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Cas. Good night.

[Exeunt Cæs. and OCTA. Ant. Now, sirrah! you do wish yourself in Egypt? Sooth. 'Would I had never come from thence, nor you Thither!6

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.

6 'Would I had never come from thence, nor you

Thither!] Both the sense and grammar require that we should read hither, instead of thither. To come hither is English, but to come thither is not. The soothsayer advises Antony to hie back to Egypt, and for the same reason wishes he had never come to Rome; because when they were together, Cæsar's genius had the ascendant over his. M. Mason.

7 I see 't in

My motion, have it not in my tongue :] i. e. the divinitory agi-
Warburton.

tation.

Mr. Theobald reads, with some probability, I see it in my notion. Malone.

8 Hie you again to Egypt.] Old copy, unmetrically:

Hie you to Egypt again. Steevens.

9 Becomes a Fear,] Mr. Upton reads: Becomes afear'd,

The common reading is more poetical. Johnson.

A Fear was a personage in some of the old moralities. Beaumont and Fletcher allude to it in The Maid's Tragedy, where Aspasia is instructing her servants how to describe her situation in needle-work:

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and then a Fear:

"Do that Fear bravely, wench."

Spenser had likewise personified Fear, in the 12th canto of the third Book of his Fairy Queen. In the sacred writings Fear is also a person:

"I will put a Fear in the land of Egypt." Exodus.

The whole thought is borrowed from Sir T. North's translation of Plutarch: "With Antonius there was a soothsayer or VOL. XIII.

Z

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,1
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 quails3 ever

astronomer of Ægypt, that coulde cast a figure, and iudge of men's natiuities, to tell them what should happen to them. He, either to please Cleopatra, or else for that he founde it so by his art, told Antonius plainly, that his fortune (which of it selfe was excellent good, and very great) was altogether blemished, and obscured by Cæsar's fortune: and therefore he counselled him vtterly to leaue his company, and to get him as farre from him as he could. For thy Demon said he, (that is to say, the good angell and spirit that keepeth thee) is affraied of his and being coragious and high when he is alone, becometh fearfull and timerous when he commeth neere vnto the other." Steevens. Our author has a little lower expressed his meaning more plainly:

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I say again, thy spirit

"Is all afraid to govern thee near him." We have this sentiment again in Macbeth : -near him,

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'My genius is rebuk'd; as, it is said, "Mark Antony's was by Cæsar's."

The old copy reads that thy spirit. The correction, which was made in the second folio, is supported by the foregoing pas sage in Plutarch, but I doubt whether it is necessary. Malone. 1 thy lustre thickens,] So, in Macbeth:

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light thickens,

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Steevens.

2 But, he away,] Old copy-alway. Corrected by Mr. Pope.

Malone.

3 his quails-] The ancients used to match quails as we match cocks. Johnson.

So, in the old translation of Plutarch: "For, it is said, that as often as they two drew cuts for pastime, who should haue any thing, or whether they plaied at dice, Antonius alway lost. Often

Beat mine, inhoop'd, at odds. I will to Egypt:
And though I make this marriage for my peace,
Enter VENTIDIUS.

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

[Exeunt.

SCENE IV.

The same. A Street.

Enter LEPIDUS, MECENAS, and AGRIPPA.

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

Agr.

Sir, Mark Antony

Will e'en but kiss Octavia, and we 'll follow.
Lep. Till I shall see you in your soldier's dress,
Which will become you both, farewel.

Mec.
As I conceive the journey, be at mounts
Before you, Lepidus.

Lep.

My purposes do draw me much about;
You'll win two days upon me.

Mec. Agr.

Lep. Farewel.

We shall,

Your way is shorter,

Sir, good success!

[Exeunt.

times when they were disposed to see cockefight, or quailes that were taught to fight one with another, Cæsars cockes or quailes did euer ouercome." Steevens

4 inhoop'd, at odds.] Thus the old copy. Inhoop'd is inclosed, confined, that they may fight. The modern editions read: Beat mine, in whoop'd-at odds. Johnson. Shakspeare gives us the practice of his own time; and there is no occasion for in whoop'd at, or any other alteration. John Davies begins one of his Epigrams upon Proverbs:

"He sets cocke on the hoope, in, you would say; "For cocking in hoopes is now all the play." Farmer. The attempt at emendation, however, deserves some respect; as, in As You Like It, Celia says: and after that out of all whooping." Steevens.

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At odds was the phraseology of Shakspeare's time, So, in Mortimeriados, by Michael Drayton, no date:

5

"She straight begins to bandy him about,

"At thousand odds, before the set goes out." Malone,

at mount] i. e. Mount Misenum. Steevens.

Our author probably wrote-a' the mount.

Malone

SCENE V.

Alexandria. A Room in the Palace.

Enter CLEOPATRA, CHARMIAN, IRAS, and ALEXAS. Cleo. Give me some musick; musick, moody food Of us that trade in love.

Attend.

The musick, ho!

Enter MARDIAN.

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 musick 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.

6 musick, moody food-] The mood is the mind, or mental disposition. Van Haaren's panegyrick on the English begins, Grootmoedig Volk, [great-minded nation.] Perhaps here is a poor jest intended between mood the mind and moods of musick.

Johnson, Moody, in this instance, means melancholy. Cotgrave explains moody, by the French words, morne and triste. Steevens. So, in The Comedy of Errors:

"Sweet recreation barr'd, what doth ensue,

"But moody and dull melancholy ?" Malone.

7 let us to billiards:] This is one of the numerous anachronisms that are found in these plays. The game was not known in ancient times. Malone.

8 And when good will is show'd, though it come too short, The actor may plead pardon.] A similar sentiment has already appeared in A Midsummer Night's Dream:

"For never any thing can be amiss,

"When simpleness and duty tender it." Steevens.

9 Tawny-finn'd fishes;] The first copy reads:

Tawny fine fishes,

Johnson.

Corrected by Mr. Theobald. Malone.

Char.

'Twas merry, when
You wager'd on your angling; when your diver
Did hang a salt-fish1 on his hook, which he
With fervency drew up.

Cleo.
That time!-O times!-
I laugh'd him out of patience; and that night
I laugh'd him into patience: and next morn,
Ere the ninth hour, I drunk him to his bed;
Then put my tires and mantles on him, whilst
I wore his sword Philippan.2 O! from Italy;-
Enter a Messenger.

Ram thou thy fruitful tidings3 in mine ears,

1 Did hang a salt-fish &c.] This circumstance is likewise taken from Sir Thomas North's translation of the life of Antony in Plutarch.

2

Steevens.

whilst

I wore his sword Philippan.] We are not to suppose, nor is there any warrant from history, that Antony had any particular sword so called. The dignifying weapons, in this sort, is a custom of much more recent date. This therefore seems a compliment posteriori. We find Antony, afterwards, in this play, boasting of his own prowess at Philippi:

"Ant. Yes, my lord, yes; he at Philippi kept "His sword e'en like a dancer; while I struck "The lean and wrinkled Cassius;" &c.

That was the greatest action of Antony's life; and therefore this seems a fine piece of flattery, intimating, that this sword ought to be denominated from that illustrious battle, in the same manner as modern heroes in romances are made to give their swords pompous names. Theobald.

3 Ram thou thy fruitful tidings—] Shakspeare probably wrote, (as Sir T. Hanmer observes) Rain thou &c. Rain agrees better with the epithets fruitful and barren. So, in Timon:

"Rain sacrificial whisp'rings in his ear."

Again, in The Tempest:

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Heavens rain grace!"

Steevens.

I suspect no corruption. The term employed in the text is much in the style of the speaker; and is supported incontestably by a passage in Julius Cæsar:

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I go to meet

"The noble Brutus, thrusting this report

"Into his ears."

Again, in Cymbeline :

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say, and speak thick,

"(Love's counsellor should fill the bores of hearing,
"To the smothering of the sense,) how far," &c.

Again, in The Tempest:

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