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Eno. Upon her landing, Antony sent to her,
Invited her to supper: she replied,

It should be better, he became her guest;
Which she entreated: Our courteous Antony,
Whom ne'er the word of No woman heard speak,
Being barber'd ten times o'er, goes to the feast;
And, for his ordinary, pays his heart,
For what his eyes eat only.

Agr. Royal wench!

She made great Cæsar lay his sword to bed;
He plough'd her, and she cropp'd.

Eno. I saw her once

Hop forty paces through the public street:

And having lost her breath, she spoke, and panted,

That she did make defect, perfection,

And, breathless, power breathe forth.

Mec. Now Antony must leave her utterly.
Eno. Never; he will not;

Age cannot wither her, nor custom stale

Her infinite variety: Other women cloy

Th' 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."

[4] Such is the praise bestowed by Shakespeare on his heroine; a praise that well deserves the consideration of our female readers. Cleopatra, as appears from the tetradrachms of Ant ny, was no Venus; and indeed the majority of ladies who most successfully enslaved the hearts of princes, are known to have been less remarkable for personal than mental attractions. The reign of insipid beauty is seldom lasting; but permanent must be the rule of a woman who can diversify the sameness of life by an inexhausted variety of accomplishments. STEEVENS.

[5] In this, and the foregoing description of Cleopatra's passage down the Cydnus, Dryden seems to have emulated Shakespeare, and not without success:

66-she's dangerous:

Her eyes have power beyond Thessalian charms,
To draw the moon from heaven. For eloquence,

The sea-green sirens taught her voice their flattery;
And, while she speaks, night steals upon the day,
Unmark'd of those that hear: Then, she's so charming,

Age buds at sight of her, and swells to youth:

The holy priests gaze on her when she smiles;

And with heav'd hands, forgetting gravity,

They bless her wanton eyes. Even I who hate her,
With a malignant joy behold such beauty,

And while I curse desire it."

Be it remembered however, that, in both instances, without a spark from Shakespeare, the blaze of Dryden might not have been enkindled. REED.

[6] Rigg is an antient word meaning a strumpet.


Mec. If beauty, wisdom, modesty, can settle

The heart of Antony, Octavia is

A blessed lottery to him.

Agr. Let us go.—

Good Enobarbus, make yourself my guest,

Whilst you abide here.

Eno. Humbly, sir, I thank you,



The same. A Room in CESAR's House. Enter CESAR, ANTONY, OCTAVIA between them; Attendants and a Soothsayer.

Ant. The world, and my great office, will sometimes Divide me from your bosom.

Oct. All which time

Before the gods my knee shall bow my prayers
To them for you.

Ant. Good night, sir.-My Octavia,

Read not my blemishes in the world's report:

I have not kept my square; but that to come

Shall all be done by the rule. Good night, dear lady.

Oct. Good night, sir.

Cas. Good night.

[Exeunt CES. and OCTA.

Ant. Now, sirrah! you do wish yourself in Egypt?

Sooth. 'Would I had never come from thence, nor you Thither!

Ant. If you can, your reason?

Sooth. I see't in

My motion, have it not in my tongue :' But yet

Hie you again to Egypt.

Ant. Say to me,

Whose fortunes shall rise higher, Cæsar's, or mine?

Sooth. Cæsar's.

Therefore, O Antony, stay not by his side:

Thy dæmon, that's thy spirit which keeps thee, is

Noble, courageous, high, unmatchable,

Where Cæsar's is not; but, near him, thy angel
Becomes a Fear,' as being o'erpower'd ; therefore
Make space enough between you.

[1] Motion, that is, the divinitory agitation.


A Fear was a personage in some of the old moralities. In the sacred writings, Fear is also a person: "I will put a Fear in the land of Egypt." Exodus.


Ant. Speak this no more.

Sooth. To none but thee; no more, but when to thee.

If thou dost play with him at any game,

Thou art sure to lose; and, of that natural luck,

He beats thee 'gainst the odds; thy lustre thickens,
When he shines by: I say again, thy spirit

Is all afraid to govern thee near him;

But, he away, 'tis noble.

Ant. Get thee gone :

Say to Ventidius, I would speak with him :-[Exit Sooth.
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 nought; and his quails' ever
Beat mine, inhoop'd, at odds. I will to Egypt:
And though I make this marriage for my peace,

I'the east my pleasure lies :-O, come, Ventidius,
You must to Parthia; your commission's ready :
Follow me, and receive it.



The same. A Street. Enter LEPIDUS, MECENAS, and


Lep. Trouble yourselves no further: pray you, hasten Your generals after.

Agr. Sir, Mark Antony

Will e'en but kiss Octavia, and we'll follow.

Lep. Till I shall see you in your soldier's dress,

Which will become you both, farewell.

Mec. We shall,

As I conceive the journey, be at the mount'

Before you, Lepidus.

Lep. Your way is shorter,

My purposes do draw me much about;

You'll win two days upon me.

Mec. Agr. Sir, good success!

Lep. Farewell.




[5] The ancients used to match quails as we match cocks.

[4] Inhoop'd--is inclosed that they may fight.

[5] i. e. Mount Misenum. STEEVENS.


Alexandria. A Room in the Palace. Enter CLEOPATRA, CHARMIAN, IRAS, and ALEXAS.

Cleo. Give me some music; music, moody food

Of us that trade in love.

Attend. The music, ho!


Cleo. Let it alone; let us to billiards:

Come, Charmian.

Char. My arm is sore, best play with Mardian.
Cleo. As well a woman with an eunuch play'd,

As with a woman ;-Come, you'll play with me, sir?
Mar. As well as I can, madam.

Cleo. And when good-will is show'd, though it come

too short,

The actor may plead pardon. I'll none now :—
Give me mine angle,-We'll to the river: there,
My music, playing far off, I will betray

Tawny-finn'd fishes; my bended hook shall pierce
Their slimy jaws; and, as I draw them up,
I'll think them every one an Antony,

And say, Ah, ha! you're caught.

Char. 'Twas merry, when

You wager'd on your angling; when your diver
Did hang a salt-fish on his hook, which he
With fervency drew up.

Cleo. That time!-0 times !

I laugh'd him out of patience; and that night
I laugh'd him into patience and next morn,
Ere the ninth hour, I drunk him to his bed;
Then put my tires and mantles on him, whilst
I wore his sword Philippan. O! from Italy ;-
Enter a Messenger.

Ram thou thy fruitful tidings' in mine ears,

That long time have been barren.

Mes. Madam, madam,—

[6] The mood is the mind, or mental disposition. Van Haaren's panegyric on the English begins, Groot moedig Volk. (great-minded nation.) Perhaps here is a poor jest intended between mood the mind, and moods of music. JOHNSON.

[7] Ram is a vulgar word, never used in our author's plays, but once by Falstaff, where he describes his situation in the buck-basket. In the passage before us, it is evidently a misprint for rain.


Cleo. Antony'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 lipp'd, and trembled kissing.

Mes. First, madam, he's well.

Cleo. Why, there's more gold. But, sirrah, mark;

Το say, the dead are well: bring it to that,

The gold I give thee, will I melt, and pour
Down thy ill-uttering throat.

Mes. Good madam, hear me.

Cleo. Well, go to, I will;

But there's no goodness in thy face: If Antony
Be free, and healthful,-why so tart a favour

To trumpet such good tidings? If not well,

We use

Thou should'st come like a fury crown'd with snakes,
Not like a formal man." 6

Mes. Will't please you hear me?

Cleo. I have a mind to strike thee, ere thou speak'st:

Yet, if thou say, Antony lives, is well,

Or friends with Cæsar, or not captive to him,

I'll set thee in a shower of gold, and hail

Rich pearls upon thee."

Mes. Madam, he's well.

Cleo. Well said.

Mes. And friends with Cæsar.

Cleo. Thou'rt an honest man.

Mes. Cæsar and he are greater friends than ever.

Cleo. Make thee a fortune from me.

Mes. But yet, madam,—

Cleo. I do not like but yet, it does allay

The good precedence ; fye upon but yet:

But yet is as a gaoler to bring forth

Some monstrous malefactor. Pr'ythee, friend,
Pour out the pack of matter to mine ear,

The good and bad together: He's friend with Cæsar ;

[6] By a formal man, Shakespeare means, a man in his senses. Informal women, in Measure for Measure, is used for women beside themselves. STEEVENS. [7] i. e. I will give thee a kingdom: it being the eastern ceremony, at the coronation of their kings, to powder them with gold-dust and seed-pearl. So Milton,

"--the gorgeous east with liberal hand Showers on her kings barbaric pearl and gold. [8] i. e. Abates the good quality of what is already reported.


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