Antony and Cleopatra

Antony and Cleopatra William Shakespeare Barbara A. Mowat Paul Werstine Edited for XML and encoded by Michael Poston Rebecca Niles Text released without textual notes Folger Shakespeare Library Ant

201 East Capitol Street, SE Washington, DC 20003 https://shakespeare.folger.edu folgertexts@folger.edu

Distributed under a Creative Commons Attribution-NonCommercial 3.0 Unported License July, 2016 The Folger Shakespeare (formerly Folger Digital Texts) William Shakespeare Antony and Cleopatra Barbara A. Mowat Paul Werstine New York Washington Square Press 1999 Adobe Digital Edition The most current version of the text

The Folger Shakespeare (formerly Folger Digital Texts) makes the texts of the Folger Shakespeare Library editions freely available for noncommercial use. The primary goal is to represent the source text faithfully, as simply as possible within the TEI P5 schema. Lineation and other typographic features from the print edition are reproduced, with the interpretations previously implicit in the print layout now made explicit in the encoding.

In addition, most elements are assigned a unique identifier. This facilitates our use of stand-off markup and provides the means for future works to point very specifically to words, lines, speeches, and arbitrary sections of the text.

Please note this project offers only the encoded text and textual notes (textual notes are forthcoming). For the explanatory notes, glosses, and illustrations, refer to the print edition and/or Adobe Digital Edition published by Simon & Schuster.

This XML document may include corrections and revisions made by the original Folger Edition editors. Where the text deviates from prior publications, the earlier readings are noted within critical apparatus entry tags.

Quotation marks (single and double quotes) are replaced with the q element, except when the quoted text refers to a name or title, in which case the name or title element is used. Apostrophes, as distinct from single quotes, are not tagged and are retained as-is within the text.

Hyphenation is generally retained. Hyphenated words are considered to be a single word, enclosed within a single word tag (w).

For all end-of-line hyphenation, the word fragments are rejoined into a single w tag. Often, the word is placed on the line where the word begins. When this would affect lineation (e.g., when the second word fragment is the only element on its line), the word is moved to the next line.

Soft end-of-line hyphens (i.e., those added only because of the line break) are silently removed. Editors Barbara A. Mowat and Paul Werstine determine whether the hyphen should be retained.

Acts are enclosed in div1 tags. Scenes are enclosed in div2 tags. Prologues, epilogues, inductions, and choruses are tagged using either div1 or div2, whichever is most appropriate.

Page breaks from the print edition are included in pb tags. Line breaks are enclosed in lb tags. The edRef attribute is used to identify line breaks that differ between editions.

Speeches are enclosed in sp tags. Speech tags usually contain a speech prefix (in the speaker tag), and an anonymous block (ab) containing the text of the speech.

Stage Directions are enclosed within stage tags. They may occur within or between speeches. Where appropriate, who attributes specify who participates in the stage direction.

Poems, songs, and letters are enclosed in seg tags, with the type attribute specifying the type. Segments split between speeches are linked through next and prev attributes. Some songs are prefaced with a header like "The Song", which is enclosed in a label tag.

Foreign words and phrases are enclosed in foreign tags.

Words, spaces, and punctuation marks are enclosed in w, c, and pc tags respectively.

Lines (verse and prose) are not segmented within l or line elements. They are noted through line breaks and milestone elements.

Lineation is determined by critical judgments, complicated by accidental features of publication. While this document marks the line breaks as they appear in the Folger editions, it is understood that other projects may wish to format the text differently. Therefore, the text itself is not enclosed in any kind of line tag (l or ab). Instead, the elements of a typographic line are combined using a milestone tag. Using milestone tags allows us to maintain the Folger line numbering system and offer additional information about the verse without imposing these features on the base text. Not insignificantly, this also helps to avoid overlapping hierarchies in the XML.

The ana attribute of the milestone tags designates the line as verse, prose, or short. Verse lines may use prev and next attributes to point to other typographic lines that complete the metrical line. When it is unclear how to combine an incomplete line into a full metrical line, or when it is unclear whether the line represents verse or prose, the line is designated as short.

Identifying formal units of verse requires another interpretation. This document notes when stanzas are indicated in the edition, often by indentation. Couplets are not generally indented, and therefore, unless part of a larger formal structure, their presence is not always acknowledged.

Stanzas often occur in poems and songs, but they may also be found in conversational verse. Indentations are sometimes noted through rend attributes, but this is less useful than attempting to define the structure of the stanza. However, marking verse units through lg tags is not feasible, because the text is not enclosed in l tags. Using l tags only here would be inconsistent with our encoding elsewhere and would lead to further difficulties with overlapping hierarchies (quotes spanning lines, verse lines split between speakers, etc.). Instead, milestones (milestone elements) link the typographic line (the FTLN milestone) to a stanza definition. The n attribute notes the corresponding line within the stanza. If the line is split, more than one typographic line may share the same n attribute. The prev and next attributes point to the next lines in the stanza. Couplets are generally marked only when they appear as part of a larger poetic unit.

Specifying who participates in a stage direction can be an interesting challenge, especially for ambiguous and permissive stage directions. We have created a new character referencing system to deal with the known and the ambiguous. Clearly identified individuals are identified with their mixed case name followed by the abbreviation of their most significant play. Thus, Hamlet is Hamlet_Ham, Falstaff is Falstaff_1H4 (even in 2H4), and the Duke of Gloucester in 3H6 is RichardIII_R3. Characters who do not have names may be identified in relation to a group of characters, expressed in capital letters. There is an attempt to develop a controlled vocabulary, so Mariners are SAILORS, Keepers are JAILERS, and Captains may be SOLDIERS. ATTENDANTS is a catch-all category that can include Lords, Gentlemen, Torchbearers, Servants, and others. A decimal-based system allows us to add more information as we have it. Brutus's soldier Titinius is SOLDIERS.BRUTUS.Titinius_JC. The First Soldier in that army is SOLDIERS.BRUTUS.1_JC. These still refer to individual characters. With messengers, for example, when we are not sure if the messenger in one scene is the same as the messenger in another, we use .X as a kind of algebraic variable. MESSENGERS.1 cannot be MESSENGERS.2, but MESSENGERS.X might be. When it is impossible to track an individual's entrances and exits, or when it is difficult to know how many characters are in the group, we prefer to track the group rather than individuals. The .0 modifier is used to single out actions by a subset of the group. If a group of ATTENDANTS enters, one is sent on an errand, and then the rest leave, that one is identified as ATTENDANTS.0.1.

Marks the beginning of a page in the print edition. The n attribute gives the page number. The spanTo attribute gives the xml:id of a milestone element marking the end of the page. When the unit = "page", marks the end of a page in the print edition. The n attribute gives the page number. The unit attribute has the value page. When the unit = "ftln", it describes a line of text. The corresp element notes the corresponding w, c, pc and anchor elements. The n attribute gives the line number. The ana attribute has the value verse, prose, or short. The prev and next attributes provide the means for reconstructing split verse lines. Finally, the attribute rend = turnunder for fragments of verse lines that are split only because they could not fit on the previous line in the print edition. Provides the act/scene header for the page, as given in the print edition. The n attribute gives the page number. The type attribute has the value header. Marks a line break in the print edition. Marks an act (or induction, prologue, epilogue). The type attribute gives the division type. The n attribute gives the canonical act number, where appropriate. Marks a scene (or prologue, epilogue, chorus). The type attribute gives the division type. The n attribute gives the canonical scene number, where appropriate. Provides the act/scene header, as given in the print edition. Marks stage directions. The n attribute gives the stage direction line number. The type attribute identifies the type of stage direction, as follows: entrance: marks character entrances exit: marks character exits. At the end of scenes (though not necessarily at the end of the play), dead characters are included in the exit direction delivery: marks directions on how a character speaks (asides, speaking to a specific character, reading, singing, disguising a voice) location: marks where the character speaks ("within", "above") modifier: usually marks a character in disguise (e.g., "as Balthazar") business: any other action, whether performed by a character or not. Directions such as "flourish" and "thunder and lightning" are considered to be "business", since someone will have to make them happen dumbshow: describes the action of a dumbshow mixed: a stage direction that combines several of the above The who attribute identifies the characters associated with that stage direction. Marks musical and other sound cues. The type attribute categorizes the type of cue, as follows: military: marks alarums, marches, retreats, parleys, and other cues related to combat flourish: marks flourishes, sennets, tuckets, and other such cues music sound: marks other sound cues, such as thunder, clocks, and bells The ana attribute may provide information such as the specific type of cue and the instrument used. Marks a speech within the text. The who attribute identifies the characters associated with that speech. Provides the speech prefix, as given in the print edition. Within sp tags, contains the text of the speech. Marks a word in a speech, stage direction, speech prefix, or header. The n attribute gives the line number, where appropriate. Marks a space character in a speech, stage direction, speech prefix, or header. The n attribute gives the line number, where appropriate. Marks a punctuation character in a speech, stage direction, speech prefix, or header. The n attribute gives the line number, where appropriate. Marks editorial placeholders where words are missing or unclear in the primary text. No longer used. In Beta versions, joined w, c, pc and anchor elements into a typographic line. The n attribute gives the line number. The type attribute has the value line. The ana attribute has the value verse, prose, or short. The prev and next attributes provide the means for reconstructing split verse lines. Creates a pointer for one or more w, c, pc, and anchor elements, used to link them to analytical interpretations such as textual notes or stanza identification. Often contains a song, poem, or letter, identified by its type attribute; or, if inside a w tag, identifies a word segment that may be quoted or emended. Marks the header to a song or dumbshow. No longer used. In Beta versions, used sparingly to contain a song or poem that seems distinct from the surrounding text and may not be attributed to a specific speaker. Contains quoted sections of text. Marks non-English words. The xml:lang attribute identifies the foreign language, where appropriate. Marks a proper name that may be quoted or italicized in the text. Marks a title that may be quoted or italicized in the text. Marks sections of text that are otherwise highlighted (generally italicized). Marks areas where content in a prior source text is not present in the current reading. Critical apparatus containing variant readings from prior publications.

Words, spaces, and punctuation characters are numbered sequentially, incremented by 10.

Most other elements begin with an element-specific prefix, followed by a reference to the Folger Through Line Number, a sequential numbering of the numbered lines in the text. If an element is inline with play text, it has the same line number as the line where it begins. If it begins on a line following play text, a decimal number is appended and incremented as necessary. If it falls between a speech prefix and the play text, a ".0" is appended to the value of the following line number.

English French Italian Latin Spanish Antony

a triumvir of Rome

male Cleopatra

Queen of Egypt

female Octavius Caesar

a triumvir of Rome

male Octavia

sister to Caesar, later wife to Antony

female Lepidus

a triumvir of Rome

male Enobarbus

also called Domitius

male accompanying Antonyin Egypt and elsewhere Ventidius male Silius male Eros male Canidius male Scarus male Dercetus male Demetrius male Philo male A Schoolmaster

Antony’sAmbassador to Caesar

male serving in Cleopatra’s court Charmian female Iras female Alexas male Mardian

a Eunuch

male Seleucus

Cleopatra’s treasurer

male Diomedes male supporting and accompanying Caesar Maecenas male Agrippa male Taurus male Thidias male Dolabella male Gallus male Proculeius male Sextus Pompeius

also called Pompey

male Menas male Menecrates male Varrius male

Messengers

First Messenger to Antony Second Messenger to Antony Third Messenger to Antony First Messenger to Caesar Second Messenger to Caesar A member of the MESSENGERS group (first instance) A member of the MESSENGERS group (second instance) A member of the MESSENGERS group (third instance) A member of the MESSENGERS group (fourth instance) A member of the MESSENGERS group (fifth instance)

Soldiers

Sentries

Guardsmen

A Soothsayer male

Servants

A Boy male A Captain male An Egyptian male A Countryman male

Ladies, Eunuchs, Captains, Officers, Soldiers, Attendants, Servants (Lamprius, Rannius, Lucillius: mute characters named in the opening stage direction to 1.2)

Version 0.9.2.2 released. Added #p0154695. Version 0.9.2.1 released. Minor correction to #FromTheDirector. Version 0.9.2 released Identified turnunders (verse lines split because they could not fit on the previous line in the print edition). Updated #p0007350. Version 0.9.0 released.

It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own.

Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as Folger Digital Texts, we place a trusted resource in the hands of anyone who wants them.

The New Folger Editions of Shakespeare’s plays, which are the basis for the texts realized here in digital form, are special because of their origin. The Folger Shakespeare Library in Washington, DC, is the single greatest documentary source of Shakespeare’s works. An unparalleled collection of early modern books, manuscripts, and artwork connected to Shakespeare, the Folger’s holdings have been consulted extensively in the preparation of these texts. The Editions also reflect the expertise gained through the regular performance of Shakespeare’s works in the Folger’s Elizabethan Theater.

I want to express my deep thanks to editors Barbara Mowat and Paul Werstine for creating these indispensable editions of Shakespeare’s works, which incorporate the best of textual scholarship with a richness of commentary that is both inspired and engaging. Readers who want to know more about Shakespeare and his plays can follow the paths these distinguished scholars have tread by visiting the Folger either in-person or online, where a range of physical and digital resources exists to supplement the material in these texts. I commend to you these words, and hope that they inspire.

Michael WitmoreDirector, Folger Shakespeare Library

Until now, with the release of the Folger Digital Texts, readers in search of a free online text of Shakespeare’s plays had to be content primarily with using the Moby™ Text, which reproduces a late-nineteenth century version of the plays. What is the difference? Many ordinary readers assume that there is a single text for the plays: what Shakespeare wrote. But Shakespeare’s plays were not published the way modern novels or plays are published today: as a single, authoritative text. In some cases, the plays have come down to us in multiple published versions, represented by various Quartos (Qq) and by the great collection put together by his colleagues in 1623, called the First Folio (F). There are, for example, three very different versions of Hamlet, two of King Lear, Henry V, Romeo and Juliet, and others. Editors choose which version to use as their base text, and then amend that text with words, lines or speech prefixes from the other versions that, in their judgment, make for a better or more accurate text.

Other editorial decisions involve choices about whether an unfamiliar word could be understood in light of other writings of the period or whether it should be changed; decisions about words that made it into Shakespeare’s text by accident through four hundred years of printings and misprinting; and even decisions based on cultural preference and taste. When the Moby™ Text was created, for example, it was deemed “improper” and “indecent” for Miranda to chastise Caliban for having attempted to rape her. (See The Tempest, 1.2: “Abhorred slave,/Which any print of goodness wilt not take,/Being capable of all ill! I pitied thee…”). All Shakespeare editors at the time took the speech away from her and gave it to her father, Prospero.

The editors of the Moby™ Shakespeare produced their text long before scholars fully understood the proper grounds on which to make the thousands of decisions that Shakespeare editors face. The Folger Library Shakespeare Editions, on which the Folger Digital Texts depend, make this editorial process as nearly transparent as is possible, in contrast to older texts, like the Moby™, which hide editorial interventions. The reader of the Folger Shakespeare knows where the text has been altered because editorial interventions are signaled by square brackets (for example, from Othello: “square bracketIf she in chains of magic were not bound,square bracket”), half-square brackets (for example, from Henry V: “With half-square bracketbloodhalf-square bracket and sword and fire to win your right,”), or angle brackets (for example, from Hamlet: “O farewell, honest angle bracketsoldier.angle bracket Who hath relieved/you?”). At any point in the text, you can hover your cursor over a bracket for more information.

Because the Folger Digital Texts are edited in accord with twenty-first century knowledge about Shakespeare’s texts, the Folger here provides them to readers, scholars, teachers, actors, directors, and students, free of charge, confident of their quality as texts of the plays and pleased to be able to make this contribution to the study and enjoyment of Shakespeare.

Antony and Cleopatra tells the story of a romance between two powerful lovers: Cleopatra, the queen of Egypt, and Mark Antony, who rules the Roman Empire with Octavius Caesar and Lepidus.

Although he is needed in Rome, Antony lingers in Egypt with Cleopatra. He finally returns to Rome when Pompey, another military leader, tries to gain control of the empire. Once in Rome, Antony marries Caesar’s sister Octavia.

After Pompey is defeated, Caesar imprisons Lepidus and turns on Antony. Octavia attempts to reconcile them, but fails. Antony returns to Cleopatra. He challenges Caesar at sea, adding Cleopatra’s ships to his own. When she and her navy flee in mid-battle, Antony follows, abandoning his men.

Antony fails in a second battle at sea. At first, he blames Cleopatra and plans to kill her. He responds to false news of her death, however, by attempting suicide; fatally wounded, he reunites with her as he dies. Faced with Caesar’s plans to humiliate her in Rome, Cleopatra kills herself with poisonous snakes.

ACT 1 Scene 1 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 glowed 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 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 . Take but good note , and you shall see in him The triple pillar of the world transformed 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 reckoned . CLEOPATRA I’ll set a bourn how far to be beloved . ACT 1. SC. 1 ANTONY Then must thou needs find out new heaven , new Earth earth . Enter a Messenger . MESSENGER News , my good lord , from Rome . ANTONY Grates me , the sum . CLEOPATRA Nay , hear them , Antony . Fulvia perchance is angry . Or who knows 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 Perchance ? Nay , and most like . You must not stay here longer ; your dismission Is come from Caesar . Therefore hear it , Antony . 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 Is Caesar’s homager ; else so thy cheek pays shame When shrill-tongued Fulvia scolds . The messengers ! ANTONY Let Rome in Tiber melt and the wide arch Of the ranged empire fall . Here is my space . Kingdoms are clay . Our dungy earth alike Feeds beast as man . The nobleness of life Is to do thus ; when such a mutual pair And such a twain can do ’t , in which I bind , On pain of punishment , the world to weet We stand up peerless . CLEOPATRA Excellent falsehood ! Why did he marry Fulvia , and not love her ? I’ll seem the fool I am not . Antony Will be himself . ACT 1. SC. 2 ANTONY But stirred by Cleopatra . Now for the love of Love and her soft hours , Let’s not confound the time with conference harsh . There’s not a minute of our lives should stretch Without some pleasure now . What sport tonight ? CLEOPATRA Hear the ambassadors . ANTONY Fie , wrangling queen , Whom everything becomes — to chide , to laugh , To weep ; whose every passion fully strives To make itself , in thee , fair and admired ! No messenger but thine , and all alone Tonight we’ll wander through the streets and note The qualities of people . Come , my queen , Last night you did desire it . To the Messenger . Speak not to us . Antony and Cleopatra exit with the Train . DEMETRIUS Is Caesar with Antonius prized 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 Thus speaks of him at Rome ; but I will hope Of better deeds tomorrow . Rest you happy ! They exit . Scene 2 Enter Enobarbus , Lamprius , a Soothsayer , Rannius , Lucillius , Charmian , Iras , Mardian the Eunuch , Alexas , and Servants . CHARMIAN Lord Alexas , sweet Alexas , most anything Alexas , almost most absolute Alexas , where’s the ACT 1. SC. 2 soothsayer that you praised so to th’ Queen ? O , that I knew this husband which you say must charge his horns with garlands ! ALEXAS Soothsayer ! SOOTHSAYER Your will ? CHARMIAN Is this the man ? — Is ’t you , sir , that know things ? SOOTHSAYER In nature’s infinite book of secrecy A little I can read . ALEXAS , to Charmian Show him your hand . ENOBARBUS , to Servants Bring in the banquet quickly , wine enough Cleopatra’s health to drink . CHARMIAN , giving her hand to the Soothsayer Good sir , give me good fortune . SOOTHSAYER I make not , but foresee . CHARMIAN Pray then , foresee me one . SOOTHSAYER You shall be yet far fairer than you are . CHARMIAN He means in flesh . IRAS No , you shall paint when you are old . CHARMIAN Wrinkles forbid ! ALEXAS Vex not his prescience . Be attentive . CHARMIAN Hush . SOOTHSAYER You shall be more beloving than beloved . CHARMIAN I had rather heat my liver with drinking . ALEXAS Nay , hear him . CHARMIAN Good now , some excellent fortune ! Let me be married to three kings in a forenoon and widow them all . Let me have a child at fifty to whom Herod of Jewry may do homage . Find me to marry me with Octavius Caesar , and companion me with my mistress . ACT 1. SC. 2 SOOTHSAYER You shall outlive the lady whom you serve . CHARMIAN O , excellent ! I love long life better than figs . SOOTHSAYER You have seen and proved a fairer former fortune Than that which is to approach . CHARMIAN Then belike my children shall have no names . Prithee , how many boys and wenches must I have ? SOOTHSAYER If every of your wishes had a womb , And fertile every wish , a million . CHARMIAN Out , fool ! I forgive thee for a witch . ALEXAS You think none but your sheets are privy to your wishes . CHARMIAN , to Soothsayer Nay , come . Tell Iras hers . ALEXAS We’ll know all our fortunes . ENOBARBUS Mine , and most of our fortunes tonight , shall be — drunk to bed . IRAS , giving her hand to the Soothsayer There’s a palm presages chastity , if nothing else . CHARMIAN E’en as the o’erflowing Nilus presageth famine . IRAS Go , you wild bedfellow , you cannot soothsay . CHARMIAN Nay , if an oily palm be not a fruitful prognostication , I cannot scratch mine ear . — Prithee tell her but a workaday fortune . SOOTHSAYER Your fortunes are alike . IRAS But how , but how ? Give me particulars . SOOTHSAYER I have said . IRAS Am I not an inch of fortune better than she ? CHARMIAN Well , if you were but an inch of fortune better than I , where would you choose it ? IRAS Not in my husband’s nose . CHARMIAN Our worser thoughts heavens mend . Alexas — come , his fortune , his fortune ! O , let him marry a ACT 1. SC. 2 woman that cannot go , sweet Isis , I beseech thee , and let her die , too , and give him a worse , and let worse follow worse , till the worst of all follow him laughing to his grave , fiftyfold a cuckold . Good Isis , hear me this prayer , though thou deny me a matter of more weight , good Isis , I beseech thee ! IRAS Amen , dear goddess , hear that prayer of the people . For , as it is a heartbreaking to see a handsome man loose-wived , so it is a deadly sorrow to behold a foul knave uncuckolded . Therefore , dear Isis , keep decorum and fortune him accordingly . CHARMIAN Amen . ALEXAS Lo now , if it lay in their hands to make me a cuckold , they would make themselves whores but they’d do ’t . ENOBARBUS Hush , here comes Antony . CHARMIAN Not he . The Queen . Enter Cleopatra . CLEOPATRA Saw you my lord ? ENOBARBUS No , lady . CLEOPATRA Was he not here ? CHARMIAN No , madam . CLEOPATRA He was disposed to mirth , but on the sudden A Roman thought hath struck him . — Enobarbus ! ENOBARBUS Madam ? CLEOPATRA Seek him and bring him hither . — Where’s Alexas ? ALEXAS Here at your service . My lord approaches . Enter Antony with a Messenger . CLEOPATRA We will not look upon him . Go with us . All but Antony and the Messenger exit . ACT 1. SC. 2 MESSENGER Fulvia thy wife first came into the field . ANTONY Against my brother Lucius ? MESSENGER Ay . But soon that war had end , and the time’s state Made friends of them , jointing their force ’gainst Caesar , Whose better issue in the war from Italy Upon the first encounter drave them . ANTONY Well , what worst ? MESSENGER The nature of bad news infects the teller . ANTONY When it concerns the fool or coward . On . Things that are past are done , with me . ’Tis thus : Who tells me true , though in his tale lie death , I hear him as he flattered . MESSENGER Labienus — This is stiff news — hath with his Parthian force Extended Asia : from Euphrates His conquering banner shook , from Syria To Lydia and to Ionia , Whilst — ANTONY Antony , thou wouldst say ? MESSENGER O , my lord ! ANTONY Speak to me home ; mince not the general tongue . Name Cleopatra as she is called in Rome ; Rail thou in Fulvia’s phrase , and taunt my faults With such full license as both truth and malice Have power to utter . O , then we bring forth weeds When our quick winds lie still , and our ills told us Is as our earing . Fare thee well awhile . MESSENGER At your noble pleasure . Messenger exits . ACT 1. SC. 2 Enter another Messenger . ANTONY From Sicyon how the news ? Speak there . SECOND MESSENGER The man from Sicyon — ANTONY Is there such an one ? SECOND MESSENGER He stays upon your will . ANTONY Let him appear . Second Messenger exits . These strong Egyptian fetters I must break , Or lose myself in dotage . Enter another Messenger with a letter . What are you ? THIRD MESSENGER Fulvia thy wife is dead . ANTONY Where died she ? THIRD MESSENGER In Sicyon . Her length of sickness , with what else more serious Importeth thee to know , this bears . He hands Antony the letter . ANTONY Forbear me . Third Messenger exits . There’s a great spirit gone ! Thus did I desire it . What our contempts doth often hurl from us , We wish it ours again . The present pleasure , By revolution lowering , does become The opposite of itself . She’s good , being gone . The hand could pluck her back that shoved her on . I must from this enchanting queen break off . Ten thousand harms more than the ills I know My idleness doth hatch . — How now , Enobarbus ! Enter Enobarbus . ACT 1. SC. 2 ENOBARBUS What’s your pleasure , sir ? ANTONY I must with haste from hence . ENOBARBUS Why then we kill all our women . We see how mortal an unkindness is to them . If they suffer our departure , death’s the word . ANTONY I must be gone . ENOBARBUS Under a compelling occasion , let women die . It were pity to cast them away for nothing , though between them and a great cause , they should be esteemed nothing . Cleopatra , catching but the least noise of this , dies instantly . I have seen her die twenty times upon far poorer moment . I do think there is mettle in death which commits some loving act upon her , she hath such a celerity in dying . ANTONY She is cunning past man’s thought . ENOBARBUS Alack , sir , no , her passions are made of nothing but the finest part of pure love . We cannot call her winds and waters sighs and tears ; they are greater storms and tempests than almanacs can report . This cannot be cunning in her ; if it be , she makes a shower of rain as well as Jove . ANTONY Would I had never seen her ! ENOBARBUS O , sir , you had then left unseen a wonderful piece of work , which not to have been blest withal would have discredited your travel . ANTONY Fulvia is dead . ENOBARBUS Sir ? ANTONY Fulvia is dead . ENOBARBUS Fulvia ? ANTONY Dead . ENOBARBUS Why , sir , give the gods a thankful sacrifice . When it pleaseth their deities to take the wife of a man from him , it shows to man the tailors of the ACT 1. SC. 2 Earth earth ; comforting therein , that when old robes are worn out , there are members to make new . If there were no more women but Fulvia , then had you indeed a cut , and the case to be lamented . This grief is crowned with consolation ; your old smock brings forth a new petticoat , and indeed the tears live in an onion that should water this sorrow . ANTONY The business she hath broachèd in the state Cannot endure my absence . ENOBARBUS And the business you have broached here cannot be without you , especially that of Cleopatra’s , which wholly depends on your abode . ANTONY No more light answers . Let our officers Have notice what we purpose . I shall break The cause of our expedience to the Queen And get her leave to part . For not alone The death of Fulvia , with more urgent touches , Do strongly speak to us , but the letters too Of many our contriving friends in Rome Petition us at home . Sextus Pompeius Hath given the dare to Caesar and commands The empire of the sea . Our slippery people , Whose love is never linked to the deserver Till his deserts are past , begin to throw Pompey the Great and all his dignities Upon his son , who — high in name and power , Higher than both in blood and life — stands up For the main soldier ; whose quality , going on , The sides o’ th’ world may danger . Much is breeding Which , like the courser’s hair , hath yet but life And not a serpent’s poison . Say our pleasure , ACT 1. SC. 3 To such whose place is under us , requires Our quick remove from hence . ENOBARBUS I shall do ’t . They exit . Scene 3 Enter Cleopatra , Charmian , Alexas , and Iras . CLEOPATRA Where is he ? CHARMIAN I did not see him since . CLEOPATRA , to Alexas See where he is , who’s with him , what he does . I did not send you . If you find him sad , Say I am dancing ; if in mirth , report That I am sudden sick . Quick , and return . Alexas exits . CHARMIAN Madam , methinks , if you did love him dearly , You do not hold the method to enforce The like from him . CLEOPATRA What should I do I do not ? CHARMIAN In each thing give him way ; cross him in nothing . CLEOPATRA Thou teachest like a fool : the way to lose him . CHARMIAN Tempt him not so too far . I wish , forbear . In time we hate that which we often fear . Enter Antony . But here comes Antony . CLEOPATRA I am sick and sullen . ANTONY I am sorry to give breathing to my purpose — ACT 1. SC. 3 CLEOPATRA Help me away , dear Charmian ! I shall fall . It cannot be thus long ; the sides of nature Will not sustain it . ANTONY Now , my dearest queen — CLEOPATRA Pray you stand farther from me . ANTONY What’s the matter ? CLEOPATRA I know by that same eye there’s some good news . What , says the married woman you may go ? Would she had never given you leave to come . Let her not say ’tis I that keep you here . I have no power upon you . Hers you are . ANTONY The gods best know — CLEOPATRA O , never was there queen So mightily betrayed ! Yet at the first I saw the treasons planted . ANTONY Cleopatra — CLEOPATRA Why should I think you can be mine , and true — Though you in swearing shake the thronèd gods — Who have been false to Fulvia ? Riotous madness , To be entangled with those mouth-made vows Which break themselves in swearing ! ANTONY Most sweet queen — CLEOPATRA Nay , pray you seek no color for your going , But bid farewell and go . When you sued staying , Then was the time for words . No going then ! Eternity was in our lips and eyes , Bliss in our brows’ bent ; none our parts so poor But was a race of heaven . They are so still , ACT 1. SC. 3 Or thou , the greatest soldier of the world , Art turned the greatest liar . ANTONY How now , lady ? CLEOPATRA I would I had thy inches . Thou shouldst know There were a heart in Egypt . ANTONY Hear me , queen : The strong necessity of time commands Our services awhile , but my full heart Remains in use with you . Our Italy Shines o’er with civil swords ; Sextus Pompeius Makes his approaches to the port of Rome ; Equality of two domestic powers Breed scrupulous faction ; the hated grown to strength Are newly grown to love ; the condemned Pompey , Rich in his father’s honor , creeps apace Into the hearts of such as have not thrived Upon the present state , whose numbers threaten ; And quietness , grown sick of rest , would purge By any desperate change . My more particular , And that which most with you should safe my going , Is Fulvia’s death . CLEOPATRA Though age from folly could not give me freedom , It does from childishness . Can Fulvia die ? ANTONY She’s dead , my queen . He shows her papers . Look here , and at thy sovereign leisure read The garboils she awaked ; at the last , best , See when and where she died . CLEOPATRA O , most false love ! Where be the sacred vials thou shouldst fill With sorrowful water ? Now I see , I see , In Fulvia’s death , how mine received shall be . ANTONY Quarrel no more , but be prepared to know ACT 1. SC. 3 The purposes I bear , which are or cease As you shall give th’ advice . By the fire That quickens Nilus’ slime , I go from hence Thy soldier , servant , making peace or war As thou affects . CLEOPATRA Cut my lace , Charmian , come ! But let it be ; I am quickly ill and well ; So Antony loves . ANTONY My precious queen , forbear , And give true evidence to his love , which stands An honorable trial . CLEOPATRA So Fulvia told me . I prithee turn aside and weep for her , Then bid adieu to me , and say the tears Belong to Egypt . Good now , play one scene Of excellent dissembling , and let it look Like perfect honor . ANTONY You’ll heat my blood . No more ! CLEOPATRA You can do better yet , but this is meetly . ANTONY Now by my sword — CLEOPATRA And target . Still he mends . But this is not the best . Look , prithee , Charmian , How this Herculean Roman does become The carriage of his chafe . ANTONY I’ll leave you , lady . CLEOPATRA Courteous lord , one word . Sir , you and I must part , but that’s not it ; Sir , you and I have loved , but there’s not it ; That you know well . Something it is I would — O , my oblivion is a very Antony , And I am all forgotten . ANTONY But that your Royalty Holds idleness your subject , I should take you For idleness itself . ACT 1. SC. 4 CLEOPATRA ’Tis sweating labor To bear such idleness so near the heart As Cleopatra this . But , sir , forgive me , Since my becomings kill me when they do not Eye well to you . Your honor calls you hence ; Therefore be deaf to my unpitied folly , And all the gods go with you . Upon your sword Sit laurel victory , and smooth success Be strewed before your feet . ANTONY Let us go . Come . Our separation so abides and flies That thou , residing here , goes yet with me , And I , hence fleeting , here remain with thee . Away ! They exit . Scene 4 Enter Octavius Caesar , reading a letter , Lepidus , and their Train . CAESAR You may see , Lepidus , and henceforth know , It is not Caesar’s natural vice to hate Our great competitor . From Alexandria This is the news : he fishes , drinks , and wastes The lamps of night in revel , is not more manlike Than Cleopatra , nor the queen of Ptolemy More womanly than he ; hardly gave audience , or Vouchsafed to think he had partners . You shall find there A man who is th’ abstract of all faults That all men follow . LEPIDUS I must not think there are Evils enough to darken all his goodness . ACT 1. SC. 4 His faults in him seem as the spots of heaven , More fiery by night’s blackness , hereditary Rather than purchased , what he cannot change Than what he chooses . CAESAR You are too indulgent . Let’s grant it is not Amiss to tumble on the bed of Ptolemy , To give a kingdom for a mirth , to sit And keep the turn of tippling with a slave , To reel the streets at noon and stand the buffet With knaves that smells of sweat . Say this becomes him — As his composure must be rare indeed Whom these things cannot blemish — yet must Antony No way excuse his foils when we do bear So great weight in his lightness . If he filled His vacancy with his voluptuousness , Full surfeits and the dryness of his bones Call on him for ’t . But to confound such time That drums him from his sport and speaks as loud As his own state and ours , ’tis to be chid As we rate boys who , being mature in knowledge , Pawn their experience to their present pleasure And so rebel to judgment . Enter a Messenger . LEPIDUS Here’s more news . MESSENGER Thy biddings have been done , and every hour , Most noble Caesar , shalt thou have report How ’tis abroad . Pompey is strong at sea , And it appears he is beloved of those That only have feared Caesar . To the ports The discontents repair , and men’s reports Give him much wronged . ACT 1. SC. 4 CAESAR I should have known no less . It hath been taught us from the primal state That he which is was wished until he were , And the ebbed man , ne’er loved till ne’er worth love , Comes feared by being lacked . This common body , Like to a vagabond flag upon the stream , Goes to and back , lackeying the varying tide To rot itself with motion . Enter a Second Messenger . SECOND MESSENGER Caesar , I bring thee word Menecrates and Menas , famous pirates , Makes the sea serve them , which they ear and wound With keels of every kind . Many hot inroads They make in Italy — the borders maritime Lack blood to think on ’t — and flush youth revolt . No vessel can peep forth but ’tis as soon Taken as seen , for Pompey’s name strikes more Than could his war resisted . CAESAR Antony , Leave thy lascivious wassails . When thou once Was beaten from Modena , where thou slew’st Hirsius and Pansa , consuls , at thy heel Did famine follow , whom thou fought’st against , Though daintily brought up , with patience more Than savages could suffer . Thou didst drink The stale of horses and the gilded puddle Which beasts would cough at . Thy palate then did deign The roughest berry on the rudest hedge . Yea , like the stag when snow the pasture sheets , The barks of trees thou browsèd . On the Alps It is reported thou didst eat strange flesh Which some did die to look on . And all this — ACT 1. SC. 5 It wounds thine honor that I speak it now — Was borne so like a soldier that thy cheek So much as lanked not . LEPIDUS ’Tis pity of him . CAESAR Let his shames quickly Drive him to Rome . ’Tis time we twain Did show ourselves i’ th’ field , and to that end Assemble we immediate council . Pompey Thrives in our idleness . LEPIDUS Tomorrow , Caesar , I shall be furnished to inform you rightly Both what by sea and land I can be able To front this present time . CAESAR Till which encounter , It is my business too . Farewell . LEPIDUS Farewell , my lord . What you shall know meantime Of stirs abroad , I shall beseech you , sir , To let me be partaker . CAESAR Doubt not , sir . I knew it for my bond . They exit . Scene 5 Enter Cleopatra , Charmian , Iras , and Mardian . CLEOPATRA Charmian ! CHARMIAN Madam ? CLEOPATRA Ha , ha ! Give me to drink mandragora . CHARMIAN Why , madam ? CLEOPATRA That I might sleep out this great gap of time My Antony is away . CHARMIAN You think of him too much . ACT 1. SC. 5 CLEOPATRA O , ’tis treason ! CHARMIAN Madam , I trust not so . CLEOPATRA Thou , eunuch Mardian ! MARDIAN What’s your Highness’ pleasure ? CLEOPATRA Not now to hear thee sing . I take no pleasure In aught an eunuch has . ’Tis well for thee That , being unseminared , thy freer thoughts May not fly forth of Egypt . Hast thou affections ? MARDIAN Yes , gracious madam . CLEOPATRA Indeed ? MARDIAN Not in deed , madam , for I can do nothing But what indeed is honest to be done . Yet have I fierce affections , and think What Venus did with Mars . CLEOPATRA O , Charmian , Where think’st thou he is now ? Stands he , or sits he ? Or does he walk ? Or is he on his horse ? O happy horse , to bear the weight of Antony ! Do bravely , horse , for wot’st thou whom thou mov’st ? The demi-Atlas of this Earth earth , the arm And burgonet of men . He’s speaking now , Or murmuring Where’s my serpent of old Nile ? For so he calls me . Now I feed myself With most delicious poison . Think on me That am with Phoebus’ amorous pinches black , And wrinkled deep in time ? Broad-fronted Caesar , When thou wast here above the ground , I was A morsel for a monarch . And great Pompey Would stand and make his eyes grow in my brow ; There would he anchor his aspect , and die With looking on his life . ACT 1. SC. 5 Enter Alexas from Antony . ALEXAS Sovereign of Egypt , hail ! CLEOPATRA How much unlike art thou Mark Antony ! Yet coming from him , that great med’cine hath With his tinct gilded thee . How goes it with my brave Mark Antony ? ALEXAS Last thing he did , dear queen , He kissed — the last of many doubled kisses — This orient pearl . His speech sticks in my heart . CLEOPATRA Mine ear must pluck it thence . ALEXAS Good friend , quoth he , Say the firm Roman to great Egypt sends This treasure of an oyster ; at whose foot , To mend the petty present , I will piece Her opulent throne with kingdoms . All the East , Say thou , shall call her mistress . So he nodded And soberly did mount an arm-gaunt steed , Who neighed so high that what I would have spoke Was beastly dumbed by him . CLEOPATRA What , was he sad , or merry ? ALEXAS Like to the time o’ th’ year between th’ extremes Of hot and cold , he was nor sad nor merry . CLEOPATRA O , well-divided disposition ! — Note him , Note him , good Charmian , ’tis the man ! But note him : He was not sad , for he would shine on those That make their looks by his ; he was not merry , Which seemed to tell them his remembrance lay In Egypt with his joy ; but between both . ACT 1. SC. 5 O , heavenly mingle ! — Be’st thou sad or merry , The violence of either thee becomes , So does it no man’s else . — Met’st thou my posts ? ALEXAS Ay , madam , twenty several messengers . Why do you send so thick ? CLEOPATRA Who’s born that day When I forget to send to Antony Shall die a beggar . — Ink and paper , Charmian . — Welcome , my good Alexas . — Did I , Charmian , Ever love Caesar so ? CHARMIAN O , that brave Caesar ! CLEOPATRA Be choked with such another emphasis ! Say the brave Antony . CHARMIAN The valiant Caesar ! CLEOPATRA By Isis , I will give thee bloody teeth If thou with Caesar paragon again My man of men . CHARMIAN By your most gracious pardon , I sing but after you . CLEOPATRA My salad days , When I was green in judgment , cold in blood , To say as I said then . But come , away , Get me ink and paper . He shall have every day a several greeting , Or I’ll unpeople Egypt . They exit . ACT 2 Scene 1 Enter Pompey , Menecrates , and Menas , in warlike manner . POMPEY If the great gods be just , they shall assist The deeds of justest men . MENAS Know , worthy Pompey , That what they do delay they not deny . POMPEY Whiles we are suitors to their throne , decays The thing we sue for . MENAS We , ignorant of ourselves , Beg often our own harms , which the wise powers Deny us for our good ; so find we profit By losing of our prayers . POMPEY I shall do well . The people love me , and the sea is mine ; My powers are crescent , and my auguring hope Says it will come to th’ full . Mark Antony In Egypt sits at dinner , and will make No wars without doors . Caesar gets money where He loses hearts . Lepidus flatters both , Of both is flattered ; but he neither loves , Nor either cares for him . MENAS Caesar and Lepidus Are in the field . A mighty strength they carry . ACT 2. SC. 1 POMPEY Where have you this ? ’Tis false . MENAS From Silvius , sir . POMPEY He dreams . I know they are in Rome together , Looking for Antony . But all the charms of love , Salt Cleopatra , soften thy wanned lip ! Let witchcraft join with beauty , lust with both ; Tie up the libertine in a field of feasts ; Keep his brain fuming . Epicurean cooks Sharpen with cloyless sauce his appetite , That sleep and feeding may prorogue his honor Even till a Lethe’d dullness — Enter Varrius . How now , Varrius ? VARRIUS This is most certain that I shall deliver : Mark Antony is every hour in Rome Expected . Since he went from Egypt ’tis A space for farther travel . POMPEY I could have given less matter A better ear . — Menas , I did not think This amorous surfeiter would have donned his helm For such a petty war . His soldiership Is twice the other twain . But let us rear The higher our opinion , that our stirring Can from the lap of Egypt’s widow pluck The ne’er lust-wearied Antony . MENAS I cannot hope Caesar and Antony shall well greet together . His wife that’s dead did trespasses to Caesar ; His brother warred upon him , although I think Not moved by Antony . POMPEY I know not , Menas , ACT 2. SC. 2 How lesser enmities may give way to greater . Were ’t not that we stand up against them all , ’Twere pregnant they should square between themselves , For they have entertainèd cause enough To draw their swords . But how the fear of us May cement their divisions and bind up The petty difference , we yet not know . Be ’t as our gods will have ’t . It only stands Our lives upon to use our strongest hands . Come , Menas . They exit . Scene 2 Enter Enobarbus and Lepidus . LEPIDUS Good Enobarbus , ’tis a worthy deed , And shall become you well , to entreat your captain To soft and gentle speech . ENOBARBUS I shall entreat him To answer like himself . If Caesar move him , Let Antony look over Caesar’s head And speak as loud as Mars . By Jupiter , Were I the wearer of Antonio’s beard , I would not shave ’t today . LEPIDUS ’Tis not a time for private stomaching . ENOBARBUS Every time serves for the matter that is then born in ’t . LEPIDUS But small to greater matters must give way . ENOBARBUS Not if the small come first . LEPIDUS Your speech is passion ; but pray you stir No embers up . Here comes the noble Antony . ACT 2. SC. 2 Enter , at one door , Antony and Ventidius . ENOBARBUS And yonder Caesar . Enter , at another door , Caesar , Maecenas , and Agrippa . ANTONY , to Ventidius If we compose well here , to Parthia . Hark , Ventidius . They talk aside . CAESAR , to Maecenas I do not know , Maecenas . Ask Agrippa . LEPIDUS , to Caesar and Antony Noble friends , That which combined us was most great , and let not A leaner action rend us . What’s amiss , May it be gently heard . When we debate Our trivial difference loud , we do commit Murder in healing wounds . Then , noble partners , The rather for I earnestly beseech , Touch you the sourest points with sweetest terms , Nor curstness grow to th’ matter . ANTONY ’Tis spoken well . Were we before our armies , and to fight , I should do thus . Flourish . CAESAR Welcome to Rome . ANTONY Thank you . CAESAR Sit . ANTONY Sit , sir . CAESAR Nay , then . They sit . ANTONY I learn you take things ill which are not so , Or , being , concern you not . CAESAR I must be laughed at If or for nothing or a little , I Should say myself offended , and with you Chiefly i’ th’ world ; more laughed at , that I should ACT 2. SC. 2 Once name you derogately when to sound your name It not concerned me . ANTONY My being in Egypt , Caesar , what was ’t to you ? CAESAR No more than my residing here at Rome Might be to you in Egypt . Yet if you there Did practice on my state , your being in Egypt Might be my question . ANTONY How intend you , practiced ? CAESAR You may be pleased to catch at mine intent By what did here befall me . Your wife and brother Made wars upon me , and their contestation Was theme for you ; you were the word of war . ANTONY You do mistake your business . My brother never Did urge me in his act . I did inquire it , And have my learning from some true reports That drew their swords with you . Did he not rather Discredit my authority with yours , And make the wars alike against my stomach , Having alike your cause ? Of this my letters Before did satisfy you . If you’ll patch a quarrel , As matter whole you have to make it with , It must not be with this . CAESAR You praise yourself By laying defects of judgment to me ; but You patched up your excuses . ANTONY Not so , not so . I know you could not lack — I am certain on ’t — Very necessity of this thought , that I , Your partner in the cause ’gainst which he fought , Could not with graceful eyes attend those wars ACT 2. SC. 2 Which fronted mine own peace . As for my wife , I would you had her spirit in such another . The third o’ th’ world is yours , which with a snaffle You may pace easy , but not such a wife . ENOBARBUS Would we had all such wives , that the men might go to wars with the women ! ANTONY So much uncurbable , her garboils , Caesar , Made out of her impatience — which not wanted Shrewdness of policy too — I grieving grant Did you too much disquiet . For that you must But say I could not help it . CAESAR I wrote to you When rioting in Alexandria ; you Did pocket up my letters , and with taunts Did gibe my missive out of audience . ANTONY Sir , He fell upon me ere admitted , then ; Three kings I had newly feasted , and did want Of what I was i’ th’ morning . But next day I told him of myself , which was as much As to have asked him pardon . Let this fellow Be nothing of our strife ; if we contend , Out of our question wipe him . CAESAR You have broken The article of your oath , which you shall never Have tongue to charge me with . LEPIDUS Soft , Caesar ! ANTONY No , Lepidus , let him speak . The honor is sacred which he talks on now , Supposing that I lacked it . — But on , Caesar : The article of my oath ? CAESAR To lend me arms and aid when I required them , The which you both denied . ACT 2. SC. 2 ANTONY Neglected , rather ; And then when poisoned hours had bound me up From mine own knowledge . As nearly as I may I’ll play the penitent to you . But mine honesty Shall not make poor my greatness , nor my power Work without it . Truth is that Fulvia , To have me out of Egypt , made wars here , For which myself , the ignorant motive , do So far ask pardon as befits mine honor To stoop in such a case . LEPIDUS ’Tis noble spoken . MAECENAS If it might please you to enforce no further The griefs between you , to forget them quite Were to remember that the present need Speaks to atone you . LEPIDUS Worthily spoken , Maecenas . ENOBARBUS Or , if you borrow one another’s love for the instant , you may , when you hear no more words of Pompey , return it again . You shall have time to wrangle in when you have nothing else to do . ANTONY Thou art a soldier only . Speak no more . ENOBARBUS That truth should be silent I had almost forgot . ANTONY You wrong this presence ; therefore speak no more . ENOBARBUS Go to , then . Your considerate stone . CAESAR I do not much dislike the matter , but The manner of his speech ; for ’t cannot be We shall remain in friendship , our conditions So diff’ring in their acts . Yet if I knew What hoop should hold us staunch , from edge to edge O’ th’ world I would pursue it . ACT 2. SC. 2 AGRIPPA Give me leave , Caesar . CAESAR Speak , Agrippa . AGRIPPA Thou hast a sister by the mother’s side , Admired Octavia . Great Mark Antony Is now a widower . CAESAR Say not so , Agrippa . If Cleopatra heard you , your reproof Were well deserved of rashness . ANTONY I am not married , Caesar . Let me hear Agrippa further speak . AGRIPPA To hold you in perpetual amity , To make you brothers , and to knit your hearts With an unslipping knot , take Antony Octavia to his wife , whose beauty claims No worse a husband than the best of men ; Whose virtue and whose general graces speak That which none else can utter . By this marriage All little jealousies , which now seem great , And all great fears , which now import their dangers , Would then be nothing . Truths would be tales , Where now half-tales be truths . Her love to both Would each to other and all loves to both Draw after her . Pardon what I have spoke , For ’tis a studied , not a present thought , By duty ruminated . ANTONY Will Caesar speak ? CAESAR Not till he hears how Antony is touched With what is spoke already . ANTONY What power is in Agrippa , If I would say Agrippa , be it so , To make this good ? ACT 2. SC. 2 CAESAR The power of Caesar , and His power unto Octavia . ANTONY May I never To this good purpose , that so fairly shows , Dream of impediment . Let me have thy hand . Further this act of grace ; and from this hour The heart of brothers govern in our loves And sway our great designs . CAESAR There’s my hand . They clasp hands . A sister I bequeath you whom no brother Did ever love so dearly . Let her live To join our kingdoms and our hearts ; and never Fly off our loves again . LEPIDUS Happily , amen ! ANTONY I did not think to draw my sword ’gainst Pompey , For he hath laid strange courtesies and great Of late upon me . I must thank him only , Lest my remembrance suffer ill report ; At heel of that , defy him . LEPIDUS Time calls upon ’s . Of us must Pompey presently be sought , Or else he seeks out us . ANTONY Where lies he ? CAESAR About the Mount Misena . ANTONY What is his strength by land ? CAESAR Great and increasing ; But by sea he is an absolute master . ANTONY So is the fame . Would we had spoke together . Haste we for it . Yet , ere we put ourselves in arms , dispatch we The business we have talked of . CAESAR With most gladness , ACT 2. SC. 2 And do invite you to my sister’s view , Whither straight I’ll lead you . ANTONY Let us , Lepidus , not lack your company . LEPIDUS Noble Antony , not sickness should detain me . Flourish . All but Enobarbus , Agrippa , and Maecenas exit . MAECENAS , to Enobarbus Welcome from Egypt , sir . ENOBARBUS Half the heart of Caesar , worthy Maecenas ! — My honorable friend Agrippa ! AGRIPPA Good Enobarbus ! MAECENAS We have cause to be glad that matters are so well digested . You stayed well by ’t in Egypt . ENOBARBUS Ay , sir , we did sleep day out of countenance and made the night light with drinking . MAECENAS Eight wild boars roasted whole at a breakfast , and but twelve persons there . Is this true ? ENOBARBUS This was but as a fly by an eagle . We had much more monstrous matter of feast , which worthily deserved noting . MAECENAS She’s a most triumphant lady , if report be square to her . ENOBARBUS When she first met Mark Antony , she pursed up his heart upon the river of Cydnus . AGRIPPA There she appeared indeed , or my reporter devised well for her . ENOBARBUS I will tell you . The barge she sat in like a burnished throne Burned on the water . The poop was beaten gold , Purple the sails , and so perfumed that The winds were lovesick with them . The oars were silver , Which to the tune of flutes kept stroke , and made The water which they beat to follow faster , ACT 2. SC. 2 As amorous of their strokes . For her own person , It beggared all description : she did lie In her pavilion — cloth-of-gold , of tissue — O’erpicturing that Venus where we see The fancy outwork nature . On each side her Stood pretty dimpled boys , like smiling Cupids , With divers-colored fans , whose wind did seem To glow the delicate cheeks which they did cool , And what they undid did . AGRIPPA O , rare for Antony ! ENOBARBUS Her gentlewomen , like the Nereides , So many mermaids , tended her i’ th’ eyes , And made their bends adornings . At the helm A seeming mermaid steers . The silken tackle Swell with the touches of those flower-soft hands That yarely frame the office . From the barge A strange invisible perfume hits the sense Of the adjacent wharfs . The city cast Her people out upon her ; and Antony , Enthroned i’ th’ market-place , did sit alone , Whistling to th’ air , which but for vacancy Had gone to gaze on Cleopatra too And made a gap in nature . AGRIPPA Rare Egyptian ! ENOBARBUS Upon her landing , Antony sent to her , Invited her to supper . She replied It should be better he became her guest , Which she entreated . Our courteous Antony , Whom ne’er the word of No woman heard speak , Being barbered ten times o’er , goes to the feast , And for his ordinary pays his heart For what his eyes eat only . AGRIPPA Royal wench ! ACT 2. SC. 3 She made great Caesar lay his sword to bed ; He ploughed her , and she cropped . ENOBARBUS I saw her once Hop forty paces through the public street , And having lost her breath , she spoke and panted , That she did make defect perfection , And breathless pour breath forth . MAECENAS Now Antony must leave her utterly . ENOBARBUS Never . He will not . Age cannot wither her , nor custom stale Her infinite variety . Other women cloy The appetites they feed , but she makes hungry Where most she satisfies . For vilest things Become themselves in her , that the holy priests Bless her when she is riggish . MAECENAS If beauty , wisdom , modesty can settle The heart of Antony , Octavia is A blessèd lottery to him . AGRIPPA Let us go . Good Enobarbus , make yourself my guest Whilst you abide here . ENOBARBUS Humbly , sir , I thank you . They exit . Scene 3 Enter Antony , Caesar ; Octavia between them . ANTONY The world and my great office will sometimes Divide me from your bosom . OCTAVIA All which time Before the gods my knee shall bow my prayers To them for you . ACT 2. SC. 3 ANTONY , to Caesar Goodnight , sir . — My Octavia , Read not my blemishes in the world’s report . I have not kept my square , but that to come Shall all be done by th’ rule . Good night , dear lady . — Good night , sir . CAESAR Goodnight . Caesar and Octavia exit . Enter Soothsayer . ANTONY Now , sirrah , you do wish yourself in Egypt ? SOOTHSAYER Would I had never come from thence , nor you thither . ANTONY If you can , your reason ? SOOTHSAYER I see it in my motion , have it not in my tongue . But yet hie you to Egypt again . ANTONY Say to me , whose fortunes shall rise higher , Caesar’s or mine ? SOOTHSAYER Caesar’s . Therefore , O Antony , stay not by his side . Thy dæmon — that thy spirit which keeps thee — is Noble , courageous , high , unmatchable , Where Caesar’s is not . But near him , thy angel Becomes afeard , as being o’erpowered . Therefore Make space enough between you . ANTONY Speak this no more . SOOTHSAYER To none but thee ; no more but when to thee . If thou dost play with him at any game , Thou art sure to lose ; and of that natural luck He beats thee ’gainst the odds . Thy luster thickens When he shines by . I say again , thy spirit Is all afraid to govern thee near him ; But he away , ’tis noble . ACT 2. SC. 4 ANTONY Get thee gone . Say to Ventidius I would speak with him . Soothsayer exits . He shall to Parthia . Be it art or hap , He hath spoken true . The very dice obey him , And in our sports my better cunning faints Under his chance . If we draw lots , he speeds ; His cocks do win the battle still of mine When it is all to naught , and his quails ever Beat mine , inhooped , at odds . I will to Egypt . And though I make this marriage for my peace , I’ th’ East my pleasure lies . Enter Ventidius . O , come , Ventidius . You must to Parthia ; your commission’s ready . Follow me and receive ’t . They exit . Scene 4 Enter Lepidus , Maecenas , and Agrippa . LEPIDUS Trouble yourselves no further . Pray you hasten Your generals after . AGRIPPA Sir , Mark Antony Will e’en but kiss Octavia , and we’ll follow . LEPIDUS Till I shall see you in your soldiers’ dress , Which will become you both , farewell . MAECENAS We shall , As I conceive the journey , be at the Mount Before you , Lepidus . ACT 2. SC. 5 LEPIDUS Your way is shorter ; My purposes do draw me much about . You’ll win two days upon me . BOTH Sir , good success . LEPIDUS Farewell . They exit . Scene 5 Enter Cleopatra , Charmian , Iras , and Alexas . CLEOPATRA Give me some music — music , moody food Of us that trade in love . ALL The music , ho ! Enter Mardian the eunuch . CLEOPATRA Let it alone . Let’s to billiards . Come , Charmian . CHARMIAN My arm is sore . Best play with Mardian . CLEOPATRA As well a woman with an eunuch played As with a woman . — Come , you’ll play with me , sir ? MARDIAN As well as I can , madam . CLEOPATRA And when good will is showed , though ’t come too short , The actor may plead pardon . I’ll none now . Give me mine angle ; we’ll to th’ river . There , My music playing far off , I will betray Tawny-finned fishes . My bended hook shall pierce Their slimy jaws , and as I draw them up I’ll think them every one an Antony And say Aha ! You’re caught . ACT 2. SC. 5 CHARMIAN ’Twas merry when You wagered on your angling ; when your diver Did hang a salt fish on his hook , which he With fervency drew up . CLEOPATRA That time ? — O , times ! — I laughed him out of patience ; and that night I laughed him into patience ; and next morn , Ere the ninth hour , I drunk him to his bed , Then put my tires and mantles on him , whilst I wore his sword Philippan . Enter a Messenger . O , from Italy ! Ram thou thy fruitful tidings in mine ears , That long time have been barren . MESSENGER Madam , madam — CLEOPATRA Antonio’s dead ! If thou say so , villain , Thou kill’st thy mistress . But well and free , If thou so yield him , there is gold , and here My bluest veins to kiss , a hand that kings Have lipped and trembled kissing . MESSENGER First , madam , he is well . CLEOPATRA Why , there’s more gold . But sirrah , mark , we use To say the dead are well . Bring it to that , The gold I give thee will I melt and pour Down thy ill-uttering throat . MESSENGER Good madam , hear me . CLEOPATRA Well , go to , I will . But there’s no goodness in thy face — if Antony Be free and healthful , so tart a favor To trumpet such good tidings ! If not well , Thou shouldst come like a Fury crowned with snakes , Not like a formal man . ACT 2. SC. 5 MESSENGER Will ’t please you hear me ? CLEOPATRA I have a mind to strike thee ere thou speak’st . Yet if thou say Antony lives , is well , Or friends with Caesar or not captive to him , I’ll set thee in a shower of gold and hail Rich pearls upon thee . MESSENGER Madam , he’s well . CLEOPATRA Well said . MESSENGER And friends with Caesar . CLEOPATRA Th’ art an honest man . MESSENGER Caesar and he are greater friends than ever . CLEOPATRA Make thee a fortune from me . MESSENGER But yet , madam — CLEOPATRA I do not like But yet . It does allay The good precedence . Fie upon But yet . But yet is as a jailer to bring forth Some monstrous malefactor . Prithee , friend , Pour out the pack of matter to mine ear , The good and bad together : he’s friends with Caesar , In state of health , thou say’st , and , thou say’st , free . MESSENGER Free , madam , no . I made no such report . He’s bound unto Octavia . CLEOPATRA For what good turn ? MESSENGER For the best turn i’ th’ bed . CLEOPATRA I am pale , Charmian . MESSENGER Madam , he’s married to Octavia . ACT 2. SC. 5 CLEOPATRA The most infectious pestilence upon thee ! Strikes him down . MESSENGER Good madam , patience ! CLEOPATRA What say you ? Strikes him . Hence , horrible villain , or I’ll spurn thine eyes Like balls before me ! I’ll unhair thy head ! She hales him up and down . Thou shalt be whipped with wire and stewed in brine , Smarting in ling’ring pickle . MESSENGER Gracious madam , I that do bring the news made not the match . CLEOPATRA Say ’tis not so , a province I will give thee And make thy fortunes proud . The blow thou hadst Shall make thy peace for moving me to rage , And I will boot thee with what gift beside Thy modesty can beg . MESSENGER He’s married , madam . CLEOPATRA Rogue , thou hast lived too long . Draw a knife . MESSENGER Nay then , I’ll run . What mean you , madam ? I have made no fault . He exits . CHARMIAN Good madam , keep yourself within yourself . The man is innocent . CLEOPATRA Some innocents ’scape not the thunderbolt . Melt Egypt into Nile , and kindly creatures Turn all to serpents ! Call the slave again . Though I am mad , I will not bite him . Call ! CHARMIAN He is afeard to come . ACT 2. SC. 5 CLEOPATRA I will not hurt him . These hands do lack nobility that they strike A meaner than myself , since I myself Have given myself the cause . Enter the Messenger again . Come hither , sir . Though it be honest , it is never good To bring bad news . Give to a gracious message An host of tongues , but let ill tidings tell Themselves when they be felt . MESSENGER I have done my duty . CLEOPATRA Is he married ? I cannot hate thee worser than I do If thou again say yes . MESSENGER He’s married , madam . CLEOPATRA The gods confound thee ! Dost thou hold there still ? MESSENGER Should I lie , madam ? CLEOPATRA O , I would thou didst , So half my Egypt were submerged and made A cistern for scaled snakes ! Go , get thee hence . Hadst thou Narcissus in thy face , to me Thou wouldst appear most ugly . He is married ? MESSENGER I crave your Highness’ pardon . CLEOPATRA He is married ? MESSENGER Take no offense that I would not offend you . To punish me for what you make me do Seems much unequal . He’s married to Octavia . CLEOPATRA O , that his fault should make a knave of thee ACT 2. SC. 6 That art not what th’ art sure of ! Get thee hence . The merchandise which thou hast brought from Rome Are all too dear for me . Lie they upon thy hand , And be undone by ’em ! Messenger exits . CHARMIAN Good your Highness , patience . CLEOPATRA In praising Antony , I have dispraised Caesar . CHARMIAN Many times , madam . CLEOPATRA I am paid for ’t now . Lead me from hence ; I faint . O , Iras , Charmian ! ’Tis no matter . — Go to the fellow , good Alexas . Bid him Report the feature of Octavia , her years , Her inclination ; let him not leave out The color of her hair . Bring me word quickly . Alexas exits . Let him forever go — let him not , Charmian . Though he be painted one way like a Gorgon , The other way ’s a Mars . ( To Mardian . ) Bid you Alexas Bring me word how tall she is . — Pity me , Charmian , But do not speak to me . Lead me to my chamber . They exit . Scene 6 Flourish . Enter Pompey and Menas at one door , with Drum and Trumpet ; at another Caesar , Lepidus , Antony , Enobarbus , Maecenas , and Agrippa , with Soldiers marching . POMPEY Your hostages I have , so have you mine , And we shall talk before we fight . ACT 2. SC. 6 CAESAR Most meet That first we come to words , and therefore have we Our written purposes before us sent , Which if thou hast considered , let us know If ’twill tie up thy discontented sword And carry back to Sicily much tall youth That else must perish here . POMPEY To you all three , The senators alone of this great world , Chief factors for the gods : I do not know Wherefore my father should revengers want , Having a son and friends , since Julius Caesar , Who at Philippi the good Brutus ghosted , There saw you laboring for him . What was ’t That moved pale Cassius to conspire ? And what Made the all-honored , honest , Roman Brutus , With the armed rest , courtiers of beauteous freedom , To drench the Capitol , but that they would Have one man but a man ? And that is it Hath made me rig my navy , at whose burden The angered ocean foams , with which I meant To scourge th’ ingratitude that despiteful Rome Cast on my noble father . CAESAR Take your time . ANTONY Thou canst not fear us , Pompey , with thy sails . We’ll speak with thee at sea . At land thou know’st How much we do o’ercount thee . POMPEY At land indeed Thou dost o’ercount me of my father’s house ; But since the cuckoo builds not for himself , Remain in ’t as thou mayst . LEPIDUS Be pleased to tell us — For this is from the present — how you take The offers we have sent you . ACT 2. SC. 6 CAESAR There’s the point . ANTONY Which do not be entreated to , but weigh What it is worth embraced . CAESAR And what may follow To try a larger fortune . POMPEY You have made me offer Of Sicily , Sardinia ; and I must Rid all the sea of pirates ; then to send Measures of wheat to Rome . This ’greed upon , To part with unhacked edges and bear back Our targes undinted . ALL That’s our offer . POMPEY Know then I came before you here a man prepared To take this offer . But Mark Antony Put me to some impatience . — Though I lose The praise of it by telling , you must know When Caesar and your brother were at blows , Your mother came to Sicily and did find Her welcome friendly . ANTONY I have heard it , Pompey , And am well studied for a liberal thanks , Which I do owe you . POMPEY Let me have your hand . They clasp hands . I did not think , sir , to have met you here . ANTONY The beds i’ th’ East are soft ; and thanks to you , That called me timelier than my purpose hither , For I have gained by ’t . CAESAR , to Pompey Since I saw you last , There’s a change upon you . POMPEY Well , I know not What counts harsh Fortune casts upon my face , ACT 2. SC. 6 But in my bosom shall she never come To make my heart her vassal . LEPIDUS Well met here . POMPEY I hope so , Lepidus . Thus we are agreed . I crave our composition may be written And sealed between us . CAESAR That’s the next to do . POMPEY We’ll feast each other ere we part , and let’s Draw lots who shall begin . ANTONY That will I , Pompey . POMPEY No , Antony , take the lot . But , first or last , Your fine Egyptian cookery shall have The fame . I have heard that Julius Caesar Grew fat with feasting there . ANTONY You have heard much . POMPEY I have fair meanings , sir . ANTONY And fair words to them . POMPEY Then so much have I heard . And I have heard Apollodorus carried — ENOBARBUS No more of that . He did so . POMPEY What , I pray you ? ENOBARBUS A certain queen to Caesar in a mattress . POMPEY I know thee now . How far’st thou , soldier ? ENOBARBUS Well , And well am like to do , for I perceive Four feasts are toward . POMPEY Let me shake thy hand . I never hated thee . I have seen thee fight When I have envied thy behavior . ACT 2. SC. 6 ENOBARBUS Sir , I never loved you much , but I ha’ praised you When you have well deserved ten times as much As I have said you did . POMPEY Enjoy thy plainness ; It nothing ill becomes thee . — Aboard my galley I invite you all . Will you lead , lords ? ALL Show ’s the way , sir . POMPEY Come . They exit , except for Enobarbus and Menas . MENAS , aside Thy father , Pompey , would ne’er have made this treaty . — You and I have known , sir . ENOBARBUS At sea , I think . MENAS We have , sir . ENOBARBUS You have done well by water . MENAS And you by land . ENOBARBUS I will praise any man that will praise me , though it cannot be denied what I have done by land . MENAS Nor what I have done by water . ENOBARBUS Yes , something you can deny for your own safety : you have been a great thief by sea . MENAS And you by land . ENOBARBUS There I deny my land service . But give me your hand , Menas . They clasp hands . If our eyes had authority , here they might take two thieves kissing . MENAS All men’s faces are true , whatsome’er their hands are . ENOBARBUS But there is never a fair woman has a true face . MENAS No slander . They steal hearts . ENOBARBUS We came hither to fight with you . MENAS For my part , I am sorry it is turned to a ACT 2. SC. 6 drinking . Pompey doth this day laugh away his fortune . ENOBARBUS If he do , sure he cannot weep ’t back again . MENAS You’ve said , sir . We looked not for Mark Antony here . Pray you , is he married to Cleopatra ? ENOBARBUS Caesar’s sister is called Octavia . MENAS True , sir . She was the wife of Caius Marcellus . ENOBARBUS But she is now the wife of Marcus Antonius . MENAS Pray you , sir ? ENOBARBUS ’Tis true . MENAS Then is Caesar and he forever knit together . ENOBARBUS If I were bound to divine of this unity , I would not prophesy so . MENAS I think the policy of that purpose made more in the marriage than the love of the parties . ENOBARBUS I think so , too . But you shall find the band that seems to tie their friendship together will be the very strangler of their amity . Octavia is of a holy , cold , and still conversation . MENAS Who would not have his wife so ? ENOBARBUS Not he that himself is not so , which is Mark Antony . He will to his Egyptian dish again . Then shall the sighs of Octavia blow the fire up in Caesar , and , as I said before , that which is the strength of their amity shall prove the immediate author of their variance . Antony will use his affection where it is . He married but his occasion here . MENAS And thus it may be . Come , sir , will you aboard ? I have a health for you . ENOBARBUS I shall take it , sir . We have used our throats in Egypt . MENAS Come , let’s away . They exit . ACT 2. SC. 7 Scene 7 Music plays . Enter two or three Servants with a banquet . FIRST SERVANT Here they’ll be , man . Some o’ their plants are ill-rooted already . The least wind i’ th’ world will blow them down . SECOND SERVANT Lepidus is high-colored . FIRST SERVANT They have made him drink alms-drink . SECOND SERVANT As they pinch one another by the disposition , he cries out No more , reconciles them to his entreaty and himself to th’ drink . FIRST SERVANT But it raises the greater war between him and his discretion . SECOND SERVANT Why , this it is to have a name in great men’s fellowship . I had as lief have a reed that will do me no service as a partisan I could not heave . FIRST SERVANT To be called into a huge sphere , and not to be seen to move in ’t , are the holes where eyes should be , which pitifully disaster the cheeks . A sennet sounded . Enter Caesar , Antony , Pompey , Lepidus , Agrippa , Maecenas , Enobarbus , Menas , with other Captains and a Boy . ANTONY Thus do they , sir : they take the flow o’ th’ Nile By certain scales i’ th’ Pyramid ; they know By th’ height , the lowness , or the mean if dearth Or foison follow . The higher Nilus swells , The more it promises . As it ebbs , the seedsman Upon the slime and ooze scatters his grain , And shortly comes to harvest . LEPIDUS You’ve strange serpents there ? ANTONY Ay , Lepidus . LEPIDUS Your serpent of Egypt is bred now of your ACT 2. SC. 7 mud by the operation of your sun ; so is your crocodile . ANTONY They are so . POMPEY Sit , and some wine . A health to Lepidus ! LEPIDUS I am not so well as I should be , but I’ll ne’er out . ENOBARBUS , aside Not till you have slept . I fear me you’ll be in till then . LEPIDUS Nay , certainly , I have heard the Ptolemies’ pyramises are very goodly things . Without contradiction I have heard that . MENAS , aside to Pompey Pompey , a word . POMPEY , aside to Menas Say in mine ear what is ’t . MENAS ( whispers in ’s ear ) Forsake thy seat , I do beseech thee , captain , And hear me speak a word . POMPEY , aside to Menas Forbear me till anon . — This wine for Lepidus ! LEPIDUS What manner o’ thing is your crocodile ? ANTONY It is shaped , sir , like itself , and it is as broad as it hath breadth . It is just so high as it is , and moves with it own organs . It lives by that which nourisheth it , and the elements once out of it , it transmigrates . LEPIDUS What color is it of ? ANTONY Of it own color too . LEPIDUS ’Tis a strange serpent . ANTONY ’Tis so , and the tears of it are wet . CAESAR , aside to Antony Will this description satisfy him ? ANTONY With the health that Pompey gives him , else he is a very epicure . ACT 2. SC. 7 POMPEY , aside to Menas Go hang , sir , hang ! Tell me of that ? Away ! Do as I bid you . — Where’s this cup I called for ? MENAS , aside to Pompey If for the sake of merit thou wilt hear me , Rise from thy stool . POMPEY I think th’ art mad ! He rises , and they walk aside . The matter ? MENAS I have ever held my cap off to thy fortunes . POMPEY Thou hast served me with much faith . What’s else to say ? — Be jolly , lords . ANTONY These quicksands , Lepidus , Keep off them , for you sink . MENAS , aside to Pompey Wilt thou be lord of all the world ? POMPEY What sayst thou ? MENAS Wilt thou be lord of the whole world ? That’s twice . POMPEY How should that be ? MENAS But entertain it , And though thou think me poor , I am the man Will give thee all the world . POMPEY Hast thou drunk well ? MENAS No , Pompey , I have kept me from the cup . Thou art , if thou dar’st be , the earthly Jove . Whate’er the ocean pales or sky inclips Is thine , if thou wilt ha ’t . POMPEY Show me which way . MENAS These three world-sharers , these competitors , Are in thy vessel . Let me cut the cable , ACT 2. SC. 7 And when we are put off , fall to their throats . All there is thine . POMPEY Ah , this thou shouldst have done And not have spoke on ’t ! In me ’tis villainy ; In thee ’t had been good service . Thou must know ’Tis not my profit that does lead mine honor ; Mine honor , it . Repent that e’er thy tongue Hath so betrayed thine act . Being done unknown , I should have found it afterwards well done , But must condemn it now . Desist and drink . MENAS , aside For this I’ll never follow thy palled fortunes more . Who seeks and will not take when once ’tis offered Shall never find it more . POMPEY This health to Lepidus ! ANTONY , to Servant Bear him ashore . — I’ll pledge it for him , Pompey . ENOBARBUS Here’s to thee , Menas . MENAS Enobarbus , welcome . POMPEY Fill till the cup be hid . ENOBARBUS , pointing to the Servant carrying Lepidus There’s a strong fellow , Menas . MENAS Why ? ENOBARBUS He bears The third part of the world , man . Seest not ? MENAS The third part , then , is drunk . Would it were all , That it might go on wheels . ENOBARBUS Drink thou . Increase the reels . MENAS Come . POMPEY This is not yet an Alexandrian feast . ANTONY It ripens towards it . Strike the vessels , ho ! Here’s to Caesar . ACT 2. SC. 7 CAESAR I could well forbear ’t . It’s monstrous labor when I wash my brain And it grows fouler . ANTONY Be a child o’ th’ time . CAESAR Possess it , I’ll make answer . But I had rather fast from all , four days , Than drink so much in one . ENOBARBUS , to Antony Ha , my brave emperor , Shall we dance now the Egyptian bacchanals And celebrate our drink ? POMPEY Let’s ha ’t , good soldier . ANTONY Come , let’s all take hands Till that the conquering wine hath steeped our sense In soft and delicate Lethe . ENOBARBUS All take hands . Make battery to our ears with the loud music , The while I’ll place you ; then the boy shall sing . The holding every man shall beat as loud As his strong sides can volley . Music plays . Enobarbus places them hand in hand . The Song . BOY Come , thou monarch of the vine , Plumpy Bacchus , with pink eyne . In thy vats our cares be drowned . With thy grapes our hairs be crowned . ALL Cup us till the world go round , Cup us till the world go round . CAESAR What would you more ? — Pompey , goodnight . — Good brother , Let me request you off . Our graver business Frowns at this levity . — Gentle lords , let’s part . You see we have burnt our cheeks . Strong Enobarb Is weaker than the wine , and mine own tongue ACT 2. SC. 7 Splits what it speaks . The wild disguise hath almost Anticked us all . What needs more words ? Goodnight . Good Antony , your hand . POMPEY I’ll try you on the shore . ANTONY And shall , sir . Give ’s your hand . POMPEY O , Antony , you have my father’s house . But what ? We are friends ! Come down into the boat . ENOBARBUS Take heed you fall not . All but Menas and Enobarbus exit . Menas , I’ll not on shore . MENAS No , to my cabin . These drums , these trumpets , flutes ! What ! Let Neptune hear we bid a loud farewell To these great fellows . Sound and be hanged . Sound out ! Sound a flourish , with drums . ENOBARBUS Hoo , says ’a ! There’s my cap ! He throws his cap in the air . MENAS Hoo ! Noble captain , come . They exit . ACT 3 Scene 1 Enter Ventidius as it were in triumph , the dead body of Pacorus borne before him ; with Silius and Soldiers . VENTIDIUS Now , darting Parthia , art thou struck , and now Pleased Fortune does of Marcus Crassus’ death Make me revenger . Bear the King’s son’s body Before our army . Thy Pacorus , Orodes , Pays this for Marcus Crassus . SILIUS Noble Ventidius , Whilst yet with Parthian blood thy sword is warm , The fugitive Parthians follow . Spur through Media , Mesopotamia , and the shelters whither The routed fly . So thy grand captain , Antony , Shall set thee on triumphant chariots and Put garlands on thy head . VENTIDIUS O , Silius , Silius , I have done enough . A lower place , note well , May make too great an act . For learn this , Silius : Better to leave undone than by our deed Acquire too high a fame when him we serve ’s away . Caesar and Antony have ever won More in their officer than person . Sossius , One of my place in Syria , his lieutenant , For quick accumulation of renown , Which he achieved by th’ minute , lost his favor . ACT 3. SC. 2 Who does i’ th’ wars more than his captain can Becomes his captain’s captain ; and ambition , The soldier’s virtue , rather makes choice of loss Than gain which darkens him . I could do more to do Antonius good , But ’twould offend him . And in his offense Should my performance perish . SILIUS Thou hast , Ventidius , that Without the which a soldier and his sword Grants scarce distinction . Thou wilt write to Antony ? VENTIDIUS I’ll humbly signify what in his name , That magical word of war , we have effected ; How , with his banners and his well-paid ranks , The ne’er-yet-beaten horse of Parthia We have jaded out o’ th’ field . SILIUS Where is he now ? VENTIDIUS He purposeth to Athens , whither , with what haste The weight we must convey with ’s will permit , We shall appear before him . — On there , pass along ! They exit . Scene 2 Enter Agrippa at one door , Enobarbus at another . AGRIPPA What , are the brothers parted ? ENOBARBUS They have dispatched with Pompey ; he is gone . The other three are sealing . Octavia weeps To part from Rome . Caesar is sad , and Lepidus , Since Pompey’s feast , as Menas says , is troubled With the greensickness . ACT 3. SC. 2 AGRIPPA ’Tis a noble Lepidus . ENOBARBUS A very fine one . O , how he loves Caesar ! AGRIPPA Nay , but how dearly he adores Mark Antony ! ENOBARBUS Caesar ? Why , he’s the Jupiter of men . AGRIPPA What’s Antony ? The god of Jupiter . ENOBARBUS Spake you of Caesar ? How , the nonpareil ! AGRIPPA O Antony , O thou Arabian bird ! ENOBARBUS Would you praise Caesar , say Caesar . Go no further . AGRIPPA Indeed , he plied them both with excellent praises . ENOBARBUS But he loves Caesar best , yet he loves Antony . Hoo , hearts , tongues , figures , scribes , bards , poets , cannot Think , speak , cast , write , sing , number — hoo ! — His love to Antony . But as for Caesar , Kneel down , kneel down , and wonder . AGRIPPA Both he loves . ENOBARBUS They are his shards and he their beetle . Trumpet within . So , This is to horse . Adieu , noble Agrippa . AGRIPPA Good fortune , worthy soldier , and farewell . Enter Caesar , Antony , Lepidus , and Octavia . ANTONY No further , sir . ACT 3. SC. 2 CAESAR 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 bond 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 The fortress of it . For better might we Have loved without this mean , if on both parts This be not cherished . ANTONY Make me not offended In your distrust . CAESAR 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 , And make the hearts of Romans serve your ends . We will here part . CAESAR Farewell , my dearest sister , fare thee well . The elements be kind to thee and make Thy spirits all of comfort . Fare thee well . OCTAVIA My noble brother . She weeps . ANTONY The April’s in her eyes . It is love’s spring , And these the showers to bring it on . — Be cheerful . OCTAVIA , to Caesar Sir , look well to my husband’s house , and — CAESAR What , Octavia ? OCTAVIA I’ll tell you in your ear . Caesar and Octavia walk aside . ANTONY Her tongue will not obey her heart , nor can ACT 3. SC. 2 Her heart inform her tongue — the swan’s-down feather That stands upon the swell at the full of tide And neither way inclines . ENOBARBUS , aside to Agrippa Will Caesar weep ? AGRIPPA He has a cloud in ’s face . ENOBARBUS He were the worse for that were he a horse ; So is he being a man . AGRIPPA Why , Enobarbus , When Antony found Julius Caesar dead , He cried almost to roaring . And he wept When at Philippi he found Brutus slain . ENOBARBUS That year indeed he was troubled with a rheum . What willingly he did confound he wailed , Believe ’t , till I wept too . CAESAR , coming forward with Octavia No , sweet Octavia , You shall hear from me still . The time shall not Outgo my thinking on you . ANTONY Come , sir , come , I’ll wrestle with you in my strength of love . Look , here I have you , thus I let you go , And give you to the gods . CAESAR Adieu , be happy . LEPIDUS , to Antony Let all the number of the stars give light To thy fair way . CAESAR Farewell , farewell . Kisses Octavia . ANTONY Farewell . Trumpets sound . They exit . ACT 3. SC. 3 Scene 3 Enter Cleopatra , Charmian , Iras , and Alexas . CLEOPATRA Where is the fellow ? ALEXAS Half afeard to come . CLEOPATRA Go to , go to . — Come hither , sir . Enter the Messenger as before . ALEXAS Good Majesty , Herod of Jewry dare not look upon you But when you are well pleased . CLEOPATRA That Herod’s head I’ll have ! But how , when Antony is gone , Through whom I might command it ? — Come thou near . MESSENGER Most gracious Majesty ! CLEOPATRA Did’st thou behold Octavia ? MESSENGER Ay , dread queen . CLEOPATRA Where ? MESSENGER Madam , in Rome . I looked 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-tongued or low ? MESSENGER Madam , I heard her speak . She is low-voiced . CLEOPATRA That’s not so good . He cannot like her long . CHARMIAN Like her ? O Isis , ’tis impossible ! ACT 3. SC. 3 CLEOPATRA I think so , Charmian : dull of tongue , and dwarfish ! — What majesty is in her gait ? Remember , If e’er thou looked’st 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 . 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 , to Messenger Guess at her years , I prithee . MESSENGER Madam , she was a widow . CLEOPATRA Widow ? Charmian , hark . 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 color ? MESSENGER Brown , madam , and her forehead As low as she would wish it . CLEOPATRA , giving money There’s gold for thee . Thou must not take my former sharpness ill . I will employ thee back again . I find thee Most fit for business . Go , make thee ready . Our letters are prepared . Messenger exits . ACT 3. SC. 4 CHARMIAN A proper man . CLEOPATRA Indeed he is so . I repent me much That so I harried him . Why , methinks , by him , This creature’s no such thing . CHARMIAN Nothing , madam . 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 ’tis no matter . Thou shalt bring him to me Where I will write . All may be well enough . CHARMIAN I warrant you , madam . They exit . Scene 4 Enter Antony and Octavia . ANTONY Nay , nay , Octavia , not only that — That were excusable , that and thousands more Of semblable import — but he hath waged New wars ’gainst Pompey ; made his will and read it To public ear ; Spoke scantly of me ; when perforce he could not But pay me terms of honor , 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 , ACT 3. SC. 4 Believe not all , or if you must believe , Stomach not all . A more unhappy lady , If this division chance , ne’er stood between , Praying for both parts . The good gods will mock me presently When I shall pray O , bless my lord and husband ! Undo that prayer by crying out as loud O , bless my brother ! Husband win , win brother Prays and destroys the prayer ; no midway ’Twixt these extremes at all . ANTONY Gentle Octavia , Let your best love draw to that point which seeks Best to preserve it . If I lose mine honor , 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’ll 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 As if the world should 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 . They exit . ACT 3. SC. 5 Scene 5 Enter Enobarbus and Eros . ENOBARBUS How now , friend Eros ? EROS There’s strange news come , sir . ENOBARBUS What , man ? EROS Caesar and Lepidus have made wars upon Pompey . ENOBARBUS This is old . What is the success ? EROS Caesar , having made use of him in the wars ’gainst Pompey , presently denied him rivality , would not let him partake in the glory of the action ; and , not resting here , accuses him of letters he had formerly wrote to Pompey ; upon his own appeal seizes him . So the poor third is up , till death enlarge his confine . ENOBARBUS 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 murdered Pompey . ENOBARBUS Our great navy’s rigged . EROS For Italy and Caesar . More , Domitius : My lord desires you presently . My news I might have told hereafter . ENOBARBUS ’Twill be naught , But let it be . Bring me to Antony . EROS Come , sir . They exit . ACT 3. SC. 6 Scene 6 Enter Agrippa , Maecenas , and Caesar . CAESAR Contemning Rome , he has done all this and more In Alexandria . Here’s the manner of ’t : I’ th’ marketplace , on a tribunal silvered , Cleopatra and himself in chairs of gold Were publicly enthroned . At the feet sat Caesarion , 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 stablishment of Egypt , made her Of lower Syria , Cyprus , Lydia , Absolute queen . MAECENAS This in the public eye ? CAESAR I’ th’ common showplace where they exercise . His sons he there proclaimed the kings of kings . Great Media , Parthia , and Armenia He gave to Alexander ; to Ptolemy he assigned Syria , Cilicia , and Phoenicia . She In th’ habiliments of the goddess Isis That day appeared , and oft before gave audience , As ’tis reported , so . MAECENAS Let Rome be thus informed . AGRIPPA Who , queasy with his insolence already , Will their good thoughts call from him . CAESAR The people knows it and have now received His accusations . AGRIPPA Who does he accuse ? CAESAR Caesar , and that , having in Sicily Sextus Pompeius spoiled , we had not rated him His part o’ th’ isle . Then does he say he lent me ACT 3. SC. 6 Some shipping , unrestored . Lastly , he frets That Lepidus of the triumvirate Should be deposed and , being , that we detain All his revenue . AGRIPPA Sir , this should be answered . CAESAR ’Tis done already , and the messenger gone . I have told him Lepidus was grown too cruel , That he his high authority abused And did deserve his change . For what I have conquered , I grant him part ; but then in his Armenia And other of his conquered kingdoms I Demand the like . MAECENAS He’ll never yield to that . CAESAR Nor must not then be yielded to in this . Enter Octavia with her Train . OCTAVIA Hail , Caesar , and my lord ! Hail , most dear Caesar . CAESAR That ever I should call thee castaway ! OCTAVIA You have not called me so , nor have you cause . CAESAR Why have you stol’n upon us thus ? You come not Like Caesar’s sister . The wife of Antony Should have an army for an usher and The neighs of horse to tell of her approach Long ere she did appear . The trees by th’ way Should have borne men , and expectation fainted , Longing for what it had not . Nay , the dust Should have ascended to the roof of heaven , Raised by your populous troops . But you are come A market-maid to Rome , and have prevented ACT 3. SC. 6 The ostentation of our love , which , left unshown , Is often left unloved . We should have met you By sea and land , supplying every stage With an augmented greeting . OCTAVIA Good my lord , To come thus was I not constrained , but did it On my free will . My lord , Mark Antony , Hearing that you prepared for war , acquainted My grievèd ear withal , whereon I begged His pardon for return . CAESAR Which soon he granted , Being an abstract ’tween his lust and him . OCTAVIA Do not say so , my lord . CAESAR I have eyes upon him , And his affairs come to me on the wind . Where is he now ? OCTAVIA My lord , in Athens . CAESAR No , my most wrongèd sister . Cleopatra Hath nodded him to her . He hath given his empire Up to a whore , who now are levying The kings o’ th’ Earth earth for war . He hath assembled Bocchus , the King of Libya ; Archelaus Of Cappadocia ; Philadelphos , King Of Paphlagonia ; the Thracian king , Adallas ; King Manchus of Arabia ; King of Pont ; Herod of Jewry ; Mithridates , King Of Comagen ; Polemon and Amyntas , The Kings of Mede and Lycaonia , With a more larger list of scepters . OCTAVIA Ay me , most wretched , That have my heart parted betwixt two friends That does afflict each other ! CAESAR Welcome hither . Your letters did withhold our breaking forth ACT 3. SC. 7 Till we perceived both how you were wrong led And we in negligent danger . Cheer your heart . Be you not troubled with the time , which drives O’er your content these strong necessities , But let determined things to destiny Hold unbewailed their way . Welcome to Rome , Nothing more dear to me . You are abused Beyond the mark of thought , and the high gods , To do you justice , makes his ministers Of us and those that love you . Best of comfort , And ever welcome to us . AGRIPPA Welcome , lady . MAECENAS Welcome , dear madam . Each heart in Rome does love and pity you ; Only th’ adulterous Antony , most large In his abominations , turns you off And gives his potent regiment to a trull That noises it against us . OCTAVIA , to Caesar Is it so , sir ? CAESAR Most certain . Sister , welcome . Pray you Be ever known to patience . My dear’st sister ! They exit . Scene 7 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 ? ACT 3. SC. 7 CLEOPATRA Is ’t not denounced against us ? Why should not we Be there in person ? ENOBARBUS Well , I could reply : If we should serve with horse and mares together , The horse were merely lost . The mares would bear A soldier and his horse . CLEOPATRA What is ’t you say ? ENOBARBUS Your presence needs must puzzle Antony , Take from his heart , take from his brain , from ’s time What should not then be spared . He is already Traduced for levity , and ’tis said in Rome That Photinus , an eunuch , and your maids Manage this war . CLEOPATRA Sink Rome , and their tongues rot That speak against us ! A charge we bear i’ th’ war , And as the president of my kingdom will Appear there for a man . Speak not against it . I will not stay behind . Enter Antony and Canidius . ENOBARBUS Nay , I have done . Here comes the Emperor . 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 ? CLEOPATRA Celerity is never more admired Than by the negligent . ANTONY A good rebuke , Which might have well becomed the best of men , To taunt at slackness . — Canidius , we will fight With him by sea . ACT 3. SC. 7 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 dared 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 , And so should you . ENOBARBUS Your ships are not well manned , Your mariners are muleteers , reapers , people Engrossed by swift impress . In Caesar’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 prepared for land . ANTONY By sea , by sea . ENOBARBUS Most worthy sir , you therein throw away The absolute soldiership you have by land , Distract your army , which doth most consist Of war-marked footmen , leave unexecuted Your own renownèd knowledge , quite forgo The way which promises assurance , and Give up yourself merely to chance and hazard From firm security . ANTONY I’ll fight at sea . CLEOPATRA I have sixty sails , Caesar none better . ANTONY Our overplus of shipping will we burn , And with the rest full-manned , from th’ head of Actium ACT 3. SC. 7 Beat th’ approaching Caesar . But if we fail , We then can do ’t at land . Enter a Messenger . Thy business ? MESSENGER The news is true , my lord ; he is descried . Caesar has taken Toryne . He exits . ANTONY Can he be there in person ? ’Tis impossible ; Strange that his power should be . Canidius , Our nineteen legions thou shalt hold by land , And our twelve thousand horse . We’ll to our ship . — Away , my Thetis . Enter a Soldier . How now , worthy soldier ? SOLDIER O noble emperor , do not fight by sea ! Trust not to rotten planks . Do you misdoubt This sword and these my wounds ? Let th’ Egyptians And the Phoenicians go a-ducking . We Have used to conquer standing on the earth And fighting foot to foot . ANTONY Well , well , away . Antony , Cleopatra , and Enobarbus exit . SOLDIER By Hercules , I think I am i’ th’ right . CANIDIUS 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 , ACT 3. SC. 8 Publicola , and Caelius are for sea , But we keep whole by land . This speed of Caesar’s Carries beyond belief . SOLDIER While he was yet in Rome , His power went out in such distractions as Beguiled 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 in labor , and throws forth Each minute some . They exit . Scene 8 Enter Caesar with his army , and Taurus , marching . CAESAR Taurus ! TAURUS My lord ? CAESAR Strike not by land , keep whole . Provoke not battle Till we have done at sea . Do not exceed The prescript of this scroll . Hands him a scroll . Our fortune lies Upon this jump . They exit . ACT 3. SC. 10 Scene 9 Enter Antony and Enobarbus . ANTONY Set we our squadrons on yond side o’ th’ hill In eye of Caesar’s battle , from which place We may the number of the ships behold And so proceed accordingly . They exit . Scene 10 Canidius marcheth with his land army one way over the stage , and 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 behold no longer . Th’ Antoniad , the Egyptian admiral , With all their sixty , fly and turn the rudder . To see ’t mine eyes are blasted . Enter Scarus . SCARUS Gods and goddesses , All the whole synod of them ! ENOBARBUS What’s thy passion ? SCARUS The greater cantle of the world is lost With very ignorance . We have kissed away Kingdoms and provinces . ENOBARBUS How appears the fight ? SCARUS On our side , like the tokened pestilence , Where death is sure . Yon ribaudred nag of Egypt , Whom leprosy o’ertake , i’ th’ midst o’ th’ fight , When vantage like a pair of twins appeared ACT 3. SC. 10 Both as the same — or , rather , ours the elder — The breeze 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 loofed , The noble ruin of her magic , Antony , Claps on his sea-wing and , like a doting mallard , Leaving the fight in height , flies after her . I never saw an action of such shame . Experience , manhood , honor ne’er before Did violate so itself . ENOBARBUS Alack , alack . 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 goodnight indeed . CANIDIUS Toward Peloponnesus are they fled . SCARUS ’Tis easy to ’t , and there I will attend What further comes . He exits . CANIDIUS To Caesar will I render My legions and my horse . Six kings already Show me the way of yielding . He exits . ENOBARBUS I’ll yet follow The wounded chance of Antony , though my reason Sits in the wind against me . He exits . ACT 3. SC. 11 Scene 11 Enter Antony with Attendants . ANTONY Hark , the land bids me tread no more upon ’t . It is ashamed to bear me . Friends , come hither . I am so lated in the world that I Have lost my way forever . I have a ship Laden with gold . Take that , divide it . Fly , And make your peace with Caesar . ALL Fly ? Not we ! ANTONY I have fled myself and have instructed cowards To run and show their shoulders . Friends , begone . I have myself resolved upon a course Which has no need of you . Begone . My treasure’s in the harbor ; take it . O , I followed 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 , begone . 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 seaside straightway ! I will possess you of that ship and treasure . Leave me , I pray , a little — pray you , now , Nay , do so — for indeed I have lost command . Therefore I pray you — I’ll see you by and by . Attendants move aside . Antony sits down . Enter Cleopatra led by Charmian , Iras , and Eros . EROS Nay , gentle madam , to him , comfort him . ACT 3. SC. 11 IRAS Do , most dear queen . CHARMIAN Do ! Why , what else ? CLEOPATRA Let me sit down . O Juno ! She sits down . ANTONY No , no , no , no , no . EROS See you here , sir ? ANTONY Oh fie , fie , fie ! 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 ’twas I That the mad Brutus ended . He alone Dealt on lieutenantry , and no practice had In the brave squares of war , yet now — no matter . CLEOPATRA Ah , stand by . EROS The Queen , my lord , the Queen . IRAS Go to him , madam ; speak to him . He’s unqualitied with very shame . CLEOPATRA , rising Well , then , sustain me . O ! EROS Most noble sir , arise . The Queen approaches . Her head’s declined , and death will seize her but Your comfort makes the rescue . ANTONY I have offended reputation , A most unnoble swerving . EROS Sir , the Queen . ANTONY , rising O , whither hast them led me , Egypt ? See How I convey my shame out of thine eyes , By looking back what I have left behind ’Stroyed in dishonor . ACT 3. SC. 12 CLEOPATRA O , my lord , my lord , Forgive my fearful sails ! I little thought You would have followed . ANTONY Egypt , thou knew’st too well My heart was to thy rudder tied by th’ strings , And thou shouldst tow me after . O’er my spirit Thy full supremacy thou knew’st , and that Thy beck might from the bidding of the gods Command me . 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’ th’ world played as I pleased , Making and marring fortunes . You did know How much you were my conqueror , and that My sword , made weak by my affection , would Obey it on all cause . CLEOPATRA Pardon , pardon ! ANTONY Fall not a tear , I say ; one of them rates All that is won and lost . Give me a kiss . They kiss . Even this repays me . — We sent our schoolmaster . Is he come back ? — Love , I am full of lead . — Some wine Within there , and our viands ! Fortune knows We scorn her most when most she offers blows . They exit . Scene 12 Enter Caesar , Agrippa , Thidias , and Dolabella , with others . CAESAR Let him appear that’s come from Antony . Know you him ? ACT 3. SC. 12 DOLABELLA Caesar , ’tis his schoolmaster — An argument that he is plucked , when hither He sends so poor a pinion of his wing , Which had superfluous kings for messengers Not many moons gone by . Enter Ambassador from Antony . CAESAR Approach , and speak . AMBASSADOR 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 . CAESAR Be ’t so . Declare thine office . AMBASSADOR 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 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 . CAESAR For Antony , I have no ears to his request . The Queen Of audience nor desire shall fail , so she From Egypt drive her all-disgracèd friend , Or take his life there . This if she perform , She shall not sue unheard . So to them both . AMBASSADOR Fortune pursue thee ! CAESAR Bring him through the bands . Ambassador exits , with Attendants . To Thidias . To try thy eloquence now ’tis time . Dispatch . ACT 3. SC. 13 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 The ne’er-touched vestal . Try thy cunning , Thidias . Make thine own edict for thy pains , which we Will answer as a law . THIDIAS Caesar , I go . CAESAR Observe how Antony becomes his flaw , And what thou think’st his very action speaks In every power that moves . THIDIAS Caesar , I shall . They exit . Scene 13 Enter Cleopatra , Enobarbus , Charmian , and Iras . CLEOPATRA 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 ? The itch of his affection should not then Have nicked his captainship , at such a point , When half to half the world opposed , he being The merèd question . ’Twas a shame no less Than was his loss , to course your flying flags And leave his navy gazing . CLEOPATRA Prithee , peace . ACT 3. SC. 13 Enter the Ambassador with Antony . ANTONY Is that his answer ? AMBASSADOR Ay , my lord . ANTONY The Queen shall then have courtesy , so she Will yield us up ? AMBASSADOR 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 Ambassador To him again . Tell him he wears the rose Of youth upon him , from which the world should note Something particular : his coin , ships , legions May be a coward’s , whose ministers would prevail Under the service of a child as soon As i’ th’ command of Caesar . I dare him therefore To lay his gay caparisons apart And answer me declined , sword against sword , Ourselves alone . I’ll write it . Follow me . Antony and Ambassador exit . ENOBARBUS , aside Yes , like enough , high-battled Caesar will Unstate his happiness and be staged to th’ show 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 . ACT 3. SC. 13 Enter a Servant . SERVANT A messenger from Caesar . CLEOPATRA What , no more ceremony ? See , my women , Against the blown rose may they stop their nose That kneeled unto the buds . — Admit him , sir . Servant exits . 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 fall’n lord Does conquer him that did his master conquer , And earns a place i’ th’ story . Enter Thidias . CLEOPATRA Caesar’s will ? THIDIAS Hear it apart . CLEOPATRA None but friends . Say boldly . THIDIAS So haply are they friends to Antony . ENOBARBUS He needs as many , sir , as Caesar has , Or needs not us . If Caesar please , our master Will leap to be his friend . For us , you know Whose he is we are , and that is Caesar’s . THIDIAS So . — Thus then , thou most renowned : Caesar entreats Not to consider in what case thou stand’st Further than he is Caesar . CLEOPATRA Go on ; right royal . THIDIAS He knows that you embrace not Antony As you did love , but as you feared him . ACT 3. SC. 13 CLEOPATRA O ! THIDIAS The scars upon your honor therefore he Does pity as constrainèd blemishes , Not as deserved . CLEOPATRA He is a god and knows What is most right . Mine honor was not yielded , But conquered 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 . Enobarbus exits . THIDIAS Shall I say to Caesar What you require of him ? For he partly begs To be desired to give . It much would please him That of his fortunes you should make a staff To lean upon . But it would warm his spirits To hear from me you had left Antony And put yourself under his shroud , The universal landlord . CLEOPATRA What’s your name ? THIDIAS My name is Thidias . CLEOPATRA Most kind messenger , Say to great Caesar this in deputation : I kiss his conqu’ring 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 . THIDIAS ’Tis your noblest course . Wisdom and fortune combating together , If that the former dare but what it can , No chance may shake it . Give me grace to lay My duty on your hand . She gives him her hand to kiss . ACT 3. SC. 13 CLEOPATRA Your Caesar’s father oft , When he hath mused of taking kingdoms in , Bestowed his lips on that unworthy place As it rained kisses . Enter Antony and Enobarbus . ANTONY Favors ? By Jove that thunders ! What art thou , fellow ? THIDIAS One that but performs The bidding of the fullest man and worthiest To have command obeyed . ENOBARBUS You will be whipped . ANTONY , calling for Servants Approach there ! — Ah , you kite ! — Now , gods and devils , Authority melts from me . Of late when I cried Ho ! Like boys unto a muss kings would start forth And cry Your will ? Have you no ears ? I am Antony yet . Enter Servants . Take hence this jack and whip him . ENOBARBUS , aside ’Tis 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 And whine aloud for mercy . Take him hence . THIDIAS Mark Antony — ACT 3. SC. 13 ANTONY Tug him away . Being whipped , Bring him again . This jack of Caesar’s shall Bear us an errand to him . Servants exit with Thidias . To Cleopatra . You were half blasted ere I knew you . Ha ! Have I my pillow left unpressed in Rome , Forborne the getting of a lawful race , And by a gem of women , to be abused By one that looks on feeders ? CLEOPATRA Good my lord — ANTONY You have been a boggler ever . But when we in our viciousness grow hard — O , misery on ’t ! — the wise gods seel our eyes , In our own filth drop our clear judgments , make us Adore our errors , laugh at ’s while we strut To our confusion . CLEOPATRA O , is ’t come to this ? ANTONY I found you as a morsel cold upon Dead Caesar’s trencher ; nay , you were a fragment Of Gneius Pompey’s , besides what hotter hours , Unregistered in vulgar fame , you have Luxuriously picked out . For I am sure , 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 plighter of high hearts ! O , that I were Upon the hill of Basan , to outroar The hornèd herd ! For I have savage cause , And to proclaim it civilly were like ACT 3. SC. 13 A haltered neck which does the hangman thank For being yare about him . Enter a Servant with Thidias . Is he whipped ? SERVANT Soundly , my lord . ANTONY Cried he ? And begged he pardon ? SERVANT He did ask favor . ANTONY , to Thidias 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 whipped 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 He makes me angry with him ; for he seems Proud and disdainful , harping on what I am , Not what he knew I was . He makes me angry , And at this time most easy ’tis to do ’t , When my good stars that were my former guides Have empty left their orbs and shot their fires Into th’ abysm of hell . If he mislike My speech and what is done , tell him he has Hipparchus , my enfranchèd bondman , whom He may at pleasure whip , or hang , or torture , As he shall like to quit me . Urge it thou . Hence with thy stripes , begone ! Thidias exits . CLEOPATRA Have you done yet ? ANTONY Alack , our terrene moon is now eclipsed , And it portends alone the fall of Antony . CLEOPATRA I must stay his time . ACT 3. SC. 13 ANTONY To flatter Caesar , would you mingle eyes With one that ties his points ? CLEOPATRA Not know me yet ? ANTONY Coldhearted toward me ? CLEOPATRA Ah , dear , if I be so , From my cold heart let heaven engender hail And poison it in the source , and the first stone Drop in my neck ; as it determines , so Dissolve my life ! The next Caesarion 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 severed navy too Have knit again , and fleet , threatening most sealike . Where hast thou been , my heart ? Dost thou hear , lady ? If from the field I shall return once more To kiss these lips , I will appear in blood . I and my sword will earn our chronicle . There’s hope in ’t yet . CLEOPATRA That’s my brave lord ! ANTONY I will be treble-sinewed , -hearted , -breathed , And fight maliciously ; for when mine hours Were nice and lucky , men did ransom lives Of me for jests . But now I’ll set my teeth And send to darkness all that stop me . Come , Let’s have one other gaudy night . Call to me ACT 3. SC. 13 All my sad captains . Fill our bowls once more . Let’s mock the midnight bell . CLEOPATRA It is my birthday . I had thought t’ have held it poor . But since my 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’ll speak to them , and tonight I’ll force The wine peep through their scars . — Come on , my queen , There’s sap in ’t yet . The next time I do fight I’ll make Death love me , for I will contend Even with his pestilent scythe . All but Enobarbus exit . ENOBARBUS Now he’ll outstare the lightning . To be furious Is to be frighted out of fear , and in that mood The dove will peck the estridge ; and I see still A diminution in our captain’s brain Restores his heart . When valor preys on reason , It eats the sword it fights with . I will seek Some way to leave him . He exits . ACT 4 Scene 1 Enter Caesar , Agrippa , and Maecenas , with his army , Caesar reading a letter . CAESAR He calls me boy , and chides as he had power To beat me out of Egypt . My messenger He hath whipped with rods , dares me to personal combat , Caesar to Antony . Let the old ruffian know I have many other ways to die ; meantime Laugh at his challenge . MAECENAS 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 . CAESAR Let our best heads Know that tomorrow the last of many battles We mean to fight . Within our files there are , Of those that served Mark Antony but late , Enough to fetch him in . See it done , And feast the army ; we have store to do ’t , And they have earned the waste . Poor Antony . They exit . ACT 4. SC. 2 Scene 2 Enter Antony , Cleopatra , Enobarbus , Charmian , Iras , 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 Tomorrow , soldier , By sea and land I’ll fight . Or I will live Or bathe my dying honor in the blood Shall make it live again . Woo’t thou fight well ? ENOBARBUS I’ll strike and cry Take all . ANTONY Well said . Come on . Call forth my household servants . Enter three or four Servitors . Let’s tonight Be bounteous at our meal . — Give me thy hand ; Thou hast been rightly honest . — So hast thou , — Thou , — and thou , — and thou . You have served me well , And kings have been your fellows . CLEOPATRA , aside to Enobarbus What means this ? ENOBARBUS , aside to Cleopatra ’Tis one of those odd tricks which sorrow shoots Out of the mind . ANTONY , to another Servitor And thou art honest too . I wish I could be made so many men , And all of you clapped up together in An Antony , that I might do you service So good as you have done . ACT 4. SC. 2 ALL THE SERVITORS The gods forbid ! ANTONY Well , my good fellows , wait on me tonight . Scant not my cups , and make as much of me As when mine empire was your fellow too And suffered my command . CLEOPATRA , aside to Enobarbus What does he mean ? ENOBARBUS , aside to Cleopatra To make his followers weep . ANTONY , to the Servitors Tend me tonight ; May be it is the period of your duty . Haply you shall not see me more , or if , A mangled shadow . Perchance tomorrow You’ll serve another master . I look on you As one that takes his leave . Mine honest friends , I turn you not away , but , like a master Married to your good service , stay till death . Tend me tonight two hours — I ask no more — And the gods yield you for ’t ! ENOBARBUS What mean you , sir , To give them this discomfort ? Look , they weep , And I , an ass , am onion-eyed . For shame , 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 To burn this night with torches . Know , my hearts , I hope well of tomorrow , and will lead you Where rather I’ll expect victorious life Than death and honor . Let’s to supper , come , And drown consideration . They exit . ACT 4. SC. 3 Scene 3 Enter a company of Soldiers . FIRST SOLDIER Brother , goodnight . Tomorrow is the day . SECOND SOLDIER It will determine one way . Fare you well . Heard you of nothing strange about the streets ? FIRST SOLDIER Nothing . What news ? SECOND SOLDIER Belike ’tis but a rumor . Goodnight to you . FIRST SOLDIER Well , sir , goodnight . They meet other Soldiers who are entering . SECOND SOLDIER Soldiers , have careful watch . THIRD SOLDIER And you . Goodnight , goodnight . They place themselves in every corner of the stage . SECOND SOLDIER Here we ; and if tomorrow Our navy thrive , I have an absolute hope Our landmen will stand up . FIRST SOLDIER ’Tis a brave army , and full of purpose . Music of the hautboys is under the stage . SECOND SOLDIER Peace . What noise ? FIRST SOLDIER List , list ! SECOND SOLDIER Hark ! FIRST SOLDIER Music i’ th’ air . THIRD SOLDIER Under the earth . FOURTH SOLDIER It signs well , does it not ? THIRD SOLDIER No . FIRST SOLDIER Peace , I say . What should this mean ? SECOND SOLDIER ’Tis the god Hercules , whom Antony loved , Now leaves him . ACT 4. SC. 4 FIRST SOLDIER Walk . Let’s see if other watchmen Do hear what we do . SECOND SOLDIER How now , masters ? Speak together . ALL How now ? How now ? Do you hear this ? FIRST SOLDIER Ay . Is ’t not strange ? THIRD SOLDIER Do you hear , masters ? Do you hear ? FIRST SOLDIER Follow the noise so far as we have quarter . Let’s see how it will give off . ALL Content . ’Tis strange . They exit . Scene 4 Enter Antony and Cleopatra , with Charmian , and others . ANTONY , calling Eros ! Mine armor , Eros ! CLEOPATRA Sleep a little . ANTONY No , my chuck . — Eros , come , mine armor , Eros . Enter Eros , carrying armor . Come , good fellow , put thine iron on . If fortune be not ours today , it is Because we brave her . Come . CLEOPATRA Nay , I’ll help too . What’s this for ? ANTONY Ah , let be , let be ! Thou art The armorer of my heart . False , false . This , this ! CLEOPATRA Sooth , la , I’ll help . Thus it must be . ANTONY Well , well , We shall thrive now . — Seest thou , my good fellow ? Go , put on thy defenses . ACT 4. SC. 4 EROS Briefly , sir . CLEOPATRA Is not this buckled well ? ANTONY Rarely , rarely . He that unbuckles this , till we do please To daff ’t for our repose , shall hear a storm . — Thou fumblest , Eros , and my queen’s a squire More tight at this than thou . Dispatch . — O love , That thou couldst see my wars today , 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 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 flourish . Enter Captains and Soldiers . CAPTAIN The morn is fair . Good morrow , general . ALL Good morrow , general . ANTONY ’Tis well blown , lads . This morning , like the spirit of a youth That means to be of note , begins betimes . So , so . — Come , give me that . This way . — Well said . — Fare thee well , dame . He kisses her . Whate’er becomes of me , This is a soldier’s kiss . Rebukable And worthy shameful check it were to stand On more mechanic compliment . I’ll leave thee ACT 4. SC. 5 Now like a man of steel . — You that will fight , Follow me close . I’ll bring you to ’t . — Adieu . Antony , Eros , Captains , and Soldiers exit . CHARMIAN Please you retire to your chamber ? CLEOPATRA Lead me . He goes forth gallantly . That he and Caesar might Determine this great war in single fight , Then Antony — but now — . Well , on . They exit . Scene 5 Trumpets sound . Enter Antony and Eros , and a Soldier who meets them . SOLDIER The gods make this a happy day to Antony . ANTONY Would thou and those thy scars had once prevailed To make me fight at land . SOLDIER Had’st thou done so , The kings that have revolted and the soldier That has this morning left thee would have still Followed thy heels . ANTONY Who’s gone this morning ? SOLDIER Who ? One ever near thee . Call for Enobarbus , He shall not hear thee , or from Caesar’s camp Say I am none of thine . ANTONY What sayest thou ? SOLDIER Sir , He is with Caesar . EROS Sir , his chests and treasure He has not with him . ACT 4. SC. 6 ANTONY Is he gone ? SOLDIER Most certain . ANTONY Go , Eros , send his treasure after . Do it . Detain no jot , I charge thee . Write to him — I will subscribe — gentle adieus and greetings . Say that I wish he never find more cause To change a master . O , my fortunes have Corrupted honest men . Dispatch . — Enobarbus ! They exit . Scene 6 Flourish . Enter Agrippa , Caesar , with Enobarbus and Dolabella . CAESAR Go forth , Agrippa , and begin the fight . Our will is Antony be took alive ; Make it so known . AGRIPPA Caesar , I shall . He exits . CAESAR The time of universal peace is near . Prove this a prosp’rous day , the three-nooked world Shall bear the olive freely . Enter a Messenger . MESSENGER Antony Is come into the field . CAESAR Go charge Agrippa Plant those that have revolted in the vant That Antony may seem to spend his fury Upon himself . All but Enobarbus exit . ENOBARBUS Alexas did revolt and went to Jewry on ACT 4. SC. 6 Affairs of Antony , there did dissuade Great Herod to incline himself to Caesar And leave his master Antony . For this pains , Caesar hath hanged him . Canidius and the rest That fell away have entertainment but No honorable trust . I have done ill , Of which I do accuse myself so sorely That I will joy no more . Enter a Soldier of Caesar’s . SOLDIER Enobarbus , Antony 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 . ENOBARBUS I give it you . SOLDIER Mock not , Enobarbus . I tell you true . Best you safed the bringer Out of the host . I must attend mine office Or would have done ’t myself . Your emperor Continues still a Jove . He exits . ENOBARBUS I am alone the villain of the Earth earth , And feel I am so most . O Antony , Thou mine of bounty , how wouldst thou have paid My better service , when my turpitude Thou dost so crown with gold ! This blows my heart . If swift thought break it not , a swifter mean Shall outstrike thought , but thought will do ’t , I feel . I fight against thee ? No . I will go seek Some ditch wherein to die ; the foul’st best fits My latter part of life . He exits . ACT 4. SC. 7 Scene 7 Alarum , Drums and Trumpets . Enter Agrippa , with other of Caesar’s soldiers . AGRIPPA Retire ! We have engaged ourselves too far . Caesar himself has work , and our oppression Exceeds what we expected . They exit . Alarums . 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 . ANTONY Thou bleed’st apace . SCARUS I had a wound here that was like a T , But now ’tis made an H . Sound of retreat far off . ANTONY They do retire . SCARUS We’ll beat ’em into bench-holes . I have yet Room for six scotches more . 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 . ’Tis sport to maul a runner . ANTONY I will reward thee Once for thy sprightly comfort and tenfold For thy good valor . Come thee on . SCARUS I’ll halt after . They exit . ACT 4. SC. 8 Scene 8 Alarum . Enter Antony again 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 . A Soldier exits . Tomorrow Before the sun shall see ’s , we’ll spill the blood That has today escaped . I thank you all , For doughty-handed are you , and have fought Not as you served the cause , but as ’t had been Each man’s like mine . You have shown all Hectors . Enter the city . Clip your wives , your friends . Tell them your feats , whilst they with joyful tears Wash the congealment from your wounds and kiss The honored gashes whole . Enter Cleopatra . To Scarus . Give me thy hand . To this great fairy I’ll commend thy acts , Make her thanks bless thee . — O , thou day o’ th’ world , Chain mine armed 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 ? ANTONY Mine nightingale , We have beat them to their beds . What , girl , though gray Do something mingle with our younger brown , yet ha’ we ACT 4. SC. 9 A brain that nourishes our nerves and can Get goal for goal of youth . Behold this man . Commend unto his lips thy favoring hand . — Kiss it , my warrior . Scarus kisses her hand . He hath fought today As if a god in hate of mankind had Destroyed in such a shape . CLEOPATRA , to Scarus I’ll give thee , friend , An armor all of gold . It was a king’s . ANTONY He has deserved it , were it carbuncled Like holy Phoebus’ car . Give me thy hand . Through Alexandria make a jolly march . Bear our hacked 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 taborins , That heaven and Earth earth may strike their sounds together , Applauding our approach . They exit . Scene 9 Enter a Sentry and his company . Enobarbus follows . SENTRY If we be not relieved within this hour , We must return to th’ court of guard . The night Is shiny , and they say we shall embattle By th’ second hour i’ th’ morn . ACT 4. SC. 9 FIRST WATCH This last day was a shrewd one to ’s . ENOBARBUS O , bear me witness , night — SECOND WATCH What man is this ? FIRST WATCH Stand close , and list him . ENOBARBUS Be witness to me , O thou blessèd moon , When men revolted shall upon record Bear hateful memory , poor Enobarbus did Before thy face repent . SENTRY Enobarbus ? SECOND WATCH Peace ! Hark further . ENOBARBUS O sovereign mistress of true melancholy , The poisonous damp of night dispunge upon me , That life , a very rebel to my will , May hang no longer on me . Throw my heart Against the flint and hardness of my fault , Which , being dried with grief , will break to powder And finish all foul thoughts . O Antony , Nobler than my revolt is infamous , Forgive me in thine own particular , But let the world rank me in register A master-leaver and a fugitive . O Antony ! O Antony ! He dies . FIRST WATCH Let’s speak to him . SENTRY Let’s hear him , for the things he speaks may concern Caesar . SECOND WATCH Let’s do so . But he sleeps . SENTRY Swoons rather , for so bad a prayer as his Was never yet for sleep . FIRST WATCH Go we to him . SECOND WATCH Awake , sir , awake ! Speak to us . FIRST WATCH Hear you , sir ? SENTRY The hand of death hath raught him . Drums afar off . ACT 4. SC. 11 Hark , the drums Demurely wake the sleepers . Let us bear him To th’ court of guard ; he is of note . Our hour Is fully out . SECOND WATCH Come on then . He may recover yet . They exit , carrying Enobarbus’ body . Scene 10 Enter Antony and Scarus , with their army . ANTONY Their preparation is today by sea ; We please them not by land . SCARUS For both , my lord . ANTONY I would they’d fight i’ th’ fire or i’ th’ 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 — Where their appointment we may best discover And look on their endeavor . They exit . Scene 11 Enter Caesar and his army . CAESAR But being charged , we will be still by land — Which , as I take ’t , we shall , for his best force Is forth to man his galleys . To the vales , And hold our best advantage . They exit . ACT 4. SC. 12 Scene 12 Enter Antony and Scarus . ANTONY Yet they are not joined . Where yond pine does stand , I shall discover all . I’ll bring thee word Straight how ’tis like to go . He exits . Alarum afar off , as at a sea fight . SCARUS Swallows have built In Cleopatra’s sails their nests . The augurs 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 . Enter Antony . ANTONY All is lost ! This foul Egyptian hath betrayèd me . My fleet hath yielded to the foe , and yonder They cast their caps up and carouse together Like friends long lost . Triple-turned whore ! ’Tis thou Hast sold me to this novice , and my heart Makes only wars on thee . Bid them all fly — For when I am revenged upon my charm , I have done all . Bid them all fly . Begone ! Scarus exits . O sun , thy uprise shall I see no more . Fortune and Antony part here ; even here Do we shake hands . All come to this ? The hearts That spanieled me at heels , to whom I gave Their wishes , do discandy , melt their sweets On blossoming Caesar , and this pine is barked That overtopped them all . Betrayed I am . O , this false soul of Egypt ! This grave charm , ACT 4. SC. 12 Whose eye becked forth my wars and called them home , Whose bosom was my crownet , my chief end , Like a right gypsy hath at fast and loose Beguiled me to the very heart of loss . — What Eros , Eros ! Enter Cleopatra . Ah , thou spell ! Avaunt ! CLEOPATRA Why is my lord enraged 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-like be shown For poor’st diminutives , for dolts , and let Patient Octavia plow thy visage up With her preparèd nails . Cleopatra exits . ’Tis well th’ art gone , If it be well to live . But better ’twere 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’ th’ moon , And with those hands that grasped 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 ! He exits . ACT 4. SC. 14 Scene 13 Enter Cleopatra , Charmian , Iras , and Mardian . CLEOPATRA Help me , my women ! O , he’s more mad Than Telamon for his shield ; the boar of Thessaly Was never so embossed . CHARMIAN To th’ 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 th’ 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 th’ monument ! They exit . Scene 14 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 vapor sometime like a bear or lion , A towered citadel , a pendent rock , A forkèd 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 . ACT 4. SC. 14 ANTONY That which is now a horse , even with a thought The rack dislimns and makes it indistinct 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 annexed unto ’t A million more , now lost — she , Eros , has Packed cards with Caesar and false-played my glory Unto an enemy’s triumph . Nay , weep not , gentle Eros . There is left us Ourselves to end ourselves . Enter Mardian . O , thy vile lady ! She has robbed me of my sword . MARDIAN No , Antony , My mistress loved thee and her fortunes mingled With thine entirely . ANTONY Hence , saucy eunuch ! Peace ! She hath betrayed me and shall die the death . MARDIAN Death of one person can be paid but once , And that she has discharged . What thou wouldst do Is done unto thy hand . The last she spake Was Antony , most noble Antony . Then in the midst a tearing groan did break The name of Antony ; it was divided Between her heart and lips . She rendered life Thy name so buried in her . ACT 4. SC. 14 ANTONY Dead , then ? MARDIAN Dead . ANTONY Unarm , Eros . The long day’s task is done , And we must sleep . — That thou depart’st hence safe Does pay thy labor richly . Go . Mardian exits . Off , pluck off ! Eros begins to remove Antony’s armor . The sevenfold shield of Ajax cannot keep The battery from my heart . O , cleave , my sides ! Heart , once be stronger than thy continent ; Crack thy frail case . Apace , Eros , apace ! No more a soldier . Bruisèd pieces , go . You have been nobly borne . — From me awhile . Eros exits . 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 labor Mars what it does ; yea , very force entangles Itself with strength . Seal , then , and all is done . — Eros ! — I come , my queen . — Eros ! — Stay for me . Where souls do couch on flowers , we’ll hand in hand , And with our sprightly port make the ghosts gaze . Dido and her Aeneas shall want troops , And all the haunt be ours . — Come , Eros , Eros ! Enter Eros . EROS What would my lord ? ANTONY Since Cleopatra died I have lived in such dishonor that the gods Detest my baseness . I , that with my sword Quartered the world and o’er green Neptune’s back With ships made cities , condemn myself to lack ACT 4. SC. 14 The courage of a woman — less noble mind 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 Th’ inevitable prosecution of Disgrace and horror , that on my command Thou then wouldst kill me . Do ’t . The time is come . Thou strik’st not me ; ’tis Caesar thou defeat’st . Put color in thy cheek . EROS The gods withhold me ! Shall I do that which all the Parthian darts , Though enemy , lost aim and could not ? ANTONY Eros , Wouldst thou be windowed in great Rome and see Thy master thus with pleached arms , bending down His corrigible neck , his face subdued To penetrative shame , whilst the wheeled 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 cured . Draw that thy honest sword , which thou hast worn Most useful for thy country . EROS O , sir , pardon me ! 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 unpurposed . Draw , and come . EROS Turn from me then that noble countenance Wherein the worship of the whole world lies . ANTONY Lo thee ! He turns away . ACT 4. SC. 14 EROS My sword is drawn . ANTONY Then let it do at once The thing why thou hast drawn it . EROS My dear master , My captain , and my emperor , let me say , Before I strike this bloody stroke , farewell . ANTONY ’Tis said , man , and farewell . EROS Farewell , great chief . Shall I strike now ? ANTONY Now , Eros . EROS Why , there , then . Stabs himself . Thus I do escape the sorrow Of Antony’s death . Dies . 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 As to a lover’s bed . Come then , and , Eros , Thy master dies thy scholar . To do thus I learned of thee . He stabs himself . How , not dead ? Not dead ? The guard , ho ! O , dispatch me ! Enter a company of the Guard , one of them named Dercetus . FIRST GUARD What’s the noise ? ANTONY I have done my work ill , friends . O , make an end Of what I have begun ! SECOND GUARD The star is fall’n . FIRST GUARD And time is at his period . ACT 4. SC. 14 ALL Alas , and woe ! ANTONY Let him that loves me strike me dead . FIRST GUARD Not I . SECOND GUARD Nor I . THIRD GUARD Nor anyone . All but Antony and Dercetus exit . DERCETUS Thy death and fortunes bid thy followers fly . He takes Antony’s sword . This sword but shown to Caesar with this tidings Shall enter me with him . Enter Diomedes . DIOMEDES Where’s Antony ? DERCETUS There , Diomed , there . DIOMEDES Lives he ? Wilt thou not answer , man ? Dercetus exits . 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 Locked in her monument . She had a prophesying fear Of what hath come to pass . For when she saw — Which never shall be found — you did suspect She had disposed with Caesar , and that your rage Would not be purged , she sent you word she was dead ; But fearing since how it might work , hath sent ACT 4. SC. 15 Me to proclaim the truth , and I am come , I dread , too late . ANTONY Too late , good Diomed . Call my guard , I prithee . DIOMEDES What ho ! The Emperor’s guard ! The guard , what ho ! Come , your lord calls . Enter four or five of the Guard of Antony . ANTONY Bear me , good friends , where Cleopatra bides . ’Tis the last service that I shall command you . FIRST GUARD Woe , woe are we , sir , you may not live to wear All your true followers out . ALL Most heavy day ! 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 , And have my thanks for all . They exit bearing Antony and the body of Eros . Scene 15 Enter Cleopatra and her maids aloft , with Charmian and Iras . CLEOPATRA O Charmian , I will never go from hence . CHARMIAN Be comforted , dear madam . CLEOPATRA No , I will not . All strange and terrible events are welcome , ACT 4. SC. 15 But comforts we despise . Our size of sorrow , Proportioned to our cause , must be as great As that which makes it . Enter Diomedes below . How now ? Is he dead ? DIOMEDES His death’s upon him , but not dead . Look out o’ th’ other side your monument . His guard have brought him thither . Enter Antony below , and the Guard bearing him . CLEOPATRA O sun , Burn the great sphere thou mov’st in . Darkling stand The varying shore o’ th’ world ! O Antony , Antony , Antony ! Help , Charmian ! Help , Iras , help ! Help , friends below ! Let’s draw him hither . ANTONY Peace ! Not Caesar’s valor hath o’erthrown Antony , But Antony’s hath triumphed on itself . CLEOPATRA So it should be that none but Antony Should conquer Antony , but woe ’tis so ! ANTONY I am dying , Egypt , dying . Only I here importune death awhile until Of many thousand kisses the poor last I lay upon thy lips . CLEOPATRA I dare not , dear , Dear my lord , pardon , I dare not , Lest I be taken . Not th’ imperious show Of the full-fortuned Caesar ever shall Be brooched with me ; if knife , drugs , serpents have Edge , sting , or operation , I am safe . Your wife Octavia , with her modest eyes ACT 4. SC. 15 And still conclusion , shall acquire no honor Demuring upon me . But come , come , Antony . — Help me , my women ! — We must draw thee up . — Assist , good friends . They begin lifting him . 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-winged 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 when thou hast lived ; Quicken with kissing . Had my lips that power , Thus would I wear them out . She kisses him . ALL A heavy sight ! ANTONY I am dying , Egypt , dying . Give me some wine , and let me speak a little . CLEOPATRA No , let me speak , and let me rail so high That the false huswife Fortune break her wheel , Provoked by my offense . ANTONY One word , sweet queen : Of Caesar seek your honor 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’ll trust , None about Caesar . ANTONY The miserable change now at my end Lament nor sorrow at , but please your thoughts ACT 4. SC. 15 In feeding them with those my former fortunes Wherein I lived the greatest prince o’ th’ world , The noblest , and do now not basely die , Not cowardly put off my helmet to My countryman — a Roman by a Roman Valiantly vanquished . 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 In this dull world , which in thy absence is No better than a sty ? O see , my women , The crown o’ th’ Earth earth doth melt . — My lord ! Antony dies . O , withered is the garland of the war ; The soldier’s pole is fall’n ; young boys and girls Are level now with men . The odds is gone , And there is nothing left remarkable Beneath the visiting moon . CHARMIAN O , quietness , lady ! Cleopatra swoons . IRAS She’s dead , too , our sovereign . CHARMIAN Lady ! IRAS Madam ! CHARMIAN O madam , madam , madam ! IRAS Royal Egypt ! Empress ! Cleopatra stirs . CHARMIAN Peace , peace , Iras ! CLEOPATRA No more but e’en a woman , and commanded By such poor passion as the maid that milks And does the meanest chares . It were for me To throw my scepter 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 ACT 4. SC. 15 To rush into the secret house of death Ere death dare come to us ? How do you , women ? What , what , good cheer ! Why , how now , Charmian ? My noble girls ! Ah , women , women ! Look , Our lamp is spent ; it’s out . Good sirs , take heart . We’ll bury him ; and then , what’s brave , what’s noble , Let’s do ’t after the high Roman fashion And make death proud to take us . Come , away . This case of that huge spirit now is cold . Ah women , women ! Come , we have no friend But resolution and the briefest end . They exit , bearing off Antony’s body . ACT 5 Scene 1 Enter Caesar with Agrippa , Dolabella , Maecenas , Gallus , and Proculeius , his council of war . CAESAR , aside to Dolabella Go to him , Dolabella , bid him yield . Being so frustrate , tell him , he mocks The pauses that he makes . DOLABELLA Caesar , I shall . Dolabella exits . Enter Dercetus with the sword of Antony . CAESAR Wherefore is that ? And what art thou that dar’st Appear thus to us ? DERCETUS I am called Dercetus . Mark Antony I served , who best was worthy Best to be served . Whilst he stood up and spoke , He was my master , and I wore my life To spend upon his haters . If thou please To take me to thee , as I was to him I’ll be to Caesar ; if thou pleasest not , I yield thee up my life . CAESAR What is ’t thou say’st ? DERCETUS I say , O Caesar , Antony is dead . ACT 5. SC. 1 CAESAR 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 . DERCETUS He is dead , Caesar , Not by a public minister of justice , Nor by a hirèd knife , but that self hand Which writ his honor in the acts it did Hath , with the courage which the heart did lend it , Splitted the heart . This is his sword . I robbed his wound of it . Behold it stained With his most noble blood . CAESAR 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 . MAECENAS His taints and honors Waged 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 touched . MAECENAS When such a spacious mirror’s set before him , He needs must see himself . CAESAR O Antony , I have followed thee to this , but we do lance Diseases in our bodies . I must perforce Have shown to thee such a declining day Or look on thine . We could not stall together In the whole world . But yet let me lament With tears as sovereign as the blood of hearts ACT 5. SC. 1 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 — Enter an Egyptian . But I will tell you at some meeter season . The business of this man looks out of him . We’ll hear him what he says . — Whence are you ? EGYPTIAN A poor Egyptian yet , the Queen my mistress , Confined in all she has , her monument , Of thy intents desires instruction , That she preparedly preparèdly may frame herself To th’ way she’s forced to . CAESAR Bid her have good heart . She soon shall know of us , by some of ours , How honorable and how kindly we Determine for her . For Caesar cannot live To be ungentle . EGYPTIAN So the gods preserve thee . He exits . CAESAR Come hither , Proculeius . Go and say We purpose her no shame . Give her what comforts The quality of her passion shall require , Lest , in her greatness , by some mortal stroke She do defeat us , for her life in Rome Would be eternal in our triumph . Go , And with your speediest bring us what she says And how you find of her . PROCULEIUS Caesar , I shall . Proculeius exits . ACT 5. SC. 2 CAESAR Gallus , go you along . Gallus exits . Where’s Dolabella , To second Proculeius ? ALL Dolabella ! CAESAR Let him alone , for I remember now How he’s employed . He shall in time be ready . Go with me to my tent , where you shall see How hardly I was drawn into this war , How calm and gentle I proceeded still In all my writings . Go with me and see What I can show in this . They exit . Scene 2 Enter Cleopatra , Charmian , and Iras . CLEOPATRA My desolation does begin to make A better life . ’Tis paltry to be Caesar ; 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 Proculeius . PROCULEIUS Caesar sends greeting to the Queen of Egypt , And bids thee study on what fair demands Thou mean’st to have him grant thee . CLEOPATRA What’s thy name ? PROCULEIUS My name is Proculeius . ACT 5. SC. 2 CLEOPATRA Antony Did tell me of you , bade me trust you , but I do not greatly care to be deceived That have no use for trusting . If your master Would have a queen his beggar , you must tell him That majesty , to keep decorum , must No less beg than a kingdom . If he please To give me conquered Egypt for my son , He gives me so much of mine own as I Will kneel to him with thanks . PROCULEIUS Be of good cheer . You’re fall’n into a princely hand ; fear nothing . Make your full reference freely to my lord , Who is so full of grace that it flows over On all that need . Let me report to him Your sweet dependency , and you shall find A conqueror that will pray in aid for kindness Where he for grace is kneeled to . CLEOPATRA Pray you tell him I am his fortune’s vassal and I send him The greatness he has got . I hourly learn A doctrine of obedience , and would gladly Look him i’ th’ face . PROCULEIUS This I’ll report , dear lady . Have comfort , for I know your plight is pitied Of him that caused it . Gallus and Soldiers enter and seize Cleopatra . GALLUS You see how easily she may be surprised . Guard her till Caesar come . IRAS Royal queen ! CHARMIAN O , Cleopatra , thou art taken , queen ! CLEOPATRA , drawing a dagger Quick , quick , good hands ! ACT 5. SC. 2 PROCULEIUS , seizing the dagger Hold , worthy lady , hold ! Do not yourself such wrong , who are in this Relieved , but not betrayed . CLEOPATRA What , of death , too , That rids our dogs of languish ? PROCULEIUS Cleopatra , Do not abuse my master’s bounty by Th’ 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’ll not drink , sir . If idle talk will once be necessary — I’ll not sleep neither . This mortal house I’ll ruin , Do Caesar what he can . Know , sir , that I Will not wait pinioned at your master’s court , Nor once be chastised with the sober eye Of dull Octavia . Shall they hoist me up And show me to the shouting varletry Of censuring Rome ? Rather a ditch in Egypt Be gentle grave unto me ; rather on Nilus’ mud Lay me stark naked , and let the waterflies Blow me into abhorring ; rather make 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 , ACT 5. SC. 2 And he hath sent for thee . For the Queen , I’ll take her to my guard . PROCULEIUS So , Dolabella , It shall content me best . Be gentle to her . To Cleopatra . To Caesar I will speak what you shall please , If you’ll employ me to him . CLEOPATRA Say I would die . Proculeius , Gallus , and Soldiers exit exits . 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 dreamt there was an emperor Antony . O , such another sleep , that I might see But such another man . DOLABELLA If it might please you — CLEOPATRA His face was as the heavens , and therein stuck A sun and moon , which kept their course and lighted The little O , the Earth earth . DOLABELLA Most sovereign creature — CLEOPATRA His legs bestrid the ocean , his reared arm Crested the world . His voice was propertied As all the tunèd spheres , and that to friends ; But when he meant to quail and shake the orb , ACT 5. SC. 2 He was as rattling thunder . For his bounty , There was no winter in ’t ; an autumn ’twas That grew the more by reaping . His delights Were dolphin-like ; they showed his back above The element they lived in . In his livery Walked crowns and crownets ; realms and islands were As plates dropped from his pocket . DOLABELLA Cleopatra — CLEOPATRA Think you there was , or might be , such a man As this I dreamt of ? DOLABELLA Gentle madam , no . CLEOPATRA You lie up to the hearing of the gods ! But if there be nor ever were one such , It’s past the size of dreaming . Nature wants stuff To vie strange forms with fancy , yet t’ imagine An Antony were nature’s piece ’gainst fancy , Condemning shadows quite . DOLABELLA Hear me , good madam . Your loss is as yourself , great ; and you bear it As answering to the weight . Would I might never O’ertake pursued success but I do feel , By the rebound of yours , a grief that smites My very heart at root . 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 honorable — CLEOPATRA He’ll lead me , then , in triumph . DOLABELLA Madam , he will . I know ’t . ACT 5. SC. 2 Flourish . Enter Caesar , Proculeius , Gallus , Maecenas , and others of his train . ALL Make way there ! Caesar ! CAESAR Which is the Queen of Egypt ? DOLABELLA It is the Emperor , madam . Cleopatra kneels . CAESAR 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 . She stands . CAESAR 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’ th’ world , I cannot project mine own cause so well To make it clear , but do confess I have Been laden with like frailties which before Have often shamed our sex . CAESAR 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 Of my good purposes , and put your children To that destruction which I’ll guard them from If thereon you rely . I’ll take my leave . CLEOPATRA And may through all the world . ’Tis yours , and we , Your scutcheons and your signs of conquest , shall Hang in what place you please . Here , my good lord . She holds out a paper . ACT 5. SC. 2 CAESAR You shall advise me in all for Cleopatra . CLEOPATRA This is the brief of money , plate , and jewels I am possessed of . ’Tis exactly valued , Not petty things admitted . — Where’s Seleucus ? Enter Seleucus . SELEUCUS Here , madam . CLEOPATRA This is my treasurer . Let him speak , my lord , Upon his peril , that I have reserved To myself nothing . — Speak the truth , Seleucus . SELEUCUS Madam , I had rather seel my lips Than to my peril speak that which is not . CLEOPATRA What have I kept back ? SELEUCUS Enough to purchase what you have made known . CAESAR Nay , blush not , Cleopatra . I approve Your wisdom in the deed . CLEOPATRA See , Caesar , O , behold How pomp is followed ! Mine will now be yours , And should we shift estates , yours would be mine . The ingratitude of this Seleucus does Even make me wild . — O slave , of no more trust Than love that’s hired ! What , goest thou back ? Thou shalt Go back , I warrant thee ! But I’ll catch thine eyes Though they had wings . Slave , soulless villain , dog ! O rarely base ! CAESAR Good queen , let us entreat you — CLEOPATRA O Caesar , what a wounding shame is this , That thou vouchsafing here to visit me , ACT 5. SC. 2 Doing the honor 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 reserved , Immoment toys , things of such dignity As we greet modern friends withal , and say Some nobler token I have kept apart For Livia and Octavia , to induce Their mediation , must I be unfolded With one that I have bred ? The gods ! It smites me Beneath the fall I have . To Seleucus . Prithee , go hence , Or I shall show the cinders of my spirits Through th’ ashes of my chance . Wert thou a man , Thou wouldst have mercy on me . CAESAR Forbear , Seleucus . Seleucus exits . CLEOPATRA Be it known that we , the greatest , are misthought For things that others do ; and when we fall , We answer others’ merits in our name — Are therefore to be pitied . CAESAR Cleopatra , Not what you have reserved nor what acknowledged Put we i’ th’ 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 cheered . 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 . ACT 5. SC. 2 CLEOPATRA My master and my lord ! CAESAR Not so . Adieu . Flourish . Caesar and his train exit . CLEOPATRA He words me , girls , he words me , that I should not Be noble to myself . But hark thee , Charmian . She whispers to Charmian . IRAS Finish , good lady . The bright day is done , And we are for the dark . CLEOPATRA , to Charmian Hie thee again . I have spoke already , and it is provided . Go put it to the haste . CHARMIAN Madam , I will . Enter Dolabella . DOLABELLA Where’s the Queen ? CHARMIAN Behold , sir . She exits . CLEOPATRA Dolabella . DOLABELLA Madam , as thereto sworn by your command , Which my love makes religion to obey , I tell you this : Caesar through Syria Intends his journey , and within three days You with your children will he send before . Make your best use of this . I have performed 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 . He exits . Now , Iras , what think’st thou ? ACT 5. SC. 2 Thou an Egyptian puppet shall be shown In Rome as well as I . Mechanic slaves With greasy aprons , rules , and hammers shall Uplift us to the view . In their thick breaths , Rank of gross diet , shall we be enclouded And forced to drink their vapor . IRAS The gods forbid ! CLEOPATRA Nay , ’tis most certain , Iras . Saucy lictors Will catch at us like strumpets , and scald rhymers Ballad us out o’ tune . The quick comedians Extemporally will stage us and present Our Alexandrian revels . Antony Shall be brought drunken forth , and I shall see Some squeaking Cleopatra boy my greatness I’ th’ posture of a whore . IRAS O the good gods ! CLEOPATRA Nay , that’s certain . IRAS I’ll never see ’t ! For I am sure mine nails Are stronger than mine eyes . CLEOPATRA Why , that’s the way To fool their preparation and to conquer Their most absurd intents . 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’ll dispatch indeed , And when thou hast done this chare , I’ll give thee leave To play till Doomsday . — Bring our crown and all . Iras exits . A noise within . Wherefore’s this noise ? ACT 5. SC. 2 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 . Guardsman exits . What poor an instrument May do a noble deed ! He brings me liberty . My resolution’s placed , and I have nothing Of woman in me . Now from head to foot I am marble-constant . Now the fleeting moon No planet is of mine . Enter Guardsman and Countryman , with a basket . GUARDSMAN This is the man . CLEOPATRA Avoid , and leave him . Guardsman exits . Hast thou the pretty worm of Nilus there That kills and pains not ? COUNTRYMAN Truly I have him , but I would not be the party that should desire you to touch him , for his biting is immortal . Those that do die of it do seldom or never recover . CLEOPATRA Remember’st thou any that have died on ’t ? COUNTRYMAN Very many , men and women too . I heard of one of them no longer than yesterday — a very honest woman , but something given to lie , as a woman should not do but in the way of honesty — how she died of the biting of it , what pain she felt . Truly , she makes a very good report o’ th’ worm . But he that will believe all that they say shall never be saved by half that they do . But this is most falliable , the worm’s an odd worm . CLEOPATRA Get thee hence . Farewell . COUNTRYMAN I wish you all joy of the worm . He sets down the basket . ACT 5. SC. 2 CLEOPATRA Farewell . COUNTRYMAN You must think this , look you , that the worm will do his kind . CLEOPATRA Ay , ay , farewell . COUNTRYMAN 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 . COUNTRYMAN Very good . Give it nothing , I pray you , for it is not worth the feeding . CLEOPATRA Will it eat me ? COUNTRYMAN 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 . COUNTRYMAN Yes , forsooth . I wish you joy o’ th’ worm . He exits . Enter Iras bearing Cleopatra’s royal regalia . CLEOPATRA Give me my robe . Put on my crown . I have Immortal longings in me . Now no more The juice of Egypt’s grape shall moist this lip . Charmian and Iras begin to dress her . 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 ? ACT 5. SC. 2 Come then , and take the last warmth of my lips . Farewell , kind Charmian . — Iras , long farewell . She kisses them . Iras falls and dies . Have I the aspic in my lips ? Dost fall ? If thou and nature can so gently part , The stroke of death is as a lover’s pinch , Which hurts and is desired . Dost thou lie still ? If thus thou vanishest , thou tell’st the world It is not worth leave-taking . 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 curlèd Antony , He’ll make demand of her , and spend that kiss Which is my heaven to have . — Come , thou mortal wretch , She places an asp on her breast . With thy sharp teeth this knot intrinsicate 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 ! CLEOPATRA As sweet as balm , as soft as air , as gentle — O Antony ! — Nay , I will take thee too . She places an asp on 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 unparalleled . Downy windows , close , She closes Cleopatra’s eyes . ACT 5. SC. 2 And golden Phoebus , never be beheld Of eyes again so royal . Your crown’s awry . I’ll mend it , and then play — Enter the Guard rustling in . FIRST GUARD Where’s the Queen ? CHARMIAN Speak softly . Wake her not . FIRST GUARD Caesar hath sent — CHARMIAN Too slow a messenger . She takes out an asp . O , come apace , dispatch ! I partly feel thee . FIRST GUARD Approach , ho ! All’s not well . Caesar’s beguiled . SECOND GUARD There’s Dolabella sent from Caesar . Call him . A Guardsman exits . FIRST 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 ! Charmian dies . Enter Dolabella . DOLABELLA How goes it here ? SECOND GUARD All dead . DOLABELLA Caesar , thy thoughts Touch their effects in this . Thyself art coming To see performed the dreaded act which thou So sought’st to hinder . Enter Caesar and all his train , marching . ALL A way there , a way for Caesar ! ACT 5. SC. 2 DOLABELLA O sir , you are too sure an augurer : That you did fear is done . CAESAR Bravest at the last , She leveled 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 ? FIRST GUARD A simple countryman that brought her figs . This was his basket . CAESAR Poisoned , then . FIRST GUARD O Caesar , This Charmian lived but now ; she stood and spake . I found her trimming up the diadem On her dead mistress ; tremblingly she stood , And on the sudden dropped . CAESAR O , noble weakness ! If they had swallowed poison , ’twould 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 . FIRST GUARD This is an aspic’s trail , and these fig leaves Have slime upon them , such as th’ aspic leaves Upon the caves of Nile . CAESAR 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 . ACT 5. SC. 2 No grave upon the earth shall clip in it A pair so famous . High events as these Strike those that make them ; and their story is No less in pity than his glory which Brought them to be lamented . Our army shall In solemn show attend this funeral , And then to Rome . Come , Dolabella , see High order in this great solemnity . They all exit , the Guards bearing the dead bodies . all or part of a full metrical line all or part of a prose speech a short line which cannot be joined with other lines to form a full metrical line, or which may not be definitively identified asverse or prose editorial emendation