btit for vacancy. But that it would produce a vacuum. 226. Barber'' d ten times o'er. Cf. 8 above, for the contrast. 227. His ordinary. His supper, his meal. Cf. A. W. ii. 3. 211 ; " for two ordinaries." S. uses the noun nowhere else except in A. Y. L. iii. 5. 42: "the ordinary Of Nature's sale-work." 228. Wench. In the time of S. " not always used in a bad sense, but as a general familiar expression, in any variation of tone be- tween tenderness and contempt " (Schmidt). 233. Did make defect perfection. An expression not unlike made their bends adornings above. 237. Stale. Render stale. Cf. J. C. i. 2. 73 : " To stale with ordinary oaths my love ; " Id. iv. i. 38 : " out of use and stal'd by other men," etc. 239, But she makes hungry, etc. Cf. V. and A. 19: — " And yet not cloy thy lips with loath'd satiety, But rather famish them amid their plenty," and Per. v. I. 113: " Who starves the ears she feeds, and makes them hungry." 241. Become themselves. Are becoming. Cf. Sonn. 150. 5 : " Whence hast thou this becoming of things ill ? " 242. Riggish. Wanton (from rig, a harlot) ; the only instance of the word in S. Scene III. — 3. Bow my prayers. That is, in my prayers. 6. Kept ?ny sqtiare. Explained by the context. Cf. the use of the verb in ^. 7". v. i. 52 : — Scene III] Notes 233 " O that ever I Had squar'd me to thy counsel ! " 14. In my motion. In my mind, "intuitively" (Schmidt). Cf. A, W. iii. I. 13 : — " like a common and an outward man, That the great figure of a council frames By self-unable motion ; therefore dare not Say what I think of it ; " 20. Thy demon, that thy spirit, etc. The reading of the 1st folio; the 2d has "that 's thy." Cf. the passage in North, p. 190 above. The wording of this seems to have suggested the change in the 2d folio, and has led some of the modern editors to adopt that reading. Abbott ( Grammar, 239) finds only one instance of the demonstrative before a possessive pronoun in S. (^J. C. ii. i. 112 : "this our lofty scene") ; but the combination is not uncom- mon in the plays. Cf. I/en. V. iv. 8. 96, T. and C.\. i. 55, y. C. v. 5. 27, Macb. i. 7. 53, ii. 2. 61, iii. 6. 48, etc. See also iii. 5. 17 and iv. 14. 79 in the present play. For demon — genius, or attendant spirit, cf. Macb. iii. i. 56 : — " There is none but he Whose being I do fear; and under him My Genius is rebuk'd, as it is said Mark Antony's was by Caesar ; " and C. of E. v. i. 332 : — " One of these men is Genius to the other; And so of these. Which is the natural man, And which the spirit ? " 23. A fear. Apparently a simple personification, though Thirlby's conjecture of " afeard " is plausible enough. 28. Thicke7is. Grows dim. Cf. Macb. iii. 2. 50 : — " Light thickens, and the crow Makes wing to the rooky wood." I 2 34 Notes [Act II 34. The very dice, etc. Cf. North, p. 191 above. 35. Cunning. Skill ; as in iii. 12. 31 below. Cf. Psalms, cxxxvii, 5, and the adjective in Genesis, xxv. 27, etc. 36. Speeds. Has good luck, prospers ; as often. 38. All to nought. That is, when the odds are as everything to nothing. Cf. Rich. III. i. 2. 238 : "And yet to win her, — all the world to nothing ; " and Cor. v. 2. 10 : " it is lots to blanks." Quails. " The ancients used to match quails as we match cocks " (Johnson). The birds were inhoop''d, or confined within a circle, to keep them " up to the scratch ; " or, as others say, the one that was driven out of the hoop was considered beaten. Scene IV. — 6. At the Mount. That is, at Misenum. 8. About. That is, by a roundabout way. Cf. Macb. iii. 3. 1 1 T " His horses go about." Scene V. — i . Moody. Pensive, sad ; as in C. of E. v. i . 79, etc. Cf. T. N.'x. \. \ : " If music be the food of love, play on." 3. Billiards. An anachronism, as Malone and others have pointed out ; but S, may have been aware of it. The game was popular in his day. He mentions it only here. 8. Shozv'd. S. uses both showed and shown as the participle ; so bended (12 below) and bent. 10. Angle. Angling'-line. The word is used literally by S. only here ; but figuratively in W. T. iv. 2. 52 and Ham. v. 2. 66. 15. ^ T was merry when, etc. See North, p. 186 above. 18. Fervency. Eagerness ; the only instance of the word in S. Fervent does not occur in his works. 22. Tires. Head-dresses. Cf. M. W. iii. 3. 60 : " thou hast the right arched beauty of the brow that becomes the ship-tire, the tire-valiant, or any tire of Venetian admittance." 23. Philippan. Used in the battle of Philippi ; probably not intended to be a name for the sword (like Arthur's Excalibur^, as some have understood it. Scene V] Notes 235 24. Ram. Hanmer changes the word to " Rain ; " and Delius conjectures "Cram," as in Temp. ii. i. 106. Malone compares /. C. V. 3. 74. 26, Antony 's dead! The reading of the 2d foho ; the 1st has '■'■ Anthonyo''s dead." The Cambridge editors adopt Dehus's con- jecture of " Antonius dead ! " 27. Mistress. A trisyllable. Cf. frustrate in v. 1.2 below. 30. Lipp'd. The verb occurs again in 0th. iv. i. 72: "To lip a wanton in a secure couch." 32. We use. We are accustomed. We do not now use the present in this sense. Cf. Temp. ii. i. 175: "they always use to laugh at nothing," etc. "^T)' The dead are well. For this euphemism, cf. W. T.\. i. 30, 2 Hen. IV. V. 2. 3, R. and J. iv. 5. 76, v. i. 17, etc. It seems to have been suggested by 2 Kings, iv. 26. 38. So tart a favour. So sour a face. For favour y cf. Macb. i. 5. 73, etc. 41. Formal. Ordinary, common. Cf. C. of E.y. i. 105, etc. 51. Precedence. What has gone before; as in the only other instance in which S. uses the word — L. L. L. iii. i. 83. The accent is on the penult there as here. 64. Unhair. The only instance of the verb in S. Unhair^d (= beardless) is a conjectural reading in K. John, v. 2. 133, where the early eds. have " unheard." 71. Boot thee with. Give thee to boot. 74. Have made no fault. Cf. W. T. iii. 2. 218 : "you have made fault ; " Sonn. 35. 5 : " All men make faults," etc. 75. Keep yotirself within yourself That is, do not get beside yourself with passion. Steevens compares T. of S. ind. i. 100: " we can contain ourselves." 78. Melt Egypt ijtto Nile! Cf. i, i. 33 above : "Let Rome in Tiber melt." 81. A fear d. Used by S. interchangeably with afraid. Cf. iii. 3. I below. 12,6 Notes [Act II 90. IVorser. Used by S. some twenty times. Cf. i. 2. 59 above., 96. Narcissus. Cf. V. and A. 161 : — " Narcissus so himself himself forsook And died to kiss his shadow in the brook." See also R. of L. 265. 97. 7'hou zvouldst appear i7iost ugly. That is, " this news hath made thee a most ugly man " (^K. John, iii. i. 37). loi. Much unequal. Very unjust. Cf. 2 Hen. IV. iv. i. 102: — " To lay a heavy and unequal hand Upon our honours." 103. That art not what thou Wt sure of. The reading of the folios, much tinkered by the editors. Knight explains it thus : "Thou art not an honest man, of which thou art thyself assured, because thy master's fault has made a knave of thee." Clarke says : " Who art not thyself that fault which thou art so sure has been coinmitted. The messenger has before said, ' I that do bring the news made not the match,' and ' I have made no fault ; ' and he has so often repeated his assertion that Antony is married that Cleopatra alludes to it as ' what thou 'rt sure of.' " Verplanck thinks it may be = "Thou (the bearer) art not thyself the evil thing of which thou art so certain, and dost not merit to bear its odium." Herford, perhaps rightly, takes it to be ironical and = " That art innocent, forsooth, of offences, yet sure to offend ! " Many emendations have been proposed. 105. Are. The subject merchandise (= goods) is treated as a plural. Cf. tackle in ii. 2. 211 above. 112. Feature. Personal appearance. Cf. K. John, ii. I. 126: " Liker in feature to his father Geffrey." See also Id. iv. 2. 264, Rich. III. i. I. 19, Hen. VIII. iii. 2. 50, / am. iii. i. 167, iii. 2. 25, Lear, iv. 2. 63, etc. S. uses the plural only in Temp. iii. I. 52. 116. Thotigh he be painted, etc. Alluding, as Staunton notes, to the " double " pictures formerly in vogue, of which Burton says : Scene VI] Notes 237 " Like those double or turning pictures ; stand before which you see a fair maid, on the one side an ape, on the other an owl." Cf. Chapman, All Fools, i. I : — " But like a couzening picture, which one way Shows like a crow, another like a swan." Scene VI. — 7. Tall. Stout, sturdy. Cf. M. W. ii. 2. 1 1 : "good soldiers and tall fellows," etc. 13. Ghosted. Used by S. only here. Steevens quotes an in- stance from Burton, Anat. of Melan. preface : " What madnesse ghosts this old man? but what madnesse ghosts us all? " 24. Fear. Frighten. Cf. M. of V. ii. i. 9: — " this aspect of mine Hath fear'd the valiant." 27. Overcount me of my father'' s house. As Malone notes, " o''er- count seems to be used equivocally, and Pompey perhaps meant to insinuate that Antony not only outnutnbered but had overreached him." According to Plutarch, "when Pompey's house was put to open sale, Antonius bought it ; but when they asked him money for it, he made it very strange, and was offended with them." See also p. 189 above. 28, But since the cuckoo builds not for himself etc. " Since, like the cuckoo, that seizes the nests of other birds, you have invaded a house which you could not build, keep it while you can " (Johnson). For other allusions to this habit of the cuckoo, cf. i Hen. IV. v. i. 60, Lear, i. 4. 235, and R. of L. 849. 30. From the present. Away from, or foreign to, the present business. 34. To try a larger fortune. That is, in trying, or if you try, for more at the hands of Fortune. He hints that in risking the chances of war he may lose rather than gain. The " indefinite " use of the infinitive is common in S. 37. Greed. The reading of the ist and 2d folios; the 3d and 238 Notes [Act II 4th (followed by most of the modern eds.) have "'greed; " but it is not a contraction of agreed. 39. Targes. Targets, shields ; as in Cymb. v. 5. 5, where, as here, the word is a monosyllable. 42. Though I lose, tic. Clarke remarks: "The historical fact of Sextus Pompey's having courteously received Antony's mother in Sicily when she fled from Italy is recorded by Plutarch; but the touch of delicacy in sentiment — declaring that to remind or re- proach another with a benefit conferred is to forfeit the merit of it — is the dramatist's own exquisite addition. S. has more than once taken occasion to enforce this refinement in social morality ; he hafj made that noble-minded, warm-natured, delicate-souled being, An- tonio, the sea-captain in T. N. (whom we can never help associ- ating, in strange closeness of analogy, with S. himself in character and disposition), say [iii. 4. 383] : — " ' Do not tempt my misery, Lest that it make me so unsound a man As to upbraid you with those kindnesses That I have done for you.' " 47. Am- well studied. Am studious or earnestly desirous. Cf. 2 Hen. IV. ii. 2. 10 : " so loosely studied ; " and M. of V. ii, 2. 205 : " well studied is a sad ostent," etc. 51. Timelier. Earlier, sooner. Cf. Macb. ii. 3. 5, Cymb. i. 6. 97, etc. 54. What counts harsh fortune casts. The metaphor, as Warbur- ton notes, is from making marks or lines in casting accounts. 70. A certain queen, etc. Ritson says : " This is from the mar- gin of North's Plutarch, 1579: 'Cleopatra trussed up in a mattress, and so brought to Caesar upon Apollodorus' back ; ' " but this mar- ginal reference is to the following in the text : " She, orily taking Apollodorus Sicilian of all her friends, took a little boat, and went away with him in it in the night, and came and landed hard by the foot of the castle. Then having no other mean to come into the i Scene VII] Notes 239 court without being known, she laid herself down upon a mattress or flockbed, which Apollodorus her friend tied and bound up to- gether like a bundle with a great leather thong, and so took her upon his back and brought her thus hampered in this fardle unto Caesar in at the castle gate. This was the first occasion (as it is reported) that made Qissar to love her : but afterwards, when he saw her sweet conversation and pleasant entertainment, he fell then in further liking with her, and did reconcile her again unto her brother the king, with condition that they two jointly should reign together." 73. Are toward. Are in preparation. Cf. T. of A. iii. 6. 68: "Here's a noble feast toward;" T. of S. v. i. 14: "some cheer is toward," etc. 83, Have known. That is, have known each other. Cf. Cymb. i. 4. 36: "Sir, we have known together in Orleans." 98. True = honest ; as often. For its use in antithesis to thief cf. L. L. L. iv. 3. 187 : "a true man or a thief," etc. 116. Pray ye, sir ? Are you in earnest? 118. Is. The singular verb with two singular subjects is not uncommon. 119. Divine of Predict concerning. Cf. Rich. IT. iii. 4. 79: " divine his downfall," etc. 126. Conversation. Behaviour, conduct. Cf. 2 Hen^ IV. v. 5. 106, M. W. ii. I. 25, etc. See also Hebrews, xiii. 5. 134. Occasion. Need, necessity (Schmidt). Cf. T. of A. iii. 3. 15 : " But his occasions might have wooed me first," etc. Scene VII. — i. Enter . . . with a banquet. That is, with a dessert. Cf. T. of S. v. 2. g: — " My banquet is to close our stomachs up After our great good cheer." Nares quotes Massinger, Unnatural Combat: — " We '11 dine in the great room, but let the music And banquet be prepared here." I 240 Notes [Act II See also Lord Cromwell, 1 602 : — " "T is strange, how that we and the Spaniard dilfer ; Their dinner is our banquet after dinner." 2. Plants. As Johnson notes, there seems to be a play on the word as applied to the soles of the feet {VjaXva plantd) . Steevens cites Lupton, Notable Things: "the plants or soles of the feet;" and Chapman, Iliad: " Even to the low plants of his feete." 5. Alms-drink. Warburton says that this means " that liquor of another's share which his companion drinks to ease him." He sees also a satirical allusion to " C^sar and Antony's admitting him into the triumvirate, in order to take off from themselves the load of envy." Cf. y. C. iv. i. 18 fol. Schmidt, with more probability, takes it to mean " the leavings," such as might be served to those too tipsy to know the difference. 6. Pinch one another by the disposition. " As they try each other by banter" (Clarke). 13. Partisan. A kind of halberd. Cf. R. and J^ i. i. 80, loi. Ham. i. i. 140, etc. 15. Are the holes, etc. The comparison is expressed elliptically : " is as sorry a blank as are the empty spaces," etc. In sphere we have an allusion to the old Ptolemaic astronomy, according to which the heavenly bodies were set in hollow crystal spheres, by the revo- lution of which they were carried round. Cf. Temp. ii. I. 183, M. N. D. ii. I. 7. 153, iii. 2. 61, etc. Disaster — injure, disfigure ; the only instance of the verb in S. Schmidt remarks that it is "rather blunderingly used;" but it was an astrological term and is probably suggested here by the figure that precedes. 17. They take the flozv d' the Nile, etc. S. probably got this information either from Holland's Pliny or from John Pory's translation of Leo's Hist, of Africa, 1600. 20. Poison. Full harvest, plenty; as in Temp. ii. I. 163, iv. I. no, Macb. iv. 3. 88, Sonn. 53. 9, etc. 26. Your serpent, etc. For the colloquial use of your, cf. Ham. iv. 3. 24 : " Your worm is your only emperor for diet," etc. i Scene VII] Notes 241 34. In. That is, "in for it" (= drunk). 36. Pyramises. The singular pyramis was in use in the time of S. (cf. I Hen. VI. i. 6. 21), but the plural is his own, and is probably intended as a touch of drunken enunciation. In v. 2. 61 below we have pyraiuides. The booziness of Lepidus is well hit off here. " His feeble attempt at scientific inquiry, in the remark concerning your serpent of Egypt, his flabbily persistent researches touching jcz^r crocodile, and his limp recurrence to his pet expres- sion strange serpent, are all conceived in the highest zest of comic humour" (Clarke). 43. This wine for lepidus ! This is "the health that Pompey gives him" (55 below). 47. // 01071. The old possessive it is used by S. fourteen times, and in six of these it occurs in the phrase it own. 61. Held my cap off. Been a servant, been faithful. 72. Inclips. Embraces, encloses. Cf clip in iv. 8. 8 below. On pales, cf Cymb. iii. I. 19: "paled in With rocks," etc. 74. Competitors. Partners, associates. See on i. 4. 3 above. 77. There. Changed by Pope to " then," which is very plausible if any change is called for ; but there may be accompanied with a gesture towards the company they have left. Mr. Symons (" Henry Irving" ed.) objects to this explanation of mine that "it was not Caesar and Lepidus that Antony [Pompey?] wanted to have pos- session of ; " to which the preceding part of the sentence is a sufficient answer. Menas suggests cutting the throats of all the triumvirs. 86. PaWd. Impaired, waning ; the only instance of this sense in S. 88. This health to lepidus ! But Lepidus is already " under the table," so to speak. We have heard nothing from him since An- tony admonished him (64 above) that he was about to "sink." 97. Go on wheels I " The world goes on wheels " was a common phrase of the time. Taylor the Water-Poet took it for the title of one of his pamphlets. ANTONY — 16 k 242 Notes [Act II, Sc. VII 98. Reels, Apparently suggested by drunk, and used for the sake of the rhyme to w-^^i?/y. Cf. 118 below. Steevens conjectured " grease the wheels " for increase the reels I loi. Strike the vessels. Probably = " tap the casks," as most of the editors have explained it. Cf. Fletcher, Monsieur Thomas, V. 10 : " Home, Launce, and strike a fresh piece of wine," etc. The word vessels also favours this explanation, being elsewhere used of casks or large vessels; as in T. of A. ii. 2. 186: "If I would broach the vessels of my love," etc. Some, however, make strike the vessels = strike your cups together. Clarke, who adopts this explanation, objects to the other that Antony would hardily give an order for tapping fresh casks when Pompey was the enter- tainer ; but the carousal had now reached a point where none of the company would stand overmuch upon etiquette. 105. Possess it. "Be master of it " (Schmidt). The reading is perhaps doubtful. " Profess " and " Propose " have been suggested as emendations. 115. The holding. The "burden" of the song; used by S. in this sense only here. 118. Pink eyne. Winking or half-shut eyes (the effect of in- toxication) ; with perhaps a reference to the other sense of red. Johnson in his Diet, defines a pink eye as "a small eye," and quotes this passage in illustration. Nares quotes Fleming, Nonien- clator : " Ayant fort petits yeux. That hath little eyes : pink- eyed;" and Wilkins, Alph. Did.: "pink-eyed, narrow eyed." For the old plural eyne, cf M. N. D.\. i. 242, ii. 2. 99, iii. 2. 138, v. I. 178, etc. We find it without the rhyme in R. of L, 1229 and Per. iii. prol. 5. 119. Fats. "Vats" (Pope's reading). Qi. Joel, ii. 24, iii. 13. See also Baret, Alvearie : " A fat, or vat. Orca." 120. Hairs. For the plural, cf. M. of V. i. 2. 9, iii. 2. 120, C. of E. iii. 2. 48, etc. Here, however, it may be used because more than one person is referred to. 128. The wild disgtdse, etc. The wild intoxication hath almost t Act III, Sc. II] Notes 243 made antics or buffoons of us all. For the noun antic, of. Rich. 11. iii. 2. 162: "and there the antic sits;" i Hen. IV. i. 2. 69: "old father Antic the law," etc. S. has the verb only here. ACT III Scene I. — i. Struck. "Alludes to darting: thou whose darts have so often struck others art struck now thyself" (Johnson). 4, Thy Pacorics, etc. Pacorus was the son of Orodes, king of Parthia. 10. Chariots. Some would read "chariot ;" but, as Clarke re- marks, " a plural form, used in this way, is not unfrequent among poets and poetic writers or speakers, to give the effect of am- plitude and generalization." 13. May make too great an act. Make an act too great ; that is, as the context shows, because it may excite the jealousy of one's superior in office. 15. Him we serve '5 away. For the " confusion of construction " (or "attraction," as some prefer to call it), cf. A. Y. L. i. i. 46: "Ay, better than him I am before knows me," etc. 24. Darkens him. Obscures himself. Cf. Cor. iv. 7. 5 : — " And you are darken'd in this action, sir, Even by your own." 29. Grants. Affords, allows. Warburton remarks: "The sense is this: 'Thou hast that, Ventidius, which if thou didst want, there would be no distinction between thee and thy sword. You would be both equally cutting and senseless.' This was wisdom or knowledge of the world." 34. Jaded. Driven like Jades, or worthless nags. For the verb, cf. Hen. VIII. iii. 2. 80: "To be thus jaded by a piece of scarlet." Scene II. — 6. 'T is. Used contemptuously; as in AI. of V. iii. 3. 18, He7t. F. iii. 6. 70, R. and J. iv. 2. 14, etc. For the familiar use, cf. Macb. i. 4. 58, etc. k 244 Notes [Act III 1 1. Hoo ! The ist folio has " How," the later folios " Oh ! " or " Oh ? " The folio often has how for Jio or hoo, and the latter is a favourite exclamation of Enobarbus. In 1 6 below the first three folios have Hoo ! the fourth, Ho ! "12. Thou Arabian bird! The phoenix. Cf. Cynib. i. 6. 17: " She is alone the Arabian bird ; " Tenip. iii. 3. 22 : — "Now I will believe That there are unicorns, that in Arabia There is one tree, the phoenix' throne, one phoenix At this hour reigning there," etc. 17. Cast. Compute ; as in Sonn. 49. 3, 2 Hen. IV. v. I. 21, etc. Cf ii. 6. 54 above. Number = express in numbers, or verse ; the only instance of this sense in S. For the construction, cf. iii. 4. 18 and iv. 12. 8 below. 20. Shards. The horny wing-cases of the "sharded" (^Cymb. iii. 3. 20) or " shard-borne beetle " (^Macb. iii. 2. 42) . The meaning is : " they are the wings that raise this heavy lumpish insect from the ground." 26. As my farthest band, etc. " As I will venture the greatest pledge of security on the trial of thy conduct " (Johnson) ; or, as I will pledge any thing that you will prove to be. For band = bond, cf. J^ich. If. i. I. 2, I Hen. IV. iii. 2. 157, C. of E. iv. 2. 49, etc. For approof cf. A. W. ii. 5. 3 : " of very valiant approof " (= of approved valour), and see also Id. i. 2. 50. 28. Piece of virtue. Cf. Temp. i. 2. 56 : " Thy mother was a piece of virtue; " and Per. iv. 6. 118 : " Thou art a piece of virtue." For similar examples of piece = masterpiece, see IV. T. iv. 4. 32, lear, iv. 6. 137, and v. 2. 99 below. White argues that piece in these and sundry other passages is = woman ; but this seems to me very doubtful. 29. Cement. S. accents both the noun and the verb (which occurs only in ii. I. 48 above) on the first syllable. 32. Mean. Means ; as often. Cf. iv. 6. 35 below, and W. T. iv. 4. 89, R. and J. iii. 3. 42, v. 3. 240, etc. A Scene III] Notes 245 35. Curious. Careful, punctilious, scrupulous. Cf. A. W. i. 2. 20, Cyrnb. i. 6. 191, etc. 40. The elements, etc. The wish probably refers to her voyage to Egypt. Cf. 0th. ii. i. 45 : — " O, let the heavens Give him defence against the elements, For I have lost him on a dangerous sea ! " 43. The ApriVs in her eyes. Alluding to " April showers." Cf. T. and C. i. 2. 189 : " he will weep you, an 't were a man born in April." See also T. G. of V. i. 3. 84 fol. 49. At full of tide, etc. Cf. 2 Hen. IV. ii. 3. 63 : — " As with the tide swell'd up unto his height, That makes a still-stand, running neither way." 52. Were he a horse. "A horse is said to have a clotid in his face when he has a black or dark-coloured spot between his eyes. This gives him a sour look, and, being supposed to indicate an ill temper, is of course regarded as a blemish " (Steevens). 57. Rheutn. A cold in the head, or some other ailment that affected his eyes ; which Enobarbus sarcastically suggests as the ex- planation of his tears. Cf. what he says in i. 2. 165: "the tears live in an onion," etc. Rheum is often used with reference to tears ; as in Much Ado., v. 2. 85, K. John, iii. i. 22, iv. i. 33, iv. 3. 108, etc. For its use in the present passage, cf. T. and C. v. 3. 105 : " and I have a rheum in mine eyes too, and such an ache in my bones," etc. 58. Confound. Destroy ; as in ii. 5. 92 above. WaiVd — be- wailed ; as often. Cf. V. and A. 1017, C. of E. iv. 2. 24, Cor. iv. i. 26, etc. 62. Wrestle. The 1st and 2d folios have "wrastle," which is still the vulgar pronunciation. Scene III. — 3. Herod of Jewry. See on i. 2. 27 above. 14. As me. Cf. J. C. i. 3. 76 : " no mightier than thyself or me," etc. I 246 Notes [Act 1 22. Station. Mode of standing, Cf. ZT^x^w. iii. 4.58: "A station like the herald Mercury," etc. 24. Breather. Cf. Sotut. 81. 11 : "When all the breathers of this world are dead." See also A. Y. L. iii. 2. 297. 25. Observance. Observation. Cf. A. W. iii. 2. 5 : " By what observance, I pray you? " 0th. iii. 3. 151 : " Out of his scattering and unsure observance," etc. So make better note = be better observers. 37. As low as. Capell conjectured " Lower than ; " but the original is a cant phrase with that meaning. 41, Proper. Often used in a complimentary way. See Temp. ii. 2. 63, T. G. of V. iv. i. 10, etc. 43. Harried. Worried, used roughly ; the only instance of the word in S. Minsheu in his Diet., 161 7, defines the word, "To turmoile or vexe." 44. No such thing. That is, no such remarkable thing, nothing extraordinary. 46. Defend. Forbid. Cf. Much Ado, ii. i. 98: "God defend the lute should be like the case ! " etc. Scene IV. — 3. Semblable. Like, similar; as in I Hen. IV. V. I. 72, Ham. v. 2. 124, etc. 10. From his teeth. That is, for form's sake, not from his heart. Cf. Dryden, Wild Gallant : " I am confident she is only angry from the teeth outward." 12. Stomach. Resent. See on ii. 2. 9 above. 15. Presently. At once; as in ii. 2. 160 above. 16. 0, bless my lord, etc. Cf. K. Jolm, iii. i. 331. fol. for a very similar passage. 27. Stain. EcHpse, throw into the shade. Cf. Somi. 35. 3 : " Clouds and eclipses stain both moon and sun ; " and Rich. II. iii. 3- 66 : — " To dim his glory, and to stain the track Of his bright passage to the Occident." 28. Your desires are yours. You have what you desire. Scene VI] Notes 247 Scene V. — 5. Success. Issue, that which succeeds or follows ; as in ii. 4. 9 above. Cf. T. and C. ii. 2. 117 : "Nor fear of bad success," etc. 7. Rivality. Copartnership, equahty ; the only instance of the word in S. Cf. rivals = associates, companions; as in Ham. i. I. 13 : "The rivals of my watch," etc. 10. Appeal. Impeachment; as in 7?zV/z. //. i. i. 4 and iv. i. 45. 79. Up = shut up. 13. And throw bettveen the?n, etc. "Caesar and Antony will make war on each other, though they have the world to prey upon between them." 19. More, Dojnilius, etc. "I have something more to tell you, which I might have told at first, and delayed my news : Antony requires your presence " (Johnson). Scene VI. — 3. /' the market-place, etc. See North, p. 184 above. 9. Stablishment. Settled inheritance ; the only instance of the word in S. Establishnent he does not use at all, though he has both establish and stablish (i Hen. IV. v. I. 10). 10. Lydia. Johnson adopts Upton's conjecture of "Lybia" (from Plutarch), but North has " Lydia." 20. Who. That is, the people of Rome. Queasy with = dis- gusted with. 23. Who. Cf. M. of V. ii. 6. 30: " For who love I so much ? " Cor. ii. I. 8 : " Who does the wolf love ? " etc. The 2d foho which corrects many of the syntactical errors of the ist has " Whom." 39. Enter Octavia with her train. The stage-direction in the folios. Some omit with her train, as inconsistent with what fol- lows ; but Caesar simply wonders that she comes with so small a retinue. Antony had told her (iii. 4. 37 above) to take what " company " she pleased. 53. Leftunlov'd. "Held" and "felt" have been suggested in the place of left; but it is not unlikely that S. wrote left unlov'd, 248 Notes [Act III which certainly suggests the meaning, though something of logical precision is sacrificed to the antithesis. The editors of the eigh- teenth century were not troubled by it, and it has been generally retained by their successors. Schmidt says that left unlov'd is =: " not felt ; to love a love being a phrase like to think a thotight^'' etc. 61. Obsti'uct. The folios have "abstract," which Schmidt ex- plains as "the shortest way for him and his desires, the readiest opportunity to encompass his wishes." Obstruct was suggested by Warburton and is adopted by most of the editors. 67. Who. Referring to both of them. 69. Bacchus, the king of Libya, etc. See North, p. 196 above. 76. More larger. Double comparatives and superlatives are common in Elizabethan literature. Cf. Acts, xxvi. 5, etc. Ay me is changed by Hanmer and others to "Ah me!" which S. has only in R. andy. v. i. 10. 80. Wrong led. Misled, changed by Capell to "wrong'd." 81. In negligent danger. In danger from being negligent. 89. Best of comfort. May the best of comfort be yours ! 95. Regiment. Rule, sway. Trull ^=\\zx\o\. ; as in i Hen. IV. ii. 2. 28, etc. Johnson remarks that the word was not " a term of mere infamy, but one of slight contempt, as wench is now ; " but there can be no doubt of its meaning here. 96. Noises it. Is noisy, or raises a disturbance. 98. Dear''st. These contracted superlatives (like sweefst, kindest, eld'st, etc.), often very harsh, were a fashion of the time. Scene VII. — 3. Forspoke. Spoken against, gainsaid. It often meant "to bewitch, or destroy by speaking" (Nares); as in Dray- ton, Her. Epist. : — " Their hellish power, to kill the ploughman's seed Or to forspeake whole flocks as they did feed; " The Witch of Edmonton : — " That my bad tongue, by their bad usage made so, Forespeakes their cattle, doth bewitch their corn ; " Scene VII] Notes 249 and Burton, Anat. of Melan. : " They are in despair, surely fore- spoken, or bewitched." 5. /yV not doiounc' d against tis ? Is not the war declared against us ? See North, p. 195 above : " he proclaimed open war against Cleopatra," etc. Cf. the use of denunciation ( = formal declaration) in M. for M. i. 2. 152. 20. Take in Toiyne. Capture Toryne. See on i. i. 23 above. 23. Beconi'd. For the form, cf. Cymb. v. 5. 406: "He would have well becom'd this place." See also R. a^id J. iv. 2. 26 : " be- comed love." 26. For that. Because; a common use oi that as a "conjunc- tional affix." Cf. iii. 13. 80 below. 32. Muleters. Muleteers. Cf. I Hen. VI. iii. 2. 68 : " base rnuleters of France ! " Similar forms are " enginer " (^Ha7n. iii. 4. 206), " pioner " (^Hani. iii. 2. 92), " mutiner " (^Cor. i. i. 254), etc. 33. Ingross'd by swift impress. Got together by a hurried im- pressment or levy. Cf. Ham. i. i. 75: "impress of shipwrights," etc. 35. Yare. Light and manageable. Cf. North: "light of yarage." See also on ii. 2. 213 above. 36. Fall yoii. Befall you, come to you. Cf. K.John, i. i. 78, L. L. L. ii. I. 125, etc. 44. Merely. Entirely, absolutely; as in Te^np. i. i. ^g, Aluch Ado, ii. 3. 226, etc. 54. Power. Force, army ; as often, both in the singular and the plural. 57. My Thetis! My sea-nymph! Cf. T. and C. i. 3. 212 and iii. 3. 94. 62. Have us'd. See on ii. 5. 32 above. 65. But his whole action, etc. Johnson explains this : "His whole conduct becomes ungoverned by the right, or by reason ; " but it rather means that his action does not rest on that which makes its strength. Malone puts it thus : " His whole conduct in 250 Notes [Act III 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." 72. Carries. Has a range ; probably a metaphor from archery. Cf. 2 Hen. IV. iii. 2. 52: "he would have carried you a forehand shaft a fourteen and fourteen and a half," etc. 73. Distractions. Divisions, detachments ; the only instance of this sense in S. Cf. L. C. 231 : "Their distract parcels." 77. Throes forth. For the figure, cf. Temp. ii. ,1. 231 : — " a birth indeed Which throes thee much to yield." Scene VIII. — 5. Prescript. Direction, order ; like /r^j'<:rz^/z' (= adroitly) in J/. W. i. 3. 88 and ii. 3. 67. 16. My wars. For the plural, cf. Cor. i. i. 239, etc. 23. Port. Gate ; as in Cor. i. 7. i, v. 6. 6, etc. See also on i. 3. 46 above. 25. Blown. Referring to the trumpets. Some take it to refer to the morning, "the metaphor being implied of night blossoming into day." 28. Well said. Well done ; as often. Cf. 0th. ii. i. 169, v. i. 98, etc. 31. Check. Reproof. Cf. 0th. i. i. 149, iii. 3. 67, iv. 3. 20, etc. 32. Alechanic. Vulgar ; " such as becomes a journeyman " (Schmidt) . Cf. v. 2, 209 below. Scene V. — 14. Subscribe. Sign the letter. Scene VI. — 2. Took. S. uses the forms took, taken, and to' en for the participle. Scene VIII] Notes 259 6. The three-nook' d zvorld. Ci. K. John \. "]. 116: "Come the three corners of the world in arms," etc. 7. Shall bear the olive freely. Cf. 2 Hen IV. iv. 4. 87 : "But peace puts forth her oHve everywhere." 9. Plant. For the ellipsis oi to, see on iii. 13. 191 above. 17. Entertainment. Employment. Cf. A. W. iii. 6. 13 : " worthy your lordship's entertainment," etc. 26. Safd. Gave safe conduct to. Cf. i. 3. 55 above. 34. This blows my heart. "This generosity swells my heart, so that it will quickly break, ' if thought break it not, a swifter mean'" (Johnson). 35. Thought. Sorrowful reflection, taking to heart. See on iii. 13. I above. For mean, see on iii. 2. 32 above. Scene VII. — 2. Our oppression. The oppression, or " opposi- tion" (Hanmer's reading), we experience. 5. Droven. See on i. 2. 90 above. 6. With clouts about their heads. That is, with their broken heads tied up. Cf. y. C. ii. i, 314. 8. An H. The shape of the gash is referred to ; with perhaps a play upon the pronunciation of H, which was the same as that of the noun ache. Cf. Much Ado, iii. 4. 56. 10. Scotches. Cuts, wounds. Cf. the verb in Cor. iv. 5. 198 : " scotched him and notched him like a carbonado." S. uses the noun only here. 16. Come thee. Here thee is probably a corruption of thou; as in look thee, run thee, hark thee, etc. Scene VIII. — 2. Gests. Exploits (Latin gesta). The folios have "guests ; " corrected by Theobald. 5. Dozighty-handed. Stout of hands. S. has doughty only here. 6. As. As if. See on i. 2. 95 above. 7. Shoivn. Shown yourselves, appeared ; as in ii. 2. 146 and iii. 3. 23 above. 26o Notes [Act IV 8. Clip. Embrace. See on inclips, ii. 7. 72 above. 11. Whole. That is, making them whole or sound again. Cf. I Hen. IV. iv. i. 83 : " all our joints are whole," etc. 12. Fairy. Enchantress. 15. Proof of harness. Armour of proof; a technical term. Cf. Rich. II. i. 3. 73 : " Add proof unto my armour with thy prayers," etc. 16. Triumphing. For the penultimate accent, cf, i Hen. IV. V. 4. 14, V. 3. 15, Rich. III. iii. 4. 91, iv. 4. 59, etc. The modern accent is more common in S. 17. Virtue. Valour (Latin z/zV/mj). Cf. Cor. ii. 2. 88 : "valour is the chiefest virtue." See also Id. i. i. 41, Lear, v. 3. 103, etc. 20. Something. Somewhat ; as often. 22. Get goal for goal, etc. Win goal for goal, get the better of youth in the contest. 25. Manki^id. " Accented mostly on the last syllable in T. of A., on the first in the other plays" (Schmidt). 28. Carbuncled, etc. Cf. Cymb. v. 5. 189 : — " had it been a carbuncle Of Phoebus' wheel." 31. Owe. Own ; as very often. Cf. Rich. II. iv. i. 184 : "That owes two buckets," etc. Warburton explained /^a^iV /«r- gets, etc., as = " hacked as much as the men to whom they belong," which may be right. Johnson gives it : "Bear our hacked targets with spirit and exultation, such as becomes the brave warriors that own them." 34. Drink carouses. Cf T.of S. i. 2. 277 : "And quaff carouses to our mistress' health." See also the verb in Ham. v. 2. 300, 0th. ii. 3. 55, etc. 37. Tabourines. Small drums. Cf. T. and C. iv. 5. 275 : " Beat loud the tabourines." Scene IX. — 2. The court of guard. The guard-room, or the place where the guard musters. Cf. 0th. ii. i . 220 and i Hen. VI. ii. I. 4. Scene X] Notes 26 1 3. Embattle. Cf. Hen. V. iv. 2. 14 : " The English are em- battled," etc. 5. Shrezvd. Bad, evil ; the original sense of the word, and the most frequent one in S. 8. Revolted. Who have revolted. Cf. i Hen. IV. iv. 2. 31 : " revolted tapsters," etc. Record (noun) is accented by S. on either syllable, as suits the measure. 13. Disponge. Drop, let fall ; used by S. only here. Cf. Temp. iv. I. 65 : "spongy April ; " and Cymb. iv. 2. 349 : "the spongy south." 15. Throw my heart, etc. A conceit in keeping with the taste of the time. Johnson laments it thus: "The pathetic of Shake- speare too often ends in the ridiculous. It is painful to find the gloomy dignity of this noble scene destroyed by the intrusion of a conceit so far-fetched and unafifecting." 20. Particular. Personal relation. Cf. i, 3. 54 above. 22. Fugitive. Deserter ; as in i Hen. VI. iii. 3. 67 : "thrust out like a fugitive." 29. Raught. Reached. Cf. 2 Hen. VI. ii. 3. 43 : "This staff of honour raught, there let it stand." We find it as the past tense in L. L. L. iv. 2. 41, Hen. V. iv. 6. 21, and 3 Hen. VI. i. 4. 68. Reached occurs only in 0th. i. 2. 24, where it is the participle. 30. Demurely. The word has been suspected, but, as Clarke says, it not inaptly expresses " the solemnly measured beat, the gravely 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.^'' Scene X. — 7. They have put forth the haven. This is all that the folios give for the line. The obvious gap has been variously filled; as with "Further on," "Hie we on," "Ascend we now," " Let us on," etc. The reading in the text is due to Dyce, and seems to me the best that has been proposed. 262 Notes [Act IV Scene XI. — i. But being charg'd, etc. Unless we are charged, we will remain quiet by land, as, I take it, we shall be allowed to be. Scene XII. — i . Yet they are not. They are not yet. For the transposition, cf. ii. I. 49 above. 3. Szvallozvs have built. See North, p. 196 above. 4. Augurers. The folios have "auguries;" corrected by Capell. For augurers, cf. v. 2. 2)ZZ below, Cor. ii. i. i,/. C. ii. i. 200 and ii. 2. 37. The noun augurs occurs in Macb. iii. 4. 124, Sonn. 107. 6, and Phcetiix and Turtle, 7 ; the verb only in ii. i. 10 above. 8. Give him hope and fear, etc. For the construction, cf. iii. 2. 16 and iii. 4. 18 above, and iv. 15. 26 below. 13. Triple-turn' d. Thrice faithless. Cf. iii. 13. 116 fol. above. 15. Only wars on thee. War only on thee. The transposition is very common. 16. Chartn. Charmer (as in 25 below), in the sense of witch or sorceress. Cf. spell in 30 below. 18. Uprise. Cf. 7\ A. iii. I. 159 : "the sun's uprise." 21. Spanieird. The folios have " pannelled ; " happily corrected by Hanmer. The word was often spelt " spannel." 22. Discandy. See on iii. 13. 165 above. ' 25. For grave (which may be = deadly, destructive, as Stee- vens explains it), "gay," "great," and "grand," have been pro- posed or adopted. 26. Beck'd. Beckoned, called by a look or nod. Cf. K.John, iii. 3. 13 : " When gold and silver becks me to conie on." 27. Crownet. The crown of my wishes and endeavours. Cf. v. 2. 91 below. 28. Bight. Truly deserving the name, very ; as in M. N. D. iii. 2. 302, A. Y. L. iii. 2. 103, 127, 290, etc. At fast and loose refers to an old cheating game. Cf. L. L. L. i. 2. 162, iii. i. 104, and K. John, iii. I. 242. 34. Plebeians. Accented on the first syllable, as in Cor. i. 9. 7 and V. 4. 39. ii Scene XIV] Notes 263 36. Be shown, etc. Be made a show for the lowest and stupid- est of the people. The editors generally adopt Thirlby's conjec- ture of " doits " for dolts, and explain poor''st diminutives as = the pettiest of small coin. But the reference is to Cleopatra's being led in triumph through the streets of Rome, a "free show" for the rabble, not to her being exhibited for a fee. Besides it seems more natural for Antony to emphasize the low character of the spectators than the pettiness of the price charged, if there were any. The only other instance of diminutives in S. is T. a7id C. v. I. '^%, where it means insignificant persons. Mojister-like = as a monstrosity ; but it is not necessary to see any reference to the fact that monsters were exhibited for money (cf. Temp. ii. 2. 30 fol.). 39. Prepared. " Which she suffered to grow for this purpose " (Warburton). 43. Nessus. Alluded to again in A. W. iv. 3. 281. 44. Mine ancestor. See on i. 3. 84 above. 45. Lichas. The servant of Hercules who brought the poisoned shirt from Dejanira, and was thrown by his master into the sea. Cf M. of V. ii. I. 32. 47. Worthiest. That is, of being subdued, or destroyed. Heath says : " Though Anthony here uses the word self, his thoughts are really upon Hercules, with whom for the moment he identifies him- self." This may possibly be right, though the other explanation seems to me simpler and more natural. Scene XIII. — 2. Telamon for his shield. That is, Ajax Tela- mon for the armour of Achilles, the celebrated shield being the most valuable part of it. The hoar of Thessaly was the boar killed by Meleager. 3. Emboss' d. F'oaming at the mouth ; a hunter's term. Cf. T. of S. ind. i. 17 : "The poor cur is emboss'd." Scene XIV. — 8. Pageants. The metaphor is taken from the theatrical exhibitions so called. Cf. Temp. iv. I. 155, T. G. of V. iv. 4. 164, Z. L. L.\. I, 118, A. Y. L. ii. 7. 138, iii. 4. 55, etc. 264 Notes [Act IV Hazlitt remarks : "This is, without doubt, one of the finerst pieces of poetry in Shakespeare. The splendour of the imagery, the semblance of reality, the lofty range of picturesque objects hanging over the world, their evanescent nature, the total uncer- tainty of what is left behind, — are just like the mouldering schemes of human greatness." 10. The rack dis limns. The floating vapour effaces or blots out. For 7'ack, cf. Ham. ii. 2. 506, Temp. iv. I. 156, and Sonn. "XTf 6- 12. Knave. In its original sense of boy or servant. Cf. L. L. L. iii. I. 144, 153, etc. 18. Mo(. More ; used only with a plural or collective noun. 19. Packed cards. A term for shuffling them unfairly. 22. End. See on iii. ii. 38 above. 26. Die the death. Cf. M. for M. ii. 4. 165, M. N. D. i. i. 65, Cymb. iv. 2. 96, etc. See also Matthew, xv. 4. 33. Rendered. Rendered up, gave up. Cf. iii. 10. 32 above. 39. The battery from my heart. Boswell explains this : " the battery proceeding from my heart, which is strong enough to break through the sevenfold shield of Ajax ; I wish it were strong enough to cleave my sides and destroy me." 40. Continent. Container ; the only meaning in S. Cf. M. N. D. ii. I. 92, T. N. \. I. 278, M. of V. iii. 2. 131, Lear, iii. 2. 58, etc. 41. Crack. Cf. Tear, ii. i. 92 : "my old heart is crack'd — it 's crack'd ! " The word is often used of the heart. 42. Bruised pieces. Of the armour that Eros is taking off. 46. Length. That is, lengthening out of life. 49. Seal then, etc. The metaphor is taken from sealing a legal document, which completes it. 53. jEneas. Hanmer reads " Sich?eus," as Virgil represents Dido as shunning .^neas in the lower world and seeking her former husband ; but S. forgot for the moment that the lovers were not associated in death as in life. 60. Less noble mind. Being of less noble mind ; an ellipsis not II Scene XIV] Notes 265 unlike many others in S. Some editors read "less noble-minded." Cf. North, p. 204 above. 61. Which. Who ; as in iii. 12. 5 above. 62. Thou art sworn, etc. Cf. y. C. v. 3. 37 fol. where Cassius reminds Pindarus of a similar pledge. 63. Exigent. Exigency ; as in y. C v. i. 19 : "Why do you cross me in this exigent? " On the passage, cf. _/. C. v. 3. 36. fol. 65. Prosecution. Pursuit ; the only instance of the word in S. 68. Defeat' St. Destroyest. Cf. 0th. iv. 2. 160: "defeat my hfe," etc. 72. Window' d. At a window. The only other instance of the word in S. is Lear, iii. 4. 31 : "loop'd and window'd raggedness." 73. Pleached. Folded. Cf. its use = intertwined, interwoven, in Much Ado, iii. i. 7 : "the pleached bower." 74. Corrigible. Submissive to correction. In 0th. i. 3. 339 it is = corrective. S. uses the word only twice. 75. Penetrative. Used by S. only here. 76. Branded, etc. Branded with baseness him who followed. 79. That thy. See on ii. 3. 20 above. 80. Useful. S. uses the word elsewhere only in K. John, v. 2. 81. So he has useless only twice : Temp. v. i. 60 and R. of L. 859 (where it is adverbial). 87. Lo thee I Cf. W. T. i. 2. 106 : " Why, lo you now." 98. Got upon me. Forestalled me in gaining. Cf. win upon in ii. 4. 9 above. 100. A bridegroom in my death, etc. Cf. M. for M. iii. i. 83 : — " If I must die, I will encounter darkness as a bride And hug it in my arms." 107. Period. End ; as in iv. 2. 25 above. 112. This tidings. S. makes tidings both singular and plural. Cf. ii. 5. 87 above with v. i. 27 below. 113. Enter me with hiin. Secure me a place in his favour, rec- ommend me to him. 266 Notes [Act IV ■ 117. Sufficing strokes for death. Strokes sufficient for death. For owe, see on iv. 8. 31 above. 123. Disposed. Made terms. 136. To grace it. By gracing it. Scene XV. — 10. Sphere. See on ii, 7. 14 above. If the crys- talHne sphere in vt^hich the sun was set were destroyed, the sun must fall and the earth become dark. For darkling, cf. M. N. D. ii. 2. 86 and Lear, i, 4. 237. 19. Importune. Accented on the penult, as always in S. 21. Dare not. That is, dare not descend from the monument. 23. Imperious. Imperial. Cf. HaJii, v. i. 236 : "Imperious Caesar" (where the folios have "Imperial"), etc. 25. Brooch'' d. Adorned, as with a brooch. Cf. the noun in Ham. iv. 7. 94 : — " he is the brooch indeed And gem of all the nation." See also Rich. II. v. 5. 66. 26. Edge, sting or operation. Hanmer reads " operation, or sting;" but cf. R. of L. 615, 616 : — " For princes are the glass, the school, the book, Where subjects' eyes do learn, do read, do look." For the construction, see on iv. 12. 8 above ; and for the irregu- larity in the order of the corresponding words, cf. Lear, iv. 2. 65 and Cymb. iii. I. 3. 28. Still conclusion. " Sedate determination; silent coolness of resolution" (Johnson). Schmidt is perhaps right in making it = " silently drawing inferences in surveying and examining my appear- ance." Nares explains it similarly, as = " deep but quiet censure, looking demure all the while." 29. Demuring. Looking demurely, or with affected modesty ; the only instance of the verb in S. 32. Here 's sport indeed I Said, of course, with bitter but most Scene XV] Notes 267 pathetic irony. Johnson supposed it to mean " here 's trifling, you do not work in earnest ;" and Steevens that it was intended "to inspire Antony with cheerfulness, and encourage those who were engaged in the melancholy task." 2;^. Heaviness. The play upon the word (in its senses of sorrow and weight) is in keeping with what precedes. 39. Quicken. Revive, become quick (see Ha77i. v. I. 137, etc.) or alive. Cf. Lear, iii. 7. 39 : " These hairs . . . Will quicken and accuse thee." 44. The false huswife Fortune. Cf. Hen. V.v. i. 85: "Doth Fortune play the huswife with me now ? " For the contemptuous use oi huswife, cf. 0th. iv. i. 95, etc. Huszoifei?, the usual spelling in the old eds. The folio has housewife only three times (^A. Y. L. i. 2. 2,3, Hen. VIII. iii. i. 24, 0th. i. 3. 273). 47. Gentle. Cf. W. T. iv. 4. 46 : " Be merry, gentle," etc. 59. WooH. See on iv. 2. 7 above. 64. The garland of the war. Cf . C^r. i. 1 . 1 88 : " Him vile that was your garland." See also Id. \. 9. 60 and ii. 2. 105. 65. The soldier'' s pole. Their standard or rallying point. Schmidt makes it " their loadstar." 66. Odds. Generally singular in S., but sometimes plural ; as in M.for M. iii. i. 41 : "these odds," etc. 67. Remarkable. As Staunton remarks, the word, in the poet's time, "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." 68. Quietness. Calmness. 73. E'en a woman. This is said in reply to Iras. Mrs. Jameson remarks : " Cleopatra replies to the first word she hears on recov- ering her senses, ' No more an empress, but a mere woman ! ' " 75. Chares. Drudgery ; the Yankee " chores." Cf. the Eng- lish "char-woman." S. uses the word only here and in v. 2. 231 below. 76. Injurious. Malignant. 268 Notes [Act m ct Vl 78. Naught. Worthless, vile ; usually spelt naught in this sense in the early eds., as nought when = nothing. 79. Sottish. Stupid; the only instance of the word in S. For sot ■= do\t, fool (the only meaning in S.), of. Temp. iii. 2. loi, T. iV. i. 5. 129, etc. 85. Si7's. For the feminine use, cf. L. L. L. iv. 3. 211. See also the use of sirrah in v. 2. 229 below. Dyce quotes Beaumont and Fletcher, The Coxcomb, iv. 3, where the mother says to Viola, Nan, and Madge, " Sirs, to your tasks ; " and A King and No King, ii. i: "Fan. Sirs, leave me all. [^Exeunt Waiting-women.^^ 89. Case. Cf. iv. 14. 41 above and T. N.w. i. 168. ACT V Scene I. — 2. Frustrate. Frustrated. A trisyllable, like mis- tress in ii. 5. 27 above. He inocks the pauses, etc. ; that is, they are mere mockery. 5. Appear thus. That is, with a drawn and bloody sword. 15. The round world. The line is imperfect, and something may have been lost ; but it is not unintelligible as it stands. " S. seems to mean that the death of so great a man ought to have pro- duced effects similar to those which might have been expected from the dissolution of the universe, when all distinctions shall be lost" (Johnson). 21. Self. Same. Cf. C. of E. v. i. 10 : "that self chain," etc. 24. Splitted. For the form, cf. C. of E. i. i. 104, v. i. 308, and 2 Hen. VI. iii. 2. 411. For the expression, cf. Rich. III. i. 3. 300: " When he shall split thy very heart with sorrow," etc. 27. Tidings. See on iv. 14. 112 above. But it is = if it be not. Cf. V. 2. 103 below. 30. Fersisted. Persistent, " strenuous." 31. Wag'd. The reading of the ist folio. The 2d has " way," and the 3d and 4th "may." Rowe reads "weigh'd." IVag'd Scene II] Notes 269 seems to be = " were opposed to each other in just proportions, like the counterparts of a wager." 32. Steer humanity. Control a human frame, 36. Lance. The folios have " launch," which is merely an old form of the word, 37. Perforce. Of necessity ; as in iii. 4, 6 above. 39. Look. That is, as I noiv do, on thine. Stall = dwell, 43. In top of all design. In the height of all design, in all lofty endeavour. 46, His. Its ; referring to mine, that is, my heart. 47, Should divide, etc. " That is, should have made us, in our equality of fortune, disagree to a pitch like this, that one of us must die" (Johnson). 50. 77^1? business of this man looks out of him. Cf. Macb. i. 2. 46:- " What a haste looks through his eyes ! So should he look That seems to speak things strange," 52. A poor Egyptian yet. " Yet a servant of the queen of Egypt, though soon to become a subject of Rome" (Johnson). Clarke explains thus : " I have been hitherto no more than a poor Egyp- tian; but at present — now that my queen is bereft of all — I am messenger from Cleopatra to Octavius Caesar." 65. Lfer life in Pome, etc. Her living presence in Rome would add eternal glory to our triumph. Scene II. — A Room in the Monument. As Malone notes, the dramatist has here attempted to exhibit at once the outside and the inside of a building. This was possible on the old stage, on account of the balcony at the back, in which Cleopatra and her two attend- ants would be placed, while the Romans would appear in front below. 3. Knave. Servant. See on iv. 14. 12 above. 4. And it is great, etc, " The difficulty of the passage, if any difficulty there be, arises only from this, that the act of suicide and 270 Notes [Act V the state which is the effect of suicide are confounded. Voluntary death, says she, is an act which bolts up change ; it produces a state Vhich has no longer need of the gross and terrene sustenance in the use of which Caesar and the beggar are on a level" (Johnson).; Dung is a " periphrasis for the fruits of the fertilizing earth," used contemptuously. Some editors adopt Warburton's conjecture of " dug " for dung; but the latter word is " expressive of the speaker's bitter disgust of life." Cf. i. i. 35 above: — " our dungy earth alike Feeds beast as man ; " and T. of A. iv. 3. 444 : — " the earth 's a thief That feeds and breeds by a composture stolen From general excrement." See also on 280 below. 21. IVith thanks. That is, with thanksy^r. The ellipsis of tlie preposition is not uncommon when it has been already expressed or can be readily supplied. See on i. 5. 61 above, and cf. 64 below. 27. Pray in aid. " A term used for a petition made in a court of justice for the calling in of help from another that hath an inter- est in the cause in question " (Hanmer). 29. I send him, etc. I deliver up to him the power he has won. 42. Languish. Lingering disease or suffering. Ci.R.and/.'i. 2. 49 : " One desperate grief cures with another's languish." S. uses the noun only twice. 48. Worth many babes and beggars ! " Why, Death, wilt thou not rather seize a queen than employ thy force upon babes and beggars ! " (Johnson). Temperance = moderation, self-control. 50. If idle talk zvill once be necessary. A puzzling line. John- son explains it : " if it be necessary now for once to waste a moment in idle talk of my purpose ; " and Steevens : " if it be necessary for once to talk of performing impossibilities." Mr. C. J. Monro thinks that the idle talk is to be made necessary, or f! I Scene II] Notes 271 useful, in keeping her awake. Of these and other interpretations, Johnson's is as nearly satisfactory as any. Clarke puts it thus : " if it be needful to prate of my intentions." 54. Chastised. Accented by S. on the penult. Cf. Kick. II. ii. 3. 104, Macb. i. 5. 26, etc. 55. Dull Octavia. Mrs. Jameson remarks: "I do not under- stand the observation of a late critic [Hazlitt] that in this play * Octavia is only a dull foil to Cleopatra.' Cleopatra requires no foil, and Octavia is not dull, though in a moment of jealous spleen her accomplished rival gives her that epithet. It is possible that her beautiful character, if brought more forward and coloured up to the historic portrait, would still be eclipsed by the dazzling splendour of Cleopatra's ; for so I have seen a flight of fire-works blot out for a while the silver moon and ever-burning stars. But here the subject of the drama being the love of Antony and Cleo- patra, Octavia is very properly kept in the background, and far from any competition with her rival ; the interest would otherwise have been unpleasantly divided, or rather Cleopatra herself must have served but as a foil to the tender, virtuous, dignified, and generous Octavia, the very beau ideal of a noble Roman lady — " ' 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' (ii. 2. 129). "The character of Octavia is merely indicated in a few touches, but every stroke tells. We see her with 'downcast eyes sedate and sweet, and looks demure ' — with her modest tenderness and dignified submission — the very antipodes of her rival ! Nor should we forget that she has furnished one of the most graceful similes in the whole compass of poetry, where her soft equanimity in the midst of grief is compared to — " ' the swan's down-feather, That stands upon the swell at full of tide. And neither way inclines ' (iii. 2. 48). 272 Notes [Act V " The fear which seems to haunt the mind of Cleopatra, lest she should be ' chastised by the sober eye ' of Octavia, is exceedingly characteristic of the two women : it betrays the jealous pride of her who was conscious that she had forfeited all real claim to respect; B and it places Octavia before us in all the majesty of that virtue which could strike a kind of envying and remorseful awe even into the bosom of Cleopatra. What would she have thought and felt, had some soothsayer foretold to her the fate of her own children, whom she so tenderly loved ? Captives, and exposed to the rage of the Roman populace, they owed their existence to the generous, admirable Octavia, in whose mind there entered no particle of littleness. She received into her house the children of Antony and Cleopatra, educated them with her own, treated them with truly maternal tenderness, and married them nobly." 59. NaK'd. The folio printing, indicating that the word is monosyllabic. The contraction also occurs in Chapman's Homer. 61. Pyramides. The Latin plural (a quadrisyllable) was some- times used for the sake of the measure. Steevens cites, among other instances, Doctor Faustus, 1604: "Besides the gates and high pyramides ; " and Tamburlaine, 1590: "Like to the shadows of pyramides." 64. Find cause. See on 21 above. 66. For the queen. As for the queen. 81. The little O, the earth. S. elsewhere uses O for anything round. See M. N. D. iii. 2. 188, L. L. L. v. 2. 45, Hen. V. prol. 13, and A. and C. v. 2. 81. Cf. Bacon, Essay 37: "And Oes, or Spaftgs [spangles], as they are of no great Cost, so they are of most Glory." Halliwell-Phillipps notes that the eyes were some- times called oes ; as in MS. Bodl. 160: " Frome your oes the teres wald starte." 82. Bestrid. The only form of the past tense and participle of bestride in S. Cf./. C. i. 2. 135 : — " Why, man, he doth bestride the narrow world Like a Colossus." Scene II] Notes ^ 273 8^. Crested. An allusion to the familiar use of a raised arm as a crest in heraldry. Was propertied as = had the properties of, was as musical as. For the allusion to the " music of the spheres," cf. A. V. L. ii. 7. 6, r. N. iii. i. 121, M. of V. v. i. 60, etc. 87. Autunm. The folios have " y^w///o?z)/; " corrected by Theo- bald. Corson would retain the old reading, seeing in it an allusion to the Greek &.vdo. v. i. 42 : " There is a brief how many sports are ripe," etc. 140. Not petty things admitted. Trifling things excepted. Theo- bald changed adjuitted to " omitted ; " but it seems to me more probable that Cleopatra is shrewd enough to leave the door open for the excuse she afterwards makes in 165 below. The exposure made by Seleucus leads her then to add that she has also reserved some nobler token for Livia and Octavia. ANTONY — 18 274 Notes [Act V 146. Seal. The ist and 2d folios have " seele," and Johnson reads "seel;" but that word is elsewhere used only of the eyes (cf. ill. 13. 112 above), while to seal the mouth or lips is a common figure. Cf. 2 Hen. VI. i. 2. 89, R. and J. v. 3. 216, Lear, iv. 6. 174, etc. 150. Your wisdom, " And the Lord commended the unjust steward, because he had done wisely" (^Luke, xvi. 8). 155. Goest thou back? Cf. the modern vulgarism of "going back upon " a person. 163. Parcel the sum, etc. " Add one more parcel or item to the sum of my disgraces " (Malone). 164. Envy. Malice ; as often. Cf. Temp. i. 2. 259, M. of V. iv. I. 10, 126, etc. 166. Im?no7nent. Of no moment, insignificant ; used by S. nowhere else. 167. Modern. Ordinary. Cf. Macb. iv. 3. 170: "A modern ecstasy ; " R. and J. iii. 2. 20 : " modern lamentation," etc. 169. Livia. The wife of Caesar. 170. Unfolded with. Exposed by. 174. My chance. My fortune. The figure seems to me a natu- ral and expressive one : " or the last smouldering sparks of my fiery nature will flame forth through the ashes of my decayed for- tune." Hanmer needlessly changes my chance to " mischance ; " and Walker conjectures "my change." For chance, see on iii. 10. 35 above. 176. Misthought. Misjudged. Cf. 3 i%;z. F/. ii. 5. 108: "Mis- think the king." 178. Merits. Deserts. Cf. Z^ar, iii. 5. 8 : " a provoking merit, set a-work l)y a reprovable badness in himself ; " and Id. v. 3. 44 : — " As we shall find their merits and our safety May equally determine." 185. Make not your thoughts your prisons. "Do not destroy yourself by musing on your misfortune ; be not a prisoner in imagi- nation, when really you are free" (Johnson). Scene II] Notes 275 186. Dispose. Dispose of, do with. Cf. Teinp. i. 2. 225, C. of E. i. 2. 73, etc. 191. Words. Platters with words; the only instance of this sense in S. 193. Finish. That is, die ; as she had whispered her purpose of doing. Cf. /. C. v. 5. 5 fol. 196. Put it to the haste. " Make your soonest haste " (iii. 4. 27). 199. Makes religion. Makes it a sacred obligation. (Zi. A. Y.L. iv. I. 201, R. a7id J. i. 2. 93, etc. 210. Aprons, rules. Cf. J. C i. I. 7: "Where is thy leather apron and thy rule? " 212. Rank of. Rank with. Cf. Cor. iv. 6. 98: "The breath of garlic-eaters." 215. Scald. Scabby, scurvy. Cf. Hen. V.v. 1.5 (see also 31, 33) : " the rascally, scald, peggarly, lousy, pragging knave," etc. Quick = lively, sprightly ; with perhaps the additional idea of being prompt to take advantage of a fresh and popular subject. 216. Ballad us. For the fashion in the poet's day of making ballads on current events of note, see 2 //en. /V. iv. 3. 52 and W. T. iv. 4. 279. Cf. also Falstaff s threat in i //en. /V. ii. 2. 48. 217. Extemporally. The word occurs again in V. and A. S^6: "sings extemporally." /'r^i'^/z/ = represent ; as in Temp. iv. i. 167 : "when I presented Ceres," etc. 220. Boy my greatness. In the time of S. female parts were performed by boys or young men. 226. Absurd. Changed by Theobald to " assur'd." Hudson remarks that " there seems to be no reason why absurd should be used here, while assured just fits the place ;" but surely if his ijt- tents are asstir''d from his point of view, they are absurd kon\ hers, for she is going io fool them. In the same vein, after she has done this, she calls Caesar an ass unpolicied (307 below). 229. Sirrah /ras. See on iv. 15. 85 above, 231. Chare. Task. See on iv. 15. 75 above. 236. What poor an instrument. For the transposition of the 276 Notes [Act V article, cf. C. of E. iii. 2. 186: "so fair an offered chain ; " Z. L. L. i. I. 65 : " too hard a keeping oath," etc. 238. Placed. Fixed ; as in P. P. 256 : " plac'd without remove." 240. Marble-constant. Firm as marble. Cf. marble-breasted {T. N. V. I. 127), marble-hearted (^Lear, i. 4. 281), etc. 242. Avoid. Withdraw, depart ; as in Temp. iv. i. 142, C. of E. iv. 3. 48, 66, etc. 243. Worm. Snake. Cf. Cymb. iii. 4. 37 : " Outvenoms all the worms of Nile," etc. 258. Fallible. The ist folio has "falliable," which should per- haps be retained as a vulgarism. 263. Do his kind. Act according to his nature. Cf. A. W. i. 3. 67: "Your cuckoo sings by kind," etc. Malone quotes Romeus and Juliet, 1562 : "For tickle Fortune doth, in changing, but her kind." 281. Now no more, etc. Clarke remarks that this passage con- firms the old text in 7 above. " Cleopatra here, in her own gor- geously poetical strain, takes leave of the material portion of existence, and prepares to enter upon the spiritual portion : she has previously condensed the aggregate products of earth — corn, wine, oil, fruits, and, indirectly, flesh-meat — into one superbly dis- dainful word dung ; and she now figuratively sums them up in one draught of grape-juice, as the wine of life, the sustainer of mortal being, to which she bids farewell." 282. Moist. The verb is used by S. only here and in T. G. of V. iii. 2. 76. Moisten also occurs only twice in his works : in Lear, iv. 3. 33 and R. of L. 1227. 283. Yare, yare. Quick, quick. See on ii. 2. 213 above. 289. I am fire and air, etc. Alluding to the old idea that man was made up of the four elements. Cf. Hen. V. iii. 7. 23 : " He is pure air and fire, and the dull elements of earth and water never appear in him." See also Sonn. 44 and 45, where the same idea is elaborately developed. 293. Aspic. Asp. Cf. 0th. iii. 3. 450: "aspics' tongues." Scene II] Notes 277 " Iras must be supposed to have applied an asp to her arm while her mistress was settling her dress" (Steevens). 302. He ''II make demand of her. " He will enquire of her con- cerning me, and kiss her for giving him intelligence " (Johnson) ; or, perhaps, simply demand a kiss of her. 303. Mortal. Deadly; as in i. 2. 130 above. Wretch is not used contemptuously, but as in 0th. iii. 3. 90, etc. 304. Intrinsicate. Apparently = intricate ; used by S. oiily here. Cf. intrinse in Lear, ii. 2. 81. 305. Fool. Sometimes used as a term of endearment or pity. Cf. A. y. L. ii. I. 22, W. T. ii. i. 18, 3 Heji. VI. ii. 5. 36, etc. 308. Unpolicied. Devoid of policy, stupid; used by S. only here. 314. Wild. The folios have " wilde " or "wild;" but Capell (followed by many editors) took it to be a misprint for vile, which is always " vild " or " vilde " in the early eds. As Collier remarks, " Charmian might well call the world tvild, desert, and savage, after the deaths of Antony, Cleopatra, and others whom she loved." 316. Windows. Eyelids; as in R. and J. iv. i. 100, Cymb. ii. 2. 22, etc. 319. And then play. She is probably thinking of Cleopatra's words in 232 above. 323. BeguiPd. Deceived, cheated ; as in iii. 7. 74 above. 330. Touch their effects. Are realized. Cf. R. of L. 353 : "Thoughts are but dreams till their effects be tried." 333. Augur er. See on iv. 12. 4 above. 335. LeveWd at. Guessed at ; as in M. of V. i. 2. 41 : "level at my affection." The metaphor is taken from levelling, or aiming, a musket. For its literal use, see Rich. III. iv. 4. 203, Much Ado, iv. I. 239, etc. 346. As. As if. Cf. i. 2. 95 and iv. i. i above. 348. Something blown. Somewhat swollen. Cf. iv. 6. 34 above. 353. Her physician tells me, etc. See North, p. 199 above. Conclusions = experiments; as in Cymb. i. 5. 18, Ham. iii. 4. 195, 278 Notes [Act V, Sg. 1 etc. Mrs. Jameson remarks : " Although Cleopatra talks of dying 'after the high Roman fashion,' she fears what she most desires, and cannot perform with simplicity what costs her such an effort. That extreme physical cowardice, which was so strong a trait in her historical character, which led to the defeat of Actium, which made her delay the execution of a fatal resolve till she had ' tried con- clusions inhnite of easy ways to die,' Shakspeare has rendered with the finest possible effect, and in a manner which heightens instead of diminishing our respect and interest. Timid by nature, she is courageous by the mere force of will, and she lashes herself up with high-sounding words into a kind of false daring. Her lively imagi- nation suggests every incentive which can spur her on to the deed she has resolved, yet trembles to contemplate. She pictures to her- self all the degradations which must attend her captivity ; and let it be observed that those which she anticipates are precisely such as a vain, luxurious, and haughty woman would especially dread, and which only true virtue and magnanimity could despise. Cleo- patra could have endured the loss of freedom ; but to be led in triumph through the streets of Rome is insufferable. She could stoop to Caesar with dissembling courtesy, and meet duplicity with superior art ; but * to be chastised ' by the scornful or upbraiding glance of the injured Octavia — ' rather a ditch in Egypt ! ' " 358. Clip. Enclose. See on iv. 8. 8 and ii. 7. 72 above. II Ii APPENDIX Other Plays on the Same Subject Mrs. Jameson remarks that Cleopatra has furnished the subject of " two Latin, sixteen French, six English, and at least four Italian tragedies," and this by no means exhausts the list.^ Only a few of these preceded Shakespeare's play, and (see p. 13 above) he does not appear to have been indebted to any of them. Jodelle's Cleopdtre Captive, famed as the earliest French tragedy, was acted before Henry II in 1542. Garnier's Marc Antoiiie io\- lowed in 1578, and after this a long series of Cleopdtres, down to Marmontel's in 1750, or Sardou and Moreau's in 1892 (Ward). Daniel's Cleopatra (1594) was apparently never acted. The Countess of Pembroke's Tragedie of Antoiiie v^?iS •wx\i\.&n in 1590 and printed in 1595. Mrs. Jameson believes it to be "the first instance in our language of original dramatic writing by a female," but it was a translation from the French of Garnier. Samuel Brandon's 77ie Virtuous Octavia was printed in 1598. A Cleopatra Queen of Egypt, by Thomas May, was acted in 1626 and printed in 1639. Beaumont and Fletcher's The False One (in which some believe that Massinger had a share), printed in 1647, deals with the early history of the Egyptian queen and her amour with Julius Ceesar. In 1677 Sir Charles Sedley produced an Antony and Cleopatra, in which Betterton took the part of Antony. All these plays are of little interest in comparison with Dryden's All for Love, or the World Well Lost (1778), the title page of 1 A German Cleopatra, by Daniel Caspar von Lohenstein, appeared as early as 1661. 279 2 8o Appendix which states that it was "Written in Imitation of Shakespeare's Stile." The author regarded it as his liighest dramatic achieve- ment, and attributed its success in part to his study of his great predecessor. In the preface he says : " In my stile I have pro- fessed to imitate the divine Shakespeare : which that I might per- form more freely I have disencumbered myself from rhyme. Not that I condemn my former way, but that this is more proper to my present purpose. I hope I need not to explain myself that I have not copy'd my author servilely. Words and phrases must of neces- sity receive a change in succeeding ages, but 't is almost a miracle that much of his language remains so pure ; and that he who began Dramatick poetry amongst us, untaught by any, and, as Ben Jonson tells us, without learning, should by the force of his own genius perform so much that in a manner he has left no praise for any who come after him. The occasion is fair, and the subject would be pleasant to handle the difference of stiles betwixt him and Fletcher, and wherein, and how far they are both to be imi- tated. But since I must not be over-confident of my own perform- ance after him, it will be prudence in me to be silent. Yet I hope I may affirm, and without vanity, that by imitating him, I have excell'd myself throughout the play ; and particularly, that I prefer the scene betwixt Anthony and Ventidius in the first act to any- thing which I have written in this kind." Dryden's verdict upon his All for Love has been generally ac- cepted as just. The critics quite unanimously agree that it is his best play. The author himself says that it is the only one he wrote for himself; the rest were given to the people. Ward, in his History of English Dramatic Literature (1899), says of it: ^^ All for Love may be almost described as a trial of strength, not only against Shakespeare, but against many of the chief wits of the nation before and after Shakespeare. Dryden's complacency in the result is not wholly unjustified. In a sense his tragedy is original ; the character of Antony is drawn with considerable skill ; the dominion which passion^ is capable of acquiring over a Appendix 281 human being is, I think, exhibited quite as effectively as it is in Shakespeare, but Dryden's Antony lacks elevation. His Cleo- patra is comparatively uninteresting. The writing maintains a high level throughout ; and the scene to which the author directs special attention is undoubtedly admirable. The construction of the play is close and effective, and its general tone is sufficiently moderated without becoming open to the charge of tameness. . . . He cannot be said to rival Shakespeare on his own ground, but he follows him on it without making himself guilty of servile imita- tion or breaking down from lack of original force. All for Love has been not unjustly designated by an eminent critic [Mr. Leslie Stephen] as 'Dryden's finest play.' " Campbell the poet, in his comments on Shakespeare's play, com- pares it with Dryden's thus : — " If I were to select any historical play of Shakespeare, in which he has combined an almost literal fidelity to history with an equal faithful adherence to the truth of nature, and in which he super- induces the merit of skilful dramatic management, it would be the above play. In his portraiture of Antony there is, perhaps, a flat- tered likeness of the original by Plutarch ; but the similitude loses little of its strength by Shakespeare's softening and keeping in the shade his traits of cruelty. In Cleopatra, we can discern nothing materially different from the vouched historical sorceress ; she nevertheless has a more vivid meteoric and versatile play of en- chantment in Shakespeare's likeness of her than in a dozen of other poetical copies in which the artists took much greater liberties with historical truth : he paints her as if the gypsy herself had cast her spell over him, and given her own witchcraft to his pencil. "At the same time, playfully interesting to our fancy as he makes this enchantress, he keeps us far from a vicious sympathy. The asp at her bosom, that lulls its nurse asleep, has no poison for our morality. A single glance at the devoted and dignified Octavia recalls our homage to virtue ; but with delicate skill he withholds the purer woman from prominent contact with the wanton queen, 2 82 Appendix ^^^■1 and does not, like Dryden, bring the two to a scolding-match. The latter poet's All for Love was regarded by himself as his masterpiece, and is by no means devoid of merit ; but so inferior is it to the prior drama as to make it disgraceful to British taste for one hundred years that the former absolutely banished the latter from the stage. A French critic calls Great Britain the island of Shakespeare's idolaters ; yet so it happens, in this same island, that Dryden's All for Love has been acted ten times oftener than Shakespeare's Anlony and Cleopatra. " Dryden's Marc Antony is a weak voluptuary from first to last. Not a sentence of manly virtue is ever uttered by him that seems to come from himself ; and whenever he expresses a moral feeling, it appears not to have grown up in his own nature, but to have been planted there by the influence of his friend Ventidius, like a flower in a child's garden, only to wither and take no root. Shake- speare's Antony is a very different being. When he hears of the death of his first wife, Fulvia, his exclamation, 'There's a great spirit gone ! ' and his reflections on his own enthralment by Cleo- patra mark the residue of a noble mind. A queen, a siren, a Shakespeare's Cleopatra alone could have entangled Mark Antony, while an ordinary wanton could have enslaved Dryden's hero." Walter Scott, in his edition of Dryden's works, compares All for Love with Shakespeare's play, and gives the former the credit of greater " simplicity and concentration of plot " and a " more artful arrangement of the story." " But," he adds, " after having given Dryden the praise of superior address in managing the story, I fear he must be pronounced in most other respects inferior to his great prototype. Antony, the principal character in both plays, is in- comparably grander in that of Shakespeare. The majesty and gen- erosity of the military hero is happily expressed by both poets ; but the awful ruin of grandeur, undermined by passion and tottering to its fall, is far more striking in the Antony of Shakespeare. Love, it is true, is the predominant, but it is not the sole ingredient in his character. It has usurped possession of his mind, but is assailed Appendix 283 by his original passions, ambition of power and thirst for military fame. He is therefore often, and it should seem naturally, repre- sented as feeling for the downfall of his glory and power even so intensely as to withdraw his thoughts from Cleopatra, unless con- sidered as the cause of his ruin. . . . But Dryden has taken a dif- ferent view of Antony's character, and more closely approaching to his title of All for Love. ' He seems not now that awful Antony.' His whole thoughts and being are dedicated to his fatal passion, and though a spark of resentment is occasionally struck out by the reproaches of Ventidius, he instantly relapses into lovesick melan- choly. . . . Antony is, throughout the piece, what the author meant him to be, — a victim to the omnipotence of love, or rather, to the infatuation of one engrossing passion. " In the Cleopatra of Dryden there is greatly less spirit and origi- nality than in Shakespeare's. The preparation of the latter for death has a grandeur which puts to shame the same scene in Dry- den, and serves to support the interest during the whole fifth act, although Antony has died in the conclusion of the fourth. No circumstance can more highly evince the power of Shakespeare's genius, in spite of his irregularities ; since the conclusion in Dry- den, where both lovers die in the same scene, and after a recon- ciliation, is infinitely more artful and better adapted to theatrical effect. . . . " The Octavia of Dryden is a much more important personage than in the Antony and Cleopatra of Shakespeare. She is, however, more cold and unamiable ; for in the very short scenes in which the Octavia of Shakespeare appears, she is placed in rather an in- teresting point of view. But Dryden has himself informed us that he was apprehensive the justice of a wife's claim upon her husband would draw the audience to her side, and lessen their interest in the lover. . . . Her scolding scene with Cleopatra, though anx- iously justified by the author in the preface, seems too coarse to be in character, and is a glaring exception to the general good taste evinced throughout the rest of the piece. " 284 Appendix James Russell Lowell, in his paper on Dryden, says : " Except in All for Love there is no trace of real passion in any of his tragedies. This, indeed, is inevitable, for there are no characters, but only personages in any except that. That is, in many respects, a noble play, and there are few finer scenes, whether in the conception or the carrying out, than that between Antony and Ventidius in the first act." 1 As an illustration of " that ripened sweetness of thought and language which marks the natural vein of Dryden," the same critic quotes the following from All for Love : — " Gone so soon ! Is Death no more ? He us'd him carelessly, With a familiar kindness ; ere he knock'd, Ran to the door and took him in his arms, As who should say, ' You're welcome at all- hours, A friend need give no warning.' " Lowell adds : " With one more extract from the same play, which is in every way his best, for he had, when he wrote it, been feeding on the bee-bread of Shakespeare, I shall conclude. Antony says : — " ' For I am now so sunk from what I was Thou find'st me at my lowest water-mark. The rivers that ran in and rais'd my fortunes Are all dried up, or take another course. What I have left is from my native spring ; I've a heart still that swells in scorn of Fate, And lifts me to my banks.' This is certainly, from beginning to end, in what used to be called the grand style, at once noble and natural." 1 Voltaire, writing to M. de Fromant, says : " II y a seulement la sc6ne de Ventidius et 6!Antoine qui est digne de Corneille." II Appendix 285 The Time-analysis of the Play I give below the summing-up of Mr. P. A. Daniel's "time-analy- sis " in his valuable paper " On the Times or Durations of the Action of Shakspere's Plays" (^Trans. of New Shaks. Soc. iSjy- 79, p. 237), vi'ith some explanatory extracts from the preceding pages inserted or appended : — Time of the Play, tvi^elve days represented on the stage ; w^ith intervals. Day I. Act I. sc. i.-iv. Interval, [In Act I. sc. v. Alexas brings a message and a present of a pearl to Cleopatra from Antony. On his journey he has met " twenty several messengers " sent by the Queen to Antony, and she says, " He shall have every day a several greeting." We may suppose then an interval of some twenty days between Days i and 2.] Day 2. Act I. sc. v., Act II. sc. i.-iii. [The first lines of Act II. sc. iii. must represent the termination of the meeting proposed in the preceding scene. At the end of it Antony bids Octavia and Caesar good night, and she and Caesar evidently go out together; though the only stage direction is " Exit." We are, then, clearly in Antony's first day in Rome; yet his conversation with the Sooth- sayer, who now enters, would suppose the lapse of some time since his arrival. . . . The fact is, distant times are brought together in this scene, as in many other places of the drama.] Day 3. Act II. sc. iv. Interval [time fov the news of Antony's marriage to reach Alexandria ; and for the Triumvirs to meet with Pompey near Misenum]. Day 4. Act II. sc. v.-vii. [Act III. sc. iii.]. Interval? [time for the Triumvirs to return to Rome]. Day 5. Act III. sc. i. and ii. [The opening lines of this latter scene annihilate time and space. Dramatically Misenum and Rome 2 86 Appendix become one. The treaty with Pompey concluded at Misenum comes a Roman business ; and the interval I have marked between this and the preceding act is of dubious propriety. It becomes still more so if we include in Day 5 the following scene, which cer- tainly cannot be later than the morrow of Act II. sc. v.] [Act III. sc. iii.i See Day 4.] Interval [much wanted historically]. Day 6. Act III. sc. iv. and v. Interval [Octavia's journey from Athens to Rome]. Day 7. Act III. sc. vi. Interval. Day 8. Act III. sc. vii. Day 9. Act III. sc. viii.-x. Interval. Day 10. Act. III. sc. xi.-xiii., Act IV. sc. i.-iii. Day II. Act IV. sc. iv.-ix. Day 12. Act IV. sc. x.-xv., Act V. sc. i. and ii. [Much of the business of this latter scene — not easily to be gathered from the drama itself — is derived by the editors from Plutarch's history of Mark Antony, on which the play is founded. I am in some doubt whether a separate day, the morrow of Day 12, should not be marked for the last two scenes. Historically, of course, some time elapsed between the deaths of Antony and Cleopatra ; but all these scenes from Act IV. sc. x. to the end of the play are dramatically so closely connected that, in the absence of any specific note of time which would justify this division, I have deemed it best to include them all in one day, the last.] Historic time, about ten years ; B.C. 40 to B.C. 30. 1 " Time is so shuffled in these scenes that it is extremely difficult to make out any consistent scheme ; on the whole, I incline to transfer this scene to Day 4, and accordingly place it within brackets. It might fol- low, in stage representation, sc. vi. and vii. of Act II., or, better perhaps, come between them, thus affording variety to the audience and an equal distribution of repose and action to the players." Appendix 287 List of Characters in the Play The numbers in parentheses indicate the lines the characters have in each scene. Antony: i. 1(25), 2(59), 3(47) ; ii. 2(86), 3(25), 6(16), 7(28) ; iii. 2(19), 4(25), 7(21), 9(4), 11(58), 13(110); iv. 2(41), 4(31), 5(iO. 7(5)»8(37), 10(9), 12(43), 14(106), 15(23). Whole no. 829. C^jar.- 1.4(62); 11. 2(56), 3(1), 6(16), 7(15); iii. 2(21), 6(83), 8(5), 12(22); iv. 1(13), 6(10), 11(4); V. 1(54), 2(58). Whole no. 420. Lepidus : 1. 4(15); H. 2(27), 4(8), 6(6), 7(12); iii. 2(2). Whole no. 70. Pompey : 11. 1(42), 6(64), 7(30). Whole no. 136. Enobarbus : 1. 2(47); 11. 2(79), 6(44), 7(18); 111. 2(22), 5(9), 7(30), 10(15), 13(44); iv. 2(11), 6(20), 9(17). Whole no. 356. Ventidius : ill. 1(30). Whole no. 30. Eros : ill. 5(18), 11(8); iv. 4(1), 5(2), 7(2), 14(18). Whole no. 49. Scarus : ill. 10(21); iv. 7(11), io(i), 12(7). Whole no. 40. Dercetas : iv. 14(4); v. 1(17). Whole no. 21. Demetritis : 1. 1(5). Whole no. 5. Philo : i. 1(16). Whole no. 16. McBcenas : li. 2(17), 4(4); iii. 6(10); iv. 1(5); v. 1(4). Whole no. 40. Agrippa: li. 2(30), 4(3); 111. 2(13), 6(5); iv. 6(1), 7(3); v. 1(6). Whole no. 61. Dolabella : ill. 12(5); v. i(i), 2(42). Whole no. 48. Proculeius : v. 1(1), 2(31). Whole no. 32. Thyreus : ill. 12(2), 13(29). Whole no. 31. G alius : v. 2(2). Whole no. 2. 288 Appendix Menas : ii. i(8), 6(27), 7(33). Whole no. 68. Menecrates : ii. 1(6). Whole no. 6. Varrius : ii. 1(4). Whole no. 4. Taurus : iii. 8(1). Whole no. i. Canidius : iii. 7(16), 10(9). Whole no. 25. Silius : iii. i(ii). Whole no. 11. Euphronius : iii. 12(14), 13(2). Whole no. 16. A lex as : i. 2(11), 5(17); iii. 3(4). Whole no. 32. Mardian : i. 5(6); ii. 5(1); iv. 14(12). Whole no. 19. Seleucus : v. 2(5). Whole no. 5. Diomedes : iv. 14(16), 15(3). Whole no. 19. Soothsayer : i. 2(13); ii. 3(19). Whole no. 32. Cloivn : V. 2(31). Whole no. 31. \ St Attendant : i. i(i),2(i); ii. 5(1); iii. 13(3). Whole no. 6. id Attendant : i. 2(1). Whole no. i. \st Messenger : i. 2(15), 4(16); ii. 5(25); iii. 3(18), 7(3); iv. 6(2). Whole no. 79. 2d Messenger : i. 2(4). Whole no. 4. 1st Servant : ii. 7(11)- Whole no. ii. 2d Servant : ii. 7(8). Whole no. 8. 1st Soldier: iii. 7(13); iv. 3(12), 4(3), 5(12), 6(10), 9(13)- Whole no. 63. 2d Soldier : iv. 3(8), 9(7). Whole no. 15. ^d Soldier : iv. 3(6), 9(7). Whole no. 13. 4//z Soldier : iv. 3(5). Whole no. 5. 1st Guard: iv. 14(5); v. 2(18). Whole no. 23. 2d Guard: iv. 14(2); v. 2(2). Whole no. 4. 2,d Guard : iv. 14(1). Whole no. I. Egyptian: v. 1(6). Whole no. 6. Captain: iv. 4(1). Whole no. I. Boy: ii. 7(6). Whole no. 6. Cleopatra: i. 1(21), 2(6), 3(70), 5(60); ii. 5(106); iii. 3(34), 7(15), 11(8), 13(46); iv. 2(2), 4(9), 8(5), 12(1), 13(8), 15(68); V. 2(211). Whole no. 670. Appendix 289 Odavia: ii. liS)'-> i"- 2(3), 4(16), 6(14). Whole no. 36. Char?niati: i. 2(43), 3(8), 5(8); ii. 5(10); iii. 3(9), 11(2); iv. 4(1), 13(4), 15(5); V. 2(19). Whole no. 109. Iras: i. 2(15); iii. 11(4); iv. 15(4); v. 2(7). Whole no. 30. 'M//": iii. ii(i); iv. 2(1), 3(3), 4(1), 14(2), 15(1); V. 1(1), 2(2). Whole no. 12. In the above enumeration, parts of lines are counted as whole lines, making the total in the play greater than it is. The actual number of lines in each scene (Globe edition numbering) is as fol- lows: i. 1(62), 2(204), 3(i05)» 4(84)* 5(78); "• 1(52), 2(250), 3(42), 4(10), 5(119), 6(i45)» 7(141); iii- 1(37)' 2(66), 3(51), 4(38), 5(25), 6(98), 7(81), 8(6), 9(4), 10(37), 11(74), 12(36), 13(201); iv. 1(16), 2(45), 3(23), 4(38), 5(17), 6(39), 7(16), 8(39), 9(35), 10(9), "(4), 12(49), 13(10), 14(140), 15(91); V. 1(77), 2(369). Whole number in the play, 3063. This play con- tains 42 scenes — more than any other in S. Coriolanus comes next with 29 scenes, and Macbeth next with 28. On the other hand. Lovers Labour's Lost and The Tempest have only 9 each, and The Comedy of Errors only 11. Cleopatra has more lines than any other female character in the plays except Rosalind, who has 749 lines. Imogen comes next, with 596 lines ; then Portia (in M. of V.) with 589, 3ind /uliet with 541. These are the only women in Shakespeare that have more than 500 lines. Some prominent ones come at the other end of the list: Lady Macbeth (261 lines), Katherine the Shrew (220), Her- mione (211), Miranda (142), Cordelia (115), Portia (in_/. C), 95. ANTONY — 19 INDEX OF WORDS AND PHRASES EXPLAINED abode (= abiding), 217 about, 234 abstract of all faults, 222 absurd, 275 abused (= deceived), 193 afeard, 235 affect (= like) , 220 all to nought, 234 all-obeying, 254 alms-drink, 240 an (transposed), 275 anchor his aspect, 224 angle (= fishing-line), 234 Antoniad, 250 appeach, 207 appeal (= impeachment), 247 approof, 244 approve (= prove), 214 April in her eyes, 245 Arabian bird, 244 are you thereabouts ? 251 argument (= proof), 253 arm-gaunt, 225 art not what thou 'rt sure of, 236 as (=as if), 215, 255,257, 259. 277 as (conjunction of remin- der), 222 as (omitted), 273 Asia (trisyllable), 216 aspect (accent), 224 aspic, 276 at heel of, 230 at the last, best, 220 atone (= reconcile) , 229 attend (= wait for) , 251 augurers, 262, 277 avoid (= depart), 276 ay me ! 248 ballad us, 275 band (= bond), 244 banquet (=dessert), 239 Basan, the hill of, 255 battery from my heart, 264 battle (=army), 250 beastly (adverb), 225 becked, 262 become themselves, 232 becomed, 249 becomes his flaw. 253 becomings, 221 beguiled (=deceived) , 277 belike, 214, 257 bends, 230 bestrid, 272 bewrayed, 205 billiards, 234 blown, 258 blows my heart, 259 blubbering, 208 boar of Thessaly, 263 bolts up change, 270 bond, 224 boot thee with, 235 boxed (= beat) , 208 boy my greatness, 275 bravery (=show), 197 breather, 246 brief (= abstract) , 273 brize, 251 brooched, 266 brows' bent, 219 burgonet, 224 but (=if not), 268, 273 but (= unless), 252, 262 but for vacancy, 232 by revolution lowering, 216 Caesarion, 256 caitiff (= wretched) , 208 call on him, 223 cantle, 250 carbuncled like Phoebus' car, 260 carects, 198 careful (= industrious) , 199 291 carriage (= cargo) , 199 carriage of his chafe, 221 carries (= has a range), 250 case, 268 cast (= compute), 244 cement (accent), 244 certain (noun), 189 chance (= fortune), 251, 274 chares, 267, 275 charm (= charmer) , 262 chastised (accent), 271 check (= reproof), 258 chuck (= chick), 258 circle (= crown), 253 cithernes, 184 clean (= pure) , 202 clip (= embrace) , 260, 278 cloth-of-gold of tissue, 230 cloud in his face, 245 clouts about their heads, 259 cloyless, 226 colour (= pretext), 219 come thee, 259 comes deared, 223 comparisons, 254 competitor (= associate), 222, 241 compose (= agree), 227 composure (= composi- tion), 222 conclusion, still, 266 conclusions (= experi- ments), 277 condemned (accent), 219 confound (= consume), 213, 223 confound (= destroy) , 245 considerate (= discreet), 229 comment (= container), 264 conversation (= behav- iour), 239 292 Index of Words and Phrases cop- tank, 194 corrigible, 265 could (= would fain), 217 course (= follow) , 254 courser's hair, 218 court of guard, 260 crack (= break), 264 cranewes, 207 crested, 273 crownet, 262, 273 cunning (= skill) , 234 curious (= careful) , 245 curstness, 227 cuts (= lots), 189 daff, 258 danger (verb), 218 dare (noun), 218 darkens, 243 darkling, 266 dealt on lieutenantry, 252 deared, 223 dear'st, 248 death and honour, 257 declined, 254 defeat (= destroy), 265 defend (= forbid), 246 demi-Atlas, 224 demon (= genius), 233 demurely, 261 demuring, 266 denounced (= declared), 249 determines (= comes to an end), 256 die the death, 264 diminutives, 263 disaster (verb), 240 discandying, 256, 262 discontents (noun), 223 disgested, 230 disguise (= intoxication) , 242 dislimns, 265 disponge, 261 dispose (= dispose of) , 275 disposed (= made terms), 266 distractions, 250 divine of, 239 do disquiet, 228 do his kind, 277 doth (plural?), 216 doughty-handed, 259 drave, 215 drew cuts, 189 drink carouses, 260 droven, 259 dull Octavia, 271 dumbed, 225 dung, 270 dungy earth, 213 ear (= plough) , 223 earing (= tilling) , 216 earn our chronicle, 256 earns a place i' the story, 254 ebbed (active), 223 e'en a woman, 267 Egypt (= the queen of Egypt), 225 Egypt's widow, 226 elder (= superior) , 251 elements, 276 embattle, 261 embossed, 263 end (= put an end to), 252, 264 enforce (= urge) , 229, 273 enow, 190, 222 enter me with him, 265 entertainment, 258 envy (= malice) , 274 Epicurean (accent), 226 estridge, 256 Euphrates (accent), 216 exigent (noun), 265 expedience (= expedi- tion), 217 extemporally, 275 extended (= seized), 215 eyne, 242 fairy (= enchantress) , 260 fall (= befall), 249 fall (transitive), 253 fame (= report) , 230 fast and loose, 262 fats (=vats), 242 favour (=face), 235 fear (= frighten), 237 fear (personified), 233 feature, 236 feeders, 255 fervency, 234 fetch him in, 257 finish (= die), 275 flaw (= misfortune), 253 fleet (= float), 256 flush youth, 223 foison, 240 fond (= foolish) , 186 fool (in pity) , 277 for (= as for), 195 for my bond, 224 for that (= because) , 249 for that (= nevertheless) , 229 forgotten (active), 221 formal (= ordinary), 235 forspoke, 248 found (= discovered), 187 from (= away from), 237 from his teeth, 246 front (= face) , 224, 228 frustrate (trisyllable), 268 fugitive (= deserter), 261 fullest (man), 255 garboils, 220, 228 gard (= edging), 199 garland of the war, 267 gaudy (= festive), 256 gentle (vocative), 267 gests, 259 ghosted, 237 gilded (with scum), 224 give (= represent), 223 give me grace, 255 give off, 258 go on wheels, 241 goest thou back? 274 good now, 214, 220 got upon me, 265 grants (= affords), 243 grates me, 213 grave (= deadly) , 262 great medicine, 225 greed (= agreed) , 236 griefs (= grievances), 229 gypsy, 212 H (play upon), 259 hairs, 242 harried, 246 heat my liver, 214 heaviness (play upon), 267 held my cap off, 241 Herculean, 220 Herod, 214, 245 high-battled, 254 him (= he), 243 his (=its), 253, 269 ho, ho, ho! 257 hoising, 198 I Index of Words and Phrases 293 holding (of song), 242 homager, 213 home (adverb), 216 hoo! 244 hoop (figurative), 229 hope (= expect), 226 hope of, 215 how intend you? 227 howboys, 184 huswife Fortune, 267 idle talk, 270 immoment, 274 imperious (= imperial), 266 import, 229 importune (accent), 266 in deputation, 254 in (= in for it), 241 in (= into), 224 in negligent danger, 248 in use, 219 inclips, 241 ingrossed by swift im- press, 249 inhooped, 234 injurious (= malignant) , 267 instance (= urgency) , 192 intrinsicate, 277 it own, 241 Jack, 255 jaded, 243 jointing (= joining), 215 jump (= hazard), 250 kept my square, 232 kind (= nature), 277 knave (= servant), 264, 269 known (= known each other), 239 lack blood to think on 't, 223 Lamprias, 214 languish (noun), 270 lanked, 224 lated, 251 launch (= lance), 269 left unloved, 247 length, 264 Lethe'd, 226 levelled at, 277 Lichas, 263 lift (= lifted), 204 lipped, 235 liver (seat of love), 214 Livia, 274 lo thee! 265 loathness, 252 loden, 199 loofed, 251 loud (=in high words), 227 Love (= Venus), 213 luxuriously, 255 made no fault, 235 made their bends adorn- ings, 231 make better note, 246 make boot of, 257 make too great an act, 243 . . makes religion, 275 mallard, 251 mandragora, 224 mankind (accent), 260 many our contriving friends, 218 marble-constant, 276 matter (= subject), 227 me (=1), 245 mean (= means), 189, 244 mechanic (= vulgar), 258 meetly, 220 merchandise (plural), 236 mered question, 254 merely (^= entirely) , 249 merits (= deserts), 274 middest, iq8 mingle (noun), 225 missive (= messenger), 229 misthought, 274 mistress (trisyllable), 235 mocks the pauses, 268 Modena (accent) , 224 modern (= ordinary), 274 moe, 264 moist (verb), 276 monster-like, 263 moody (= sad) , 234 more larger, 248 more urgent touches, 217 mortal (= deadly), 276 most (= utmost) , 230 motion (=mind), 233 Mount (= Misenum), 230 much unequal, 236 muleters, 249 muss, 255 naked (= unarmed), 204 nak'd, 272 Narcissus, 236 nature's piece, 273 naught (= worthless), 268 negligent danger, 248 Nessus, 263 never (= not), 176 news (number), 213 nice (= dainty), 256 nicked, 253 no such thing, 246 noble (adverb), 229 noises it, 248 not (transposed), 225,227 not petty things admitted, 273 number (verb), 244 O (= the earth), 272 oblivion (subjective), 221 observance, 246 obstruct (noun), 248 occasion (= need), 239 odds (number), 267 o'ercount (play upon), 237 of (=for), 229 of (= with), 275 office, 212 oily palm, 215 onion-eyed, 217, 257 only (= sole) , 184 only (transposed), 230, 263 orbs (= spheres), 256 ordinary (= meal), 232 owe (=own), 260, 266 pace (= break in), 228 packed cards, 264 Pacorus, 243 pageants, 263 pales, 241 palled, 241 palter, 253 paragon (verb), 225 parcel (verb), 274 part (= depart), 217 particular, 219, 261 partisan (= halberd), 240 patch a quarrel, 228 penetrative, 265 perforce, 269 294 Index of Words and Phrases period (=end), 257, 265 persisted, 268 pestered, 184 petition us at home, 218 Philippan, 234 piece (=masterpiece) 244 pinch by the disposition, 240 pink eyne, 242 placed (= fixed), 276 plants (play upon), 240 •plated, 212 plates (= silver coin) , 273 pleached, 265 plebeians (accent), 2 '2 points (= lacings), 256 port (=gate), 219, 258 possess it, 242 possess you, 252 post (= posted), 185 power (=army), 249 power (= bodily organ), 253 power unto, 229 practised (= plotted) , 227 pray in aid, 270 pray ye, sir? 239 precedence, 235 pregnant (= probable), 227 prepared (nails), 263 prescript, 250 present (= represent) , 275 presently, 187, 246 prest (= impress), 197 pretty (= minute), 21T process (= summons), 213 project (= shape), 273 proof of harness, 260 proper (= nice) , 246 propertied as, 273 prorogue, 226 prosecution (= pursuit), 265 prove (= test) , 200 Ptolemy, 222 purchased (= acquired), 222 purge, 219 put it to the haste, 275 pyramides, 272 pyramises, 241 quails, 234 quality (= disposition) , 218 queasy with, 247 quick (= lively), 275 quicken (= revive), 267 quietness, 267 quit (= requite), 255 race of heaven, 219 rack, 264 ranged, 213 ranges (noun), 253 rank of, 275 rates (= is worth), 253 raught, 261 record (accent), 261 reel the streets, 222 reels (noun), 242 regiment (= rule), 248 remarkable, 267 rendered (= gave up) , 264 reneges, 212 reports (= reporters), 228 reputation (metre), 252 requires (= requests) , 253 revolted, 261 rheum, 245 ribaudred, 251 riggish, 232 right (=very), 262 rivality, 247 safe (verb), 219, 259 salt (= wanton), 226 sap in't, 256 scald (adjective), 275 scotches, 259 seal (figurative), 264 seel (= blind), 255, 274 self (=same), 210, 268 semblable, 246 set up his rest, 203 several (= separate) , 225 shall (= will), 224 shards, 244 she (=her), 255 show (= appear) , 259 showed (participle), 234 shrewd (= evil) , 261 shroud (= shelter) , 254 sides of nature, 218 sides o' the world, 218 signs well, 257 since (with past tense), 218 sirrah (feminine) , 268, 275 sirs (feminine), 268 sith, 204 sithence, 209 sits (of the wind), 251 skreeked, 207 so (= if ), 220 soils (= stains), 222 soldier's pole, 267 something (adverb), 260, 277 sottish (= stupid), 268 space (=time), 226 spanielled, 262 speeds (= prospers), 234 sphere, 266 spirit (monosyllable), 228 splitted, 268 sport (ironical) , 266 square (=just), 230 square (= quarrel), 227, 254 squares (= squadrons) , 252 stablishment, 247 staged, 254 stain (= eclipse) , 246 stale (= urine), 224 stale (verb), 232 stall (= dwell) , 269 stands our lives upon, 227 station, 246 stays upon your will, 216 steer humanity, 269 still conclusion, 266 stinted (= ceased), 205 stomach (= disposition), 228 stomach (= resent), 246 stomaching, 227 straighter (= stricter), 189 strike the vessels, 242 stroyed, 252 subscribe, 258 success (= issue), 247 such . . . that, 223 such whose, 218 suffer (= suffer loss), 254 sweep your way, 252 swell, 232 sworder, 254 synod, 250 table (= tablet) , 210 tabourines, 260 tackle, 231 take all, 257 Index of Words and Phrases 295 take in (= subdue), 213, 249. 255 tall (= stout), 237 targes, 238 tawny front, 212 Telamon for his shield, 263 temperance (= chastity), 255 temperance (= self-con- trol), 270 tended her i' the eyes, 231 that thy spirit, 233 thee (= thou), 259 Thetis, 249 thick, 225 thickens (= grows dim) , 233 think, and die, 253 thought (= sorrow), 259 three-nooked world, 259 thrived (participle), 219 throes forth, 250 Thyreus, 253 tidings (number), 265, 268 ties his points, 256 tight (= handy), 258 timelier. 238 ^ tires (noun), 234 't is (contemptuous), 243 't is easy to 't, 251 to (= for) , 229 to (omitted), 256 to my sister's view, 230 to weet, 213 tokened, 250 took (participle), 258 top of all design, 269 touch their effects, 277 touches, 217 toward (=in prepara- tion), 239 treaties, 252 triple (= third), 212 triple-turned, 262 trised, 205, 207 triumphing (accent), 260 triumvirate, 195 troth (= truth), 192, 211 true (= honest), 239 trull, 248 trussed, 205 unfolded with, 274 unhair, 235 unnoble, 252 unpolicied, 276 unqualitied, 252 unstate, 254 up (= shut up), 247 upon poorer moment, 217 upon the river, 230 uprise, 262 urge me in his act, 228 use (= are accustomed), 235. 249 use (= trust), 219 useful (adverb), 265 vacancy, 232 vessels (= casks), 242 vials (for tears), 220 vie (= rival) , 273 virtue (= valour), 260 waged, 268 wailed (= bewailed), 245 waned (= faded) , 226 warded (= guarded), 210 wassails, 223 weet, 213 well (of the dead), 235 well said (= well done), 258 well studied, 238 well-favouredly, 201, 209 wench, 232 wharfs (= banks), 232 what poor an, 275 what they undid did, 231 where (= whereas), 201 which (=who), 253, 265 whiles, 226 who (=whom), 247 whole (= sound), 260 wild (world), 277 windowed, 265 windows (= eyelids), 277 wish (=pray), 218 with (= by), 250 woo't, 257, 267 words (= flatters), 275 worky-day, 215 worm (= snake), 276 worser, 236 wot'st, 224 wounded chance, 251 wrestle (spelling) , 245 wretch, 277 wrong led, 248 yarage, 197 yare, 249, 256, 276 yarely, 232 yet (transposed), 227, 262 yield (= reward), 257 yond, 250 your (colloquial), 240 your considerate stone, 229 I ROLFE'S ENGLISH CLASSICS Designed for Use in High Schools and Other Secondary Schools Edited by WILLIAM J. ROLFE, Litt. D. Formerly Head Master, High School, Cambridge, Mass. Uniform Flexible Cloth, 12mo. Illustrated, Each, 56 Cents Browning's Select Poems Twenty Poems (including "Pippa Passes"), with Introduction, Life of Browning, Chronological Table of His Works, List of Books useful in studying them. Critical Comments, and Notes. Browning's Select Dramas Containing " A Blot in the 'Scutcheon," " Colombe's Birthday," and "A Soul's Tragedy " — with Introduction, Critical Comments, and Notes. Goldsmith's Select Poems " The Traveller," " The Deserted Village," and " Retaliation," with Life of Goldsmith, Recollections and Criticisms by Thackeray, Coleman the Younger, Campbell, Forster, and Irving, and Notes. Gray's Select Poems The "Elegy," "The Bard," "The Progress of Poesy," and other Poems, with Life of Gray, William Howitt's Description of Stoke- Pogis, and historical, critical, and explanatory Notes. 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