Ant. Nay, good my fellows, do not please sharp fate I have led you oft; carry me now, good friends, [Exeunt, bearing ANTONY. SCENE XIII. The Same. A Monument. Enter, above, CLEOPATRA, CHARMIAN, and IRAS. Cleo. O Charmian! I will never go from hence. Cleo. No, I will not. All strange and terrible events are welcome, Enter, below, DIOMEDES. As that which makes it.-How now! is he dead? Enter, below, ANTONY, borne by the Guard. Cleo. 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. Ant. Peace! 6 Enter, above, Cleopatra, &c.] We are to suppose Cleopatra in her tomb, and elevated at the back of the stage. Not Cæsar's valour hath o'erthrown Antony, I lay upon thy lips. Cleo. poor last I dare not, dear, (Dear my lord, pardon) I dare not, Lest I be taken: not the imperious show Of the full-fortun'd Cæsar ever shall Be brooch'd with me; if knife, drugs, serpents, have Your wife Octavia, with her modest eyes, And still conclusion, shall acquire no honour Ant. O! quick, or I am gone. Cleo. Here's sport, indeed!-How heavy weighs my lord! Our strength is all gone into heaviness, That makes the weight: had I great Juno's power, Yet come a little, come, come, come; And welcome, welcome! die, when thou hast liv'd': Quicken with kissing: had my lips that power, Thus would I wear them out. 7 All. A heavy sight. Ant. I am dying, Egypt, dying. die, WHEN thou hast liv'd:] All the old copies have "when," which Pope altered to where,-" Die where thou hast liv'd ;" but the sense seems to be, "Die when thou hast liv'd" in consequence of being quickened, or restored, by my kissing thee. All modern editors have adopted Pope's needless change. Give me some wine, and let me speak a little. Cleo. No, let me speak; and let me rail so high, That the false housewife Fortune break her wheel, Provok'd by my offence. Ant. One word, sweet queen. Of Cæsar seek your honour with your safety.-O! Cleo. They do not go together. Ant. Gentle, hear me. None about Cæsar trust, but Proculeius. Cleo. My resolution, and my hands, I'll trust; Ant. The miserable change now at my end My countryman, a Roman by a Roman Cleo. Noblest of men, woo't die? Hast thou no care of me? shall I abide In this dull world, which in thy absence is The soldier's pole is fallen: young boys, and girls, And there is nothing left remarkable Beneath the visiting moon. Char. Iras. She is dead too, our sovereign. Char. Iras. [Dies. O, quietness, lady! Char. O madam, madam, madam! Iras. Empress! VOL. VIII. I Char. Peace, peace, Iras! Cleo. No more, but e'en a woman; and commanded By such poor passion as the maid that milks, And does the meanest chares".-It were for me To throw my sceptre at the injurious gods; To tell them, that this world did equal theirs, Till they had stolen our jewel: all's but naught; Patience is sottish, and impatience does Become a dog that's mad: then is it sin, To rush into the secret house of death, Ere death dare come to us ?-How do you, women? Our lamp is spent, it's out.-Good sirs, take heart: And make death proud to take us. Come, away: Ah, women, women! come; we have no friend [Exeunt; those above bearing off ANTONY'S Body. 99 "but 8 No more, but E'EN a woman;] i. e. I am "no more an empress, a mere woman." The sense fully justifies Johnson's emendation of the reading of all anterior editions, "but in a woman." Many instances might be pointed out, were they necessary, in which "e'en" has been misprinted in in the old copies, not only of Shakespeare's plays, but of those of his contemporaries. 9 the meanest CHARES.] "Chare" is a word of uncertain etymology, but in constant use in the time of Shakespeare. We still retain it in the compound "chare-woman.' It is sometimes spelt char. The sense sufficiently explains its meaning. Cleopatra again uses the word in Act v. sc. 2. ACT V. SCENE I. CAESAR'S Camp before Alexandria. Enter CESAR, AGRIPPA, DOLABELLA, MECÆNAS, GALLUS, PROCULEIUS, and Others1. Cas. Go to him, Dolabella, bid him yield; Being so frustrate, tell him, He mocks us by the pauses that he makes2. Dol. Cæsar, I shall. [Exit DOLABELLA. Enter DERCETAS, with the Sword of ANTONY. Cas. Wherefore is that? and what art thou, that dar'st Appear thus to us? Der. I am call'd Dercetas. Mark Antony I serv'd, who best was worthy Best to be serv'd: whilst he stood up, and spoke, He was my master, and I wore my life, To spend upon his haters. If thou please Cæs. What is't thou say'st? Der. I say, O Cæsar! Antony is dead. Cæs. The breaking of so great a thing should make A greater crack: the round world should have shook "Enter Proculeius, and Others.] The old stage-direction runs thus:Cæsar, Agrippa, Dolabella, Menas, with his Council of war." It seems evident that Menas is a misprint for Mecanas, and the name (as Thirlby pointed out) is printed Mec. in the prefixes, which of itself detects the error. 66 2 He mocks US BY the pauses that he makes.] The old copies omit us by," which were added by Malone, and which we adopt, because they, or some equivalent words, are necessary to the sense, as well as to the measure, which is regulated according to the folio, 1623. |