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Swell with the touches of those flower-soft hands,
Agr. Rare Egyptian !
Eno. Upon her landing, Antony sent to her,
Agr. Royal wench! .
Eno. I saw her once
of cloth of gold of tissue, apparelled and attired like the Goddesse Venus, commonly drawn in picture; and hard by her, on either hand of her, pretie faire boyes apparelled as painters do set forth God Cupide, with little fannes in their hands, with the which they fanned vpon her. Her ladies and gentlewomen also, the fairest of them were apparelled like the nymphes Nereides (which are the mermaides of the waters,) and like the Graces, some stearing the helme, others tending the tackle and Topes of the barge, out of the which there came a wonderfull pafling sweete savor of perfumes, that perfumed the wharfes fide, pestered with innumerable multitudes of people, Some of them followed the barge all alongit the riuer side: others also ranne out of the citie to see her coming in. So that in thend, there ranne such multitudes of people one after another to see her, that Antonius was left poft alone in the market place, in his imperiall feate to geve audience :" &c. STEEV.
3 - wbicb, but for vacancy,] Alluding to an axiom in the peri. patetic philofophy then in vogue, that Nature abbers a vacuum.
WARBURTON, For vacancy, means, for fear of a vacuum. MALONE.
And having lost her breath, she spoke, and panted,
Mec. Now Antony muit leave her utterly,
Eno. Never; he will not ;
Mec. If beauty, wisdom, modesty, can settle
4 – nor custom stale) This verb is used by Heywood in the Iron Agen 1632: “ One that hath sidl'd his courtly tricks at home." STEEVENS.
Orber women clay
Wbere molt pe fatisfies.] Almost the same thought, cloathed Deatly in the same expressions, is found in the old play of Pericles:
“ Who ítarves the ears she feeds, and makes them hungry,
" The more she gives them speech." Again, in our authour's Venus and Adonis :
" And yet not cloy thy lips with loath'd satiety,
“ Whence haft thou this becoming of tbings ill 3" MALONE.
when she is riggith.) Rigg is an ancient word meaning a strum. pet. So, in Whetstone's Caftle of Delight, 1576:
“ Immodest rigg, I Óvid's counsel usde.” STEEVENS.
« When wanton rig, or lecher diffolute,
A blessed lottery to bim.] Dr. Warburton says, the poet wrote allattery: but there is no reason for this afiertion. The ghost of Andrea in the Spanish Tragedy, says:
· Minos in graven leaves of lottery
« Drew forth the manner of my life and death. FARMIR. So, in Stanyhurst's tranlation of Virgil, 1982: “ By this hap escaping the filth of lottarye carnal."
Agr. Let us go.
[Excunt. SCENE III.
The fame. A Room in Cæsar's House.
tendants, and a Soothsayer.
Ołta. All which time,
Ant. Good night, fir.-My Octavia,
Caf. Good night. [Exeunt CÆSAR, and Octavia,
Soorb. 'Would I had never come from thence, nor you
Ant. If you can, your reason?
Sooth. I see it in
fainting under “ Fortune's false lottery."- STLEVENS. 9- pallbow my prayers] The same conftru&ion is in Coriolanes, A& I. sc. i :
“ Shouting obeir emulation." Again, in K. Lear, Act II. sc. ii :
“ Smile you my speeches ?" STILVENS. * Good nigbt, dear lady:
Good nigbe, Sir.] These last words, which in the only authentick copy of this play are given to Antony, the modern editors have assigned to O&avia. I see no need of change. He addresses himself to Cæsar, who immediately replies, Good nigbe. MALOnL. 2 I see it in My motion,] i. e. the divinitory agitation. WARBURTON.
Hie you to Egypt again.
Ant. Say to me,
Ant. Speak this no more.
- I say again, i by Spirie
“ Mark Antony's was by Cæsar's.” MALONE.
Becomes afear'd, -
A Fear was a personage in some of the old moralities. Fletcher al. Judes to it in the Maid's Tragedy, where Alpafia is instructing her ser. vants how to describe her fituation in needle-work:
and then a Fear : “ Do that Fear bravely, wench."The whole thought is borrowed from fir T. North's translation of Plutarch: “ With Antonius there was a foothsayer or astronomer of Egypt, that coulde calte a figure, and judge of mens natiuities, to tell them what should happen to them. He, either to please Cleopatra, or else that he founde it so by his art, told Antonius plainly, that his fortune (which of it felfe was excellent good, and very great) was altogether bleamished, and obscured by Cæsar's fortune: and therefore he counselled him vtterly to leave his company, and to get him as farre from him as he could. For thy Demon laid 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.
The old copy reads—that thy spirit. The correction, which was made in the second folio, is supported by the foregiong passage in Plutarch, but I doubt whether it is necessary. MALONE.
Sooth. To none but thee; no more, but when to thee.
- But, be away,] Old Copy-alway. Corrected by Mr. Pope.
MALONE. 5- bis 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 drew cuts for pastime, who should haue any thing, or whether they plaied at dice, Antonius alway loft. Oftentimes when they were disposed to fee cockfight, or quailes that were taught to fight one with an other, Cæsars cockes or quailes did euer ouercome." STEIVENS.
-inhoop’d, et odds.] Thus the old copy. Inboop'd is inclosed, confined, that they may fight. The modern editors read:
Beat mine in whoop'd-at odds. JOHNSON. Shakspeare gives us the practice of his own time: and there is no oc. cafion for in wboopidat, 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 boopes is now all the play." FARMER.
« She straight begins to bandy him about,