SCENE III.

Enter CLEOPATRA, CHARMIAN, IRAS, and ALEXAS.

Cleo. Where is he?

Char.

I did not see him since.

Cleo. 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.

[Exit ALEX. Char. Madam, methinks, if you did love him dearly, You do not hold the method to enforce The like from him.

Cleo.

What should I do, I do not? Char. In each thing give him way, cross him in

nothing.

Cleo. Thou teachest, like a fool, the way to lose him. Char. Tempt him not so too far; I wish, forbear: In time we hate that which we often fear.

Enter ANTONY.

I am sick, and sullen.

But here comes Antony.

Cleo.

Ant. I am sorry to give breathing to my purpose,
Cleo. Help me away, dear Charmian, I shall fall:
It cannot be thus long, the sides of nature
Will not sustain it.

Ant.

Now, my dearest queen,—

Cleo. Pray you, stand farther from me.
Ant.

What's the matter?

Cleo. 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.
Ant. The gods best know,-

Cleo.

O! never was there queen

So mightily betray'd; yet at the first

I saw the treasons planted.

Ant.

Cleopatra,―

Cleo. Why should I think, you can be mine, and

true,

Though you in swearing shake the throned gods,
Who have been false to Fulvia? Riotous madness,
To be entangled with those mouth-made vows,
Which break themselves in swearing!

Ant.

Most sweet queen,

Cleo. Nay, pray you, seek no colour 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,

Or thou, the greatest soldier of the world,
Art turn'd the greatest liar.

Ant.

How now, lady!

Cleo. I would, I had thy inches; thou should'st

know,

There were a heart in Egypt.

Hear me, queen.

Ant.
The strong necessity of time commands
Our services a while, 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

Breeds scrupulous faction. The hated, grown to strength,

Are newly grown to love: the condemn'd Pompey,

Rich in his father's honour, creeps apace

Into the hearts of such as have not thriv'd
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.

Cleo. Though age from folly could not give me freedom,

It does from childishness.-Can Fulvia die?

Ant. She's dead, my queen.

Look here, and, at thy sovereign leisure, read
The garboils she awak'd; at the last, best,
See, when, and where she died.

Cleo.
O most false love!
Where be the sacred vials thou should'st fill
With sorrowful water? Now I see, I see,
In Fulvia's death, how mine receiv'd shall be.
Ant. Quarrel no more, but be prepar'd to know
The purposes I bear; which are, or cease,
As you shall give the advice: by the fire
That quickens Nilus' slime, I go from hence,
Thy soldier, servant; making peace, or war,
As thou affect'st.

Cleo.

Cut my lace, Charmian, come.

But let it be. I am quickly ill, and well,

So Antony loves'.

6 The GARBOILS she awak'd ;]

"Garboils " was a common word for commotions in the time of Shakespeare; it occurs again afterwards, p. 31 ; and it was used by the best authors, although Stanihurst fell under the ridicule of Hall, in his 6th satire, of book i.

"Manhood and garboils shall he chant with changed feet." Stanihurst employs the word in the opening of his English-hexameter translation of the Æneid, 1584, in the line,

"Now, manhood and garboils I chaunt, and martial horror."

We quote from the beautiful reprint of this very rare and curious work, made at Edinburgh in 1836, we believe, under the editorial superintendence of Mr. Maidment. Scotland has contributed her full share of valuable works of this description.

7 I am quickly ill, and well,

So Antony loves.] i. e. Probably, "I am quickly ill or well, according as Antony loves me." First Cleopatra tells Charmian to cut her lace, then to "let VOL. VIII.

C

Ant.

My precious queen, forbear;

And give true evidence to his love, which stands

An honourable trial.

Cleo.

So Fulvia told me.

I pr'ythee, 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 honour.

Ant.

You'll heat my blood: no more.

Cleo. You can do better yet, but this is meetly.
Ant. Now, by my sword,-

Cleo.

But this is not the best. Look, pr'ythee, Charmian, How this Herculean Roman does become

The carriage of his chafe.

Ant. I'll leave you, lady.

Cleo.

Courteous lord, one word.

Sir, you and I must part,-but that's not it:
Sir, you and I have lov'd,-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.

Ant.

But that your royalty

Holds idleness your subject, I should take you
For idleness itself.

Cleo.

"Tis sweating labour

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 honour calls you hence;
Therefore, be deaf to my unpitied folly,

And all the gods go with you! upon your sword

it be," the necessity being at an end, in consequence, perhaps, of receiving some indication of love from Antony.

8 Now, by MY sword.] "My" is omitted in the folio, 1623, but added in the folio, 1632.

Sit laurel'd victory, and smooth success
Be strew'd before your feet!

Ant.

Let us go. Come;
Our separation so abides, and flies,

That thou, residing here, go'st yet with me,
And I, hence fleeting, here remain with thee.
Away!

[Exeunt.

SCENE IV.

Rome. An Apartment in CÆSAR'S House.

Enter OCTAVIUS CÆSAR, LEPIDUS, and Attendants.

Cæs. You may see, Lepidus, and henceforth know, It is not Cæsar's natural vice to hate

One 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
Vouchsaf'd to think' he had partners: you shall find

there

A man, who is the abstract of all faults

That all men follow.

Lep.

I must not think, there are

Evils enow to darken all his goodness:

His faults, in him, seem as the spots of heaven,
More fiery by night's blackness; hereditary,
Rather than purchas'd; what he cannot change,
Than what he chooses.

9 Sit LAUREL'D victory,] "Laurel'd victory" is the emendation of the folio, 1632 that of 1623 has "laurel victory." In all probability the letter d had dropped out in the press.

1 VOUCHSAF'D to think-] Vouchsafe in the folio, 1623, which the folio, 1632, altered to "did vouchsafe."