|
Enter DEMETRIUS and PHILO |
DEMETRIUS and PHILO enter. |
|
PHILO
Nay, but this dotage of our general’s O’erflows the measure. Those his goodly eyes, That o’er the files and musters of the war Have glowed like plated Mars, now bend, now turn The office and devotion of their view Upon a tawny front. His captain’s heart, Which in the scuffles of great fights hath burst The buckles on his breast, reneges all temper And is become the bellows and the fan To cool a gypsy’s lust. |
PHILO
No, our general’s infatuation is out of control. His eyes used to glow with pride when he reviewed his troops. Now his eyes devote themselves exclusively to a certain brown-skinned face. His heart used to burst the buckles on his breastplate in great fights, but now he’s lost all temperance and dedicates his heart to satisfying the lust of an Egyptian whore. |
|
Flourish. Enter ANTONY, CLEOPATRA, her ladies, the train, with eunuchs fanning her |
A trumpet fanfare announces the entrance of ANTONY, CLEOPATRA, her ladies and attendants, and eunuchs with fans. |
|
Look where they come. Take but good note, and you shall see in him The triple pillar of the world transformed Into a strumpet’s fool. Behold and see. |
Look at them. Take a good look, and you’ll see that one of the three men who rule the world has turned into a whore’s jester. Look and see. |
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CLEOPATRA
If it be love indeed, tell me how much. |
CLEOPATRA
If what you feel is really love, tell me how much. |
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ANTONY
There’s beggary in the love that can be reckoned. |
ANTONY
It would be a pretty stingy love if it could be counted and calculated. |
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CLEOPATRA
I’ll set a bourn how far to be beloved. |
CLEOPATRA
I want to measure the extent of your love, to see how far it stretches. |
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ANTONY
Then must thou needs find out new heaven, new earth. |
ANTONY
Then you would have to go beyond heaven, beyond earth. |
|
Enter a MESSENGER |
A MESSENGER enters. |
|
MESSENGER
News, my good lord, from Rome. |
MESSENGER
I have news from Rome, my good lord. |
|
ANTONY
Grates me, the sum. |
ANTONY
Which irritaties me. Give me a summary. |
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CLEOPATRA
Nay, hear them, Antony. Fulvia perchance is angry. Or who knows If the scarce-bearded Caesar have not sent His powerful mandate to you, “Do this, or this. Take in that kingdom, and enfranchise that. Perform ’t, or else we damn thee.” |
CLEOPATRA
No, listen to it, Antony. Perhaps Fulvia is angry with you. Who knows, maybe the baby-faced Caesar has orders for you: “Do this, do that; conquer that kingdom, liberate this one. Do it or we’ll condemn you.” |
|
ANTONY
How, my love? |
ANTONY
What, my love? |
|
CLEOPATRA
Perchance? Nay, and most like. You must not stay here longer. Your dismission Is come from Caesar. Therefore hear it, Antony. Where’s Fulvia’s process? Caesar’s, I would say—both? Call in the messengers. As I am Egypt’s queen, Thou blushest, Antony, and that blood of thine Is Caesar’s homager. Else so thy cheek pays shame When shrill-tongued Fulvia scolds. The messengers! |
CLEOPATRA
Maybe? No, most likely. You can’t stay here any longer. Caesar has sent your dismissal, so pay attention, Antony. Where’s Fulvia’s summons—excuse me, I should have said Caesar’s. Or do Fulvia and Caesar both beckon you back to Rome? Call in the messengers and we’ll find out. As surely as I am the queen of Egypt, Antony, you’re blushing, which means you’re Caesar’s servant. Or that that bitch Fulvia still has the power to humiliate you. Call the messengers! |
|
ANTONY
Let Rome in Tiber melt and the wide arch Of the ranged empire fall. Here is my space. Kingdoms are clay. Our dungy earth alike Feeds beast as man. The nobleness of life Is to do thus, when such a mutual pair And such a twain can do ’t, in which I bind, On pain of punishment, the world to weet We stand up peerless. |
ANTONY
Let Rome be washed away in the Tiber and let the great empire fall. My place is here. Kingdoms are only dirt. The soil feeds animals as well as people, so how does having a kingdom separate humans from beasts? The noblest thing is to do what we’re doing, particularly when the couple is as well matched as we are. I demand that the world admit we are the perfect couple or else suffer the consequences. |
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CLEOPATRA
Excellent falsehood! Why did he marry Fulvia, and not love her? I’ll seem the fool I am not. Antony Will be himself. |
CLEOPATRA
(to herself) What an enormous lie! Why did he marry Fulvia if he didn’t love her? I’ll pretend to be a fool and believe him. He’ll never change. |
|
ANTONY
But stirred by Cleopatra. Now, for the love of Love and her soft hours, Let’s not confound the time with conference harsh. There’s not a minute of our lives should stretch Without some pleasure now. What sport tonight? |
ANTONY
(overhearing the last sentence) Unless he is moved and inspired by Cleopatra. Now, since we love the feeling of being in love, let’s not spoil the mood with serious discussion. We shouldn’t spend a minute without some kind of amusement. What shall we do tonight? |
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CLEOPATRA
Hear the ambassadors. |
CLEOPATRA
Meet with the ambassadors. |
|
ANTONY
Fie, wrangling Queen! Whom every thing becomes—to chide, to laugh, To weep, whose every passion fully strives To make itself, in thee, fair and admired! No messenger but thine, and all alone Tonight we’ll wander through the streets and note The qualities of people. Come, my Queen, Last night you did desire it.—(to the MESSENGER) Speak not to us. |
ANTONY
Shame on you, stubborn Queen! Everything you do is attractive—scolding, laughing, crying—every emotion seems admirable when you express it. I won’t see any messengers but yours. Tonight we’ll wander through the streets and observe the people. Come, my Queen. That’s what you wanted to do last night. (to the MESSENGER) Don’t talk to us. |
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Exeunt ANTONY and CLEOPATRA with the train |
ANTONY and CLEOPATRA exit with their attendants. |
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DEMETRIUS
Is Caesar with Antonius prized so slight? |
DEMETRIUS
Does Antony have so little respect for Caesar? |
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PHILO
Sir, sometimes when he is not Antony He comes too short of that great property Which still should go with Antony. |
PHILO
Sir, sometimes he’s like a different person, a person who can’t measure up to the former Antony. |
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DEMETRIUS
I am full sorry That he approves the common liar, who Thus speaks of him at Rome, but I will hope Of better deeds tomorrow. Rest you happy! |
DEMETRIUS
I’m sad to say this confirms the stories being told about him in Rome, which I had taken to be lies. Well, I’ll hope things change for the better soon. Have a good night! |
|
Exeunt |
They exit. |
|
Enter ENOBARBUS, LAMPRIUS, a SOOTHSAYER, Rannius, LUCILLIUS, CHARMIAN, IRAS, MARDIAN the eunuch, and ALEXAS |
ENOBARBUS, LAMPRIUS, the FORTUNETELLER, Rannius, LUCILLUS, CHARMIAN, IRAS, MARDIAN the eunuch, and ALEXAS enter. |
|
CHARMIAN
Lord Alexas, sweet Alexas, most anything Alexas, almost most absolute Alexas, where’s the soothsayer that you praised so to th’ Queen? Oh that I knew this husband, which, you say, must charge his horns with garlands! |
CHARMIAN
Lord Alexas, sweet Alexas, most anything Alexas, almost the most consummate Alexas, where’s the fortuneteller you recommended so highly to the Queen? Oh, I only wish I knew the name of that husband you said he predicted will have a cheating wife! |
|
ALEXAS
Soothsayer! |
ALEXAS
(calling) Fortuneteller! |
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SOOTHSAYER
Your will? |
SOOTHSAYER
What can I do for you? |
|
CHARMIAN
(to ALEXAS) Is this the man? (to SOOTHSAYER) Is ’t you, sir, that know things? |
CHARMIAN
(to ALEXAS) Is this the man you recommended? (to the FORTUNETELLER) Are you the man who knows the future? |
|
SOOTHSAYER
In nature’s infinite book of secrecy A little I can read. |
SOOTHSAYER
I can understand a few of nature’s infinite secrets. |
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ALEXAS
(to CHARMIAN) Show him your hand. |
ALEXAS
(to CHARMIAN) Give him your hand to read. |
|
ENOBARBUS
(to servants within) Bring in the banquet quickly. Wine enough Cleopatra’s health to drink. |
ENOBARBUS
(to the servants) Bring the dessert in right away, and make sure there’s enough wine to toast Cleopatra’s health. |
|
CHARMIAN
(giving hand to SOOTHSAYER) Good sir, give me good fortune. |
CHARMIAN
(giving her hand to the FORTUNETELLER) Kind sir, give me a good fortune. |
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SOOTHSAYER
I make not, but foresee. |
SOOTHSAYER
I don’t make fortunes; I only see them. |
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CHARMIAN
Pray, then, foresee me one. |
CHARMIAN
Then see a good one for me. |
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SOOTHSAYER
You shall be yet far fairer than you are. |
SOOTHSAYER
Your beauty will be even greater than it is now. |
|
CHARMIAN
(to the others) He means in flesh. |
CHARMIAN
(to the others) He means I’ll get fat. |
|
IRAS
No, you shall paint when you are old. |
IRAS
No, he means you’ll use makeup when you’re old. |
|
CHARMIAN
Wrinkles forbid! |
CHARMIAN
May my wrinkles forbid that! |
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ALEXAS
Vex not his prescience. Be attentive. |
ALEXAS
Don’t joke about his predictions. Pay attention. |
|
CHARMIAN
Hush! |
CHARMIAN
Quiet! |
|
SOOTHSAYER
You shall be more beloving than beloved. |
SOOTHSAYER
You will love more than you are loved. |
|
CHARMIAN
I had rather heat my liver with drinking. |
CHARMIAN
I would rather get passion from drink than from love. |
|
ALEXAS
Nay, hear him. |
ALEXAS
Just listen to him. |
|
CHARMIAN
Good now, some excellent fortune! Let me be married to three kings in a forenoon and widow them all. Let me have a child at fifty, to whom Herod of Jewry may do homage. Find me to marry me with Octavius Caesar, and companion me with my mistress. |
CHARMIAN
Be kind now and tell me some excellent fortune. Tell me that I’ll marry three kings before noon and be widowed by all of them. Tell me I’ll have a child when I’m fifty who will be honored even by Herod of Judea. Let me marry Octavius Caesar and become my Queen’s equal. |
|
SOOTHSAYER
You shall outlive the lady whom you serve. |
SOOTHSAYER
You will outlive the Queen. |
|
CHARMIAN
Oh, excellent! I love long life better than figs. |
CHARMIAN
Oh, excellent! I love long life better than figs. |
|
SOOTHSAYER
You have seen and proved a fairer former fortune Than that which is to approach. |
SOOTHSAYER
You have already had better fortune than the future will bring. |
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CHARMIAN
Then belike my children shall have no names. Prithee, how many boys and wenches must I have? |
CHARMIAN
Then my children will probably be illegitimate. Tell me, please: how many boys and girls will I have? |
|
SOOTHSAYER
If every of your wishes had a womb, And fertile every wish, a million. |
SOOTHSAYER
If every time you wished for a child you could have had one, you would have a million children. |
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CHARMIAN
Out, fool! I forgive thee for a witch. |
CHARMIAN
Get out of here, you fool! Since you’re a fortuneteller I won’t bring charges of witchcraft against you. |
|
ALEXAS
You think none but your sheets are privy to your wishes. |
ALEXAS
You seem to think no one outside of your bedroom knows what you wish. |
|
CHARMIAN
(to SOOTHSAYER) Nay, come, tell Iras hers. |
CHARMIAN
(to FORTUNETELLER) Never mind. Tell Iras’ fortune. |
|
ALEXAS
We’ll know all our fortunes. |
ALEXAS
We’ll all want our fortune told. |
|
ENOBARBUS
Mine, and most of our fortunes tonight, shall be—drunk to bed. |
ENOBARBUS
My fortune—like that of many of us tonight—is to go drunk to bed. |
|
IRAS
(giving her hand to the SOOTHSAYER) There’s a palm presages chastity, if nothing else. |
IRAS
(giving her hand to the FORTUNETELLER) There’s a palm that will predict a chaste life, if nothing else. |
|
CHARMIAN
E’en as the o’erflowing Nilus presageth famine. |
CHARMIAN
Like the overflowing Nile predicts famine. |
|
IRAS
Go, you wild bedfellow, you cannot soothsay. |
IRAS
Oh stop it, you lusty bed-hopper. You can’t see the future. |
|
CHARMIAN
Nay, if an oily palm be not a fruitful prognostication, I cannot scratch mine ear.—Prithee, tell her but a workaday fortune. |
CHARMIAN
Well, if a moist palm isn’t a clear sign of promiscuity, then I can’t scratch my own ear. (to FORTUNETELLER) Please, tell her an ordinary fortune. |
|
SOOTHSAYER
Your fortunes are alike. |
SOOTHSAYER
Your fortunes are the same. |
|
IRAS
But how, but how? Give me particulars. |
IRAS
But how? How is that possible? Give me details. |
|
SOOTHSAYER
I have said. |
SOOTHSAYER
I’ve said what I have to say. |
|
IRAS
Am I not an inch of fortune better than she? |
IRAS
Isn’t my fortune just a little better than hers? By an inch, even? |
|
CHARMIAN
Well, if you were but an inch of fortune better than I, where would you choose it? |
CHARMIAN
Well, if you could have just an inch of better fortune than me, where would you like the improvement? |
|
IRAS
Not in my husband’s nose. |
IRAS
Not in my husband’s nose. |
|
CHARMIAN
Our worser thoughts heavens mend. Alexas! (to SOOTHSAYER) Come, his fortune, his fortune! Oh, let him marry a woman that cannot go, sweet Isis, I beseech thee, and let her die too, and give him a worse, and let worse follow worse, till the worst of all follow him laughing to his grave, fifty-fold a cuckold! Good Isis, hear me this prayer, though thou deny me a matter of more weight, good Isis, I beseech thee! |
CHARMIAN
May heaven save us from indecent thoughts! Alexas! (to the FORTUNETELLER) Come and tell his fortune. Let him marry a woman he can’t satisfy, dear Isis, I pray! And then let her die, and give him someone worse. Then let her die, and let her replacement be even worse. And so on until the last one, who is unfaithful with at least fifty other men and laughs at him until he dies. I beg you to grant my prayer, good Isis, even though it means you deny me something more important for myself. Good Isis, I beg you! |
|
IRAS
Amen, dear goddess, hear that prayer of the people! For, as it is a heartbreaking to see a handsome man loose-wived, so it is a deadly sorrow to behold a foul knave uncuckolded. Therefore, dear Isis, keep decorum, and fortune him accordingly. |
IRAS
Amen, dear goddess. Listen to our prayer. If it’s sad to see a handsome man with a cheating wife, it’s a tragedy to see an ugly thug with a wife who’s faithful. Therefore, dear Isis, do the right thing and give him the fortune he deserves. |
|
CHARMIAN
Amen. |
CHARMIAN
Amen. |
|
ALEXAS
(to himself) Lo now, if it lay in their hands to make me a cuckold, they would make themselves whores but they’d do ’t. |
ALEXAS
(to himself) See! If they could make me a cuckold, they’d whore themselves in order to see it done. |
|
ENOBARBUS
Hush! Here comes Antony. |
ENOBARBUS
Quiet! Here comes Antony. |
|
CHARMIAN
Not he. The Queen. |
CHARMIAN
It’s not him; it’s the Queen. |
|
Enter CLEOPATRA |
CLEOPATRA enters. |
|
CLEOPATRA
Saw you my lord? |
CLEOPATRA
Have you seen my lord? |
|
ENOBARBUS
No, lady. |
ENOBARBUS
No, lady. |
|
CLEOPATRA
Was he not here? |
CLEOPATRA
Wasn’t he here? |
|
CHARMIAN
No, madam. |
CHARMIAN
No, madam. |
|
CLEOPATRA
He was disposed to mirth, but on the sudden A Roman thought hath struck him.—Enobarbus! |
CLEOPATRA
He was in a good mood, and then suddenly he started thinking of Rome. Enobarbus? |
|
ENOBARBUS
Madam? |
ENOBARBUS
Madam? |
|
CLEOPATRA
Seek him and bring him hither.— Where’s Alexas? |
CLEOPATRA
Find him and bring him here. Where’s Alexas? |
|
ALEXAS
Here at your service. My lord approaches. |
ALEXAS
Here, at your service. Here comes my lord. |
|
Enter ANTONY with the FIRST MESSENGER |
ANTONY and the FIRST MESSENGER enter. |
|
CLEOPATRA
We will not look upon him. Go with us. |
CLEOPATRA
I won’t see him. Everyone come with me. |
|
Exeunt all but ANTONY and the FIRST MESSENGER |
Everyone follows CLEOPATRA out, leaving ANTONY and the FIRST MESSENGER. |
|
FIRST MESSENGER
Fulvia thy wife first came into the field. |
FIRST MESSENGER
Your wife, Fulvia, mustered her army first. |
|
ANTONY
Against my brother Lucius? |
ANTONY
Against my brother Lucius? |
|
FIRST MESSENGER
Ay. But soon that war had end, and the time’s state Made friends of them, joining their force ’gainst Caesar, Whose better issue in the war from Italy Upon the first encounter drave them. |
FIRST MESSENGER
Yes. But that war ended as soon as circumstances made it advisable for them to join together against Caesar. But in their very first battle, Caesar won and drove them out of Italy. |
|
ANTONY
Well, what worst? |
ANTONY
Well, give me the worst news. |
|
FIRST MESSENGER
The nature of bad news infects the teller. |
FIRST MESSENGER
The bearer of bad news is often blamed for it. |
|
ANTONY
When it concerns the fool or coward. On. Things that are past are done, with me. ’Tis thus: Who tells me true, though in his tale lie death, I hear him as he flattered. |
ANTONY
Only if the hearer is a fool or a coward. Go on. As far as I’m concerned, what’s past is done. It’s like this: as long as a person tells me the truth, even though it means my death, I will listen as though he praised me. |
|
FIRST MESSENGER
Labienus— This is stiff news—hath with his Parthian force Extended Asia: from Euphrates His conquering banner shook, from Syria To Lydia and to Ionia, Whilst— |
FIRST MESSENGER
The news is disturbing. Labienus, with the army he led in Parthia, has conquered all of Asia, all the way to the Euphrates River, including Syria, Lydia, and Ionia, while— |
|
ANTONY
“Antony,” thou wouldst say. |
ANTONY
“While Antony . . .” is what you want to say. |
|
FIRST MESSENGER
O my lord! |
FIRST MESSENGER
Oh, my lord! |
|
ANTONY
Speak to me home. Mince not the general tongue. Name Cleopatra as she is called in Rome. Rail thou in Fulvia’s phrase, and taunt my faults With such full license as both truth and malice Have power to utter. Oh, then we bring forth weeds When our quick minds lie still, and our ills told us Is as our earing. |
ANTONY
Speak plainly. Don’t tone down what the people are saying. Call Cleopatra what the Romans call her. Use Fulvia’s abusive language. Freely scold me for my faults with as much severity as an enemy with truth on his side. It’s easy to err when left to our own devices, but criticism helps us to see our faults and correct them. |
|
Enter SECOND MESSENGER |
A SECOND MESSENGER enters. |
|
Fare thee well awhile. |
Good-bye for a while. |
|
FIRST MESSENGER
At your noble pleasure. |
FIRST MESSENGER
I’ll be at your service. |
|
Exit FIRST MESSENGER |
The FIRST MESSENGER exits. |
|
ANTONY
From Sicyon, how, the news? Speak there. |
ANTONY
What’s the news from Sicyon. Tell me. |
|
SECOND MESSENGER
The man from Sicyon— |
SECOND MESSENGER
The man from Sicyon— |
|
ANTONY
Is there such an one? |
ANTONY
Is he here? |
|
SECOND MESSENGER
He stays upon your will. |
SECOND MESSENGER
He’s waiting outside. |
|
ANTONY
Let him appear. |
ANTONY
Have him come in. |
|
Exit SECOND MESSENGER |
The SECOND MESSENGER exits. |
|
These strong Egyptian fetters I must break, Or lose myself in dotage. |
(to himself) I must break Cleopatra’s powerful hold over me or else I’ll lose myself in foolish infatuation. |
|
Enter THIRD MESSENGER, with a letter |
A THIRD MESSENGER enters with a letter. |
|
What are you? |
What’s your message? |
|
THIRD MESSENGER
Fulvia thy wife is dead. |
THIRD MESSENGER
Your wife, Fulvia, is dead. |
|
ANTONY
Where died she? |
ANTONY
Where did she die? |
|
THIRD MESSENGER
In Sicyon. Her length of sickness, with what else more serious Importeth thee to know, this bears. |
THIRD MESSENGER
In Sicyon. In this letter you’ll find details of her illness and other, more serious matters that concern you. |
|
He gives ANTONY a letter |
He hands the letter to ANTONY. |
|
ANTONY
Forbear me. |
ANTONY
Leave me. |
|
Exit THIRD MESSENGER |
The THIRD MESSENGER exits. |
|
(to himself) There’s a great spirit gone! Thus did I desire it. What our contempts doth often hurl from us We wish it ours again. The present pleasure, By revolution lowering, does become The opposite of itself. She’s good, being gone. The hand could pluck her back that shoved her on. I must from this enchanting Queen break off. Ten thousand harms, more than the ills I know My idleness doth hatch.—How now, Enobarbus! |
(to himself) A great spirit has gone from the world! This is what I wanted. Once it’s gone, the very thing we reject becomes what we desire. What’s enjoyable one day becomes the opposite as time rolls around. Now that she’s gone, I want her. Now I would call her back, though I pushed her away. I have to break from this beguiling Queen. The time I’ve wasted here has caused ten thousand more problems than the ones I know about. (calling) Are you there, Enobarbus? |
|
Enter ENOBARBUS |
ENOBARBUS enters. |
|
ENOBARBUS
What’s your pleasure, sir? |
ENOBARBUS
What would you like, sir? |
|
ANTONY
I must with haste from hence. |
ANTONY
I have to leave right away. |
|
ENOBARBUS
Why, then, we kill all our women. We see how mortal an unkindness is to them. If they suffer our departure, death’s the word. |
ENOBARBUS
That will kill our lovers. We know how much they suffer if we are unkind to them. If we leave, it will feel like nothing less than death to them. |
|
ANTONY
I must be gone. |
ANTONY
I must be gone. |
|
ENOBARBUS
Under a compelling occasion, let women die. It were pity to cast them away for nothing, though between them and a great cause they should be esteemed nothing. Cleopatra, catching but the least noise of this, dies instantly. I have seen her die twenty times upon far poorer moment. I do think there is mettle in death, which commits some loving act upon her, she hath such a celerity in dying. |
ENOBARBUS
If it’s that important, then let the women die. It would be a pity to throw them away for nothing, but if it’s a matter of choosing between them and a great cause, then they’re worthless. If Cleopatra hears even a breath of this, she’ll die immediately. I’ve seen her claim to be dying twenty times before, and for far less reason. I think there must be something invigorating about death, since she dies with such enthusiasm. |
|
ANTONY
She is cunning past man’s thought. |
ANTONY
She’s more cunning than anyone can imagine. |
|
ENOBARBUS
Alack, sir, no, her passions are made of nothing but the finest part of pure love. We cannot call her winds and waters sighs and tears. They are greater storms and tempests than almanacs can report. This cannot be cunning in her. If it be, she makes a shower of rain as well as Jove. |
ENOBARBUS
Alas, sir, no, her feelings come from pure love, not cleverness. Her sighs and tears are like great winds and floods. She has more storms and tempests in her than a weather almanac. Her temper is not a trick or a skill—if it is, she can make it rain as well as Jove. |
|
ANTONY
Would I had never seen her! |
ANTONY
I wish I’d never seen her! |
|
ENOBARBUS
O sir, you had then left unseen a wonderful piece of work which not to have been blessed withal would have discredited your travel. |
ENOBARBUS
Then you’d have missed an amazing piece of work, sir, and your trip would have been poorer for the loss. |
|
ANTONY
Fulvia is dead. |
ANTONY
Fulvia is dead. |
|
ENOBARBUS
Sir? |
ENOBARBUS
Pardon me? |
|
ANTONY
Fulvia is dead. |
ANTONY
Fulvia is dead. |
|
ENOBARBUS
Fulvia? |
ENOBARBUS
Fulvia? |
|
ANTONY
Dead. |
ANTONY
Dead. |
|
ENOBARBUS
Why, sir, give the gods a thankful sacrifice. When it pleaseth their deities to take the wife of a man from him, it shows to man the tailors of the earth, comforting therein, that when old robes are worn out, there are members to make new. If there were no more women but Fulvia, then had you indeed a cut, and the case to be lamented. This grief is crowned with consolation. Your old smock brings forth a new petticoat, and indeed the tears live in an onion that should water this sorrow. |
ENOBARBUS
Then you should offer the gods a sacrifice to show your thanks. When a man’s wife dies, he can be comforted by the knowledge that there are replacements to be found. If Fulvia were the last woman on earth, there would be a reason to grieve. But in this way, grief and comfort appear together. The only kind of tears you should shed in this case are the kind you might get from holding an onion to your nose. |
|
ANTONY
The business she hath broached in the state Cannot endure my absence. |
ANTONY
I must go and continue the business Fulvia started. |
|
ENOBARBUS
And the business you have broached here cannot be without you, especially that of Cleopatra’s, which wholly depends on your abode. |
ENOBARBUS
The business you began here needs you as well—especially the business with Cleopatra, which only you can attend to. |
|
ANTONY
No more light answers. Let our officers Have notice what we purpose. I shall break The cause of our expedience to the Queen And get her leave to part. For not alone The death of Fulvia, with more urgent touches, Do strongly speak to us, but the letters too Of many our contriving friends in Rome Petition us at home. Sextus Pompeius Hath given the dare to Caesar and commands The empire of the sea. Our slippery people, Whose love is never linked to the deserver Till his deserts are past, begin to throw Pompey the Great and all his dignities Upon his son, who—high in name and power, Higher than both in blood and life—stands up For the main soldier, whose quality, going on, The sides o’ th’ world may danger. Much is breeding Which, like the courser’s hair, hath yet but life, And not a serpent’s poison. Say our pleasure, To such whose place is under us, requires Our quick remove from hence. |
ANTONY
Enough of this frivolous talk. Give our officers notice of our intentions. I’ll tell the Queen the reason for our quick departure and get her permission to leave. Fulvia’s death and the pressing concerns related to it are not the only reasons I am eager to go; friends in Rome have also sent many letters advising my return. Sextus Pompeius has challenged Caesar. His fleet controls the sea. Our fickle citizens—who never reward service until that service is over—are now giving all the rights and honors won by Pompey the Great to his son, Sextus. Sextus has great honor and power, and his spirit and energy are even greater, all of which makes him the most formidable soldier in the empire. The empire may be in danger if he’s not restrained before he reaches his full potential. There are many troubles brewing now that have yet to become full-fledged threats. Like horse’s hairs dropped in a bucket of water, they come alive like snakes but as yet they bear no poison. Relay our intentions to the officers who will be in charge of the move. |
|
ENOBARBUS
I shall do ’t. |
ENOBARBUS
I will. |
|
Exeunt |
They both exit. |
|
Enter CLEOPATRA, CHARMIAN, ALEXAS, and IRAS |
CLEOPATRA, CHARMIAN, ALEXAS, and IRAS enter. |
|
CLEOPATRA
Where is he? |
CLEOPATRA
Where is he? |
|
CHARMIAN
I did not see him since. |
CHARMIAN
I haven’t seen him recently. |
|
CLEOPATRA
(to ALEXAS) 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. |
CLEOPATRA
(to ALEXAS) Find out where he is, who’s with him, and what he’s doing. Don’t tell him I sent you. If he’s sad, tell him I’m dancing. If he’s happy, say that I’ve suddenly taken sick. Hurry, and come back. |
|
Exit ALEXAS |
ALEXAS exits. |
|
CHARMIAN
Madam, methinks, if you did love him dearly, You do not hold the method to enforce The like from him. |
CHARMIAN
Madam, I think if you love him so much, you aren’t using the best way to get him to reciprocate. |
|
CLEOPATRA
What should I do I do not? |
CLEOPATRA
What should I do that I’m not doing? |
|
CHARMIAN
In each thing give him way. Cross him in nothing. |
CHARMIAN
Always give him his way. Never contradict him. |
|
CLEOPATRA
Thou teachest like a fool the way to lose him. |
CLEOPATRA
You advise me like a fool. That’s the way to lose him. |
|
CHARMIAN
Tempt him not so too far. I wish, forbear. In time we hate that which we often fear. |
CHARMIAN
Don’t push him too far. I wish you’d be patient. We come to hate that which controls us. |
|
Enter ANTONY |
ANTONY enters. |
|
But here comes Antony. |
But here comes Antony. |
|
CLEOPATRA
I am sick and sullen. |
CLEOPATRA
I am sick and sullen. |
|
ANTONY
I am sorry to give breathing to my purpose— |
ANTONY
I’m sorry to have to say this— |
|
CLEOPATRA
Help me away, dear Charmian! I shall fall. It cannot be thus long. The sides of nature Will not sustain it. |
CLEOPATRA
Help me away from here, dear Charmian! I shall faint. I won’t be able to go on this way much longer. Human nature isn’t built to withstand this. |
|
ANTONY
Now, my dearest Queen— |
ANTONY
Now, my dearest Queen— |
|
CLEOPATRA
Pray you, stand farther from me. |
CLEOPATRA
Please, stand farther away from me. |
|
ANTONY
What’s the matter? |
ANTONY
What’s the matter? |
|
CLEOPATRA
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. |
CLEOPATRA
I can see in your eyes there’s been some good news. What, does your wife say you can come home? I wish she’d never let you come. Don’t let her say I kept you. I have no power over you. You belong to her. |
|
ANTONY
The gods best know— |
ANTONY
The gods know— |
|
CLEOPATRA
Oh never was there queen So mightily betrayed! Yet at the first I saw the treasons planted. |
CLEOPATRA
Oh, never has a queen been so betrayed as I have been. I knew from the first it would be this way. |
|
ANTONY
Cleopatra— |
ANTONY
Cleopatra— |
|
CLEOPATRA
Why should I think you can be mine, and true— Though you in swearing shake the thronèd gods— Who have been false to Fulvia? Riotous madness, To be entangled with those mouth-made vows Which break themselves in swearing! |
CLEOPATRA
How could I have ever thought that you would be faithful and true, even though your vows of love shook the heavens themselves—you, who were unfaithful to Fulvia? It was wild insanity to believe promises made by the mouth and not the heart. Such false vows are broken as soon as they are spoken. |
|
ANTONY
Most sweet Queen— |
ANTONY
Most sweet Queen— |
|
CLEOPATRA
Nay, pray you, seek no color 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 turned the greatest liar. |
CLEOPATRA
No, please don’t try to excuse your departure. Just say good-bye and go. When you begged to stay, that was the time for words. You didn’t want to go then! You saw eternity in my lips and eyes, and happiness in the arch of my eyebrows. Then, all my parts seemed angelic to you. My features are still that beautiful—or else you, the greatest soldier in the world, have become the greatest liar by overpraising them. |
|
ANTONY
How now, lady? |
ANTONY
What do you mean, lady? |
|
CLEOPATRA
I would I had thy inches. Thou shouldst know There were a heart in Egypt. |
CLEOPATRA
I wish I were as big and strong as you. Then you’d see the courage that lives in the Queen of Egypt. |
|
ANTONY
Hear me, Queen: The strong necessity of time commands Our services awhile, 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 Breed scrupulous faction. The hated, grown to strength, Are newly grown to love. The condemned Pompey, Rich in his father’s honor, creeps apace Into the hearts of such as have not thrived 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. |
ANTONY
Listen to me, Queen. There is an emergency I must take care of, but my whole heart will remain here with you. My Italy is full of civil war. Sextus Pompeius is sailing toward the port of Rome. When two domestic opponents are equally matched—as we are against Pompey—factions will form on the smallest of pretexts. When a formerly hated man grows powerful, he suddenly finds himself with many supporters. Pompey, who was once condemned, now wields his father’s power, and all the citizens who have grievances against the government are joining him. Pompey’s numbers are steadily growing, and the government is ready to do something desperate. But my personal motivation—and that which should move you most to sanction my departure—is that Fulvia is dead. |
|
CLEOPATRA
Though age from folly could not give me freedom, It does from childishness. Can Fulvia die? |
CLEOPATRA
I may not have outlived the foolishness of my youth, but I’m not that childishly naïve. Is it possible Fulvia is dead? |
|
ANTONY
She’s dead, my Queen. |
ANTONY
She’s dead, my Queen. |
|
He offers letters |
He shows her the message. |
|
Look here, and at thy sovereign leisure read The garboils she awaked, at the last, best, See when and where she died. |
Look at this. Take your royal time and read about the quarrels she encouraged. And saving the best for last, read when and where she died. |
|
CLEOPATRA
O most false love! Where be the sacred vials thou shouldst fill With sorrowful water? Now I see, I see, In Fulvia’s death how mine received shall be. |
CLEOPATRA
Oh, unfaithful lover! You should be filling vials with your tears. Seeing how you take Fulvia’s death, I can see how you would react to mine. |
|
ANTONY
Quarrel no more, but be prepared to know The purposes I bear, which are or cease As you shall give th’ advice. By the fire That quickens Nilus’ slime, I go from hence Thy soldier, servant, making peace or war As thou affects. |
ANTONY
Stop arguing and listen to my plans. Whether I go ahead with them or not is completely up to you. I swear by the sun that when I leave here, it will be as your faithful servant. I will make either peace or war, whichever you prefer. |
|
CLEOPATRA
Cut my lace, Charmian, come! But let it be. I am quickly ill, and well, So Antony loves. |
CLEOPATRA
Cut my corset laces, Charmian, so I can breathe. Hurry! No, leave it alone. I waver easily between sickness and health. Just as Antony loves. |
|
ANTONY
My precious Queen, forbear, And give true evidence to his love which stands An honorable trial. |
ANTONY
Control yourself, my precious Queen, and concede that my love is true. It has endured many genuine trials. |
|
CLEOPATRA
So Fulvia told me. I prithee, 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 honor. |
CLEOPATRA
That’s what Fulvia told me. I beg you, turn away and cry for her. Then say good-bye to me and tell me those tears were for my benefit. Good. Now perform a scene for me, using your excellent skills of playacting, and pretend that you’re being honorable and righteous. |
|
ANTONY
You’ll heat my blood. No more. |
ANTONY
You’ll make me angry. No more of this. |
|
CLEOPATRA
You can do better yet, but this is meetly. |
CLEOPATRA
I know you can do better than that, but it’ll do for now. |
|
ANTONY
Now, by my sword— |
ANTONY
I swear by my sword— |
|
CLEOPATRA
And target. Still he mends. (to CHARMIAN) But this is not the best. Look, prithee, Charmian, How this Herculean Roman does become The carriage of his chafe. |
CLEOPATRA
Swear by your shield, too! (to CHARMIAN) He’s getting better, but still it’s not his best. See, Charmian, how well this mighty Roman portrays anger? |
|
ANTONY
I’ll leave you, lady. |
ANTONY
I’ll leave you, lady. |
|
CLEOPATRA
Courteous lord, one word. Sir, you and I must part, but that’s not it. Sir, you and I have loved, but there’s not it, That you know well. Something it is I would— Oh, my oblivion is a very Antony, And I am all forgotten. |
CLEOPATRA
Polite sir, let me say one thing. Sir, you and I must part company—no, that’s not it. Sir, you and I were lovers—no, that’s not it, either. You already know all that. There’s something I’d like to—oh, I’ve forgotten what I wanted to say. Just as Antony has forgotten me. |
|
ANTONY
But that your royalty Holds idleness your subject, I should take you For idleness itself. |
ANTONY
If you weren’t the queen of immaturity, I’d think you were immaturity itself. |
|
CLEOPATRA
’Tis sweating labor 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 honor calls you hence. Therefore be deaf to my unpitied folly, And all the gods go with you! Upon your sword Sit laurel victory, and smooth success Be strewed before your feet. |
CLEOPATRA
It’s difficult to have such immaturity so close to my heart, but bear with me. Even the traits that become me most kill me when you don’t approve of them. Your honor is the reason you are leaving. So I beg you not to listen to my foolishness. May the gods be with you. May your sword be victorious and everything you do succeed. |
|
ANTONY
Let us go. Come. Our separation so abides and flies That thou, residing here, goes yet with me, And I, hence fleeting, here remain with thee. Away! |
ANTONY
Let’s go. Come with me. Our imminent separation so occupies our thoughts that even though you stay here, you come with me, and even though I leave here, I stay with you. |
|
Exeunt |
They exit. |
|
Enter OCTAVIUS CAESAR, reading a letter, LEPIDUS, and their train |
OCTAVIUS CAESAR enters, reading a letter, with LEPIDUS and their courtiers and attendants. |
|
CAESAR
You may see, Lepidus, and henceforth know, It is not Caesar’s natural vice to hate Our 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 Vouchsafed to think he had partners. You shall find there A man who is th’ abstract of all faults That all men follow. |
CAESAR
Now you’ll see, Lepidus, that I don’t disdain our noble ally because of a personal whim. Here’s the news from Alexandra: Antony fishes, drinks, and celebrates all night. He’s become as frivolous and self-indulgent as Ptolemy’s queen, Cleopatra. He rarely attends to his duties or acknowledges he has partners to be considered. Here’s a man who is the epitome of all the vices known to man. |
|
LEPIDUS
I must not think there are Evils enough to darken all his goodness. His faults in him seem as the spots of heaven, More fiery by night’s blackness, hereditary Rather than purchased, what he cannot change Than what he chooses. |
LEPIDUS
I can’t believe there could be enough vice in the world to outshine all the good in him. His faults stand out because they must be compared to all his virtues, like stars that shine brightly against the dark night sky. They’re more likely to be the result of inherited weakness than independent choice. |
|
CAESAR
You are too indulgent. Let’s grant, it is not Amiss to tumble on the bed of Ptolemy, To give a kingdom for a mirth, to sit And keep the turn of tippling with a slave, To reel the streets at noon, and stand the buffet With knaves that smell of sweat. Say this becomes him— As his composure must be rare indeed Whom these things cannot blemish—yet must Antony No way excuse his foils when we do bear So great weight in his lightness. If he filled His vacancy with his voluptuousness, Full surfeits and the dryness of his bones Call on him for ’t. But to confound such time That drums him from his sport and speaks as loud As his own state and ours, ’tis to be chid As we rate boys who, being mature in knowledge, Pawn their experience to their present pleasure And so rebel to judgment. |
CAESAR
You’re too forgiving. Let’s say, for argument’s sake, that it’s not improper to fool around with Ptolemy’s wife, or to trade a kingdom for a joke. That it’s fine to engage in drinking matches with inferiors, or stumble drunkenly through the streets in the middle of the day, or get into fist fights with sweaty servants. Even if we said that this behavior suits him—though only a man with a perfect character could avoid being disgraced by such antics—there’s no excuse for the extra work we’ve had to take on while he’s been off amusing himself. If he’s been spending his leisure time in lustful pursuits, then he’ll be punished with venereal diseases, and that’s his business. But he’s wasting time and resources vital to our cause and endangering both his position and ours. He should be chastised, like any boy who knows what’s right but chooses to satisfy his desires regardless. |
|
Enter FIRST MESSENGER |
The FIRST MESSENGER enters. |
|
LEPIDUS
Here’s more news. |
LEPIDUS
Here’s more news. |
|
FIRST MESSENGER
Thy biddings have been done, and every hour, Most noble Caesar, shalt thou have report How ’tis abroad. Pompey is strong at sea, And it appears he is beloved of those That only have feared Caesar. To the ports The discontents repair, and men’s reports Give him much wronged. |
FIRST MESSENGER
We’ve followed your commands, lord Caesar. You shall have hourly updates regarding the situation at sea. Pompey has a strong navy. All the people who only stayed with you out of fear are gathering at the port to join him, in the opinion he’s been treated unfairly. |
|
CAESAR
I should have known no less. It hath been taught us from the primal state That he which is was wished until he were, And the ebbed man, ne’er loved till ne’er worth love, Comes deared by being lacked. This common body, Like to a vagabond flag upon the stream, Goes to and back, lackeying the varying tide To rot itself with motion. |
CAESAR
I should have known it. It’s been this way ever since the first government was organized. People will transfer their support to a strong figure until he becomes their actual leader. Then they will value their former leader, even though the loss of their support has made him powerless. The common crowd changes like the tide, to and fro, serving whoever is on the rise. Their power is worn away by their fickleness. |
|
Enter SECOND MESSENGER |
The SECOND MESSENGER enters. |
|
SECOND MESSENGER
Caesar, I bring thee word Menecrates and Menas, famous pirates, Make the sea serve them, which they ear and wound With keels of every kind. Many hot inroads They make in Italy—the borders maritime Lack blood to think on ’t—and flush youth revolt. No vessel can peep forth, but ’tis as soon Taken as seen, for Pompey’s name strikes more Than could his war resisted. |
SECOND MESSENGER
Caesar, I have news about Menecrates and Menas, notorious pirates who prowl the sea in a variety of ships. They’ve made many raids upon Italy—and the naval patrols go pale at even the thought of resisting them. The young, energetic men are joining Pompey. These pirates can capture a ship as soon as it leaves the harbor, since the simple mention of the name “Pompey” carries as much power as a fleet of troops in battle. |
|
Exit |
SECOND MESSENGER exits. |
|
CAESAR
Antony, Leave thy lascivious wassails. When thou once Wast beaten from Modena, where thou slew’st Hirtius and Pansa, consuls, at thy heel Did famine follow, whom thou fought’st against, Though daintily brought up, with patience more Than savages could suffer. Thou didst drink The stale of horses and the gilded puddle Which beasts would cough at. Thy palate then did deign The roughest berry on the rudest hedge. Yea, like the stag, when snow the pasture sheets, The barks of trees thou browsèd. On the Alps It is reported thou didst eat strange flesh, Which some did die to look on. And all this— It wounds thine honor that I speak it now— Was borne so like a soldier, that thy cheek So much as lanked not. |
CAESAR
Antony, it’s time to stop your wild hedonism. When you were defeated at the battle of Modena—where you killed the consuls, Hirtius and Pansa—and then driven away, you had to face hunger and thirst. And even though you were brought up as a gentleman, you patiently tolerated more hardships than savages could withstand. You drank horses’ urine and water from scum-covered puddles that even animals would refuse. Though you were used to the finest foods, you didn’t turn up your nose at the bitterest berries on the thorniest bushes. You even ate bark from trees, as deer do in winter. Going over the Alps, you ate strange meat that some men would rather die than consume. And you went through all this—the comparison between then and now shames you—in such a soldier-like way that you didn’t seem to suffer at all. |
|
LEPIDUS
’Tis pity of him. |
LEPIDUS
It’s too bad. |
|
CAESAR
Let his shames quickly Drive him to Rome. ’Tis time we twain Did show ourselves i’ th’ field, and to that end Assemble we immediate council. Pompey Thrives in our idleness. |
CAESAR
Let’s hope his sense of shame will send him back to Rome quickly. It’s time that we brought our armies into the field. Let’s call a council of war immediately. Pompey is making the most of our absence. |
|
LEPIDUS
Tomorrow, Caesar, I shall be furnished to inform you rightly Both what by sea and land I can be able To front this present time. |
LEPIDUS
Tomorrow, Caesar, I’ll be able to tell you what land and sea forces I can raise for this war. |
|
CAESAR
Till which encounter It is my business too. Farewell. |
CAESAR
I’ll be getting my own figures together in the meantime. Good-bye. |
|
LEPIDUS
Farewell, my lord. What you shall know meantime Of stirs abroad, I shall beseech you, sir, To let me be partaker. |
LEPIDUS
Good-bye, my lord. If you receive any more news, please share it with me. |
|
CAESAR
Doubt not, sir. I knew it for my bond. |
CAESAR
Don’t worry, that goes without saying. |
|
Exeunt |
They exit. |
|
Enter CLEOPATRA, CHARMIAN, IRAS, and MARDIAN |
CLEOPATRA, CHARMIAN, IRAS, and MARDIAN enter. |
|
CLEOPATRA
Charmian! |
CLEOPATRA
Charmian! |
|
CHARMIAN
Madam? |
CHARMIAN
Madam? |
|
CLEOPATRA
Ha, ha! Give me to drink mandragora. |
CLEOPATRA
Ah, give me some mandragora to drink. |
|
CHARMIAN
Why, madam? |
CHARMIAN
Why, madam? |
|
CLEOPATRA
That I might sleep out this great gap of time My Antony is away. |
CLEOPATRA
So I can sleep away the time while my Antony is gone. |
|
CHARMIAN
You think of him too much. |
CHARMIAN
You think about him too much. |
|
CLEOPATRA
Oh, ’tis treason! |
CLEOPATRA
That’s treason! |
|
CHARMIAN
Madam, I trust, not so. |
CHARMIAN
I hope not, Madam. |
|
CLEOPATRA
Thou, eunuch Mardian! |
CLEOPATRA
Eunuch! Mardian! |
|
MARDIAN
What’s your highness’ pleasure? |
MARDIAN
What can I do for your highness? |
|
CLEOPATRA
Not now to hear thee sing. I take no pleasure In aught an eunuch has. ’Tis well for thee That, being unseminared, thy freer thoughts May not fly forth of Egypt. Hast thou affections? |
CLEOPATRA
I don’t want to hear you sing. I’m not interested in anything a eunuch can do. It’s a good thing for you that, being castrated, you can better concentrate on my needs. Do you have desires? |
|
MARDIAN
Yes, gracious madam. |
MARDIAN
Yes, dear madam. |
|
CLEOPATRA
Indeed? |
CLEOPATRA
Indeed? |
|
MARDIAN
Not in deed, madam, for I can do nothing But what indeed is honest to be done. Yet have I fierce affections, and think What Venus did with Mars. |
MARDIAN
Well, not in deed, madam, since I can’t do anything unchaste. But I do have intense passions—and I do think about what Venus did with Mars. |
|
CLEOPATRA
O Charmian, Where think’st thou he is now? Stands he or sits he? Or does he walk? Or is he on his horse? O happy horse, to bear the weight of Antony! Do bravely, horse, for wott’st thou whom thou mov’st? The demi-Atlas of this earth, the arm And burgonet of men. He’s speaking now, Or murmuring “Where’s my serpent of old Nile?” For so he calls me. Now I feed myself With most delicious poison. Think on me, That am with Phoebus’ amorous pinches black And wrinkled deep in time. Broad-fronted Caesar, When thou wast here above the ground, I was A morsel for a monarch. And great Pompey Would stand and make his eyes grow in my brow. There would he anchor his aspect, and die With looking on his life. |
CLEOPATRA
Oh, Charmian, where do you think he is now? Is he standing or sitting? Or is he walking? Or is he on his horse? Oh, how fortunate that horse is to have Antony on him. Do well, horse. Do you know whom it is you carry? A man who carries responsibility for a third of the world on his shoulders. He’s speaking now, or perhaps he’s whispering, “Where’s my serpent of the Nile?” For that’s his pet name for me. I’m killing myself with this provocative speculation . . . Are you thinking about me? Even though I’ve been darkened by the sun and wrinkled with age? Caesar, with your broad forehead, when you were alive, I was the perfect young consort for a king. And powerful Pompey used to stare at me as if he were frozen in time. |
|
Enter ALEXAS |
ALEXAS enters. |
|
ALEXAS
Sovereign of Egypt, hail! |
ALEXAS
Queen of Egypt, greetings! |
|
CLEOPATRA
How much unlike art thou Mark Antony! Yet, coming from him, that great med’cine hath With his tinct gilded thee. How goes it with my brave Mark Antony? |
CLEOPATRA
You are nothing like Mark Antony! But since you come from him, you’re saturated with his healing spirit. How does it go with my magnificent Mark Antony? |
|
ALEXAS
Last thing he did, dear Queen, He kissed—the last of many doubled kisses— This orient pearl. |
ALEXAS
The last thing he did before sending me off, dear Queen, was to kiss—the last of many such kisses—this Indian pearl for you. |
|
He gives a pearl. |
He gives CLEOPATRA a pearl. |
|
His speech sticks in my heart. |
His speech is stored in my heart. |
|
CLEOPATRA
Mine ear must pluck it thence. |
CLEOPATRA
My ear must pull it out. |
|
ALEXAS
“Good friend,” quoth he, “Say the firm Roman to great Egypt sends This treasure of an oyster, at whose foot, To mend the petty present, I will piece Her opulent throne with kingdoms. All the East, Say thou, shall call her mistress.” So he nodded, And soberly did mount an arm-gaunt steed, Who neighed so high that what I would have spoke Was beastly dumbed by him. |
ALEXAS
“Good friend,” he said, “say that the faithful Roman sends an oyster’s treasure to the great Queen of Egypt, and that he plans to enhance this meager gift by adding new kingdoms to her empire. Tell her that the entire East shall call her Queen.” Then he nodded and solemnly mounted an armored warhorse, which neighed so loudly it effectively silenced anything I might have said in reply. |
|
CLEOPATRA
What was he, sad or merry? |
CLEOPATRA
Was he sad or happy? |
|
ALEXAS
Like to the time o’ th’ year between the extremes Of hot and cold, he was nor sad nor merry. |
ALEXAS
He was like that time of year halfway between the extremes of hot and cold: he was neither sad nor happy. |
|
CLEOPATRA
O well-divided disposition! Note him, Note him, good Charmian, ’tis the man, but note him. He was not sad, for he would shine on those That make their looks by his. He was not merry, Which seemed to tell them his remembrance lay In Egypt with his joy, but between both. O heavenly mingle! Be’st thou sad or merry, The violence of either thee becomes, So does it no man else.—Mett’st thou my posts? |
CLEOPATRA
Oh, what an even disposition he has! Observe, observe good Charmian! That’s exactly how he is! Just notice. He wasn’t sad, because he knows that his disposition affects others. He wasn’t merry, because to be merry would indicate that he had forgotten his love in Egypt. He was somewhere in the middle, between them . . . Oh, heavenly mixture! Whether you are sad or merry, the intensity of either suits you like no one else . . . Did you meet my messengers on your way here? |
|
ALEXAS
Ay, madam, twenty several messengers. Why do you send so thick? |
ALEXAS
Yes, madam, twenty different messengers. Why did you send so many? |
|
CLEOPATRA
Who’s born that day When I forget to send to Antony Shall die a beggar. Ink and paper, Charmian. Welcome, my good Alexas. Did I, Charmian, Ever love Caesar so? |
CLEOPATRA
Whoever is born on a day I forget to send a message to Antony will die a beggar. Bring ink and paper, Charmian. Welcome, my good Alexas. Charmian, did I ever love Caesar as much as this? |
|
CHARMIAN
Oh, that brave Caesar! |
CHARMIAN
Oh, that splendid Caesar! |
|
CLEOPATRA
Be choked with such another emphasis! Say, “the brave Antony.” |
CLEOPATRA
May you choke on any other sentiments like that! Say, “That splendid Antony.” |
|
CHARMIAN
The valiant Caesar! |
CHARMIAN
The courageous Caesar! |
|
CLEOPATRA
By Isis, I will give thee bloody teeth If thou with Caesar paragon again My man of men. |
CLEOPATRA
By Isis, I’ll give you bloody teeth if you ever compare Caesar with Antony, my best man among men. |
|
CHARMIAN
By your most gracious pardon, I sing but after you. |
CHARMIAN
Pardon me, but I’m just repeating what you yourself have said. |
|
CLEOPATRA
My salad days, When I was green in judgment, cold in blood, To say as I said then. (to everyone) But, come, away. (to CHARMIAN) Get me ink and paper. He shall have every day a several greeting, Or I’ll unpeople Egypt. |
CLEOPATRA
That was when I was young and inexperienced and didn’t know what passion was.(to everyone) But come. (to CHARMIAN) Go get me ink and paper. He shall have different messages every day if I have to depopulate Egypt to send them. |
|
Exeunt |
They all exit. |
|
Enter POMPEY, MENECRATES, and MENAS, in warlike manner |
POMPEY, MENECRATES, and MENAS enter, dressed for battle. |
|
POMPEY
If the great gods be just, they shall assist The deeds of justest men. |
POMPEY
If the great gods are just, they will help the most honest men. |
|
MENAS
Know, worthy Pompey, That what they do delay, they not deny. |
MENAS
You should know, noble Pompey, that although the gods may delay action, that doesn’t mean they will necessarily refuse their help. |
|
POMPEY
Whiles we are suitors to their throne, decays The thing we sue for. |
POMPEY
But while we pray and wait for that help, the cause we petition for may be lost. |
|
MENAS
We, ignorant of ourselves, Beg often our own harms, which the wise powers Deny us for our good, so find we profit By losing of our prayers. |
MENAS
Sometimes we don’t know what’s best for us and ask for things that may harm us. In that case, the wise gods deny our prayers for our own good. |
|
POMPEY
I shall do well. The people love me, and the sea is mine. My powers are crescent, and my auguring hope Says it will come to th’ full. Mark Antony In Egypt sits at dinner, and will make No wars without doors. Caesar gets money where He loses hearts. Lepidus flatters both, Of both is flattered, but he neither loves, Nor either cares for him. |
POMPEY
I’ll do well. The people are on my side, and I’m in charge of the sea. My forces are growing, and everything I know tells me it’s all coming together. Mark Antony is at dinner in Egypt and won’t be going outside to make war. Caesar loses supporters wherever he raises money. Lepidus flatters both of them, as they flatter him, but he doesn’t love them, and they don’t love him. |
|
MENAS
Caesar and Lepidus Are in the field. A mighty strength they carry. |
MENAS
Caesar and Lepidus are organizing their military operation. They have a massive army. |
|
POMPEY
Where have you this? ’Tis false. |
POMPEY
Where did you hear this? It’s not true. |
|
MENAS
From Silvius, sir. |
MENAS
From Silvius, sir. |
|
POMPEY
He dreams. I know they are in Rome together Looking for Antony. But all the charms of love, Salt Cleopatra, soften thy wanned lip! Let witchcraft join with beauty, lust with both. Tie up the libertine in a field of feasts, Keep his brain fuming. Epicurean cooks, Sharpen with cloyless sauce his appetite, That sleep and feeding may prorogue his honor Even till a Lethe’d dulness— |
POMPEY
He’s dreaming. I know they’re in Rome together, hoping for Antony to return. Lecherous Cleopatra, may all the charms of love soften those withered lips! Join your witchcraft with your beauty, and let Antony’s lust combine with both. Keep this libertine occupied with endless debauchery. Keep his brain drunk and his appetite unsatisfied, so that sleeping and eating make him drowsy and forgetful of his duties, like the Lethe does. |
|
Enter VARRIUS |
VARRIUS enters. |
|
How now, Varrius? |
What’s the news, Varrius? |
|
VARRIUS
This is most certain that I shall deliver: Mark Antony is every hour in Rome Expected. Since he went from Egypt ’tis A space for farther travel. |
VARRIUS
This news is absolutely true: Mark Antony is expected to arrive in Rome at any hour now. In the time since he left Egypt, he could have traveled an even longer distance. |
|
POMPEY
I could have given less matter A better ear.—Menas, I did not think This amorous surfeiter would have donned his helm For such a petty war. His soldiership Is twice the other twain. But let us rear The higher our opinion, that our stirring Can from the lap of Egypt’s widow pluck The ne’er lust-wearied Antony. |
POMPEY
I would have listened to less important news with greater enthusiasm. Menas, I had no idea this amorous glutton would have put on his helmet for such an insignificant war. His military ability is double that of the other two. We must form a better opinion of ourselves if our uprising can pull the insatiable Antony’s attention away from that Egyptian widow. |
|
MENAS
I cannot hope Caesar and Antony shall well greet together. His wife that’s dead did trespasses to Caesar. His brother warred upon him, although, I think, Not moved by Antony. |
MENAS
I don’t expect Caesar and Antony will have a very friendly reunion. Antony’s dead wife raised an army against him, as did his brother, though I don’t think Antony instigated it. |
|
POMPEY
I know not, Menas, How lesser enmities may give way to greater. Were ’t not that we stand up against them all, ’Twere pregnant they should square between themselves, For they have entertainèd cause enough To draw their swords. But how the fear of us May cement their divisions and bind up The petty difference, we yet not know. Be ’t as our gods will have ’t. It only stands Our lives upon to use our strongest hands. Come, Menas. |
POMPEY
Menas, I don’t understand how minor quarrels can be superseded by greater ones. If it weren’t for the fact that we oppose all three of them together, they’d be fighting each other. They certainly have enough provocation. But it’s possible the fear of us may mend their petty differences, though how that will work out, we cannot say. It will be as the gods see fit. In any case, our survival depends on putting together the strongest force possible. Let’s go, Menas. |
|
Exeunt |
They exit. |
|
Enter ENOBARBUS and LEPIDUS |
ENOBARBUS and LEPIDUS enter. |
|
LEPIDUS
Good Enobarbus, ’tis a worthy deed, And shall become you well, to entreat your captain To soft and gentle speech. |
LEPIDUS
Good Enobarbus, you would be doing a very good thing if you advised your captain to speak calmly and quietly. |
|
ENOBARBUS
I shall entreat him To answer like himself. If Caesar move him, Let Antony look over Caesar’s head And speak as loud as Mars. By Jupiter, Were I the wearer of Antonio’s beard, I would not shave ’t today. |
ENOBARBUS
I will advise him to speak as he usually does. If Caesar makes him mad, let Antony stand tall and speak as loudly as Mars, the god of war. By Jupiter, if I were Antony, I wouldn’t shave my beard today. I’d leave it long and dare Caesar to insult me by pulling on it, just so I could fight him. |
|
LEPIDUS
’Tis not a time for private stomaching. |
LEPIDUS
This is not the time for dwelling on personal grievances. |
|
ENOBARBUS
Every time serves for the matter that is then born in ’t. |
ENOBARBUS
It’s always appropriate to deal with matters as they arise. |
|
LEPIDUS
But small to greater matters must give way. |
LEPIDUS
But major issues must come before minor ones. |
|
ENOBARBUS
Not if the small come first. |
ENOBARBUS
Not if the minor ones come up first. |
|
LEPIDUS
Your speech is passion. But pray you stir No embers up. Here comes the noble Antony. |
LEPIDUS
You speak out of passion, but I beg you not to stir things up. Here comes the noble Antony. |
|
Enter ANTONY and VENTIDIUS |
ANTONY and VENTIDIUS enter. |
|
ENOBARBUS
And yonder, Caesar. |
ENOBARBUS
And there comes Caesar. |
|
Enter OCTAVIUS CAESAR, MECAENAS, and AGRIPPA |
CAESAR, MAECENAS, and AGRIPPA enter from another door. |
|
ANTONY
(to VENTIDIUS) If we compose well here, to Parthia. Hark, Ventidius. |
ANTONY
(to VENTIDIUS) If we can come to an agreement here, we’ll move on to Parthia. Listen, Ventidius. |
|
They talk aside |
They talk privately together. |
|
CAESAR
(to MECAENAS) I do not know, Maecenas. Ask Agrippa. |
CAESAR
(to MAECENAS) I don’t know, Maecenas. Ask Agrippa. |
|
LEPIDUS
(to CAESAR and ANTONY) Noble friends, That which combined us was most great, and let not A leaner action rend us. What’s amiss, May it be gently heard. When we debate Our trivial difference loud, we do commit Murder in healing wounds. Then, noble partners, The rather for I earnestly beseech, Touch you the sourest points with sweetest terms, Nor curstness grow to th’ matter. |
LEPIDUS
(to CAESAR and ANTONY) Good friends, the cause that joined us was noble. Don’t let some petty quarrel tear us apart. Let’s discuss this calmly. When we argue our differences with raised voices, we do more harm than good. So I plead with you to use reasonable words as you discuss these unreasonable deeds, and don’t lose your tempers. |
|
ANTONY
’Tis spoken well. Were we before our armies, and to fight, I should do thus. |
ANTONY
You’re right. If we were in front of our armies, about to fight, I would do this. |
|
Flourish |
A trumpet fanfare. |
|
CAESAR
Welcome to Rome. |
CAESAR
Welcome to Rome. |
|
ANTONY
Thank you. |
ANTONY
Thank you. |
|
CAESAR
Sit. |
CAESAR
Have a seat. |
|
ANTONY
Sit, sir. |
ANTONY
After you. |
|
CAESAR
Nay, then. |
CAESAR
No, after you. |
|
They sit |
They sit. |
|
ANTONY
I learn, you take things ill which are not so, Or being, concern you not. |
ANTONY
I hear you’ve interpreted some of my actions as being improper, when they weren’t improper at all—or if they were, their impropriety didn’t concern you. |
|
CAESAR
I must be laughed at If or for nothing or a little, I Should say myself offended, and with you Chiefly i’ th’ world; more laughed at, that I should Once name you derogately, when to sound your name It not concerned me. |
CAESAR
I should be ridiculed if I were offended so easily—and laughed at even more for speaking of you disrespectfully, when I had no reason to speak of you at all. |
|
ANTONY
My being in Egypt, Caesar, what was ’t to you? |
ANTONY
Caesar, what did my stay in Egypt have to do with you? |
|
CAESAR
No more than my residing here at Rome Might be to you in Egypt. Yet if you there Did practice on my state, your being in Egypt Might be my question. |
CAESAR
No more than my staying here in Rome might mean to you in Egypt. But if you conspired against my position while you were there, I might be interested in the reason for your stay in Egypt. |
|
ANTONY
How intend you, “practiced”? |
ANTONY
How do you mean, “conspired”? |
|
CAESAR
You may be pleased to catch at mine intent By what did here befall me. Your wife and brother Made wars upon me, and their contestation Was theme for you. You were the word of war. |
CAESAR
You can judge for yourself what I mean. Your wife and brother led troops against me, claiming to be fighting in your name. They said they were acting for you. |
|
ANTONY
You do mistake your business. My brother never Did urge me in his act. I did inquire it, And have my learning from some true reports That drew their swords with you. Did he not rather Discredit my authority with yours, And make the wars alike against my stomach, Having alike your cause? Of this my letters Before did satisfy you. If you’ll patch a quarrel, As matter whole you have to make it with, It must not be with this. |
ANTONY
You’re mistaken. My brother didn’t use my name to justify his rebellion. I talked to some reliable participants in that battle. On the contrary, his fight was with both of us. He rejected my authority as much as yours. Since you and I share a common cause, wouldn’t his actions against you be hostile to me as well? I’ve already sent the proof in my letters. If you want to pick a fight, you’ll have to find a more substantial excuse. |
|
CAESAR
You praise yourself By laying defects of judgment to me, but You patched up your excuses. |
CAESAR
You defend yourself by blaming my judgment, but you’re just making up feeble excuses. |
|
ANTONY
Not so, not so. I know you could not lack, I am certain on ’t, Very necessity of this thought, that I, Your partner in the cause ’gainst which he fought, Could not with graceful eyes attend those wars Which fronted mine own peace. As for my wife, I would you had her spirit in such another. The third o’ th’ world is yours, which with a snaffle You may pace easy, but not such a wife. |
ANTONY
Not true, not true. You know I would never approve a war against my own cause. As for my wife, if only you had such a wife. It’s easier to rule a third of the world than a wife like that. |
|
ENOBARBUS
Would we had all such wives, that the men might go to wars with the women! |
ENOBARBUS
We should all have wives like that. Then the women could go to war with the men. |
|
ANTONY
So much uncurbable, her garboils, Caesar, Made out of her impatience—which not wanted Shrewdness of policy too—I grieving grant Did you too much disquiet. For that you must But say I could not help it. |
ANTONY
I had no control over her uprisings, Caesar, which arose from her impatience—and were shrewdly undertaken, as well. I’m sorry she caused you so much trouble. But you can’t blame me for her offenses. |
|
CAESAR
I wrote to you When rioting in Alexandria. You Did pocket up my letters and with taunts Did gibe my missive out of audience. |
CAESAR
I sent you a letter while you were carousing in Alexandria. You put my letters in your pocket without reading them and then mocked my messenger out of the room. |
|
ANTONY
Sir, He fell upon me ere admitted, then. Three kings I had newly feasted, and did want Of what I was i’ th’ morning. But next day I told him of myself, which was as much As to have asked him pardon. Let this fellow Be nothing of our strife. If we contend, Out of our question wipe him. |
ANTONY
Sir, he burst into the room without invitation, just after I had come from an important banquet with three kings. I was not myself, as a result of the wine. The next day I explained all this to him, which was as good as begging his pardon. Let’s not fight over this fellow. If we must argue, let us remove him from our arguments. |
|
CAESAR
You have broken The article of your oath, which you shall never Have tongue to charge me with. |
CAESAR
You’ve broken the terms of our sworn agreement. You will never be able to say the same about me. |
|
LEPIDUS
Soft, Caesar. |
LEPIDUS
Easy, Caesar. |
|
ANTONY
No, Lepidus, let him speak. The honor is sacred which he talks on now, Supposing that I lacked it.—But, on, Caesar. The article of my oath? |
ANTONY
No, Lepidus, let him say what’s on his mind. Now he slanders my honor, which is sacred to me. Go on, Caesar. What part of the agreement did I break? |
|
CAESAR
To lend me arms and aid when I required them, The which you both denied. |
CAESAR
You agreed to send me troops and weapons when I needed them. You refused me both. |
|
ANTONY
Neglected, rather, And then when poisoned hours had bound me up From mine own knowledge. As nearly as I may I’ll play the penitent to you, but mine honesty Shall not make poor my greatness nor my power Work without it. Truth is that Fulvia, To have me out of Egypt, made wars here, For which myself, the ignorant motive, do So far ask pardon as befits mine honor To stoop in such a case. |
ANTONY
I overlooked your request, but I did not deny it. Your request came at a time when the poisonous effects of reveling caused me to be unaware of my own actions. I will apologize as much as is appropriate, but my apology will not diminish my great stature—or if I am denied that honor, I will withhold my military might. The truth is that to get me out of Egypt, Fulvia provoked riots here. And though I am only indirectly the cause of all this trouble, I ask your pardon to the extent that my honor permits me to lower myself in such a situation. |
|
LEPIDUS
’Tis noble spoken. |
LEPIDUS
Spoken like a gentleman. |
|
MAECENAS
If it might please you to enforce no further The griefs between ye, to forget them quite Were to remember that the present need Speaks to atone you. |
MAECENAS
If it’s okay with you, you should not press your grievances any further, but realize that the current situation should be enough to reconcile you. |
|
LEPIDUS
Worthily spoken, Maecenas. |
LEPIDUS
Well put, Maecenas. |
|
ENOBARBUS
Or, if you borrow one another’s love for the instant, you may, when you hear no more words of Pompey, return it again. You shall have time to wrangle in when you have nothing else to do. |
ENOBARBUS
Or you can pretend to settle your differences until this matter with Pompey is finished. You can argue as much as you like when there’s nothing else to do. |
|
ANTONY
Thou art a soldier only. Speak no more. |
ANTONY
You are only a soldier. Be quiet. |
|
ENOBARBUS
That truth should be silent I had almost forgot. |
ENOBARBUS
Oh, I’d forgotten that no one’s supposed to speak the truth. |
|
ANTONY
You wrong this presence. Therefore speak no more. |
ANTONY
It’s not appropriate for a soldier to be part of a discussion among noblemen. Don’t speak any further. |
|
ENOBARBUS
Go to, then. Your considerate stone. |
ENOBARBUS
As you please. I’ll pretend to be a conscious stone, and think without speaking. |
|
CAESAR
I do not much dislike the matter, but The manner of his speech, for ’t cannot be We shall remain in friendship, our conditions So diff’ring in their acts. Yet if I knew What hoop should hold us stanch, from edge to edge O’ th’ world I would pursue it. |
CAESAR
I agree with what he says, though I don’t care for the way he says it. It’s not possible for us to be friends anymore. We’re too different, in both our dispositions and actions. But if there were something that could join us together again, I would go to the ends of the world to find it. |
|
AGRIPPA
Give me leave, Caesar. |
AGRIPPA
May I speak, Caesar. |
|
CAESAR
Speak, Agrippa. |
CAESAR
What is it, Agrippa? |
|
AGRIPPA
Thou hast a sister by the mother’s side, Admired Octavia. Great Mark Antony Is now a widower. |
AGRIPPA
You have a beautiful half-sister, Octavia. Great Mark Antony is a widower now. |
|
CAESAR
Say not so, Agrippa. If Cleopatra heard you, your reproof Were well deserved of rashness. |
CAESAR
You’d better not make that suggestion, Agrippa. If Cleopatra heard you, you would be well punished for your audacity. |
|
ANTONY
I am not married, Caesar. Let me hear Agrippa further speak. |
ANTONY
It’s true I’m not married, Caesar. Let me hear what Agrippa has to say. |
|
AGRIPPA
To hold you in perpetual amity, To make you brothers, and to knit your hearts With an unslipping knot, take Antony Octavia to his wife, whose beauty claims No worse a husband than the best of men, Whose virtue and whose general graces speak That which none else can utter. By this marriage, All little jealousies, which now seem great, And all great fears, which now import their dangers, Would then be nothing. Truths would be tales, Where now half-tales be truths. Her love to both Would each to other and all loves to both Draw after her. Pardon what I have spoke, For ’tis a studied, not a present thought, By duty ruminated. |
AGRIPPA
If Antony were to take Octavia as his wife, you two would be bound in eternal friendship. As brothers, your hearts would be tied together in an unbreakable knot. She is beautiful enough for the best of men. Her virtue and grace are unparalleled. With this marriage, all the petty jealousies that now seem huge, and all the great fears that are dangerous in themselves, would disappear. People would become used to speaking the truth rather than gossip. Since she would love both of you, you two would be joined in that love. Excuse my bluntness. This is not a spur-of-the-moment suggestion. I have been considering this for some time, in my duties to both of you. |
|
ANTONY
Will Caesar speak? |
ANTONY
What do you say, Caesar? |
|
CAESAR
Not till he hears how Antony is touched With what is spoke already. |
CAESAR
I’d rather hear your reaction to this first. |
|
ANTONY
What power is in Agrippa If I would say, “Agrippa, be it so,” To make this good? |
ANTONY
If I said to Agrippa, “I agree. Make it happen,” does Agrippa have the power to make it so? |
|
CAESAR
The power of Caesar, and His power unto Octavia. |
CAESAR
He has both my power and my influence over Octavia. |
|
ANTONY
May I never To this good purpose, that so fairly shows, Dream of impediment! Let me have thy hand Further this act of grace, and from this hour The heart of brothers govern in our loves And sway our great designs! |
ANTONY
I wouldn’t dream of opposing such an obviously promising idea. Let’s shake on it. If you go through with this plan, from now on we’ll be brothers, and our love for one another will guide our actions. |
|
CAESAR
There’s my hand. |
CAESAR
Here’s my hand. |
|
They clasp hands |
They shake hands. |
|
A sister I bequeath you whom no brother Did ever love so dearly. Let her live To join our kingdoms and our hearts, and never Fly off our loves again! |
I give you a sister whom I love more than a brother ever loved any sister. She will be the bond that joins our kingdoms and our hearts. We’ll never fight again. |
|
LEPIDUS
Happily, amen! |
LEPIDUS
I’m happy to say “amen” to that! |
|
ANTONY
I did not think to draw my sword ’gainst Pompey, For he hath laid strange courtesies and great Of late upon me. I must thank him only, Lest my remembrance suffer ill report; At heel of that, defy him. |
ANTONY
I didn’t think I would ever fight Pompey. He’s shown me unusual deference lately, and I must repay his favors or risk a reputation for ingratitude. That done, I can turn against him. |
|
LEPIDUS
Time calls upon ’s. Of us must Pompey presently be sought, Or else he seeks out us. |
LEPIDUS
There isn’t much time. Either we go after Pompey or he’ll come after us. |
|
ANTONY
Where lies he? |
ANTONY
Where is he now? |
|
CAESAR
About the Mount Misena. |
CAESAR
Near Mt. Misena. |
|
ANTONY
What is his strength by land? |
ANTONY
How large is his land army? |
|
CAESAR
Great and increasing. But by sea he is an absolute master. |
CAESAR
Large and increasing. But his navy rules the sea. |
|
ANTONY
So is the fame. Would we had spoke together! Haste we for it. Yet, ere we put ourselves in arms, dispatch we The business we have talked of. |
ANTONY
That’s what I hear. I wish we’d had this conversation sooner. Let’s get down to business—and yet, before we get ready for war, let’s take care of that business we just discussed. |
|
CAESAR
With most gladness, And do invite you to my sister’s view, Whither straight I’ll lead you. |
CAESAR
With pleasure. I’ll introduce you to my sister. Follow me. |
|
ANTONY
Let us, Lepidus, not lack your company. |
ANTONY
Come with us, Lepidus. |
|
LEPIDUS
Noble Antony, not sickness should detain me. |
LEPIDUS
Noble Antony, even illness couldn’t keep me away. |
|
Flourish. Exeunt all but ENOBARBUS, AGRIPPA, and MAECENAS |
Trumpets play a fanfare. Everyone exits except ENOBARBUS, AGRIPPA, and MAECENAS. |
|
MAECENAS
(to ENOBARBUS) Welcome from Egypt, sir. |
MAECENAS
(to ENOBARBUS) Welcome back from Egypt, sir. |
|
ENOBARBUS
Half the heart of Caesar, worthy Maecenas! My honorable friend, Agrippa. |
ENOBARBUS
You’ve become Caesar’s right hand man, Maecenas! It’s good to see you too, Agrippa. |
|
AGRIPPA
Good Enobarbus! |
AGRIPPA
Good Enobarbus! |
|
MAECENAS
We have cause to be glad that matters are so well digested. You stayed well by ’t in Egypt. |
MAECENAS
We can be happy that things have been resolved so agreeably. And I see you survived your time in Egypt. |
|
ENOBARBUS
Ay, sir, we did sleep day out of countenance and made the night light with drinking. |
ENOBARBUS
Yes, sir, it was tough. We confused the daytime by sleeping through it, and made the night merry with our drinking. |
|
MAECENAS
Eight wild boars roasted whole at a breakfast—and but twelve persons there! Is this true? |
MAECENAS
We heard that once you were served eight wild boars roasted whole for breakfast—for only twelve people! Is that true? |
|
ENOBARBUS
This was but as a fly by an eagle. We had much more monstrous matter of feast, which worthily deserved noting. |
ENOBARBUS
That was nothing. There were many even more memorable feasts. |
|
MAECENAS
She’s a most triumphant lady, if report be square to her. |
MAECENAS
She’s a remarkable lady, if the rumors are to be believed. |
|
ENOBARBUS
When she first met Mark Antony, she pursed up his heart upon the river of Cydnus. |
ENOBARBUS
From the first time Antony saw her, sailing on her barge on the Cydnus River, he was hers. |
|
AGRIPPA
There she appeared indeed, or my reporter devised well for her. |
AGRIPPA
She made quite an appearance there, or else my informant invented a very flattering description of her. |
|
ENOBARBUS
I will tell you. The barge she sat in, like a burnished throne, Burned on the water. The poop was beaten gold, Purple the sails, and so perfumèd that The winds were lovesick with them. The oars were silver, Which to the tune of flutes kept stroke, and made The water which they beat to follow faster, As amorous of their strokes. For her own person, It beggared all description: she did lie In her pavilion—cloth-of-gold, of tissue— O’erpicturing that Venus where we see The fancy outwork nature. On each side her Stood pretty dimpled boys, like smiling Cupids, With divers-colored fans, whose wind did seem To glow the delicate cheeks which they did cool, And what they undid did. |
ENOBARBUS
I’ll tell you. Her barge looked like a golden throne upon the waves, burning bright with the sun’s reflections. The rear deck was covered with hammered gold. The sails were dyed purple, and they were perfumed so heavily that they made the air seem dizzy with love. The oars were made of silver, and the oarsmen rowed in time to flute music. As the oars beat the water, the waves seemed to speed up as if excited by lust. Cleopatra’s appearance was indescribable. As she reclined under a canopy woven from gold thread, she was more beautiful than any artist’s idealized portrait of the goddess Venus. Pretty, Cupid-like boys stood on either side of her, smiling and cooling her with multicolored fans, which seemed to fan the flames in her cheeks even as they cooled them, undoing what they did. |
|
AGRIPPA
Oh, rare for Antony! |
AGRIPPA
How excellent for Antony! |
|
ENOBARBUS
Her gentlewomen, like the Nereides, So many mermaids, tended her i’ th’ eyes, And made their bends adornings. At the helm A seeming mermaid steers. The silken tackle Swell with the touches of those flower-soft hands That yarely frame the office. From the barge A strange invisible perfume hits the sense Of the adjacent wharfs. The city cast Her people out upon her, and Antony, Enthroned i’ th’ marketplace, did sit alone, Whistling to th’ air, which, but for vacancy, Had gone to gaze on Cleopatra too And made a gap in nature. |
ENOBARBUS
Her ladies-in-waiting—like Nereides, or mermaids—tended to Cleopatra as she watched them, and their graceful movements added to the beauty of the scene. It seemed as if a mermaid were steering. The silken sails and ropes swelled in the wind, expertly handled by the ladies’ soft hands. People on the wharves could smell exotic perfume wafting from the barge as it passed them. All the people came out to see her, and Antony, waiting for her in the marketplace, was left alone. Even the air itself would have gone to look at Cleopatra, if that wouldn’t have caused an unnatural vacuum in the atmosphere. |
|
AGRIPPA
Rare Egyptian! |
AGRIPPA
Extraordinary Egyptian! |
|
ENOBARBUS
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 barbered ten times o’er, goes to the feast, And for his ordinary pays his heart For what his eyes eat only. |
ENOBARBUS
When she landed at the port, Antony sent an invitation for her to come to supper. She replied by saying that it would be better for him to be her guest instead. Our courteous Antony, who has never said “no” to any woman, after spending plenty of time being groomed by the barber, goes to the feast. For that simple meal, he paid with his heart—even though it was only his eyes that were satisfied. |
|
AGRIPPA
Royal wench! She made great Caesar lay his sword to bed. He plowed her, and she cropped. |
AGRIPPA
Royal seductress! She lured Julius Caesar into her bed, he made love to her, and she bore his child. |
|
ENOBARBUS
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, pour breathe forth. |
ENOBARBUS
I saw her once hop forty feet down the street. When she stopped she was so out of breath that she was panting. Her beauty made even that weakness seem perfect, and even in her breathlessness she seemed to pour out breath. |
|
MAECENAS
Now Antony must leave her utterly. |
MAECENAS
Now Antony has to leave her completely. |
|
ENOBARBUS
Never. He will not. Age cannot wither her, nor custom stale Her infinite variety. Other women cloy The 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. |
ENOBARBUS
He’ll never leave her. Age won’t wither her, and her charms are so varied that she never grows boring. With other women, the more familiar you grow with them the less appealing they become. Cleopatra, on the other hand, makes you desire her the more you see her. Even her worst faults are charming, and holy priests bless her even when she acts the slut. |
|
MAECENAS
If beauty, wisdom, modesty, can settle The heart of Antony, Octavia is A blessèd lottery to him. |
MAECENAS
If beauty, wisdom, and modesty can settle Antony’s restless heart, Octavia will be the best thing that has ever happened to him. |
|
AGRIPPA
Let us go. Good Enobarbus, make yourself my guest Whilst you abide here. |
AGRIPPA
Let’s go. Good Enobarbus, consider yourself my guest as long as you’re here. |
|
ENOBARBUS
Humbly, sir, I thank you. |
ENOBARBUS
I humbly thank you. |
|
Exeunt |
They exit. |
|
Enter ANTONY, CAESAR; OCTAVIA between them |
ANTONY and CAESAR enter with OCTAVIA between them. |
|
ANTONY
(to OCTAVIA) The world and my great office will sometimes Divide me from your bosom. |
ANTONY
(to OCTAVIA) There will be times when my duties and responsibilities take me away from you. |
|
OCTAVIA
All which time Before the gods my knee shall bow my prayers To them for you. |
OCTAVIA
And I will spend our time apart on my knees, praying for you. |
|
ANTONY
(to CAESAR) 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 th’ rule. Good night, dear lady. (to CAESAR) Good night, sir. |
ANTONY
(to CAESAR) Good night, sir. My Octavia, don’t believe everything you hear about me. I haven’t always lived a conventional life, but the future will be by the book. Good night, dear lady. (to CAESAR) Good night, sir. |
|
CAESAR
Good night. |
CAESAR
Good night. |
|
He exits with OCTAVIA |
CAESAR and OCTAVIA exit. |
|
Enter SOOTHSAYER |
The FORTUNETELLER enters. |
|
ANTONY
Now, sirrah, you do wish yourself in Egypt? |
ANTONY
Now, sirrah, I hear you wish you were back in Egypt. |
|
SOOTHSAYER
Would I had never come from thence, nor you thither. |
SOOTHSAYER
I wish I had never left Egypt and that you had never come to Egypt. |
|
ANTONY
If you can, your reason? |
ANTONY
Tell me why, if you can. |
|
SOOTHSAYER
I see it in my motion, have it not in my tongue. But yet hie you to Egypt again. |
SOOTHSAYER
It’s a feeling, but nothing I can put into words. But you had better get back to Egypt again. |
|
ANTONY
Say to me whose fortunes shall rise higher, Caesar’s or mine? |
ANTONY
Tell me who shall have the better luck, Caesar or me? |
|
SOOTHSAYER
Caesar’s. Therefore, O Antony, stay not by his side. Thy dæmon—that thy spirit which keeps thee—is Noble, courageous, high, unmatchable Where Caesar’s is not. But near him thy angel Becomes afeard, as being o’erpowered. Therefore Make space enough between you. |
SOOTHSAYER
Caesar. So you’d better not stay with him, Antony. Your guardian angel is noble, courageous, significant, and unmatched when Caesar’s not around. But when you are with him, your angel is weakened and easily frightened. That’s why there must be space between you. |
|
ANTONY
Speak this no more. |
ANTONY
Don’t speak of this again. |
|
SOOTHSAYER
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 luster thickens When he shines by. I say again, thy spirit Is all afraid to govern thee near him, But, he away, ’tis noble. |
SOOTHSAYER
To none but you, only to you. You will surely lose any game you play with Caesar. With his natural luck, he will beat you even against the odds. Your light dulls when he is near. I repeat: your angel is afraid to inspire you when you’re around him, but when he goes away it becomes brilliant again. |
|
ANTONY
Get thee gone. Say to Ventidius I would speak with him. |
ANTONY
Leave now. Tell Ventidius I want to speak with him. |
|
Exit SOOTHSAYER |
The FORTUNETELLER exits. |
|
(to himself) 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 naught, and his quails ever Beat mine, inhooped, at odds. I will to Egypt. And though I make this marriage for my peace, I’ th’ East my pleasure lies. |
(to himself) I’ll send him to Parthia. Whether he’s truly gifted or just lucky, what the Fortuneteller said is true. Even the dice obey Caesar. When we compete in sports, my skill is defeated by his luck. If we pick numbers in a lottery, he wins. His roosters always beat mine at the cockfights. His quails beat mine, even against the odds, when mine have the advantage. I’ll return to Egypt. Though I’ve made this marriage to keep peace with Caesar, my pleasure remains in the East, with Cleopatra. |
|
Enter VENTIDIUS |
VENTIDIUS enters. |
|
O come, Ventidius. You must to Parthia. Your commission’s ready. Follow me and receive ’t. |
Come here, Ventidius. You must go to Parthia. Your authorization is ready. Come with me and I’ll get it for you. |
|
Exeunt |
They exit. |
|
Enter LEPIDUS, MECAENAS, and AGRIPPA |
LEPIDUS, MAECENAS, and AGRIPPA enter. |
|
LEPIDUS
Trouble yourselves no further. Pray you, hasten Your generals after. |
LEPIDUS
Don’t spend any more time here. Go tell your generals to hurry their preparations. |
|
AGRIPPA
Sir, Mark Antony Will e’en but kiss Octavia, and we’ll follow. |
AGRIPPA
Sir, we’ll follow as soon as Mark Antony kisses Octavia good-bye. |
|
LEPIDUS
Till I shall see you in your soldiers’ dress, Which will become you both, farewell. |
LEPIDUS
Good-bye then, until the time I see you dressed in your battle gear, which will suit you both very well. |
|
MAECENAS
We shall, As I conceive the journey, be at the Mount Before you, Lepidus. |
MAECENAS
According to my reckoning, we’ll get to Mt. Misena before you, Lepidus. |
|
LEPIDUS
Your way is shorter. My purposes do draw me much about. You’ll win two days upon me. |
LEPIDUS
You’re taking a shorter route. My plans take me a roundabout way. You’ll get there two days before me. |
|
MAECENAS, AGRIPPA
Sir, good success. |
MAECENAS, AGRIPPA
Good luck, sir. |
|
LEPIDUS
Farewell. |
LEPIDUS
Farewell. |
|
Exeunt |
They exit. |
|
Enter CLEOPATRA, CHARMIAN, IRAS, and ALEXAS |
CLEOPATRA, CHARMIAN, IRAS, and ALEXAS enter. |
|
CLEOPATRA
Give me some music. Music, moody food Of us that trade in love. |
CLEOPATRA
Play me some music. Music feeds the melancholy moods of us lovers. |
|
ALL
The music, ho! |
ALL
Musicians, come in! |
|
Enter MARDIAN the eunuch |
MADRIANenters. |
|
CLEOPATRA
Let it alone. Let’s to billiards. Come, Charmian. |
CLEOPATRA
Never mind. Let’s play billiards. Play with me, Charmian. |
|
CHARMIAN
My arm is sore. Best play with Mardian. |
CHARMIAN
My arm is sore. You’ll have a better game with Mardian. |
|
CLEOPATRA
As well a woman with an eunuch played As with a woman.—Come, you’ll play with me, sir? |
CLEOPATRA
Playing with a eunuch is the same as playing with a woman. Will you play with me, sir? |
|
MARDIAN
As well as I can, madam. |
MARDIAN
I’ll do my best, madam. |
|
CLEOPATRA
And when good will is showed, though ’t come too short, The actor may plead pardon. I’ll none now. Give me mine angle. We’ll to th’ river. There, My music playing far off, I will betray Tawny-finned 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, “Aha! You’re caught.” |
CLEOPATRA
When a person tries in good faith, even if he fails he cannot be blamed. I don’t want to play now. Give me my fishing rod. We’ll go to the river. With my music playing in the background, I’ll lure fish. My hook will go through their slimy jaws and as I pull them up I’ll imagine each one is Antony. I’ll say, “Aha! I caught you!” |
|
CHARMIAN
’Twas merry when You wagered on your angling, when your diver Did hang a salt fish on his hook, which he With fervency drew up. |
CHARMIAN
It was funny when you and Antony bet on who could catch the first fish. You had a diver put a salted fish on his hook. He was so excited as he hurried to pull it in! |
|
CLEOPATRA
That time—Oh, times!— I laughed him out of patience, and that night I laughed 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. |
CLEOPATRA
That time? Oh, there were so many fun times. I would play some trick on him and laugh until he lost his patience. Then, that night, I would laugh with him while we made love until he was patient again. Then by nine in the morning I would have him so drunk I could dress him in my clothes while I wore the sword he used at the famous battle of Philippi. |
|
Enter a MESSENGER |
A MESSENGER enters. |
|
Oh, from Italy! Ram thou thy fruitful tidings in mine ears, That long time have been barren. |
Oh! News from Italy! Cram your good news into my ears. It’s been so long since I’ve heard from him. |
|
MESSENGER
Madam, madam— |
MESSENGER
Madam, madam— |
|
CLEOPATRA
Antonio’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 lipped, and trembled kissing. |
CLEOPATRA
Antony’s dead! If you say that, you bastard, you’ll kill your Queen. If you say he’s healthy and free, I’ll give you money and you may kiss my hand. Kings have trembled to kiss this hand. |
|
MESSENGER
First, madam, he is well. |
MESSENGER
Let me say first, madam, that he is well. |
|
CLEOPATRA
Why, there’s more gold. But, sirrah, mark, we use To say the dead are well. Bring it to that, The gold I give thee will I melt and pour Down thy ill-uttering throat. |
CLEOPATRA
Well then, here’s more money for you. But you know, sirrah, we customarily say that the dead are well. If that’s what you mean, I’ll melt this gold and pour it down your throat that speaks these hateful words. |
|
MESSENGER
Good madam, hear me. |
MESSENGER
Good madam, let me speak. |
|
CLEOPATRA
Well, go to, I will. But there’s no goodness in thy face—if Antony Be free and healthful, so tart a favor To trumpet such good tidings! If not well, Thou shouldst come like a Fury crowned with snakes, Not like a formal man. |
CLEOPATRA
All right, I will. But you don’t look as if you bring good news. If Antony is free and healthy, you shouldn’t wear such a sour face while bringing such good news. If he’s not well, you should arrive like a Fury with snakes for hair, not in the shape of a normal man. |
|
MESSENGER
Will ’t please you hear me? |
MESSENGER
Do you want to hear my news? |
|
CLEOPATRA
I have a mind to strike thee ere thou speak’st. Yet if thou say Antony lives, is well, Or friends with Caesar, or not captive to him, I’ll set thee in a shower of gold and hail Rich pearls upon thee. |
CLEOPATRA
I have half a mind to hit you before you speak again. But if Antony is alive, healthy, friendly with Caesar, and not Caesar’s prisoner, I’ll shower you with gold and pearls. |
|
MESSENGER
Madam, he’s well. |
MESSENGER
Madam, he’s well. |
|
CLEOPATRA
Well said. |
CLEOPATRA
That’s well spoken. |
|
MESSENGER
And friends with Caesar. |
MESSENGER
And he’s friendly with Caesar. |
|
CLEOPATRA
Th’ art an honest man. |
CLEOPATRA
You are an honest man. |
|
MESSENGER
Caesar and he are greater friends than ever. |
MESSENGER
Caesar and he are better friends than ever. |
|
CLEOPATRA
Make thee a fortune from me. |
CLEOPATRA
I’m going to make you a rich man. |
|
MESSENGER
But yet, madam— |
MESSENGER
But yet, madam— |
|
CLEOPATRA
I do not like “But yet.” It does allay The good precedence. Fie upon “But yet.” “But yet” is as a jailer to bring forth Some monstrous malefactor. Prithee, friend, Pour out the pack of matter to mine ear, The good and bad together. He’s friends with Caesar, In state of health, thou say’st, and, thou say’st, free. |
CLEOPATRA
I don’t like the sound of “but yet.” It reverses all the good that came before it. Damn those words, “but yet!” “But yet” is like a jailer about to bring out some horrible criminal. Please, my friend, give me all the news, both good and bad, at the same time. You say he’s friendly with Caesar, healthy, and free. |
|
MESSENGER
Free, madam, no. I made no such report. He’s bound unto Octavia. |
MESSENGER
I didn’t say free, madam. No, I didn’t say that. He’s bound to Octavia. |
|
CLEOPATRA
For what good turn? |
CLEOPATRA
For what favor? |
|
MESSENGER
For the best turn i’ th’ bed. |
MESSENGER
For the favor of sleeping in her bed. |
|
CLEOPATRA
I am pale, Charmian. |
CLEOPATRA
I’m sick, Charmian. |
|
MESSENGER
Madam, he’s married to Octavia. |
MESSENGER
He’s married to Octavia, madam. |
|
CLEOPATRA
The most infectious pestilence upon thee! |
CLEOPATRA
May you die of the worst disease! |
|
Strikes him down |
She knocks him down. |
|
MESSENGER
Good madam, patience. |
MESSENGER
Good madam, be patient. |
|
CLEOPATRA
What say you? |
CLEOPATRA
What did you say to me? |
|
Strikes him |
She hits him again. |
|
Hence, horrible villain, or I’ll spurn thine eyes Like balls before me! I’ll unhair thy head! |
Get out, you horrible bastard, or I’ll gouge out your eyes. I’ll scalp you. |
|
She hales him up and down |
She drags him across the stage. |
|
Thou shalt be whipped with wire and stewed in brine, Smarting in ling’ring pickle! |
I’ll have you whipped with wire and soaked in brine like a pickle, making your pain linger. |
|
MESSENGER
Gracious madam, I that do bring the news made not the match. |
MESSENGER
Gracious madam, I only brought the news. I didn’t make the match. |
|
CLEOPATRA
Say ’tis not so, a province I will give thee And make thy fortunes proud. The blow thou hadst Shall make thy peace for moving me to rage, And I will boot thee with what gift beside Thy modesty can beg. |
CLEOPATRA
If you say it isn’t true, I’ll give you a province and make you rich. The blows I gave you already will make up for your upsetting me. And on top of that I’ll give you whatever you ask for. |
|
MESSENGER
He’s married, madam. |
MESSENGER
He’s married, madam. |
|
CLEOPATRA
Rogue, thou hast lived too long. |
CLEOPATRA
Rogue, you’ve lived too long! |
|
Draws a knife |
She draws a knife. |
|
MESSENGER
Nay then, I’ll run. What mean you, madam? I have made no fault. |
MESSENGER
No way, then, I’ll run. What’s the matter with you, madam? I haven’t done anything to you. |
|
Exit |
The MESSENGER exits. |
|
CHARMIAN
Good madam, keep yourself within yourself. The man is innocent. |
CHARMIAN
Good madam, restrain yourself. The man hasn’t done anything wrong. |
|
CLEOPATRA
Some innocents ’scape not the thunderbolt. Melt Egypt into Nile, and kindly creatures Turn all to serpents. Call the slave again. Though I am mad, I will not bite him. Call! |
CLEOPATRA
Even innocents cannot always escape disaster. May Egypt drown in the Nile and all good creatures turn into poisonous snakes. Call that servant back. Even though I’m mad, I won’t bite him. Call him! |
|
CHARMIAN
He is afeard to come. |
CHARMIAN
He’s afraid to come in. |
|
CLEOPATRA
I will not hurt him. These hands do lack nobility that they strike A meaner than myself, since I myself Have given myself the cause. |
CLEOPATRA
I won’t hurt him. My hands are tainted if they hit an inferior, especially since I myself am the cause of my own distress. |
|
Enter the MESSENGER again |
The MESSENGER returns. |
|
Come hither, sir. Though it be honest, it is never good To bring bad news. Give to a gracious message An host of tongues, but let ill tidings tell Themselves when they be felt. |
Come here, sir. It may be honest, but it’s never wise to bring bad news. You can give good news in many ways, but let bad news interpret itself as you tell it. |
|
MESSENGER
I have done my duty. |
MESSENGER
I’ve only done my duty. |
|
CLEOPATRA
Is he married? I cannot hate thee worser than I do If thou again say “yes.” |
CLEOPATRA
Is he married? I can’t hate you any more than I already do if you repeat that he is. |
|
MESSENGER
He’s married, madam. |
MESSENGER
He’s married, madam. |
|
CLEOPATRA
The gods confound thee! Dost thou hold there still? |
CLEOPATRA
May the gods destroy you! Do you maintain the same story? |
|
MESSENGER
Should I lie, madam? |
MESSENGER
Do you want me to lie, madam? |
|
CLEOPATRA
Oh, I would thou didst, So half my Egypt were submerged and made A cistern for scaled snakes! Go, get thee hence. Hadst thou Narcissus in thy face, to me Thou wouldst appear most ugly. He is married? |
CLEOPATRA
Oh, I wish you had lied, even if it meant half my kingdom would be submerged and filled with snakes. Go, get out! Even if you were as handsome as Narcissus, your face would be ugly to me. Is he really married? |
|
MESSENGER
I crave your highness’ pardon. |
MESSENGER
I beg your highness’ pardon. |
|
CLEOPATRA
He is married? |
CLEOPATRA
Is he really married? |
|
MESSENGER
Take no offense that I would not offend you. To punish me for what you make me do Seems much unequal. He’s married to Octavia. |
MESSENGER
Please don’t be offended that I don’t want to offend you any more. It’s not fair to punish me for something you make me do. He’s married to Octavia. |
|
CLEOPATRA
Oh, that his fault should make a knave of thee, That art not what th’ art sure of! Get thee hence. The merchandise which thou hast brought from Rome Are all too dear for me. Lie they upon thy hand And be undone by ’em! |
CLEOPATRA
It’s too bad that Antony’s fault should make you look like a jerk. You didn’t have anything to do with it. Go away. The merchandise you bring from Rome is too expensive for me. Let it stay in your inventory until it bankrupts you. |
|
Exit MESSENGER |
The MESSENGER exits. |
|
CHARMIAN
Good your highness, patience. |
CHARMIAN
Be patient, your highness. |
|
CLEOPATRA
In praising Antony, I have dispraised Caesar. |
CLEOPATRA
When I have praised Antony, I’ve disparaged Caesar. |
|
CHARMIAN
Many times, madam. |
CHARMIAN
Many times, madam. |
|
CLEOPATRA
I am paid for ’t now. Lead me from hence. I faint. O Iras, Charmian! ’Tis no matter.— Go to the fellow, good Alexas. Bid him Report the feature of Octavia: her years, Her inclination. Let him not leave out The color of her hair. Bring me word quickly. |
CLEOPATRA
I’m being repaid for that now. Help me out of here. I feel faint. Oh, Iras, Charmian! It doesn’t matter. Good Alexas, go ask that fellow to describe Octavia. How old is she? What kind of disposition does she have? Don’t let him leave out the color of her hair. Bring me his answers quickly. |
|
Exit ALEXAS |
ALEXAS exits. |
|
Let him forever go!—Let him not, Charmian. Though he be painted one way like a Gorgon, The other way’s a Mars. (to MARDIAN) Bid you Alexas Bring me word how tall she is. Pity me, Charmian, But do not speak to me. Lead me to my chamber. |
Let Antony be purged from my life forever—but no, don’t let him, Charmian. Even though half of him is like a Gorgon, the other half is like Mars. (to MARDIAN) Ask Alexas to also ask him how tall she is. Feel sorry for me, Charmian, but don’t talk to me. Help me get to my bedroom. |
|
Exeunt |
They exit. |
|
Flourish. Enter POMPEY and MENAS at one door, with drum and trumpet; at another CAESAR, LEPIDUS, ANTONY, ENOBARBUS, MAECENAS, and AGRIPPA, with soldiers marching |
A trumpet fanfare sounds. POMPEY and MENAS enter through one stage door to the music of a drum and a trumpet. CAESAR, LEPIDUS, ANTONY, ENOBARBUS, MAECENAS, and AGRIPPA enter through another door, followed by soldiers. |
|
POMPEY
Your hostages I have, so have you mine, And we shall talk before we fight. |
POMPEY
I have your hostages and you have mine. Let’s talk before we fight. |
|
CAESAR
Most meet That first we come to words, and therefore have we Our written purposes before us sent, Which, if thou hast considered, let us know If ’twill tie up thy discontented sword And carry back to Sicily much tall youth That else must perish here. |
CAESAR
It’s proper that we speak first, which is why we sent our proposals ahead of us for your consideration. If you’ve had time to think over these points, let us know whether they will relieve your frustration. If yes, then a lot of brave young men can return to Sicily who would otherwise die here. |
|
POMPEY
To you all three, The senators alone of this great world, Chief factors for the gods: I do not know Wherefore my father should revengers want, Having a son and friends, since Julius Caesar, Who at Philippi the good Brutus ghosted, There saw you laboring for him. What was ’t That moved pale Cassius to conspire? And what Made the all-honored, honest Roman Brutus, With the armed rest, courtiers of beauteous freedom, To drench the Capitol, but that they would Have one man but a man? And that is it Hath made me rig my navy, at whose burden The angered ocean foams, with which I meant To scourge th’ ingratitude that despiteful Rome Cast on my noble father. |
POMPEY
I address the three of you, the sole rulers of this world and the main arbiters of the gods’ will. I don’t know why my father’s death shouldn’t be avenged, since he has a son and friends to do it. You avenged Julius Caesar’s death at Philippi, where his ghost haunted his killer, Brutus. Why did Cassius conspire against Caesar? And why did the honorable, well-intentioned Brutus and the others, men devoted to the ideal of freedom, assassinate Caesar? They didn’t want one man to be king in Rome. And that’s why I’ve built my navy, which is so huge that the weight of the ships makes the sea foam with anger. I will punish Rome for her ingratitude toward my noble father. |
|
CAESAR
Take your time. |
CAESAR
Take your time. |
|
ANTONY
Thou canst not fear us, Pompey, with thy sails. We’ll speak with thee at sea. At land, thou know’st How much we do o’ercount thee. |
ANTONY
Pompey, you cannot frighten us with your navy. We’ll meet you at sea. You know that on land our army is far greater than yours. |
|
POMPEY
At land indeed Thou dost o’ercount me of my father’s house, But since the cuckoo builds not for himself, Remain in ’t as thou mayst. |
POMPEY
Yes, on land you do outnumber me. Even more since you annexed my father’s house and lands. But since, like the cuckoo, you don’t build anything for yourself, live in those lands as long as you can. |
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LEPIDUS
Be pleased to tell us— For this is from the present—how you take The offers we have sent you. |
LEPIDUS
To get back to the matter at hand, what do you think of our proposal? |
|
CAESAR
There’s the point. |
CAESAR
That’s the point. |
|
ANTONY
Which do not be entreated to, but weigh What it is worth embraced. |
ANTONY
Don’t let us talk you into anything, but consider carefully the value of our offers. |
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CAESAR
And what may follow, To try a larger fortune. |
CAESAR
And consider the possible consequences of fighting against us, in the hopes of gaining a greater fortune. |
|
POMPEY
You have made me offer Of Sicily, Sardinia. And I must Rid all the sea of pirates, then, to send Measures of wheat to Rome. This ’greed upon To part with unhacked edges and bear back Our targes undinted. |
POMPEY
You have offered me the lands of Sicily and Sardinia. In return, I must clear the sea of pirates and send tributes of wheat to Rome. If I agree to this, we may leave unharmed, with our shields undented. |
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CAESAR, ANTONY, LEPIDUS
That’s our offer. |
CAESAR, ANTONY, LEPIDUS
That’s our offer. |
|
POMPEY
Know then I came before you here a man prepared To take this offer, but Mark Antony Put me to some impatience. (to ANTONY)—Though I lose The praise of it by telling, you must know, When Caesar and your brother were at blows, Your mother came to Sicily and did find Her welcome friendly. |
POMPEY
You should know that when I came here I was prepared to accept your offer. But Mark Antony made me somewhat angry. (to ANTONY) Though it would be nobler to for me not to speak of this good act myself, you should know that when Caesar and your brother were fighting, your mother came to Sicily for refuge. I welcomed her gladly. |
|
ANTONY
(to POMPEY) I have heard it, Pompey, And am well studied for a liberal thanks Which I do owe you. |
ANTONY
(to POMPEY) I heard what you did for her, Pompey, and want to give you the many thanks I owe you. |
|
POMPEY
Let me have your hand. |
POMPEY
Let me shake your hand. |
|
They clasp hands |
They shake hands. |
|
I did not think, sir, to have met you here. |
I didn’t think I would see you here. |
|
ANTONY
The beds i’ th’ East are soft, and thanks to you, That called me timelier than my purpose hither, For I have gained by ’t. |
ANTONY
The East is very seductive. I have you to thank for my trip here; I wouldn’t have left Egypt otherwise, and I have benefited from it. |
|
CAESAR
(to POMPEY) Since I saw you last There’s a change upon you. |
CAESAR
(to POMPEY) You’ve changed since the last time I saw you. |
|
POMPEY
Well, I know not What counts harsh Fortune casts upon my face, But in my bosom shall she never come To make my heart her vassal. |
POMPEY
Well, I cannot tell how my difficult life has weathered my face, but I will never let those difficulties subdue my courage. |
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LEPIDUS
Well met here. |
LEPIDUS
It’s good we had this meeting. |
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POMPEY
I hope so, Lepidus. Thus we are agreed. I crave our composition may be written And sealed between us. |
POMPEY
I hope it works out for the best, Lepidus. So we are in agreement. Please have the contract written up so we can all sign it. |
|
CAESAR
That’s the next to do. |
CAESAR
That’s the next thing on the agenda. |
|
POMPEY
We’ll feast each other ere we part, and let’s Draw lots who shall begin. |
POMPEY
We’ll have celebration feasts for each other before we go our separate ways. Let’s draw lots to see who will host the first one. |
|
ANTONY
That will I, Pompey. |
ANTONY
I’ll give the first one, Pompey. |
|
POMPEY
No, Antony, take the lot. But, first or last, Your fine Egyptian cookery shall have The fame. I have heard that Julius Caesar Grew fat with feasting there. |
POMPEY
No, Antony. Pick one of these lots. Whether your banquet is first or last, your Egyptian cooking will make it the best. I heard that Julius Caesar got fat from all the feasting there. |
|
ANTONY
You have heard much. |
ANTONY
You’ve heard a lot. |
|
POMPEY
I have fair meanings, sir. |
POMPEY
I mean well, sir. |
|
ANTONY
And fair words to them. |
ANTONY
I’m sure you do. |
|
POMPEY
Then so much have I heard. And I have heard Apollodorus carried— |
POMPEY
I’ve heard a lot more. I heard that Apollodorus carried— |
|
ENOBARBUS
(interrupting POMPEY) No more of that. He did so. |
ENOBARBUS
(interrupting POMPEY) That’s enough of that. Yes, it’s true. |
|
POMPEY
What, I pray you? |
POMPEY
What did he carry, please? |
|
ENOBARBUS
A certain queen to Caesar in a mattress. |
ENOBARBUS
A certain queen to Caesar, rolled up in a mattress. |
|
POMPEY
I know thee now. How far’st thou, soldier? |
POMPEY
Now I know who you are. How are you, soldier? |
|
ENOBARBUS
Well, And well am like to do, for I perceive, Four feasts are toward. |
ENOBARBUS
I’m well, and probably will be for a while, as I hear that four feasts are being prepared. |
|
POMPEY
Let me shake thy hand. I never hated thee. I have seen thee fight When I have envied thy behavior. |
POMPEY
Let me shake your hand. I’ve never been your enemy. I’ve seen you fight and envied your skill. |
|
ENOBARBUS
Sir, I never loved you much, but I ha’ praised ye When you have well deserved ten times as much As I have said you did. |
ENOBARBUS
Sir, I wouldn’t say I was your friend, but I’ve praised you when you deserved ten times more praise than I gave. |
|
POMPEY
Enjoy thy plainness. It nothing ill becomes thee.— Aboard my galley I invite you all. Will you lead, lords? |
POMPEY
Enjoy your frankness; it suits you. I invite you all aboard my ship. After you, my lords? |
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CAESAR, ANTONY, LEPIDUS
Show ’s the way, sir. |
CAESAR, ANTONY, LEPIDUS
Show us the way, sir. |
|
POMPEY
Come. |
POMPEY
Come with me. |
|
Exeunt all butENOBARBUS and MENAS |
Everyone exits except for ENOBARBUS and MENAS. |
|
MENAS
(aside) Thy father, Pompey, would ne’er have made this treaty. (to ENOBARBUS) You and I have known, sir. |
MENAS
(to himself) Your father would never have agreed to this treaty, Pompey. (to ENOBARBUS) You and I have met, sir. |
|
ENOBARBUS
At sea, I think. |
ENOBARBUS
I think it was at sea. |
|
MENAS
We have, sir. |
MENAS
That it was, sir. |
|
ENOBARBUS
You have done well by water. |
ENOBARBUS
You’ve done well at sea. |
|
MENAS
And you by land. |
MENAS
And you’ve done well on land. |
|
ENOBARBUS
I will praise any man that will praise me, though it cannot be denied what I have done by land. |
ENOBARBUS
I’ll flatter anyone who flatters me—though what I’ve accomplished on land cannot be denied. |
|
MENAS
Nor what I have done by water. |
MENAS
Neither can my accomplishments at sea. |
|
ENOBARBUS
Yes, something you can deny for your own safety: you have been a great thief by sea. |
ENOBARBUS
Yes, for your own safety, you should deny one thing: you have been a great thief at sea. |
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MENAS
And you by land. |
MENAS
As you were on land. |
|
ENOBARBUS
There I deny my land service. But give me your hand, Menas. |
ENOBARBUS
That’s the one part of my service on land I do deny. But let’s shake hands, Menas. |
|
They clasp hands |
They shake. |
|
If our eyes had authority, here they might take two thieves kissing. |
If our eyes were policemen, they might capture two thieves at once while we’re embracing. |
|
MENAS
All men’s faces are true, whatsome’er their hands are. |
MENAS
Men’s faces are truthful, whatever their hands do. |
|
ENOBARBUS
But there is never a fair woman has a true face. |
ENOBARBUS
But no beautiful woman has an honest face. |
|
MENAS
No slander. They steal hearts. |
MENAS
That’s no lie. They steal hearts. |
|
ENOBARBUS
We came hither to fight with you. |
ENOBARBUS
We came here to fight against you. |
|
MENAS
For my part, I am sorry it is turned to a drinking. Pompey doth this day laugh away his fortune. |
MENAS
For my part, I’m sorry this battle turned into a drinking match. Today Pompey laughs away his fortune. |
|
ENOBARBUS
If he do, sure he cannot weep ’t back again. |
ENOBARBUS
If that’s true, he won’t get it back by crying. |
|
MENAS
You’ve said, sir. We looked not for Mark Antony here. Pray you, is he married to Cleopatra? |
MENAS
That’s the truth, sir. We didn’t expect Mark Antony to be here. Is he married to Cleopatra? |
|
ENOBARBUS
Caesar’s sister is called Octavia. |
ENOBARBUS
Caesar’s sister is named Octavia. |
|
MENAS
True, sir. She was the wife of Caius Marcellus. |
MENAS
That’s true, sir. She was previously Caius Marcellus’ wife. |
|
ENOBARBUS
But she is now the wife of Marcus Antonius. |
ENOBARBUS
But she is now Mark Antony’s wife. |
|
MENAS
Pray ye, sir? |
MENAS
Excuse me, sir? |
|
ENOBARBUS
’Tis true. |
ENOBARBUS
It’s true. |
|
MENAS
Then is Caesar and he forever knit together. |
MENAS
Then Caesar and he will always be united. |
|
ENOBARBUS
If I were bound to divine of this unity, I would not prophesy so. |
ENOBARBUS
If I were to make a prediction regarding this union, I wouldn’t say that. |
|
MENAS
I think the policy of that purpose made more in the marriage than the love of the parties. |
MENAS
I think the marriage was made more for political reasons than for love. |
|
ENOBARBUS
I think so too. But you shall find the band that seems to tie their friendship together will be the very strangler of their amity. Octavia is of a holy, cold, and still conversation. |
ENOBARBUS
I think so too. But you’ll see that the very thing that joins them will be the thing that separates them. Octavia has a pious, chaste, meek disposition. |
|
MENAS
Who would not have his wife so? |
MENAS
Doesn’t everyone want a wife like that? |
|
ENOBARBUS
Not he that himself is not so, which is Mark Antony. He will to his Egyptian dish again. Then shall the sighs of Octavia blow the fire up in Caesar, and, as I said before, that which is the strength of their amity shall prove the immediate author of their variance. Antony will use his affection where it is. He married but his occasion here. |
ENOBARBUS
Not someone who doesn’t share that disposition, meaning Mark Antony. He’ll go back to his Egyptian dish. Then Octavia’s complaints will rouse Caesar, and as I said before, the thing that brought them together will part them. Antony will go where his passion is. He only married out of political necessity. |
|
MENAS
And thus it may be. Come, sir, will you aboard? I have a health for you. |
MENAS
Then that’s the way it may turn out. Come on, sir, will you come aboard? I want to drink your health. |
|
ENOBARBUS
I shall take it, sir. We have used our throats in Egypt. |
ENOBARBUS
I’ll join you, sir. We did a lot of drinking in Egypt. |
|
MENAS
Come, let’s away. |
MENAS
Let’s go. |
|
Exeunt |
They exit. |
|
Music plays. Enter two or three SERVANTS with a banquet |
Music plays. Two or three SERVANTS enter with a feast. |
|
FIRST SERVANT
Here they’ll be, man. Some o’ their plants are ill-rooted already. The least wind i’ th’ world will blow them down. |
FIRST SERVANT
Here’s where they’ll end up, on the floor. Some of them are leaning already. It won’t take much for them to fall over. |
|
SECOND SERVANT
Lepidus is high-colored. |
SECOND SERVANT
Lepidus is red in the face. |
|
FIRST SERVANT
They have made him drink alms-drink. |
FIRST SERVANT
They made him drink the leftover wine usually given to the poor. |
|
SECOND SERVANT
As they pinch one another by the disposition, he cries out, “No more,” reconciles them to his entreaty and himself to th’ drink. |
SECOND SERVANT
Their various personalities grate on one another. Lepidus cries, “No more arguing!” and then when they agree he resigns himself to drink. |
|
FIRST SERVANT
But it raises the greater war between him and his discretion. |
FIRST SERVANT
Which goes on to impede his judgment. |
|
SECOND SERVANT
Why, this it is to have a name in great men’s fellowship. I had as lief have a reed that will do me no service as a partisan I could not heave. |
SECOND SERVANT
That’s what happens when you partner with great men but lack their power. I’d rather carry a reed that obviously can’t protect me than a sword I cannot lift. |
|
FIRST SERVANT
To be called into a huge sphere, and not to be seen to move in ’t, are the holes where eyes should be, which pitifully disaster the cheeks. |
FIRST SERVANT
To be so unimportant in the company of important men is like having a face without any eyes. |
|
A sennet sounded. Enter CAESAR, ANTONY, POMPEY, LEPIDUS, AGRIPPA, MAECENAS, ENOBARBUS, and MENAS, with other captains and a BOY |
A trumpet call sounds. CAESAR, ANTONY, POMPEY, LEPIDUS, AGRIPPA, MAECENAS, ENOBARBUS, and MENAS enter, along with other captains and a BOY. |
|
ANTONY
Thus do they, sir: they take the flow o’ th’ Nile By certain scales i’ th’ Pyramid. They know By th’ height, the lowness, or the mean, if dearth Or foison follow. The higher Nilus swells The more it promises. As it ebbs, the seedsman Upon the slime and ooze scatters his grain, And shortly comes to harvest. |
ANTONY
This is how they do it, sir: they measure the depth of the Nile, according to certain marks made on the walls of the Pyramid. They know by those measurements if there will be famine or plenty. The higher the Nile flows, the better the harvest. As the river ebbs, the farmer scatters his seeds on the remaining silt. The harvest comes shortly after that. |
|
LEPIDUS
You’ve strange serpents there? |
LEPIDUS
Do you have unusual snakes there? |
|
ANTONY
Ay, Lepidus. |
ANTONY
Yes, Lepidus. |
|
LEPIDUS
Your serpent of Egypt is bred now of your mud by the operation of your sun. So is your crocodile. |
LEPIDUS
The Egyptian snake is born when the sun shines on the Nile mud, just like the crocodile. |
|
ANTONY
They are so. |
ANTONY
Yes, Lepidus. |
|
POMPEY
(to LEPIDUS) Sit, and some wine. A health to Lepidus! |
POMPEY
Let’s have a seat and some wine. A toast to Lepidus! |
|
They sit and drink |
They sit and drink. |
|
LEPIDUS
I am not so well as I should be, but I’ll ne’er out. |
LEPIDUS
I don’t feel so well, but I won’t stop. |
|
ENOBARBUS
Not till you have slept. I fear me you’ll be in till then. |
ENOBARBUS
Not until you pass out. I’m afraid you’ll keep going until then. |
|
LEPIDUS
Nay, certainly, I have heard the Ptolemies’ pyramises are very goodly things. Without contradiction I have heard that. |
LEPIDUS
No, I certainly won’t stop. I’ve heard that the pyramids build by the Ptolemies are splendid. Without doubt I’ve heard that. |
|
MENAS
(aside to POMPEY) Pompey, a word. |
MENAS
(aside to POMPEY) Pompey, could I have a word with you? |
|
POMPEY
(aside to MENAS) Say in mine ear. What is ’t? |
POMPEY
(aside to MENAS) Whisper it in my ear. What is it? |
|
MENAS
(aside to POMPEY) Forsake thy seat, I do beseech thee, captain, And hear me speak a word. |
MENAS
(whispers in POMPEY’s ear) Please, captain, leave the feast and let me speak with you privately. |
|
POMPEY
(aside to MENAS) Forbear me till anon.—This wine for Lepidus! |
POMPEY
(aside to MENAS) Leave me alone awhile. Where’s the wine for Lepidus? |
|
LEPIDUS
What manner o’ thing is your crocodile? |
LEPIDUS
What does a crocodile look like? |
|
ANTONY
It is shaped, sir, like itself, and it is as broad as it hath breadth. It is just so high as it is, and moves with its own organs. It lives by that which nourisheth it, and, the elements once out of it, it transmigrates. |
ANTONY
Sir, it’s shaped like itself and is as wide as it has width. It is only as high as it is and moves with its own legs. It lives on what nourishes it, and when the four elements leave it, its soul moves into another body. |
|
LEPIDUS
What color is it of? |
LEPIDUS
What color is it? |
|
ANTONY
Of it own color too. |
ANTONY
Its own color. |
|
LEPIDUS
’Tis a strange serpent. |
LEPIDUS
It’s a strange snake. |
|
ANTONY
’Tis so. And the tears of it are wet. |
ANTONY
It is that. And its tears are wet. |
|
CAESAR
(aside to ANTONY) Will this description satisfy him? |
CAESAR
(aside to ANTONY) Will that description satisfy him? |
|
ANTONY
(aside to CAESAR) With the health that Pompey gives him, else he is a very epicure. |
ANTONY
(aside to CAESAR) That last toast Pompey gave him will take care of him, unless he’s a raging glutton. |
|
MENAS whispers again |
MENAS whispers to POMPEY again. |
|
POMPEY
(aside to MENAS) Go hang, sir, hang! Tell me of that? Away! Do as I bid you.—Where’s this cup I called for? |
POMPEY
(aside to MENAS) Go to hell, sir. Are you still here? Go away! Do what I tell you. Where’s the wine I ordered? |
|
MENAS
(aside to POMPEY) If for the sake of merit thou wilt hear me, Rise from thy stool. |
MENAS
(aside to POMPEY) If any service I’ve done you deserves a favor, get up from your stool and speak with me. |
|
POMPEY
(aside to MENAS) I think th’ art mad. |
POMPEY
(aside to MENAS) I think you’re crazy! |
|
He rises, and they walk aside |
He gets up and walks aside with MENAS. |
|
The matter? |
What is it? |
|
MENAS
I have ever held my cap off to thy fortunes. |
MENAS
I’ve always had great respect for your destiny. |
|
POMPEY
Thou hast served me with much faith. What’s else to say?— (to the others) Be jolly, lords. |
POMPEY
You’ve served me faithfully. What else can I say? (to the others) Be happy, lords! |
|
ANTONY
These quicksands, Lepidus, Keep off them, for you sink. |
ANTONY
Stay away from the quicksand of drink, Lepidus: you’re sinking. |
|
MENAS
(aside to POMPEY) Wilt thou be lord of all the world? |
MENAS
(to POMPEY) Would you like to be king of the entire world? |
|
POMPEY
What sayst thou? |
POMPEY
What are you saying? |
|
MENAS
Wilt thou be lord of the whole world? That’s twice. |
MENAS
Would you like to be king of the entire world? Now I’ve said it twice. |
|
POMPEY
How should that be? |
POMPEY
How could that happen? |
|
MENAS
But entertain it, And, though thou think me poor, I am the man Will give thee all the world. |
MENAS
Just consider it. Though I seem poor, I am the man who will give you the world. |
|
POMPEY
Hast thou drunk well? |
POMPEY
Are you drunk? |
|
MENAS
No, Pompey, I have kept me from the cup. Thou art, if thou dar’st be, the earthly Jove. Whate’er the ocean pales or sky inclips Is thine, if thou wilt ha ’t. |
MENAS
No, Pompey, I haven’t had anything to drink. You can be the most powerful man on earth if you dare use your power. Both land and sea are yours if you will take them. |
|
POMPEY
Show me which way. |
POMPEY
Tell me how. |
|
MENAS
These three world-sharers, these competitors, Are in thy vessel. Let me cut the cable, And, when we are put off, fall to their throats. All there is thine. |
MENAS
The three who share the known world are aboard your boat. Let me cut the anchor cable. When we are away from land, cut their throats. Everything that belongs to them is yours. |
|
POMPEY
Ah, this thou shouldst have done And not have spoke on ’t! In me ’tis villainy, In thee ’t had been good service. Thou must know, ’Tis not my profit that does lead mine honor; Mine honor, it. Repent that e’er thy tongue Hath so betrayed thine act. Being done unknown, I should have found it afterwards well done, But must condemn it now. Desist, and drink. |
POMPEY
Oh, you should have done it without telling me! For me to do such a thing would be dishonorable. For you to do it would be good service. You should know that to me, profit isn’t more important than honor, but the other way around. Regret that your mouth betrayed your actions. If you had acted without my knowledge, I would have approved your action later. But now I must condemn it. Give it up and go drink. |
|
He returns to the feast |
He returns to the feast. |
|
MENAS
(aside) For this, I’ll never follow thy palled fortunes more. Who seeks and will not take when once ’tis offered Shall never find it more. |
MENAS
(to himself) For this, I’ll never be faithful to your declining fortunes again. A person who wants something but won’t take it when it materializes won’t get the opportunity again. |
|
POMPEY
This health to Lepidus! |
POMPEY
This toast is for Lepidus! |
|
ANTONY
(to a servant) Bear him ashore.—I’ll pledge it for him, Pompey. |
ANTONY
(to a servant) Help Lepidus ashore . . . I’ll accept it for him, Pompey. |
|
ENOBARBUS
Here’s to thee, Menas! |
ENOBARBUS
Here’s to you, Menas. |
|
They drink |
They drink. |
|
MENAS
Enobarbus, welcome. |
MENAS
I accept with thanks, Enobarbus. |
|
POMPEY
Fill till the cup be hid. |
POMPEY
Fill the cups until they run over. |
|
ENOBARBUS
There’s a strong fellow, Menas. |
ENOBARBUS
There goes a strong fellow, Menas. |
|
Pointing to the servant who carries off LEPIDUS |
He points to the servant carrying LEPIDUS away. |
|
MENAS
Why? |
MENAS
Why do you say that? |
|
ENOBARBUS
He bears The third part of the world, man. Seest not? |
ENOBARBUS
He carries a third of the world. Can’t you see that? |
|
MENAS
The third part, then, is drunk. Would it were all, That it might go on wheels! |
MENAS
Then a third of the world is drunk. I wish it were all drunk. Then everything would go more smoothly. |
|
ENOBARBUS
Drink thou. Increase the reels. |
ENOBARBUS
Drink up. Liven up the party. |
|
MENAS
Come. |
MENAS
All right, then. |
|
POMPEY
This is not yet an Alexandrian feast. |
POMPEY
This hasn’t reached the level of an Egyptian feast yet. |
|
ANTONY
It ripens towards it. Strike the vessels, ho! Here’s to Caesar. |
ANTONY
It’s getting there. Clink your cups together in a toast! Here’s to Caesar. |
|
CAESAR
I could well forbear ’t. It’s monstrous labor when I wash my brain And it grows fouler. |
CAESAR
I could do without another toast. It’s unnatural. I keep washing my brain with alcohol, and it keeps getting fouler and more muddled. |
|
ANTONY
Be a child o’ th’ time. |
ANTONY
Live in the moment. |
|
CAESAR
Possess it, I’ll make answer. But I had rather fast from all four days Than drink so much in one. |
CAESAR
I’d prefer to seize the day. But I would rather abstain from everything for four days than drink so much in one. |
|
ENOBARBUS
(to ANTONY) Ha! My brave emperor, Shall we dance now the Egyptian bacchanals And celebrate our drink? |
ENOBARBUS
(to ANTONY) Ha! Shall we dance Egyptian bacchanals, my noble emperor, and celebrate our wine? |
|
POMPEY
Let’s ha ’t, good soldier. |
POMPEY
Let’s have one, good soldier. |
|
ANTONY
Come, let’s all take hands Till that the conquering wine hath steeped our sense In soft and delicate Lethe. |
ANTONY
Come, let’s join our hands until the overpowering wine makes us soft and forgetful. |
|
ENOBARBUS
All take hands. Make battery to our ears with the loud music, The while I’ll place you; then the boy shall sing. The holding every man shall beat as loud As his strong sides can volley. |
ENOBARBUS
Everyone join hands. Attack our ears with loud music, and I’ll position you for the dance. Then the boy will sing, and every man will sing the chorus at the top of his voice. |
|
Music plays. ENOBARBUS places them hand in hand |
Music plays. ENOBARBUS places each man in position, hand in hand. |
|
SONG. |
The Song. |
|
BOY
(Sings) Come, thou monarch of the vine, Plumpy Bacchus with pink eyne! In thy vats our cares be drowned, With thy grapes our hairs be crowned. |
BOY
(singing) Come, you king of the vine, plump Bacchus, with your pink eyes. Our troubles are drowned in your vats. We’ll crown ourselves with wreathes of grapes. |
|
ALL
(Singing) Cup us till the world go round, Cup us till the world go round! |
ALL
(singing) Give us cups until the world spins! Give us cups until the world spins! |
|
CAESAR
What would you more?—Pompey, good night. (to ANTONY) Good brother, Let me request you off. Our graver business Frowns at this levity.—Gentle lords, let’s part. You see we have burnt our cheeks. Strong Enobarb Is weaker than the wine; and mine own tongue Splits what it speaks. The wild disguise hath almost Anticked us all. What needs more words? Good night. Good Antony, your hand. |
CAESAR
How can you top that? Good night, Pompey. (to ANTONY) Dear brother-in-law, let’s leave together. This frivolity isn’t appropriate to the serious purpose that brought us here. Noble lords, let’s say good night. We’ve all gotten red in the face. Even the strong Enobarbus isn’t immune to the effects of wine, and I’m tongue-tied myself. This wild party has almost turned us all into clowns. What more need I say? Good night. Good Antony, shake my hand. |
|
POMPEY
I’ll try you on the shore. |
POMPEY
We’ll have a rematch at your feast on shore. |
|
ANTONY
And shall, sir. Give ’s your hand. |
ANTONY
Yes, we will. Let’s shake on it. |
|
POMPEY
O Antony, You have my father’s house. But what? We are friends. Come, down into the boat. |
POMPEY
Oh, Antony, even if you’ve taken my father’s house, what is that to me? We’re friends! Come, this way to the rowboat. |
|
ENOBARBUS
Take heed you fall not. |
ENOBARBUS
Be careful not to fall in. |
|
Exeunt all but MENAS and ENOBARBUS |
Everyone exits except MENAS and ENOBARBUS. |
|
Menas, I’ll not on shore. |
Menas, I’m not going back on shore. |
|
MENAS
No, to my cabin. These drums, these trumpets, flutes! What! Let Neptune hear we bid a loud farewell To these great fellows. Sound and be hanged, sound out! |
MENAS
No, come to my cabin. We’ll have the musicians play drums, trumpets, flutes. What do you say? We’ll make Neptune hear us bid a loud good night to these great men. Play and be damned. Play loud! |
|
Sound a flourish, with drums |
Trumpets and drums play a fanfare. |
|
ENOBARBUS
Hoo! says ’a. There’s my cap. |
ENOBARBUS
Hooray, I say. There’s my hat! |
|
He flings it in the air |
He throws his hat in the air. |
|
MENAS
Hoo! Noble captain, come. |
MENAS
Hooray! Come on, noble captain. |
|
Exeunt |
They exit. |
|
Enter VENTIDIUS as it were in triumph, the dead body of Pacorus borne before him, with SILIUS, and other Romans, officers, and soldiers |
The dead body of Pacorus is carried in, followed by the triumphant entrance of VENTIDIUS, with SILIUS and soldiers. |
|
VENTIDIUS
Now, darting Parthia, art thou struck, and now Pleased fortune does of Marcus Crassus’ death Make me revenger. Bear the King’s son’s body Before our army. Thy Pacorus, Orodes, Pays this for Marcus Crassus. |
VENTIDIUS
Now I’ve paid you back, Parthia, and gotten revenge for Marcus Crassus’ death. Carry King Orodes’ son at the front of our army, so all the Parthians will know—Orodes, Pacorus pays for Marcus Crassus! |
|
SILIUS
Noble Ventidius, Whilst yet with Parthian blood thy sword is warm, The fugitive Parthians follow. Spur through Media, Mesopotamia, and the shelters whither The routed fly. So thy grand captain, Antony, Shall set thee on triumphant chariots and Put garlands on thy head. |
SILIUS
Noble Ventidius, while your sword is still warm with the blood of slain Parthians, why not finish the job? The Parthians retreat. Go after them. Chase them down if you have to track them through Media, Mesopotamia, or any other places they may go to hide. Then our great general, Antony, will commend you. |
|
VENTIDIUS
O Silius, Silius, I have done enough. A lower place, note well, May make too great an act. For learn this, Silius: Better to leave undone than by our deed Acquire too high a fame when him we serve’s away. Caesar and Antony have ever won More in their officer than person. Sossius, One of my place in Syria, his lieutenant, For quick accumulation of renown, Which he achieved by th’ minute, lost his favor. Who does i’ th’ wars more than his captain can Becomes his captain’s captain; and ambition, The soldier’s virtue, rather makes choice of loss Than gain which darkens him. I could do more to do Antonius good, But ’twould offend him, and in his offense Should my performance perish. |
VENTIDIUS
Oh, Silius, Silius, I’ve done enough. A subordinate may exceed his authority. You must understand, Silius, that it’s better to leave something undone than achieve too much fame in your superior’s absence. Caesar and Antony have always achieved more by delegating authority to their officers than by leading their troops in person. Sossius, an officer that held the same position in Syria as I do here, achieved great distinction very quickly but lost Antony’s support as a result. A man who achieves more in war than his captain does becomes his captain’s rival. Ambition is a good quality in a soldier, but it proves detrimental rather than beneficial when used to surpass his superiors. I could do more to help Antony, but to do so would insult him. And by insulting him, I would lose credit for the good I have done him already. |
|
SILIUS
Thou hast, Ventidius, that Without the which a soldier and his sword Grants scarce distinction. Thou wilt write to Antony? |
SILIUS
A soldier is just a tool, like his sword, unless he has your qualities, Ventidius. Are you going to write Antony about this? |
|
VENTIDIUS
I’ll humbly signify what in his name, That magical word of war, we have effected: How with his banners and his well-paid ranks The ne’er-yet-beaten horse of Parthia We have jaded out o’ th’ field. |
VENTIDIUS
I’ll modestly tell him what I have done in his name—that’s the magical wording these days. I’ll write how, under his flag and with his well-paid troops, we have beaten the formerly unvanquished Parthia. |
|
SILIUS
Where is he now? |
SILIUS
Where’s Antony now? |
|
VENTIDIUS
He purposeth to Athens, whither, with what haste The weight we must convey with’s will permit, We shall appear before him. (to the soliders) On, there. Pass along! |
VENTIDIUS
He plans to go to Athens. We must arrive there before him, as quickly as our baggage train will allow us. (to the soldiers) Get a move on! |
|
Exeunt |
They all exit. |
|
Enter AGRIPPA at one door, ENOBARBUS at another |
AGRIPPA enters through one door and ENOBARBUS enters through another. |
|
AGRIPPA
What, are the brothers parted? |
AGRIPPA
Did the brothers-in-law leave? |
|
ENOBARBUS
They have dispatched with Pompey; he is gone. The other three are sealing. Octavia weeps To part from Rome. Caesar is sad, and Lepidus, Since Pompey’s feast, as Menas says, is troubled With the greensickness. |
ENOBARBUS
They finished their business with Pompey, and Pompey has left. Now the three triumvirs are putting their official seals on the treaty. Octavia weeps at the thought of leaving Rome. Caesar is in a sober mood. And Menas reports that Lepidus has been hungover since Pompey’s party. |
|
AGRIPPA
’Tis a noble Lepidus. |
AGRIPPA
That Lepidus is an elegant man. |
|
ENOBARBUS
A very fine one. Oh, how he loves Caesar! |
ENOBARBUS
He’s a stylish man. And how he loves Caesar! |
|
AGRIPPA
Nay, but how dearly he adores Mark Antony! |
AGRIPPA
Yes, but how he adores Mark Antony! |
|
ENOBARBUS
Caesar? Why, he’s the Jupiter of men. |
ENOBARBUS
Caesar? He’s a god of a man. |
|
AGRIPPA
What’s Antony? The god of Jupiter. |
AGRIPPA
Then what’s Antony? A god of a god? |
|
ENOBARBUS
Spake you of Caesar? How, the nonpareil! |
ENOBARBUS
Are you talking about Caesar? He’s without equal! |
|
AGRIPPA
O Antony, O thou Arabian bird! |
AGRIPPA
Oh, Antony! Oh, you phoenix! |
|
ENOBARBUS
Would you praise Caesar, say “Caesar.” Go no further. |
ENOBARBUS
If you want to praise Caesar, just say his name—that’s all the praise that’s necessary. |
|
AGRIPPA
Indeed, he plied them both with excellent praises. |
AGRIPPA
He certainly flattered them both with extravagant compliments. |
|
ENOBARBUS
But he loves Caesar best; yet he loves Antony. Hoo! Hearts, tongues, figures, scribes, bards, poets, cannot Think, speak, cast, write, sing, number—hoo!— His love to Antony. But as for Caesar, Kneel down, kneel down, and wonder. |
ENOBARBUS
He loves Caesar best, but he also loves Antony. Oh! No one can describe or fathom Lepidus’ love for Antony! Hearts cannot think it, tongues cannot speak it, meas-urements cannot calculate it, scribes cannot write it, bards cannot sing it, and poets cannot make verses about it. But when it comes to Caesar, Lepidus’ love approaches the awestruck wonder of a worshipper. |
|
AGRIPPA
Both he loves. |
AGRIPPA
He loves them both. |
|
ENOBARBUS
They are his shards, and he their beetle. |
ENOBARBUS
They are his dung, and he their beetle. |
|
Trumpets within |
Trumpets sound. |
|
So, This is to horse. Adieu, noble Agrippa. |
So, there’s the signal to ride. Good-bye, noble Agrippa. |
|
AGRIPPA
Good fortune, worthy soldier, and farewell. |
AGRIPPA
Good luck, worthy soldier, and good-bye. |
|
Enter CAESAR, ANTONY, LEPIDUS, and OCTAVIA |
CAESAR, ANTONY, LEPIDUS, and OCTAVIA enter. |
|
ANTONY
No further, sir. |
ANTONY
You can’t go any further with us, sir. |
|
CAESAR
You take from me a great part of myself; Use me well in ’t.—Sister, prove such a wife As my thoughts make thee, and as my farthest bond Shall pass on thy approof.—Most noble Antony, Let not the piece of virtue, which is set Betwixt us as the cement of our love, To keep it builded, be the ram to batter The fortress of it. For better might we Have loved without this mean, if on both parts This be not cherished. |
CAESAR
You take an important part of myself with you. Treat it well . . . . Sister, be the kind of wife I hope you will be, and that this great contract rests upon your being . . . Gracious Antony, don’t let my sister, this epitome of virtue that connects us, become the reason we separate. If you and I don’t value her equally, it would be better for us to work out our differences without her. |
|
ANTONY
Make me not offended In your distrust. |
ANTONY
Don’t insult me with your distrust. |
|
CAESAR
I have said. |
CAESAR
I mean what I say. |
|
ANTONY
You shall not find, Though you be therein curious, the least cause For what you seem to fear. So the gods keep you And make the hearts of Romans serve your ends. We will here part. |
ANTONY
You won’t find any cause for anxiety, even if you look for one. So, may the gods protect you and change the hearts of the Romans so that they turn and give you their support. We’ll leave you here. |
|
CAESAR
Farewell, my dearest sister, fare thee well. The elements be kind to thee and make Thy spirits all of comfort! Fare thee well. |
CAESAR
Good-bye, my dearest sister, good-bye. I hope you have good weather to set your mind at ease. Farewell. |
|
OCTAVIA
My noble brother! |
OCTAVIA
My noble brother! |
|
She weeps |
She begins to cry. |
|
ANTONY
The April’s in her eyes; it is love’s spring, And these the showers to bring it on. (to OCTAVIA) Be cheerful. |
ANTONY
Her eyes are like April: full of showers. But they’ll flower into love.(to OCTAVIA) Be cheerful. |
|
OCTAVIA
(to CAESAR) Sir, look well to my husband’s house, and— |
OCTAVIA
(to CAESAR) Take care of my former husband’s property, and— |
|
CAESAR
What, Octavia? |
CAESAR
What is it, Octavia? |
|
OCTAVIA
I’ll tell you in your ear. |
OCTAVIA
I’ll tell you privately. |
|
She and CAESARwalk aside |
She and CAESAR move apart from the group, and she whispers to him. |
|
ANTONY
Her tongue will not obey her heart, nor can Her heart inform her tongue—the swan’s-down feather That stands upon the swell at the full of tide And neither way inclines. |
ANTONY
She won’t say what she’s feeling, and she can’t understand her feelings. She’s balanced uneasily, like a feather on the swell of a great wave—she won’t move, even though her situation is about to change. |
|
ENOBARBUS
(aside to AGRIPPA) Will Caesar weep? |
ENOBARBUS
(aside to AGRIPPA) Do you think Caesar will cry? |
|
AGRIPPA
(aside to ENOBARBUS) He has a cloud in ’s face. |
AGRIPPA
(aside to ENOBARBUS) He does look like it. |
|
ENOBARBUS
(aside to AGRIPPA) He were the worse for that, were he a horse; So is he, being a man. |
ENOBARBUS
(aside to AGRIPPA) If he were a horse, watery eyes would lower his value. Men aren’t supposed to cry, either. |
|
AGRIPPA
(aside to ENOBARBUS) Why, Enobarbus, When Antony found Julius Caesar dead, He cried almost to roaring, and he wept When at Philippi he found Brutus slain. |
AGRIPPA
(aside to ENOBARBUS) Why, Enobarbus, when Antony saw that Julius Caesar was dead, he cried terribly. And he wept when he found that Brutus had been killed at Philippi. |
|
ENOBARBUS
(aside to AGRIPPA) That year indeed he was troubled with a rheum. What willingly he did confound he wailed, Believe ’t, till I wept too. |
ENOBARBUS
(aside to AGRIPPA) He certainly did have rheumy eyes that year. Whenever he had to kill, he cried—it’s true!—until I cried too. |
|
CAESAR
(coming forward with OCTAVIA) No, sweet Octavia, You shall hear from me still. The time shall not Outgo my thinking on you. |
CAESAR
(returning with OCTAVIA) Don’t worry, sweet Octavia, I’ll always write to you, and I’ll think about you all the time. |
|
ANTONY
Come, sir, come, I’ll wrestle with you in my strength of love. Look, here I have you. |
ANTONY
Come here, sir. I’ll wrestle with you out of love. See, now I have you. |
|
Embraces him |
They embrace. |
|
Thus I let you go And give you to the gods. |
And thus I let you go and give you to the gods. |
|
CAESAR
Adieu. Be happy. |
CAESAR
Good-bye. Be happy. |
|
LEPIDUS
(to ANTONY) Let all the number of the stars give light To thy fair way. |
LEPIDUS
(to ANTONY) May every star light your path. |
|
CAESAR
Farewell, farewell. |
CAESAR
Farewell, farewell. |
|
Kisses OCTAVIA |
He kisses OCTAVIA. |
|
ANTONY
Farewell. |
ANTONY
Farewell. |
|
Trumpets sound. Exeunt |
Trumpets sound a fanfare as they exit. |
|
Enter CLEOPATRA, CHARMIAN, IRAS, and ALEXAS |
CLEOPATRA, CHARMIAN, IRAS, and ALEXAS enter. |
|
CLEOPATRA
Where is the fellow? |
CLEOPATRA
Where is that messenger? |
|
ALEXAS
Half afeard to come. |
ALEXAS
He’s afraid to come in. |
|
CLEOPATRA
Go to, go to.—Come hither, sir. |
CLEOPATRA
Oh, come on.—Come here, sir. |
|
Enter the MESSENGER as before |
The MESSENGER enters. |
|
ALEXAS
Good majesty, Herod of Jewry dare not look upon you But when you are well pleased. |
ALEXAS
Gracious Queen, even Herod of Judea wouldn’t dare look at you unless you were in a good mood. |
|
CLEOPATRA
That Herod’s head I’ll have! But how? When Antony is gone, Through whom I might command it? (to MESSENGER) Come thou near. |
CLEOPATRA
I’ll have Herod’s head chopped off! But now that Antony’s gone, who will do it for me? (to MESSENGER) Come closer. |
|
MESSENGER
Most gracious majesty! |
MESSENGER
Most formidable Queen! |
|
CLEOPATRA
Didst thou behold Octavia? |
CLEOPATRA
Did you see Octavia? |
|
MESSENGER
Ay, dread Queen. |
MESSENGER
Yes, revered Queen. |
|
CLEOPATRA
Where? |
CLEOPATRA
Where? |
|
MESSENGER
Madam, in Rome. I looked her in the face, and saw her led Between her brother and Mark Antony. |
MESSENGER
In Rome, Madam. I saw her face as she walked with her brother and Mark Antony. |
|
CLEOPATRA
Is she as tall as me? |
CLEOPATRA
Is she as tall as I am? |
|
MESSENGER
She is not, madam. |
MESSENGER
She is not, madam. |
|
CLEOPATRA
Didst hear her speak? Is she shrill-tongued or low? |
CLEOPATRA
Did you hear her speak? Is her voice pitched high or low? |
|
MESSENGER
Madam, I heard her speak. She is low-voiced. |
MESSENGER
Madam, I heard her speak. She has a low-pitched voice. |
|
CLEOPATRA
That’s not so good. He cannot like her long. |
CLEOPATRA
That’s not in her favor. He can’t like her very long. |
|
CHARMIAN
Like her? O Isis, ’tis impossible. |
CHARMIAN
Like her? Oh, Isis, that’s impossible. |
|
CLEOPATRA
I think so, Charmian. Dull of tongue, and dwarfish.— What majesty is in her gait? Remember, If e’er thou looked’st on majesty. |
CLEOPATRA
You’re right, Charmian. She’s both dull-spoken and dwarfishly little.—Did she carry herself with majesty? Compare her to any memory you might have of royalty. |
|
MESSENGER
She creeps. Her motion and her station are as one. She shows a body rather than a life, A statue than a breather. |
MESSENGER
She creeps along. Moving or standing still, her bearing is about the same. She has a body, not a life. She’s more like a statue than a living, breathing human being. |
|
CLEOPATRA
Is this certain? |
CLEOPATRA
Is this true? |
|
MESSENGER
Or I have no observance. |
MESSENGER
If not, then I have no powers of observation. |
|
CHARMIAN
Three in Egypt Cannot make better note. |
CHARMIAN
There aren’t three people in all of Egypt who could do better. |
|
CLEOPATRA
He’s very knowing, I do perceive ’t. There’s nothing in her yet. The fellow has good judgment. |
CLEOPATRA
He’s very observant. I can tell. She doesn’t have anything going for her so far. This messenger is wise. |
|
CHARMIAN
Excellent. |
CHARMIAN
Very wise. |
|
CLEOPATRA
(to MESSENGER) Guess at her years, I prithee. |
CLEOPATRA
(to MESSENGER) How old do you think she is? |
|
MESSENGER
Madam, she was a widow— |
MESSENGER
She was a widow previously, madam. |
|
CLEOPATRA
Widow? Charmian, hark. |
CLEOPATRA
A widow? Do you hear that, Charmian? |
|
MESSENGER
And I do think she’s thirty. |
MESSENGER
And I think she’s at least thirty. |
|
CLEOPATRA
Bear’st thou her face in mind? Is ’t long or round? |
CLEOPATRA
Do you remember her face? Was it long or round? |
|
MESSENGER
Round, even to faultiness. |
MESSENGER
Round enough to be unattractive. |
|
CLEOPATRA
For the most part, too, they are foolish that are so. Her hair, what color? |
CLEOPATRA
Usually that means a person is foolish. What color is her hair? |
|
MESSENGER
Brown, madam, and her forehead As low as she would wish it. |
MESSENGER
Brown, madam, and she wouldn’t want her forehead to be any lower. |
|
CLEOPATRA
(giving money) There’s gold for thee. Thou must not take my former sharpness ill. I will employ thee back again; I find thee Most fit for business. Go make thee ready; Our letters are prepared. |
CLEOPATRA
Here’s gold for you. You mustn’t hold my earlier outburst against me. I’ll hire you again to go back to Rome. I find that you’re very good at this kind of work. Go, prepare to travel. My letters are ready to go. |
|
Exit MESSENGER |
The MESSENGER exits. |
|
CHARMIAN
A proper man. |
CHARMIAN
He’s an admirable man. |
|
CLEOPATRA
Indeed, he is so. I repent me much That so I harried him. Why, methinks, by him, This creature’s no such thing. |
CLEOPATRA
He certainly is. I’m very sorry I was so hard on him. Why, from what he says, Octavia isn’t worth getting upset over. |
|
CHARMIAN
Nothing, madam. |
CHARMIAN
Not a bit, madam. |
|
CLEOPATRA
The man hath seen some majesty and should know. |
CLEOPATRA
This man’s been around royalty. He should recognize it when he sees it. |
|
CHARMIAN
Hath he seen majesty? Isis else defend, And serving you so long! |
CHARMIAN
Been around royalty! Isis forbid it were otherwise, since he’s been in your service so long. |
|
CLEOPATRA
I have one thing more to ask him yet, good Charmian— But ’tis no matter; thou shalt bring him to me Where I will write. All may be well enough. |
CLEOPATRA
I want to ask him one more thing, Charmian. But it’s not important. Bring him to my writing room. Everything may still be all right. |
|
CHARMIAN
I warrant you, madam. |
CHARMIAN
I assure you it is, madam. |
|
Exeunt |
They exit. |
|
Enter ANTONY and OCTAVIA |
ANTONY and OCTAVIA enter. |
|
ANTONY
Nay, nay, Octavia, not only that— That were excusable, that and thousands more Of semblable import—but he hath waged New wars ’gainst Pompey; made his will, and read it To public ear; Spoke scantly of me; when perforce he could not But pay me terms of honor, cold and sickly He vented them, most narrow measure lent me. When the best hint was given him, he not took ’t, Or did it from his teeth. |
ANTONY
No, no, Octavia, it’s not only that. That would be excusable—that and a thousand other offenses like it. But Caesar has gone and waged a new war against Pompey. He made his will and read it in a public assembly. He hardly refers to me at all, though official decisions are supposed to be made jointly. When he can’t avoid mentioning my services to the state, he minimizes them as much as possible. When situations arise when it would be natural to emphasize my due credit, he either ignores them or only pays me lip service. |
|
OCTAVIA
O my good lord, Believe not all, or, if you must believe, Stomach not all. A more unhappy lady, If this division chance, ne’er stood between, Praying for both parts. The good gods will mock me presently, When I shall pray “O bless my lord and husband!” Undo that prayer by crying out as loud “O bless my brother!” Husband win, win brother Prays and destroys the prayer; no midway ’Twixt these extremes at all. |
OCTAVIA
Oh, dear husband, don’t believe everything you hear—or if you must believe it, don’t let it all make you angry. No lady could be more miserable than I if you two disagree. I’ll be left in the middle, praying for both sides. The good gods will laugh at me when on the one hand I pray for my husband and on the other for my brother. “Let my husband win!” “Let my brother win!” One prayer cancels out the other. There’s no middle ground between these two extremes. |
|
ANTONY
Gentle Octavia, Let your best love draw to that point which seeks Best to preserve it. If I lose mine honor, I lose myself; better I were not yours Than yours so branchless. But, as you requested, Yourself shall go between ’s. The meantime, lady, I’ll raise the preparation of a war Shall stain your brother. Make your soonest haste; So your desires are yours. |
ANTONY
Gentle Octavia, support the one that supports you. If I’m defeated, I lose my reputation. If I lose my reputation, I lose myself. It would be better for you to have no husband than a husband who lacks honor. However, as you requested, you may go and try to negotiate with your brother. In the meantime, I’ll raise an army that will surpass his. Go as soon as possible, so your prayers may be answered the sooner. |
|
OCTAVIA
Thanks to my lord. The Jove of power make me most weak, most weak, Your reconciler! Wars ’twixt you twain would be As if the world should cleave, and that slain men Should solder up the rift. |
OCTAVIA
Thank you, my lord. May the god of power make me, the weakest of the weak, your mediator. A war between you two would split the very world, and the bodies of your slaughtered soldiers would have to fill the chasm between. |
|
ANTONY
When it appears to you where this begins, Turn your displeasure that way, for our faults Can never be so equal that your love Can equally move with them. Provide your going; Choose your own company and command what cost Your heart has mind to. |
ANTONY
When you find out who started this disagreement, turn your anger upon them. Our faults can’t be so alike that you would judge us similarly. Order supplies for your trip and choose your traveling companions. Spend as much as you like. |
|
Exeunt |
They exit. |
|
Enter ENOBARBUS and EROS |
ENOBARBUS and EROS enter. |
|
ENOBARBUS
How now, friend Eros! |
ENOBARBUS
How goes it, friend Eros? |
|
EROS
There’s strange news come, sir. |
EROS
Some startling news has just arrived, sir. |
|
ENOBARBUS
What, man? |
ENOBARBUS
What news, man? |
|
EROS
Caesar and Lepidus have made wars upon Pompey. |
EROS
Caesar and Lepidus declared war against Pompey. |
|
ENOBARBUS
This is old. What is the success? |
ENOBARBUS
That’s old news. Who’s winning? |
|
EROS
Caesar, having made use of him in the wars ’gainst Pompey, presently denied him rivality, would not let him partake in the glory of the action, and, not resting here, accuses him of letters he had formerly wrote to Pompey; upon his own appeal seizes him. So the poor third is up, till death enlarge his confine. |
EROS
Caesar used Lepidus in the war, but as soon as it was over, Lepidus was expelled from the triumvirate. He wasn’t allowed any of the glory of the victory, and he was accused of treasonous correspondence with Pompey. On the basis of Caesar’s accusation alone, Lepidus was imprisoned. So the weak third of the triumvirate is imprisoned until death frees him. |
|
ENOBARBUS
Then, world, thou hast a pair of chaps, no more, And throw between them all the food thou hast, They’ll grind the one the other. Where’s Antony? |
ENOBARBUS
So now the world will only be devoured by two sets of jaws—Caesar’s and Antony’s. And even if you throw everything you possess to the two of them, they’ll battle each other to the death to have it all. Where’s Antony? |
|
EROS
He’s walking in the garden—(imitating anger) thus, and spurns The rush that lies before him; cries, “Fool Lepidus!” And threats the throat of that his officer That murdered Pompey. |
EROS
He’s walking in the garden, like this (imitating anger). And he kicks the leaves on the path, exclaiming, “Lepidus, you fool!” Then he threatens to kill the officer who murdered Pompey. |
|
ENOBARBUS
Our great navy’s rigged. |
ENOBARBUS
Antony’s grand navy is prepared. |
|
EROS
For Italy and Caesar. More, Domitius: My lord desires you presently. My news I might have told hereafter. |
EROS
To sail to Italy and Caesar. Another thing, Domitius: Antony wants to see you now. I should have waited to tell you my news. |
|
ENOBARBUS
’Twill be naught, But let it be. Bring me to Antony. |
ENOBARBUS
It won’t be that important. But never mind. Take me to Antony. |
|
EROS
Come, sir. |
EROS
Come with me, sir. |
|
Exeunt |
They exit. |
|
Enter AGRIPPA, MECAENAS, and CAESAR |
AGRIPPA, MAECENAS, and CAESAR enter. |
|
CAESAR
Contemning Rome, he has done all this and more In Alexandria. Here’s the manner of ’t: I’ th’ marketplace, on a tribunal silvered, Cleopatra and himself in chairs of gold Were publicly enthroned. At the feet sat Caesarion, whom they call my father’s son, And all the unlawful issue that their lust Since then hath made between them. Unto her He gave the stablishment of Egypt, made her Of lower Syria, Cyprus, Lydia, Absolute Queen. |
CAESAR
In Alexandria he condemned Rome, and that’s not all. This is what happened: he and Cleopatra sat on chairs of gold on a silver-covered stage in the marketplace. Caesarion—whom they call my father’s son—and all their illegitimate children sat at their feet. Antony confirmed her possession of Egypt and made her absolute Queen of lower Syria, Cyprus, and Lydia. |
|
MAECENAS
This in the public eye? |
MAECENAS
He did this in public? |
|
CAESAR
I’ th’ common showplace, where they exercise. His sons he there proclaimed the kings of kings: Great Media, Parthia, and Armenia He gave to Alexander; to Ptolemy he assigned Syria, Cilicia, and Phoenicia. She In th’ habiliments of the goddess Isis That day appeared, and oft before gave audience, As ’tis reported, so. |
CAESAR
In the public arena, where they perform sporting events. He proclaimed his sons to be kings of kings. He gave Media, Parthia, and Armenia to Alexander. He gave Syria, Cilicia, and Phoenicia to Ptolemy. Cleopatra was dressed like the goddess Isis. They say she often attended her public functions like that. |
|
MAECENAS
Let Rome be thus informed. |
MAECENAS
Let’s send this news to Rome. |
|
AGRIPPA
Who, queasy with his insolence already, Will their good thoughts call from him. |
AGRIPPA
The Roman people are fed up with his arrogance already. They’ll abandon him completely when they hear this. |
|
CAESAR
The people knows it, and have now received His accusations. |
CAESAR
The people have heard it already, and they’ve been told of his accusations. |
|
AGRIPPA
Who does he accuse? |
AGRIPPA
Who does he accuse? |
|
CAESAR
Caesar, and that, having in Sicily Sextus Pompeius spoiled, we had not rated him His part o’ th’ isle. Then does he say he lent me Some shipping, unrestored. Lastly, he frets That Lepidus of the triumvirate Should be deposed, and, being, that we detain All his revenue. |
CAESAR
He accuses me of withholding his share of Sextus Pompeius’ possessions, which we seized in Sicily. Then he says I didn’t return some ships he loaned me. Finally, he criticizes the deposing of Lepidus, and then goes on to accuse me of keeping all of Lepidus’ property for myself. |
|
AGRIPPA
Sir, this should be answered. |
AGRIPPA
Sir, these accusations should be answered. |
|
CAESAR
’Tis done already, and the messenger gone. I have told him, Lepidus was grown too cruel, That he his high authority abused And did deserve his change. For what I have conquered, I grant him part; but then, in his Armenia, And other of his conquered kingdoms, I Demand the like. |
CAESAR
It has been done already, and the messenger is on his way. I answered that Lepidus had become too brutal and abused his position. For this he deserved to be deposed. As for what I seized in the wars, I granted that Antony should have a share. But I also demanded my share of his acquisitions in Armenia and the other conquered kingdoms. |
|
MAECENAS
He’ll never yield to that. |
MAECENAS
He’ll never agree to that. |
|
CAESAR
Nor must not then be yielded to in this. |
CAESAR
Then we won’t agree to his demands. |
|
Enter OCTAVIA with her train |
OCTAVIA enters with her attendants. |
|
OCTAVIA
Hail, Caesar, and my lord! Hail, most dear Caesar! |
OCTAVIA
Greetings, Caesar, my lord! Greetings, dearest Caesar! |
|
CAESAR
That ever I should call thee castaway! |
CAESAR
Oh, to think you’ve been rejected! |
|
OCTAVIA
You have not called me so, nor have you cause. |
OCTAVIA
You’ve never thought of me like that, and you have no reason to. |
|
CAESAR
Why have you stol’n upon us thus? You come not Like Caesar’s sister. The wife of Antony Should have an army for an usher and The neighs of horse to tell of her approach Long ere she did appear. The trees by th’ way Should have borne men, and expectation fainted, Longing for what it had not. Nay, the dust Should have ascended to the roof of heaven, Raised by your populous troops. But you are come A market-maid to Rome and have prevented The ostentation of our love, which, left unshown, Is often left unloved. We should have met you By sea and land, supplying every stage With an augmented greeting. |
CAESAR
Then why did you travel so quietly? You didn’t arrive like Caesar’s sister. Antony’s wife should have an army to escort her, with neighing horses to announce her arrival long before she appears. The trees along the road should have been filled with eager spectators. Crowds should have been faint with excitement waiting to see you. The dust from your attending troops should have risen to heaven. But you’ve arrived like a common maid bringing goods to a Roman market. You’ve kept me from displaying my love—and when love is not shown, it’s often not felt. I would have met you by sea and again by land. At each stage of your trip there would have been a more spectacular greeting. |
|
OCTAVIA
Good my lord, To come thus was I not constrained, but did it On my free will. My lord, Mark Antony, Hearing that you prepared for war, acquainted My grievèd ear withal, whereon I begged His pardon for return. |
OCTAVIA
My good lord, I wasn’t forced to travel like this. It was my choice. Mark Antony heard that you were preparing to wage war on him. When he gave me this news, I begged him to let me visit you. |
|
CAESAR
Which soon he granted, Being an obstruct ’tween his lust and him. |
CAESAR
Which he quickly allowed, given that you’re an obstacle to his lust. |
|
OCTAVIA
Do not say so, my lord. |
OCTAVIA
Don’t say that, my lord. |
|
CAESAR
I have eyes upon him, And his affairs come to me on the wind. Where is he now? |
CAESAR
I’ve kept track of him, and reports of his affairs arrive on every ship. Where do you think he is now? |
|
OCTAVIA
My lord, in Athens. |
OCTAVIA
He’s in Athens, my lord. |
|
CAESAR
No, my most wrongèd sister. Cleopatra Hath nodded him to her. He hath given his empire Up to a whore; who now are levying The kings o’ th’ earth for war. He hath assembled Bocchus, the King of Libya; Archelaus, Of Cappadocia; Philadelphos, King Of Paphlagonia; the Thracian king, Adallas; King Manchus of Arabia; King of Pont; Herod of Jewry; Mithridates, King Of Comagen; Polemon and Amyntas, The Kings of Mede and Lycaonia, With a more larger list of scepters. |
CAESAR
No, he’s not. You’ve been deceived. Cleopatra summoned him. He’s given his empire to a whore, and now they’re gathering kings to wage a war. He’s recruited Bocchus, the King of Libya; Archelaus of Cappadocia; Philadelphos, King of Paphlagonia; the Thracian king, Adallas; King Manchus of Arabia; the King of Pont; Herod, of Judea; Mithridates, King of Comagen; Polemon and Amyntas, the kings of Mede and Lycaonia, and many more. |
|
OCTAVIA
Ay me, most wretched, That have my heart parted betwixt two friends That does afflict each other! |
OCTAVIA
Oh, I’m heartbroken. I’m divided between two friends who are determined to kill each other. |
|
CAESAR
Welcome hither. Your letters did withhold our breaking forth Till we perceived both how you were wrong led And we in negligent danger. Cheer your heart. Be you not troubled with the time, which drives O’er your content these strong necessities, But let determined things to destiny Hold unbewailed their way. Welcome to Rome, Nothing more dear to me. You are abused Beyond the mark of thought, and the high gods, To do you justice, makes his ministers Of us and those that love you. Best of comfort, And ever welcome to us. |
CAESAR
You’re welcome here. I didn’t write about breaking the alliance with Antony until I saw you were being misled and realized how dangerous it would be to keep postponing preparations. Cheer yourself. Don’t be troubled by the present situation, the obligations of which must ruin your happiness. Don’t worry about things that have already been decided by fate. Welcome home to Rome. Nothing is more precious to me than you. You have been unbelievably abused, and now the gods make us the dispensers of justice. Be comforted. You will always be welcome to me. |
|
AGRIPPA
Welcome, lady. |
AGRIPPA
Welcome, lady. |
|
MAECENAS
Welcome, dear madam. Each heart in Rome does love and pity you. Only th’ adulterous Antony, most large In his abominations, turns you off And gives his potent regiment to a trull That noises it against us. |
MAECENAS
Welcome, dear madam. Every heart in Rome loves and pities you. Only the adulterous and abominable Antony abandons you, giving his power to a whore who turns that power against us. |
|
OCTAVIA
(to CAESAR) Is it so, sir? |
OCTAVIA
(to CAESAR) Is that true, sir? |
|
CAESAR
Most certain. Sister, welcome. Pray you Be ever known to patience. My dear’st sister! |
CAESAR
It’s undeniable. You are welcome here, sister. I beg you to continue to be patient. My dearest sister! |
|
Exeunt |
They exit. |
|
Enter CLEOPATRA and ENOBARBUS |
CLEOPATRA and ENOBARBUS enter. |
|
CLEOPATRA
I will be even with thee, doubt it not. |
CLEOPATRA
I’ll be straight with you. Do not doubt it. |
|
ENOBARBUS
But why, why, why? |
ENOBARBUS
But why, why, why? |
|
CLEOPATRA
Thou hast forspoke my being in these wars And sayst it is not fit. |
CLEOPATRA
You opposed my taking part in the war. You said it wasn’t proper. |
|
ENOBARBUS
Well, is it, is it? |
ENOBARBUS
Well, is it? Is it? |
|
CLEOPATRA
Is ’t not denounced against us? Why should not we Be there in person? |
CLEOPATRA
Isn’t this war against me? Why shouldn’t I be there in person? |
|
ENOBARBUS
Well, I could reply, If we should serve with horse and mares together, The horse were merely lost. The mares would bear A soldier and his horse. |
ENOBARBUS
Well, I could answer that if we went to war on male and female horses alike—the male horses would be totally distracted and useless. The mares would be ridden by their riders and the male horses. |
|
CLEOPATRA
What is ’t you say? |
CLEOPATRA
What do you mean? |
|
ENOBARBUS
Your presence needs must puzzle Antony, Take from his heart, take from his brain, from ’s time What should not then be spared. He is already Traduced for levity, and ’tis said in Rome That Photinus, an eunuch, and your maids Manage this war. |
ENOBARBUS
Antony will necessarily be distracted by your presence. You will affect his heart and his head. You’ll take up time he can’t afford to lose. He’s already criticized for frivolous behavior. In Rome they say that your eunuch Photinus and your maids run the war. |
|
CLEOPATRA
Sink Rome! And their tongues rot That speak against us! A charge we bear i’ th’ war, And as the president of my kingdom will Appear there for a man. Speak not against it. I will not stay behind. |
CLEOPATRA
Let Rome fall! May the tongues of our critics rot! I have responsibilities in this war, and as the absolute ruler of my kingdom I will carry out my duties as if I were a man. Don’t argue against it. I won’t stay behind. |
|
Enter ANTONYand CANIDIUS |
ANTONY and CANIDIUS enter. |
|
ENOBARBUS
Nay, I have done. Here comes the Emperor. |
ENOBARBUS
No, I’ve had my say. Here comes the Emperor. |
|
ANTONY
Is it not strange, Canidius, That from Tarentum and Brundusium He could so quickly cut the Ionian sea And take in Toryne?—You have heard on ’t, sweet? |
ANTONY
Isn’t it strange, Canidius, that he could cross the Ionian Sea so quickly from Tarentum and Brundusium and take Toryne?—Have you heard about this, sweet? |
|
CLEOPATRA
Celerity is never more admired Than by the negligent. |
CLEOPATRA
No one admires speed more than the lazy. |
|
ANTONY
A good rebuke, Which might have well becomed the best of men, To taunt at slackness.—Canidius, we will fight With him by sea. |
ANTONY
That’s a good reprimand, suitable for reminding even the best of men to guard against negligence. Canidius, we’ll fight him at sea. |
|
CLEOPATRA
By sea, what else? |
CLEOPATRA
Of course we’ll fight him by sea. What else? |
|
CANIDIUS
Why will My lord do so? |
CANIDIUS
Why do you want to do that, my lord? |
|
ANTONY
For that he dares us to ’t. |
ANTONY
Because he’s daring us to do it. |
|
ENOBARBUS
So hath my lord dared him to single fight. |
ENOBARBUS
So you’ve dared him to single combat. |
|
CANIDIUS
Ay, and to wage this battle at Pharsalia, Where Caesar fought with Pompey. But these offers, Which serve not for his vantage, he shakes off, And so should you. |
CANIDIUS
Yes, and you dared Caesar to fight the battle at Pharsalia, where he fought against Pompey. But Caesar ignores offers that don’t give him an advantage, and so should you. |
|
ENOBARBUS
Your ships are not well manned, Your mariners are muleteers, reapers, people Engrossed by swift impress. In Caesar’s fleet Are those that often have ’gainst Pompey fought. Their ships are yare, yours, heavy. No disgrace Shall fall you for refusing him at sea, Being prepared for land. |
ENOBARBUS
Your ships are not well crewed. Your sailors are mule drivers, harvesters—men who were drafted quickly and have little training. Caesar’s fleet is manned by mariners who already have experience battling Pompey. His ships are maneuverable. Yours are slow and awkward. Refusing to fight him at sea won’t disgrace you. You’ve prepared for a land war. |
|
ANTONY
By sea, by sea. |
ANTONY
I will fight by sea. By sea. |
|
ENOBARBUS
Most worthy sir, you therein throw away The absolute soldiership you have by land, Distract your army, which doth most consist Of war-marked footmen, leave unexecuted Your own renownèd knowledge, quite forego The way which promises assurance, and Give up yourself merely to chance and hazard From firm security. |
ENOBARBUS
Most worthy sir, if you do that you throw away all the advantages you have on land. You will have to divide your army, which mostly consists of battle-hardened foot soldiers. You will be unable to use your legendary battle knowledge. You’ll be abandoning proven methods that promise victory, and instead you’ll put yourself at the mercy of haphazard chance. |
|
ANTONY
I’ll fight at sea. |
ANTONY
I’ll fight at sea. |
|
CLEOPATRA
I have sixty sails, Caesar none better. |
CLEOPATRA
I have sixty ships. Caesar doesn’t have any that are better. |
|
ANTONY
Our overplus of shipping will we burn, And with the rest full-manned, from th’ head of Actium Beat th’ approaching Caesar. But if we fail, We then can do ’t at land. |
ANTONY
We’ll burn our surplus ships and fully man the rest. We’ll sail from Actium and beat Caesar as he approaches. Even if we fail at that, we can still fight him on land. |
|
Enter a MESSENGER |
A MESSENGER enters. |
|
Thy business? |
What’s your business? |
|
MESSENGER
The news is true, my lord. He is descried. Caesar has taken Toryne. |
MESSENGER
The news is true, my lord. Caesar has been seen. He has captured Toryne. |
|
Exit |
He exits. |
|
ANTONY
Can he be there in person? ’Tis impossible, Strange that his power should be. Canidius, Our nineteen legions thou shalt hold by land, And our twelve thousand horse. We’ll to our ship. Away, my Thetis! |
ANTONY
Can Caesar be there in person? No, that’s impossible. It’s strange enough that his army should be there. Canidius, take our nineteen legions and twelve thousand horse soldiers. You must hold them on land. We’ll go to our ship. Come away, Cleopatra. |
|
Enter a SOLDIER |
A SOLDIER enters. |
|
How now, worthy soldier? |
What’s the news, brave soldier? |
|
SOLDIER
O noble Emperor, do not fight by sea! Trust not to rotten planks. Do you misdoubt This sword and these my wounds? Let th’ Egyptians And the Phoenicians go a-ducking. We Have used to conquer standing on the earth And fighting foot to foot. |
SOLDIER
Oh, don’t fight by sea, noble Emperor! Don’t trust rotten planks. Don’t you trust my sword and these wounds? Let the Egyptians and Phoenicians go swimming. We are used to winning by standing on the earth and fighting toe to toe. |
|
ANTONY
Well, well, away. |
ANTONY
Well, well, let’s go. |
|
Exeunt ANTONY, CLEOPATRA, and ENOBARBUS |
ANTONY, CLEOPATRA, and ENOBARBUS exit. |
|
SOLDIER
By Hercules, I think I am i’ th’ right. |
SOLDIER
By Hercules, I think I’m right. |
|
CANIDIUS
Soldier, thou art; but his whole action grows Not in the power on ’t. So our leader’s led, And we are women’s men. |
CANIDIUS
Soldier, you are. But Antony’s decisions aren’t coming from his extensive experience. Our leader is being led. We are following a woman. |
|
SOLDIER
You keep by land The legions and the horse whole, do you not? |
SOLDIER
On land you keep the legions and cavalry together, don’t you? |
|
CANIDIUS
Marcus Octavius, Marcus Justeius, Publicola, and Caelius, are for sea; But we keep whole by land. This speed of Caesar’s Carries beyond belief. |
CANIDIUS
Marcus Octavius, Marcus Justeius, Publicola, and Caelius will go by sea, but we’ll keep the bulk on land. Caesar’s speed defies belief. |
|
SOLDIER
While he was yet in Rome His power went out in such distractions as Beguiled all spies. |
SOLDIER
While he was still in Rome, he deployed his forces in so many different disguises that all our spies were fooled. |
|
CANIDIUS
Who’s his lieutenant, hear you? |
CANIDIUS
Who’s his lieutenant, do you know? |
|
SOLDIER
They say, one Taurus. |
SOLDIER
A man named Taurus, they say. |
|
CANIDIUS
Well I know the man. |
CANIDIUS
I know the man well. |
|
Enter a MESSENGER |
A MESSENGER enters. |
|
MESSENGER
The Emperor calls Canidius. |
MESSENGER
The Emperor is calling for Canidius. |
|
CANIDIUS
With news the time’s with labor, and throws forth Each minute some. |
CANIDIUS
The present time is like a woman in labor, each minute giving birth to some piece of news. |
|
Exeunt |
They exit. |
|
Enter CAESAR with his army, and TAURUS, marching |
CAESAR enters with TAURUS and his army. |
|
CAESAR
Taurus! |
CAESAR
Taurus! |
|
TAURUS
My lord? |
TAURUS
My lord? |
|
CAESAR
Strike not by land; keep whole. Provoke not battle Till we have done at sea. Do not exceed The prescript of this scroll. |
CAESAR
Don’t attack by land. Keep the army together. Don’t provoke them to battle until we have finished at sea. Don’t exceed your orders as written here. |
|
He gives a scroll |
He hands TAURUS a scroll. |
|
Our fortune lies Upon this jump. |
Our fate depends on this chance. |
|
Exit with army |
They exit. |
|
Enter ANTONY and ENOBARBUS |
ANTONY and ENOBARBUS enter. |
|
ANTONY
Set we our squadrons on yond side o’ th’ hill, In eye of Caesar’s battle, from which place We may the number of the ships behold And so proceed accordingly. |
ANTONY
Assemble our squadrons on the other side of the hill, in sight of Caesar’s navy. From there we’ll be able to see how many ships he has and plan accordingly. |
|
Exit |
They exit. |
|
CANIDIUS marcheth with his land army one way over the stage, and TAURUS, the lieutenant of CAESAR, the other way. After their going in is heard the noise of a sea fight |
CANIDIUS and his army marches one way across the stage while CAESAR’s lieutenant, TAURUS, marches across the other way. After the two armies march off stage, the noise of a battle at sea is heard. |
|
Alarum. Enter ENOBARBUS |
Trumpets sound a retreat. ENOBARBUS enters. |
|
ENOBARBUS
Naught, naught, all naught! I can behold no longer. Th’ Antoniad, the Egyptian admiral, With all their sixty, fly and turn the rudder. To see ’t mine eyes are blasted. |
ENOBARBUS
We’re ruined, ruined, ruined! I can’t watch any more. The Egyptian flagship, the Antoniad, followed by all sixty Egyptian ships, has turned and fled. It destroyed my eyes to look upon it. |
|
Enter SCARUS |
SCARUS enters. |
|
SCARUS
Gods and goddesses, All the whole synod of them! |
SCARUS
Gods and goddesses—the whole congregation of them! |
|
ENOBARBUS
What’s thy passion? |
ENOBARBUS
What’s wrong with you? |
|
SCARUS
The greater cantle of the world is lost With very ignorance. We have kissed away Kingdoms and provinces. |
SCARUS
We have lost a major portion of the world through utter foolishness. We have kissed away entire kingdoms and provinces. |
|
ENOBARBUS
How appears the fight? |
ENOBARBUS
How goes the battle? |
|
SCARUS
On our side like the tokened pestilence, Where death is sure. Yon ribaudred nag of Egypt— Whom leprosy o’ertake!—i’ th’ midst o’ th’ fight, When vantage like a pair of twins appeared Both as the same, or rather ours the elder, The breeze upon her, like a cow in June, Hoists sails and flies. |
SCARUS
Our side shows all the signs of certain defeat, which appear like the symptomatic sores of the plague. Right in the middle of the fight, just when the battle could have gone either way—actually we had a slight advantage—that immoral Egyptian nag—May she die of leprosy!—suddenly became frightened, and turned her ships around and fled. |
|
ENOBARBUS
That I beheld. Mine eyes did sicken at the sight and could not Endure a further view. |
ENOBARBUS
I saw that. The sight made me so sick I couldn’t watch any more. |
|
SCARUS
She once being loofed, The noble ruin of her magic, Antony, Claps on his sea-wing and, like a doting mallard Leaving the fight in height, flies after her. I never saw an action of such shame. Experience, manhood, honor, ne’er before Did violate so itself. |
SCARUS
Once she had turned around, the noble Antony, ruined by love, hoisted his own sails and followed her like a lovesick duck. He left the battle at the most crucial point. I never saw such a shameful act. He betrayed his own experience, manhood, and honor. |
|
ENOBARBUS
Alack, alack! |
ENOBARBUS
Terrible. Terrible. |
|
Enter CANIDIUS |
CANIDIUS enters. |
|
CANIDIUS
Our fortune on the sea is out of breath And sinks most lamentably. Had our general Been what he knew himself, it had gone well. Oh, he has given example for our flight Most grossly by his own! |
CANIDIUS
The battle on the sea is almost lost. If our general had been his old self, we would have won. Oh, with his sordid desertion, he sets the example for our own. |
|
ENOBARBUS
Ay, are you thereabouts? Why then, good night indeed. |
ENOBARBUS
Are you considering desertion, as well? Then everything must really be finished. |
|
CANIDIUS
Toward Peloponnesus are they fled. |
CANIDIUS
They fled toward Peloponnesus. |
|
SCARUS
’Tis easy to ’t, and there I will attend What further comes. |
SCARUS
It’s easy to get there. I’ll go there and ascertain their next move. |
|
He exits |
He exits. |
|
CANIDIUS
To Caesar will I render My legions and my horse. Six kings already Show me the way of yielding. |
CANIDIUS
I’ll yield my legions and cavalry to Caesar. In this, I follow the examples of the six kings who have already surrendered. |
|
He exits |
He exits. |
|
ENOBARBUS
I’ll yet follow The wounded chance of Antony, though my reason Sits in the wind against me. |
ENOBARBUS
I’ll still follow Antony, even though the odds are against him and good sense tells me I should go the other way. |
|
He exits |
He exits. |
|
Enter ANTONY with attendants |
ANTONY enters with attendants. |
|
ANTONY
Hark. The land bids me tread no more upon ’t. It is ashamed to bear me. Friends, come hither. I am so lated in the world that I Have lost my way forever. I have a ship Laden with gold. Take that, divide it. Fly And make your peace with Caesar. |
ANTONY
Listen. The earth tells me to stop walking upon it, as it’s ashamed to carry me. Friends, come here. I’m completely lost. I have a ship full of treasure. Take that. Divide it. Escape and make peace with Caesar. |
|
ALL
Fly? Not we. |
ALL
Flee? Not us. |
|
ANTONY
I have fled myself, and have instructed cowards To run and show their shoulders. Friends, begone. I have myself resolved upon a course Which has no need of you. Begone. My treasure’s in the harbor. Take it. Oh, I followed that I blush to look upon! My very hairs do mutiny, for the white Reprove the brown for rashness, and they them For fear and doting. Friends, begone. You shall Have letters from me to some friends that will Sweep your way for you. Pray you, look not sad, Nor make replies of loathness. Take the hint Which my despair proclaims. Let that be left Which leaves itself. To the seaside straightway! I will possess you of that ship and treasure. Leave me, I pray, a little. Pray you now, Nay, do so, for indeed I have lost command. Therefore I pray you. I’ll see you by and by. |
ANTONY
I have already fled from my true self. I’ve told cowards to turn their backs on me and run. Friends, go. I’ve decided on a plan that doesn’t require your assistance. Leave. My treasure’s in the harbor; take it. Oh, I followed something I’m ashamed to look at now! Even my hair revolts. The white hairs blame the brown hairs for being irresponsible, and the brown ones blame the white ones for being spineless and foolish. Friends, go. I’ll give you letters of introduction to some friends of mine who will help you. Please, don’t be sad, and don’t tell me how reluctant you are. Take your cues from my own despair. Abandon the person that has abandoned himself. Go to the harbor immediately! I’ll give you the title to that ship and its treasure. Just give me a moment, please—only a moment. I’ve relinquished my authority, so please—I’ll see you all before long. |
|
Exeunt attendants. ANTONY sits down |
The attendants exit. ANTONY sits. |
|
Enter CLEOPATRA, led by CHARMIAN, IRAS, and EROS |
CHARMIAN, IRAS, and EROS enter, supporting CLEOPATRA. |
|
EROS
Nay, gentle madam, to him, comfort him. |
EROS
No, gentle madam, go. Comfort him. |
|
IRAS
Do, most dear Queen. |
IRAS
Yes, do, dearest Queen. |
|
CHARMIAN
Do. Why, what else? |
CHARMIAN
Of course you must comfort him! What else? |
|
CLEOPATRA
Let me sit down. O Juno! |
CLEOPATRA
Let me sit down. Oh, Juno! |
|
She sits |
She sits. |
|
ANTONY
(seeing CLEOPATRA) No, no, no, no, no. |
ANTONY
(seeing CLEOPATRA) No, no, no, no, no. |
|
EROS
See you here, sir? |
EROS
Do you see her, sir? |
|
ANTONY
Oh, fie, fie, fie! |
ANTONY
Oh, damn, damn, damn! |
|
CHARMIAN
Madam! |
CHARMIAN
Madam! |
|
IRAS
Madam, O good Empress! |
IRAS
Madam, oh, good Empress! |
|
EROS
Sir, sir— |
EROS
Sir . . . sir . . . |
|
ANTONY
(aside) Yes, my lord, yes. He at Philippi kept His sword e’en like a dancer, while I struck The lean and wrinkled Cassius, and ’twas I That the mad Brutus ended. He alone Dealt on lieutenantry, and no practice had In the brave squares of war, yet now—no matter. |
ANTONY
(to himself) Yes, my lord, that’s true. At Philippi, Caesar kept his sword in its sheath, like a dancer, while I commanded the armies that conquered Cassius and Brutus. Caesar fought only through lieutenants. He had no experience with the brave contests of war. But now . . . never mind. |
|
CLEOPATRA
Ah, stand by. |
CLEOPATRA
Ah, give us some privacy. |
|
EROS
The Queen, my lord, the Queen. |
EROS
The Queen is here, my lord. |
|
IRAS
Go to him, madam, speak to him. He is unqualitied with very shame. |
IRAS
Go to him, madam, speak to him. He’s not himself because he feels so ashamed. |
|
CLEOPATRA
Well then, sustain me. Oh! |
CLEOPATRA
Well, then, help me. |
|
She rises |
Her attendants help her to stand. |
|
EROS
Most noble sir, arise. The Queen approaches. Her head’s declined, and death will seize her but Your comfort makes the rescue. |
EROS
Most noble sir, stand up. The Queen is coming. She’s weak and will die unless you comfort her. |
|
ANTONY
I have offended reputation, A most unnoble swerving. |
ANTONY
I’ve destroyed my reputation, a most shameful error. |
|
EROS
Sir, the Queen. |
EROS
Sir, here’s the Queen. |
|
ANTONY
Oh, whither hast thou led me, Egypt? See How I convey my shame out of thine eyes By looking back what I have left behind ’Stroyed in dishonor. |
ANTONY
Oh, where have you led me, Egypt? See how I hide my shame from you by turning around? I look behind me to see my past, destroyed by dishonor. |
|
CLEOPATRA
O my lord, my lord, Forgive my fearful sails! I little thought You would have followed. |
CLEOPATRA
Oh, my lord, my lord, forgive my panic! I didn’t think you would follow me. |
|
ANTONY
Egypt, thou knew’st too well My heart was to thy rudder tied by th’ strings, And thou shouldst tow me after. O’er my spirit Thy full supremacy thou knew’st, and that Thy beck might from the bidding of the gods Command me. |
ANTONY
Queen, you knew very well that my heart was tied to your ship and that you would pull me along with you. You knew that my spirit was completely under your control and that I would ignore the gods’ orders in favor of yours. |
|
CLEOPATRA
Oh, my pardon! |
CLEOPATRA
Oh, forgive me! |
|
ANTONY
Now I must To the young man send humble treaties, dodge And palter in the shifts of lowness, who With half the bulk o’ th’ world played as I pleased, Making and marring fortunes. You did know How much you were my conqueror, and that My sword, made weak by my affection, would Obey it on all cause. |
ANTONY
Now I will have to send my humble proposal of peace to that young man. I’ve done as I pleased with half the world, making and losing fortunes, but now I negotiate from a position of weakness. You knew how far you had conquered my spirit. You knew that my sword, weakened by my love for you, would obey that love no matter what. |
|
CLEOPATRA
Pardon, pardon! |
CLEOPATRA
Forgive me! Forgive me! |
|
ANTONY
Fall not a tear, I say. One of them rates All that is won and lost. Give me a kiss. |
ANTONY
Don’t shed even one tear. One of your tears is worth everything that was won and lost. Give me a kiss. |
|
They kiss |
They kiss. |
|
Even this repays me.— We sent our schoolmaster. Is he come back?— Love, I am full of lead.—(calling) Some wine, Within there, and our viands! Fortune knows We scorn her most when most she offers blows. |
This repays me. I sent our children’s schoolmaster to Caesar with our offer. Has he returned? Love, I am full of heaviness. (calling) Servants, bring some wine and food! We have the most contempt for fortune when it goes against us. |
|
Exeunt |
They exit. |
|
Enter CAESAR, AGRIPPA, THIDIAS, and DOLABELLA, with others |
CAESAR, AGRIPPA, THIDIAS, and DOLABELLA enter, with others of the court. |
|
CAESAR
Let him appear that’s come from Antony. Know you him? |
CAESAR
Let the envoy from Antony come in. Do you know him? |
|
DOLABELLA
Caesar, ’tis his schoolmaster— An argument that he is plucked, when hither He sends so poor a pinion of his wing, Which had superfluous kings for messengers Not many moons gone by. |
DOLABELLA
It’s Antony’s schoolmaster. By sending such an insignificant emissary, Antony shows us how low he has sunk. Not so long ago, he had so many royal supporters that he sent along extra kings as messengers. |
|
Enter AMBASSADOR from Antony |
Antony’s AMBASSADOR enters. |
|
CAESAR
Approach and speak. |
CAESAR
Come forward and speak. |
|
AMBASSADOR
Such as I am, I come from Antony. I was of late as petty to his ends As is the morn-dew on the myrtle leaf To his grand sea. |
AMBASSADOR
Humble as I am, I represent Antony. Until recently, I was as unimportant to his affairs as the morning dew is to the wide ocean. |
|
CAESAR
Be ’t so. Declare thine office. |
CAESAR
So be it. Say what you’re here for. |
|
AMBASSADOR
Lord of his fortunes he salutes thee, and Requires to live in Egypt; which not granted, He lessens his requests, and to thee sues To let him breathe between the heavens and earth A private man in Athens. This for him. Next, Cleopatra does confess thy greatness, Submits her to thy might, and of thee craves The circle of the Ptolemies for her heirs, Now hazarded to thy grace. |
AMBASSADOR
He acknowledges that you are the master of his fate, and he requests to be allowed to live in Egypt. If that is not granted, he reduces his requests and asks only that he be allowed to live as a private man in Athens. That’s all he asks for himself. Cleopatra recognizes your greatness and accepts your authority. She only asks that the crown of Egypt pass to her heirs, who are now at your mercy. |
|
CAESAR
For Antony, I have no ears to his request. The Queen Of audience nor desire shall fail, so she From Egypt drive her all-disgracèd friend Or take his life there. This if she perform, She shall not sue unheard. So to them both. |
CAESAR
As for Antony, I’m not interested in his requests. I’ll give the Queen a hearing and grant her requests if she either throws her dishonored friend out of Egypt or kills him. Then I’ll listen to her. Give my answer to them both. |
|
AMBASSADOR
Fortune pursue thee! |
AMBASSADOR
May good luck follow you! |
|
CAESAR
Bring him through the bands. |
CAESAR
Take him safely through the lines. |
|
Exit AMBASSADOR, attended |
The AMBASSADOR exits. |
|
(to THIDIAS) To try thy eloquence now ’tis time. Dispatch. From Antony win Cleopatra. Promise, And in our name, what she requires. Add more, From thine invention, offers. Women are not In their best fortunes strong, but want will perjure The ne’er-touched vestal. Try thy cunning, Thidias. Make thine own edict for thy pains, which we Will answer as a law. |
(to THIDIAS) Now it’s time to test your eloquence. On your way. Separate Cleopatra from Antony. In my name, promise to fulfill her petitions. You can make up additional offers, if necessary. Women aren’t strong, even at their best. Hardship will make even a vestal abandon her vows. Use your ingenuity, Thidias. You can make your own conditions, which I will authorize as law. |
|
THIDIAS
Caesar, I go. |
THIDIAS
I go, Caesar. |
|
CAESAR
Observe how Antony becomes his flaw, And what thou think’st his very action speaks In every power that moves. |
CAESAR
Observe how Antony takes his defeat and how his attitude influences his actions. |
|
THIDIAS
Caesar, I shall. |
THIDIAS
I will, Caesar. |
|
Exeunt |
They exit. |
|
Enter CLEOPATRA, ENOBARBUS, CHARMIAN, and IRAS |
CLEOPATRA, ENOBARBUS, CHARMIAN, and IRAS enter. |
|
CLEOPATRA
What shall we do, Enobarbus? |
CLEOPATRA
What are we going to do, Enobarbus? |
|
ENOBARBUS
Think and die. |
ENOBARBUS
Think about our situation, then die. |
|
CLEOPATRA
Is Antony or we in fault for this? |
CLEOPATRA
Who is to blame for this: Antony or I? |
|
ENOBARBUS
Antony only, that would make his will Lord of his reason. What though you fled From that great face of war, whose several ranges Frighted each other? Why should he follow? The itch of his affection should not then Have nicked his captainship at such a point When half to half the world opposed, he being The merèd question. ’Twas a shame no less Than was his loss, to course your flying flags And leave his navy gazing. |
ENOBARBUS
Only Antony was at fault. He put his desire in charge of his reason. So what if you ran from the battle, terrified, as ranks of ships threatened one another? Why should he have followed you? With half the world opposing the other half, it wasn’t the time for Antony, the pivotal player, to let love distract him. To race after your departing ships, leaving his navy to watch, was a shame as great as the resulting loss. |
|
CLEOPATRA
Prithee, peace. |
CLEOPATRA
Please, let’s not talk about it. |
|
Enter AMBASSADOR with ANTONY |
The AMBASSADOR and ANTONY enter. |
|
ANTONY
Is that his answer? |
ANTONY
Is that his answer? |
|
AMBASSADOR
Ay, my lord. |
AMBASSADOR
Yes, my lord. |
|
ANTONY
The Queen shall then have courtesy, so she Will yield us up? |
ANTONY
The Queen will be treated fairly if she gives me up? |
|
AMBASSADOR
He says so. |
AMBASSADOR
That’s what he says. |
|
ANTONY
Let her know ’t.— (to CLEOPATRA) To the boy Caesar send this grizzled head, And he will fill thy wishes to the brim With principalities. |
ANTONY
Tell her. (to CLEOPATRA) If you send my aged head to that boy, Caesar, he’ll give you all the kingdoms you want. |
|
CLEOPATRA
That head, my lord? |
CLEOPATRA
Your head, my lord? |
|
ANTONY
(to the AMBASSADOR) To him again. Tell him he wears the rose Of youth upon him, from which the world should note Something particular. His coin, ships, legions, May be a coward’s, whose ministers would prevail Under the service of a child as soon As i’ th’ command of Caesar. I dare him therefore To lay his gay caparisons apart And answer me declined, sword against sword, Ourselves alone. I’ll write it. Follow me. |
ANTONY
(to the AMBASSADOR) Go back to him. Tell him that his cheeks still bear the pink flush of youth, and that the world expects to see something remarkable from him. His treasure, his navy, and his armies might belong to a coward, and his ministers might be able to succeed just as well on behalf of a child as under the command of Caesar. Therefore, I dare him to lay aside his fancy trappings and meet this old man in single combat, sword against sword, just the two of us. I’ll write the challenge. Follow me. |
|
Exeunt ANTONY and AMBASSADOR |
ANTONY and the AMBASSADOR exit. |
|
ENOBARBUS
(aside) Yes, like enough, high-battled Caesar will Unstate his happiness and be staged to th’ show Against a sworder! I see men’s judgments are A parcel of their fortunes, and things outward Do draw the inward quality after them To suffer all alike. That he should dream, Knowing all measures, the full Caesar will Answer his emptiness! Caesar, thou hast subdued His judgment too. |
ENOBARBUS
(aside) Oh, that’s likely! Caesar, the great commander of troops, will surely risk all he has gained in order to fight this gladiator in the public square! I see that men’s judgments are tied to their fortunes, and that external factors influence a man’s internal qualities, making everything suffer. How could Antony, knowing how luck stood on either side, still imagine that Caesar would respond to his nonsense! Caesar, you’ve conquered his judgment too. |
|
Enter a SERVANT |
A SERVANT enters. |
|
SERVANT
A messenger from Caesar. |
SERVANT
A messenger has arrived from Caesar. |
|
CLEOPATRA
What, no more ceremony? See, my women, Against the blown rose may they stop their nose, That kneeled unto the buds.—Admit him, sir. |
CLEOPATRA
With no more ceremony than that? See, ladies, how they scorn me now. They pinch their noses to avoid smelling the dying rose whose scent, as a bud, they happily inhaled. Show him in, sir. |
|
Exit SERVANT |
The SERVANT exits. |
|
ENOBARBUS
(aside) Mine honesty and I begin to square. The loyalty well held to fools does make Our faith mere folly. Yet he that can endure To follow with allegiance a fall’n lord Does conquer him that did his master conquer And earns a place i’ th’ story. |
ENOBARBUS
(aside) My integrity and I begin to contradict each other. Being loyal to a fool makes loyalty foolish. But a person who can bear to keep his allegiance to a defeated lord defeats his lord’s conqueror and earns a place in history. |
|
Enter THIDIAS |
THIDIAS enters. |
|
CLEOPATRA
Caesar’s will? |
CLEOPATRA
What does Caesar want? |
|
THIDIAS
Hear it apart. |
THIDIAS
It is for your ears only. |
|
CLEOPATRA
None but friends. Say boldly. |
CLEOPATRA
There are only friends here. Speak confidently. |
|
THIDIAS
So haply are they friends to Antony. |
THIDIAS
So they are possibly Antony’s friends. |
|
ENOBARBUS
He needs as many, sir, as Caesar has, Or needs not us. If Caesar please, our master Will leap to be his friend. For us, you know Whose he is we are, and that is Caesar’s. |
ENOBARBUS
Sir, he should have as many as Caesar has. If he had that many friends, then he wouldn’t need us. If Caesar chose, Antony would jump at the chance to be his friend. As for us, you know we are Antony’s, and he is Caesar’s. |
|
THIDIAS
So.— Thus then, thou most renowned: Caesar entreats Not to consider in what case thou stand’st, Further than he is Caesar. |
THIDIAS
So be it. This, then, this is the message Caesar sends to you, famous Queen: he implores you not to be concerned about your situation. Just remember that he is Caesar. |
|
CLEOPATRA
Go on. Right royal. |
CLEOPATRA
Respectfully put. Go on. |
|
THIDIAS
He knows that you embrace not Antony As you did love, but as you feared him. |
THIDIAS
He knows that you didn’t embrace Antony because you loved him, but because you feared him. |
|
CLEOPATRA
Oh! |
CLEOPATRA
Oh! |
|
THIDIAS
The scars upon your honor therefore he Does pity as constrainèd blemishes, Not as deserved. |
THIDIAS
So he regrets that any dishonorable acts were forced on you, not being performed of your own free will. |
|
CLEOPATRA
He is a god and knows What is most right. Mine honor was not yielded, But conquered merely. |
CLEOPATRA
He is like a god and knows the truth. My honor wasn’t given; it was only dominated. |
|
ENOBARBUS
(aside) To be sure of that, I will ask Antony. Sir, sir, thou art so leaky That we must leave thee to thy sinking, for Thy dearest quit thee. |
ENOBARBUS
(aside) I’ll go get the truth of this from Antony. Sir, sir, are you so badly off that we must abandon you to your fate? Even your dearest friend has abandoned you. |
|
Exit ENOBARBUS |
ENOBARBUS exits. |
|
THIDIAS
Shall I say to Caesar What you require of him? For he partly begs To be desired to give. It much would please him That of his fortunes you should make a staff To lean upon. But it would warm his spirits To hear from me you had left Antony And put yourself under his shroud, The universal landlord. |
THIDIAS
Shall I tell Caesar what you request from him? He almost begs for the opportunity to help you. It would please him very much if you would rely on his wealth and success to support you. But he would feel even better if I could tell him that you had left Antony and put yourself under his protection. |
|
CLEOPATRA
What’s your name? |
CLEOPATRA
What’s your name? |
|
THIDIAS
My name is Thidias. |
THIDIAS
My name is Thidias. |
|
CLEOPATRA
Most kind messenger, Say to great Caesar this in deputation: I kiss his conqu’ring hand. Tell him I am prompt To lay my crown at ’s feet, and there to kneel. Tell him, from his all-obeying breath I hear The doom of Egypt. |
CLEOPATRA
Most kind messenger, tell great Caesar that through his deputy I kiss his conquering hand. Tell him I am ready to lay my crown at his feet and kneel before him. Tell him—whose decrees are obeyed by the whole world—that I will accept the fate he chooses for Egypt. |
|
THIDIAS
’Tis your noblest course. Wisdom and fortune combating together, If that the former dare but what it can, No chance may shake it. Give me grace to lay My duty on your hand. |
THIDIAS
That’s your most dignified course of action. When confronted with the choice between a prudent action and a risky one, a wise man should dare to do only what he can practically accomplish—if he follows this course, he will never be subjected to unpredictable chance. Allow me to pay my respects by kissing your hand. |
|
He kisses her hand |
He kisses her hand. |
|
CLEOPATRA
Your Caesar’s father oft, When he hath mused of taking kingdoms in, Bestowed his lips on that unworthy place As it rained kisses. |
CLEOPATRA
When Octavius Caesar’s father thought about conquering kingdoms, he rained kisses on my unworthy hand. |
|
Enter ANTONY and ENOBARBUS |
ANTONY and ENOBARBUS enter. |
|
ANTONY
Favors? By Jove that thunders! What art thou, fellow? |
ANTONY
Promising favors? By Jove that thunders! Who are you, slave? |
|
THIDIAS
One that but performs The bidding of the fullest man, and worthiest To have command obeyed. |
THIDIAS
A person who merely follows the orders of the best man, the man most worthy of service. |
|
ENOBARBUS
You will be whipped. |
ENOBARBUS
You will be whipped. |
|
ANTONY
(calling for servants) Approach, there! (to THIDIAS) Ah, you kite!—Now, gods and devils! Authority melts from me. Of late, when I cried “Ho!” Like boys unto a muss kings would start forth And cry, “Your will?”(calling to servants) Have you no ears? I am Antony yet. |
ANTONY
(calling for servants) Come here! (to THIDIAS) Ah, you bird of prey! Now by all the gods and devils, my authority weakens. Not long ago, when I cried, “Ho!” kings would jump up and cry, “What’s your pleasure?” (calling to servants) Are you deaf? I’m still Antony. |
|
Enter a SERVANT, followed by others |
A SERVANT enters, followed by others. |
|
Take hence this jack and whip him. |
Take away this lout and whip him. |
|
ENOBARBUS
(aside) ’Tis better playing with a lion’s whelp Than with an old one dying. |
ENOBARBUS
(aside) It’s safer to toy with a lion cub than an old, dying lion. |
|
ANTONY
Moon and stars! Whip him. Were ’t twenty of the greatest tributaries That do acknowledge Caesar, should I find them So saucy with the hand of she here—what’s her name Since she was Cleopatra? Whip him, fellows, Till like a boy, you see him cringe his face And whine aloud for mercy. Take him hence. |
ANTONY
By the moon and stars! Whip him! If I saw twenty of the greatest powers that pay tribute to Caesar taking such liberties with her hand—what’s her name now? This woman who once was Cleopatra, but now has become something different? Whip him, fellows, until he screws up his face like a baby and cries aloud for mercy! Take him away. |
|
THIDIAS
Mark Antony— |
THIDIAS
Mark Antony— |
|
ANTONY
Tug him away! Being whipped, Bring him again. This jack of Caesar’s shall Bear us an errand to him. |
ANTONY
Pull him away, and once he has been whipped, bring him back. Caesar’s knave will bring him a message for us. |
|
Exeunt SERVANTS with THIDIAS |
The SERVANTS exit with THIDIAS. |
|
(to CLEOPATRA) You were half blasted ere I knew you. Ha! Have I my pillow left unpressed in Rome, Forborne the getting of a lawful race, And by a gem of women, to be abused By one that looks on feeders? |
(to CLEOPATRA) You were damaged goods before I met you. Ha! Did I desert my bed in Rome, passing up the chance to have a legitimate family with a jewel of a woman, in order to be deceived by one who wastes her favors on servants? |
|
CLEOPATRA
Good my lord— |
CLEOPATRA
My good lord— |
|
ANTONY
You have been a boggler ever. But when we in our viciousness grow hard— Oh, misery on ’t!—the wise gods seel our eyes, In our own filth drop our clear judgments, make us Adore our errors, laugh at ’s while we strut To our confusion. |
ANTONY
You’ve always been a liar. But when our vices become habits—Oh, the sadness of it!—the wise gods blind us, shade our better judgment, make us love our mistakes, and laugh as we strut to our ruin. |
|
CLEOPATRA
Oh, is ’t come to this? |
CLEOPATRA
Oh, has it come to this? |
|
ANTONY
I found you as a morsel cold upon Dead Caesar’s trencher. Nay, you were a fragment Of Gneius Pompey’s, besides what hotter hours, Unregistered in vulgar fame, you have Luxuriously picked out. For I am sure, Though you can guess what temperance should be, You know not what it is. |
ANTONY
You were a cold crumb on dead Julius Caesar’s plate when I met you. No, you were one of Gneius Pompey’s leftovers—not to mention your other, more depraved affairs, which have somehow managed to avoid becoming the subject of vulgar gossip. For I’m sure that although you may know what temperance is, you’ve never experienced it firsthand. |
|
CLEOPATRA
Wherefore is this? |
CLEOPATRA
Why are you doing this? |
|
ANTONY
To let a fellow that will take rewards And say “God quit you!” be familiar with My playfellow, your hand, this kingly seal And plighter of high hearts! Oh, that I were Upon the hill of Basan, to outroar The hornèd herd! For I have savage cause, And to proclaim it civilly were like A haltered neck which does the hangman thank For being yare about him. |
ANTONY
To let a servant be familiar with my little toy, your hand—a hand that has signed royal treaties and pledged your love to me—oh, if only I were standing on the hill of Basan, so that I could roar louder than that horned herd! For I have been savagely abused, and to state my grievances politely would be as absurd as a condemned criminal thanking the hangman for doing his job quickly. |
|
Enter a SERVANT with THIDIAS |
A SERVANT enters with THIDIAS. |
|
Is he whipped? |
Has he been whipped? |
|
SERVANT
Soundly, my lord. |
SERVANT
Soundly, my lord. |
|
ANTONY
Cried he? And begged he pardon? |
ANTONY
Did he cry? Did he beg my pardon? |
|
SERVANT
He did ask favor. |
SERVANT
He did ask for mercy. |
|
ANTONY
(to THIDIAS) If that thy father live, let him repent Thou wast not made his daughter, and be thou sorry To follow Caesar in his triumph, since Thou hast been whipped for following him. Henceforth The white hand of a lady fever thee; Shake thou to look on ’t. Get thee back to Caesar. Tell him thy entertainment. Look thou say He makes me angry with him, for he seems Proud and disdainful, harping on what I am, Not what he knew I was. He makes me angry, And at this time most easy ’tis to do ’t, When my good stars, that were my former guides, Have empty left their orbs and shot their fires Into th’ abysm of hell. If he mislike My speech and what is done, tell him he has Hipparchus, my enfranchèd bondman, whom He may at pleasure whip, or hang, or torture, As he shall like, to quit me. Urge it thou. Hence with thy stripes, begone! |
ANTONY
(to THIDIAS) If your father is alive, let him be sorry you weren’t born a daughter. And you should be sorry to follow Caesar in his triumphal parade, since you have been whipped for following him. From now on, you should tremble and grow feverish whenever you see the white hand of a lady. Get yourself back to Caesar. Tell him how you’ve been treated. Be sure you tell him he makes me angry with him, because he seems proud and disdainful, harping on what I am now rather than what he knows. He makes me angry—and that’s easy to do right now, now that my lucky stars have abandoned me. If he doesn’t like what I’ve said or done, remind him that he holds Hipparchus, a slave I freed. He may whip, or hang, or torture him as he pleases. Then we will be even. Recommend that to him. Take your whipping scars and go. |
|
Exit THIDIAS |
THIDIAS exits. |
|
CLEOPATRA
Have you done yet? |
CLEOPATRA
Are you done yet? |
|
ANTONY
Alack, our terrene moon is now eclipsed, And it portends alone the fall of Antony. |
ANTONY
You, my earthly moon, are now eclipsed, and that alone foretells my ruin. |
|
CLEOPATRA
(aside) I must stay his time. |
CLEOPATRA
(aside) I must wait for him to finish his tirade. |
|
ANTONY
To flatter Caesar, would you mingle eyes With one that ties his points? |
ANTONY
In order to flatter Caesar, would you flirt with the servant who laces up his pants? |
|
CLEOPATRA
Not know me yet? |
CLEOPATRA
Don’t you know me still? |
|
ANTONY
Coldhearted toward me? |
ANTONY
Has your heart cooled toward me? |
|
CLEOPATRA
Ah, dear, if I be so, From my cold heart let heaven engender hail, And poison it in the source, and the first stone Drop in my neck. As it determines, so Dissolve my life! The next Caesarion smite, Till by degrees the memory of my womb, Together with my brave Egyptians all, By the discandying of this pelleted storm Lie graveless till the flies and gnats of Nile Have buried them for prey! |
CLEOPATRA
Ah, dear, if that is true, let heaven make poisonous hail grow from my heart, and let the first hailstone drop down my throat. As it dissolves, so shall my life. The next hailstone should hit Caesarion, until one by one all my children, and every one of my brave Egyptians, are killed by the dissolving of this pellet storm and lie unburied, covered by gnats and flies. |
|
ANTONY
I am satisfied. Caesar sits down in Alexandria, where I will oppose his fate. Our force by land Hath nobly held. Our severed navy too Have knit again, and fleet, threat’ning most sealike. Where hast thou been, my heart? Dost thou hear, lady? If from the field I shall return once more To kiss these lips, I will appear in blood. I and my sword will earn our chronicle. There’s hope in ’t yet. |
ANTONY
I am satisfied. Caesar has made camp in Alexandria. I will fight him there. Our land forces have bravely stood firm. Our tattered navy has reassembled and set sail, as formidable as the sea itself. Where have you been, my bravery? Do you hear what I say, lady? If I come back from the battlefield again to kiss those lips, I’ll be covered in blood. My sword and I will earn our place in history. We still have hope. |
|
CLEOPATRA
That’s my brave lord! |
CLEOPATRA
That’s my brave lord! |
|
ANTONY
I will be treble-sinewed, -hearted, -breathed, And fight maliciously. For when mine hours Were nice and lucky, men did ransom lives Of me for jests; but now I’ll set my teeth And send to darkness all that stop me. Come, Let’s have one other gaudy night. Call to me All my sad captains. Fill our bowls once more. Let’s mock the midnight bell. |
ANTONY
I’ll be triple the soldier I was in strength, bravery, and stamina. I’ll fight brutally. In the days when I had better luck, prisoners of war could buy their freedoms from me with simple trinkets. But now I’ll grit my teeth and kill anyone who tries to stop me. Come, let’s have one more extravagant night. Invite all my sad captains. Fill our wine bowls again. Let’s drink through midnight. |
|
CLEOPATRA
It is my birthday. I had thought t’ have held it poor; but since my lord Is Antony again, I will be Cleopatra. |
CLEOPATRA
It’s my birthday. I had planned to celebrate it quietly, but since my lord is once more himself, I will be Cleopatra again. |
|
ANTONY
We will yet do well. |
ANTONY
We’ll win yet. |
|
CLEOPATRA
(to ENOBARBUS) Call all his noble captains to my lord. |
CLEOPATRA
(to ENOBARBUS) Call all my lord’s noble captains to him. |
|
ANTONY
Do so. We’ll speak to them, and tonight I’ll force The wine peep through their scars.—Come on, my Queen, There’s sap in ’t yet. The next time I do fight I’ll make Death love me, for I will contend Even with his pestilent scythe. |
ANTONY
Do so. I’ll speak to them, and then tonight I’ll get them all so drunk that the wine seeps out of their old war wounds. Come on, my Queen. There’s still life in our cause. The next time I fight, I’ll make Death love me. I’ll compete even with his fatal scythe. |
|
Exeunt all but ENOBARBUS |
Everyone except ENOBARBUS exits. |
|
ENOBARBUS
Now he’ll outstare the lightning. To be furious Is to be frighted out of fear, and in that mood The dove will peck the estridge; and I see still A diminution in our captain’s brain Restores his heart. When valor preys on reason, It eats the sword it fights with. I will seek Some way to leave him. |
ENOBARBUS
Now he’ll work himself up to a fury. Rage scares away a man’s fear. In that state, a dove will attack an ostrich. I have always noticed that when my captain’s reason is diminished, his bravery increases. When courage consumes reason, it destroys its only weapon. I’ll look for some way to leave his service. |
|
Exit |
He exits. |
|
Enter CAESAR, AGRIPPA, and MAECENAS, with his army, CAESAR reading a letter |
CAESAR enters, reading a letter, with AGRIPPA, MAECENAS, and his army. |
|
CAESAR
He calls me “boy” and chides as he had power To beat me out of Egypt. My messenger He hath whipped with rods, dares me to personal combat, Caesar to Antony. Let the old ruffian know I have many other ways to die, meantime Laugh at his challenge. |
CAESAR
He calls me “boy” and scolds me as if he had the power to whip me out of Egypt. He whipped my messenger with rods. He dares me to personal combat, Caesar against Antony. Let the old ruffian discover that I have many other ways to die, and in the meantime, we’ll laugh at his challenge. |
|
MAECENAS
Caesar must think When one so great begins to rage, he’s hunted Even to falling. Give him no breath, but now Make boot of his distraction. Never anger Made good guard for itself. |
MAECENAS
Caesar must realize that when a man as powerful as Antony begins to rage, he has been pursued to the point of collapse. Don’t give him time to catch his breath. Take advantage of his unreasonable rage. Anger does not protect the angry well. |
|
CAESAR
Let our best heads Know that tomorrow the last of many battles We mean to fight. Within our files there are, Of those that served Mark Antony but late, Enough to fetch him in. See it done And feast the army. We have store to do ’t, And they have earned the waste. Poor Antony! |
CAESAR
Tell our top commanders that I want tomorrow’s battle to be the last we fight. Our army has recently acquired many of Mark Antony’s former soldiers—enough to capture him. See that it is done, and prepare a feast for the soldiers. We have enough supplies for it, and they’ve earned it. Poor Antony! |
|
Exeunt |
They exit. |
|
Enter ANTONY, CLEOPATRA, ENOBARBUS, CHARMIAN, and IRAS, with others |
ANTONY, CLEOPATRA, ENOBARBUS, CHARMIAN, and IRAS enter, with attendants. |
|
ANTONY
He will not fight with me, Domitius? |
ANTONY
He won’t fight with me, Domitius? |
|
ENOBARBUS
No. |
ENOBARBUS
No. |
|
ANTONY
Why should he not? |
ANTONY
Why won’t he? |
|
ENOBARBUS
He thinks, being twenty times of better fortune, He is twenty men to one. |
ENOBARBUS
He thinks that since his fortune is twenty times better than yours, it would be like pitting twenty men against one. |
|
ANTONY
Tomorrow, soldier, By sea and land I’ll fight. Or I will live Or bathe my dying honor in the blood Shall make it live again. Woo’t thou fight well? |
ANTONY
Tomorrow, soldier, I’ll fight by sea and land. By the end I will either live, or else I’ll restore my honor by shedding my blood. Will you fight well? |
|
ENOBARBUS
I’ll strike and cry, “Take all.” |
ENOBARBUS
When I strike, I’ll cry, “All or nothing!” |
|
ANTONY
Well said. Come on! Call forth my household servants. |
ANTONY
Well put. Come on. Call out my household servants. |
|
Enter three or four SERVITORS |
Three or four SERVANTS enter. |
|
Let’s tonight Be bounteous at our meal. |
Tonight let’s have plenty to eat. |
|
Greeting them one by one |
He greets the SERVANTS one by one. |
|
Give me thy hand. Thou hast been rightly honest.—So hast thou,— Thou,—and thou,—and thou. You have served me well, And kings have been your fellows. |
Give me your hand; you’ve been truly honest—so have you and you—and you—you too. You have all served me well, and kings are your peers. |
|
CLEOPATRA
(aside to ENOBARBUS) What means this? |
CLEOPATRA
(aside to ENOBARBUS) What is this? |
|
ENOBARBUS
(aside to CLEOPATRA) ’Tis one of those odd tricks which sorrow shoots Out of the mind. |
ENOBARBUS
(aside to CLEOPATRA) It’s one of those nostalgic moods caused by sorrow. |
|
ANTONY
(to another SERVITOR) And thou art honest too. I wish I could be made so many men, And all of you clapped up together in An Antony, that I might do you service So good as you have done. |
ANTONY
(to another SERVANT) And you’re honest too. I wish I could split into as many men as there are servants here before me, and that all of you could merge into a single Antony, so I could give you the same good service you’ve given me. |
|
ALL THE SERVITORS
The gods forbid! |
ALL THE SERVITORS
The gods forbid! |
|
ANTONY
Well, my good fellows, wait on me tonight. Scant not my cups, and make as much of me As when mine empire was your fellow too, And suffered my command. |
ANTONY
Well, my good fellows, wait on me tonight. Keep my cups full and treat me as you did when my empire was one of your fellow servants, obeying my commands. |
|
CLEOPATRA
(aside to ENOBARBUS) What does he mean? |
CLEOPATRA
(to ENOBARBUS) Why is he doing this? |
|
ENOBARBUS
(aside to CLEOPATRA) To make his followers weep. |
ENOBARBUS
(to CLEOPATRA) He wants to make his followers weep. |
|
ANTONY
(to the SERVITORS) Tend me tonight. May be it is the period of your duty. Haply you shall not see me more, or if, A mangled shadow. Perchance tomorrow You’ll serve another master. I look on you As one that takes his leave. Mine honest friends, I turn you not away, but, like a master Married to your good service, stay till death. Tend me tonight two hours, I ask no more, And the gods yield you for ’t! |
ANTONY
(to the SERVANTS) Wait on me tonight. It’s possible that this will be the end of your service. It’s possible you won’t see me again, or if you do, it will only be my mangled body. Perhaps tomorrow you’ll be serving another master. I look upon you as a person saying good-bye. My honest friends, I won’t turn you away, but like a master dependent on your good service, I will stay with you until death separates us. Serve me tonight for two hours—I don’t ask any more—and may the gods bless you for it. |
|
ENOBARBUS
What mean you, sir, To give them this discomfort? Look, they weep, And I, an ass, am onion-eyed. For shame, Transform us not to women. |
ENOBARBUS
What are you doing, sir? You’re making them uncomfortable. Look—they’re crying. And I’m just foolish enough to tear up myself. It’s embarrassing. Don’t turn us into women. |
|
ANTONY
Ho, ho, ho! Now the witch take me if I meant it thus! Grace grow where those drops fall! My hearty friends, You take me in too dolorous a sense, For I spake to you for your comfort, did desire you To burn this night with torches. Know, my hearts, I hope well of tomorrow, and will lead you Where rather I’ll expect victorious life Than death and honor. Let’s to supper, come, And drown consideration. |
ANTONY
Ha, ha, ha! May the evil one take me if I meant it like that! Those tears will bring blessings to you. You interpret my words in a melancholy sense, my hearty friends. I spoke to encourage you, asking that you help me make this night a brilliant one. You should know, my friends, that I have good hopes for tomorrow, and that I will lead you as if I expect victory rather than an honorable death. Let’s go to supper. Come, and let’s drown our worries. |
|
Exeunt |
They exit. |
|
Enter a company of SOLDIERS |
A company of SOLDIERS enters. |
|
FIRST SOLDIER
Brother, good night. Tomorrow is the day. |
FIRST SOLDIER
Good night, brother. Tomorrow is the day. |
|
SECOND SOLDIER
It will determine one way. Fare you well. Heard you of nothing strange about the streets? |
SECOND SOLDIER
This battle will determine who wins the war. Take care of yourself. Have you heard about anything unusual happening in the city? |
|
FIRST SOLDIER
Nothing. What news? |
FIRST SOLDIER
No. What was it? |
|
SECOND SOLDIER
Belike ’tis but a rumor. Good night to you. |
SECOND SOLDIER
It was probably just a rumor. Good night. |
|
FIRST SOLDIER
Well, sir, good night. |
FIRST SOLDIER
Well sir, good night. |
|
They meet other SOLDIERS |
Two other SOLDIERS enter. |
|
SECOND SOLDIER
Soldiers, have careful watch. |
SECOND SOLDIER
Soldiers, watch carefully. |
|
THIRD SOLDIER
And you. Good night, good night. |
THIRD SOLDIER
You too. Good night. Good night. |
|
The four SOLDIERS place themselves in every corner of the stage |
Each SOLDIER takes a post at a corner of the stage. |
|
SECOND SOLDIER
Here we. And if tomorrow Our navy thrive, I have an absolute hope Our landmen will stand up. |
SECOND SOLDIER
This is our station. And if our navy wins tomorrow, no doubt our army will do their part. |
|
FIRST SOLDIER
’Tis a brave army, and full of purpose. |
FIRST SOLDIER
It’s an outstanding army and highly motivated. |
|
Music of the hautboys is under the stage |
Oboe music comes from underneath the stage. |
|
SECOND SOLDIER
Peace! What noise? |
SECOND SOLDIER
Quiet! What’s that sound? |
|
FIRST SOLDIER
List, list! |
FIRST SOLDIER
Listen! Listen! |
|
SECOND SOLDIER
Hark! |
SECOND SOLDIER
Listen! |
|
FIRST SOLDIER
Music i’ th’ air. |
FIRST SOLDIER
There’s music coming out of thin air. |
|
THIRD SOLDIER
Under the earth. |
THIRD SOLDIER
From under the earth. |
|
FOURTH SOLDIER
It signs well, does it not? |
FOURTH SOLDIER
It’s a lucky sign, isn’t it? |
|
THIRD SOLDIER
No. |
THIRD SOLDIER
No. |
|
FIRST SOLDIER
Peace, I say! What should this mean? |
FIRST SOLDIER
Quiet, I say. What does this mean? |
|
SECOND SOLDIER
’Tis the god Hercules, whom Antony loved, Now leaves him. |
SECOND SOLDIER
It means that Antony’s patron god, Hercules, is leaving him. |
|
FIRST SOLDIER
Walk. Let’s see if other watchmen Do hear what we do. |
FIRST SOLDIER
Let’s walk over and see if the other soldiers heard the same thing. |
|
They advance toward the other SOLDIERS |
They go to speak with the other SOLDIERS. |
|
SECOND SOLDIER
How now, masters? |
SECOND SOLDIER
Hello there, good sirs. |
|
ALL
(speak together) How now? How now? Do you hear this? |
ALL
(speaking at the same time) What now? What now? Do you hear that? |
|
FIRST SOLDIER
Ay. Is ’t not strange? |
FIRST SOLDIER
Yes. Isn’t it strange? |
|
THIRD SOLDIER
Do you hear, masters? Do you hear? |
THIRD SOLDIER
Do you hear that, men? Do you? |
|
FIRST SOLDIER
Follow the noise so far as we have quarter; Let’s see how it will give off. |
FIRST SOLDIER
Let’s follow the music as far as we can without leaving our station and see if it stops. |
|
ALL
Content. ’Tis strange. |
ALL
Good idea. It’s very strange. |
|
Exeunt |
They exit. |
|
Enter ANTONY and CLEOPATRA, with CHARMIAN and others attending |
ANTONY and CLEOPATRA enter with CHARMIAN and others of the court. |
|
ANTONY
(calling) Eros! Mine armor, Eros! |
ANTONY
(calling) Eros! Bring my armor, Eros. |
|
CLEOPATRA
Sleep a little. |
CLEOPATRA
Get a little sleep. |
|
ANTONY
No, my chuck.—Eros, come, mine armor, Eros! |
ANTONY
No, my dear . . . Eros, come on, bring my armor, Eros. |
|
Enter EROS with armor |
EROS enters, carrying ANTONY’s armor. |
|
Come, good fellow, put thine iron on. If fortune be not ours today, it is Because we brave her. Come. |
Come on, good fellow, help me into that armor you’re carrying. If luck deserts us today, it’s because we defy it. Come on. |
|
CLEOPATRA
Nay, I’ll help too. What’s this for? |
CLEOPATRA
No, I’ll help too. What’s this part for? |
|
She helps to arm him |
She picks up a piece of the armor. |
|
ANTONY
Ah, let be, let be! Thou art The armorer of my heart. False, false. This, this. |
ANTONY
Ah, leave it alone. Leave it alone! You armor my heart. No! No! That part goes there. |
|
CLEOPATRA
Sooth, la, I’ll help. Thus it must be. |
CLEOPATRA
Really, I’ll help. It must go like this. |
|
ANTONY
Well, well, We shall thrive now.—Seest thou, my good fellow? Go put on thy defenses. |
ANTONY
Yes, well done. We’ve got it now.—Do you see this, my good fellow? Go and put on your own armor. |
|
EROS
Briefly, sir. |
EROS
In a minute, sir. |
|
CLEOPATRA
Is not this buckled well? |
CLEOPATRA
Didn’t I buckle this well? |
|
ANTONY
Rarely, rarely. He that unbuckles this, till we do please To doff ’t for our repose, shall hear a storm.— Thou fumblest, Eros, and my Queen’s a squire More tight at this than thou. Dispatch.—O love, That thou couldst see my wars today, and knew’st The royal occupation! Thou shouldst see A workman in ’t. |
ANTONY
Excellently, excellently. Anyone who unbuckles this before I want to take it off to rest will be sorry.—You’re fumbling, Eros. My Queen’s a better squire than you are. Hurry.—Oh, love, if you could only watch the battle today and see how expert I am at my craft. |
|
Enter an armed SOLDIER |
An armed SOLDIER enters. |
|
Good morrow to thee. Welcome. Thou look’st like him that knows a warlike charge. To business that we love we rise betimes And go to ’t with delight. |
Good morning to you. Welcome. You look like a person who knows the business of war. When we love our job we get up early and go to it joyfully. |
|
SOLDIER
A thousand, sir, Early though ’t be, have on their riveted trim And at the port expect you. |
SOLDIER
Even though it’s early, there are already a thousand armored soldiers waiting for you at the harbor. |
|
Shout. Trumpets flourish |
A shout is heard, then a trumpet fanfare. |
|
Enter CAPTAINS and SOLDIERS |
CAPTAINS and SOLDIERS enter. |
|
CAPTAIN
The morn is fair. Good morrow, General. |
CAPTAIN
The weather is fair. Good morning, General. |
|
ALL
Good morrow, General. |
ALL
Good morning, General. |
|
ANTONY
’Tis well blown, lads. This morning, like the spirit of a youth That means to be of note, begins betimes. So, so. (to CLEOPATRA) Come, give me that. This way. Well said. Fare thee well, dame. |
ANTONY
That was a fine fanfare, boys. Like a young man who wants to amount to something, this morning begins early. (to CLEOPATRA) So, so. Here, give me that. This is how it goes on. Well done. Farewell, lady. |
|
He kisses her |
He kisses her. |
|
Whate’er becomes of me, This is a soldier’s kiss. Rebukable And worthy shameful check it were to stand On more mechanic compliment. I’ll leave thee Now like a man of steel. (to others) You that will fight, Follow me close. I’ll bring you to ’t. (to CLEOPATRA) Adieu. |
Whatever happens to me, this is a soldier’s kiss. It would be shameful to draw out our good-byes. I’ll leave you without revealing any emotion, like a man of steel. (to the others) Anyone who wants to fight, follow me now, and I’ll see you get your wish. (to CLEOPATRA) Good-bye. |
|
Exeunt ANTONY, EROS, CAPTAINS, and SOLDIERS |
ANTONY and EROS exit with the CAPTAINS and SOLDIERS. |
|
CHARMIAN
Please you retire to your chamber? |
CHARMIAN
If it pleases you, let’s go to your room. |
|
CLEOPATRA
Lead me. He goes forth gallantly. That he and Caesar might Determine this great war in single fight! Then Antony—but now—. Well, on. |
CLEOPATRA
Lead the way. He goes forth to war bravely. If only he and Caesar could determine the outcome of this war by single combat! Then Antony would—but, with circumstances as they are—well, let’s go. |
|
Exeunt |
They exit. |
|
Trumpets sound. Enter ANTONY and EROS, and a SOLDIER meeting them |
Trumpets sound. ANTONY and EROS enter and are met by a SOLDIER entering from another direction. |
|
SOLDIER
The gods make this a happy day to Antony! |
SOLDIER
May the gods bless Antony today! |
|
ANTONY
Would thou and those thy scars had once prevailed To make me fight at land! |
ANTONY
I wish you and your scarred self had convinced me to wage our last battle on land. |
|
SOLDIER
Hadst thou done so, The kings that have revolted, and the soldier That has this morning left thee, would have still Followed thy heels. |
SOLDIER
If you had, the kings that have revolted and the soldier that deserted this morning would still be behind you. |
|
ANTONY
Who’s gone this morning? |
ANTONY
Who deserted this morning? |
|
SOLDIER
Who? One ever near thee. Call for Enobarbus He shall not hear thee, or from Caesar’s camp Say “I am none of thine.” |
SOLDIER
You don’t know? Someone who was always near you. If you call for Enobarbus, he won’t hear you. Or if he can hear you from Caesar’s camp, he’ll reply, “I’m no longer on your side.” |
|
ANTONY
What sayest thou? |
ANTONY
What are you saying? |
|
SOLDIER
Sir, He is with Caesar. |
SOLDIER
Sir, he’s with Caesar. |
|
EROS
Sir, his chests and treasure He has not with him. |
EROS
Sir, he left his belongings and treasure. |
|
ANTONY
Is he gone? |
ANTONY
He’s gone? |
|
SOLDIER
Most certain. |
SOLDIER
It’s certain. |
|
ANTONY
Go, Eros, send his treasure after. Do it. Detain no jot, I charge thee. Write to him— I will subscribe—gentle adieus and greetings. Say that I wish he never find more cause To change a master. Oh, my fortunes have Corrupted honest men! Dispatch.—Enobarbus! |
ANTONY
Eros, send his treasure to him. Do it now. Don’t keep anything back, I insist. Write to him from me—I’ll sign it—sending greetings and gentle good-byes. Say that I hope he never has cause to look for a new master. Oh, my bad luck has forced honest men to become traitors. Hurry. Enobarbus! |
|
Exeunt |
They exit. |
|
Flourish. Enter AGRIPPA, and CAESAR, with ENOBARBUS and DOLABELLA |
Trumpet fanfare. AGRIPPA and CAESAR enter with ENOBARBUS and DOLABELLA. |
|
CAESAR
Go forth, Agrippa, and begin the fight. Our will is Antony be took alive. Make it so known. |
CAESAR
Agrippa, go start the battle. We want Antony taken alive. Make sure everyone knows that. |
|
AGRIPPA
Caesar, I shall. |
AGRIPPA
I will, Caesar. |
|
Exit |
He exits. |
|
CAESAR
The time of universal peace is near. Prove this a prosp’rous day, the three-nooked world Shall bear the olive freely. |
CAESAR
An era of universal peace is about to start. If this battle goes well for us, there will be peace in all three corners of the world. |
|
Enter a MESSENGER |
A MESSENGER enters. |
|
MESSENGER
Antony Is come into the field. |
MESSENGER
Antony has come onto the battlefield. |
|
CAESAR
Go charge Agrippa Plant those that have revolted in the vant, That Antony may seem to spend his fury Upon himself. |
CAESAR
Go order Agrippa to put the men who deserted Antony’s army at the front. That way Antony will feel like he’s fighting his own men. |
|
Exeunt all but ENOBARBUS |
Everyone exits except ENOBARBUS. |
|
ENOBARBUS
Alexas did revolt and went to Jewry on Affairs of Antony, there did dissuade Great Herod to incline himself to Caesar And leave his master Antony. For this pains Caesar hath hanged him. Canidius and the rest That fell away have entertainment but No honorable trust. I have done ill, Of which I do accuse myself so sorely That I will joy no more. |
ENOBARBUS
Alexas deserted. He went to Judea as if on Antony’s business, but he persuaded Herod to support Caesar instead. Caesar hanged him for this service. Canidius and the others that left Antony are given hospitality here but no positions of trust. I’ve done a bad thing, for which I will blame myself so much that I’ll never be happy again. |
|
Enter a SOLDIER of Caesar’s |
A SOLDIER of Caesar’s enters. |
|
SOLDIER
Enobarbus, Antony Hath after thee sent all thy treasure, with His bounty overplus. The messenger Came on my guard, and at thy tent is now Unloading of his mules. |
SOLDIER
Enobarbus, Antony has sent you all your treasure, with generous gifts besides. The messenger arrived on my watch and is unloading his mules at your tent. |
|
ENOBARBUS
I give it you. |
ENOBARBUS
It’s yours. |
|
SOLDIER
Mock not, Enobarbus. I tell you true. Best you safed the bringer Out of the host. I must attend mine office, Or would have done ’t myself. Your Emperor Continues still a Jove. |
SOLDIER
Don’t joke about this, Enobarbus. I’m telling you the truth. You’d better bring the messenger safely through the lines so he can return. I’d do it myself, but I can’t leave my post. Your Emperor is still a king among gods. |
|
Exit |
He exits. |
|
ENOBARBUS
I am alone the villain of the earth, And feel I am so most. O Antony, Thou mine of bounty, how wouldst thou have paid My better service, when my turpitude Thou dost so crown with gold! This blows my heart. If swift thought break it not, a swifter mean Shall outstrike thought, but thought will do ’t, I feel. I fight against thee? No, I will go seek Some ditch wherein to die. The foul’st best fits My latter part of life. |
ENOBARBUS
I am the worst person alive, and I know it the best. Oh, Antony, you extravagantly generous man, how would you have rewarded me for serving you faithfully when you reward my badness with all of this gold! My heart feels like it’s about to explode. If grief doesn’t kill me, I’ll find a quicker way to kill myself—even though I think grief will do the job just as well. I, fight against you, Antony? No, I’ll go find some ditch to die in. The foulest fate would be most appropriate for me now in this latest phase of my life. |
|
Exit |
He exits. |
|
Alarum. Drums and trumpets. Enter AGRIPPA and others |
A call to battle is sounded. Drums and trumpets sound. AGRIPPA and other soldiers of Caesar’s enter. |
|
AGRIPPA
Retire! We have engaged ourselves too far. Caesar himself has work, and our oppression Exceeds what we expected. |
AGRIPPA
Retreat! We’ve advanced too far. Caesar himself is in trouble and there are more adversaries than we expected. |
|
Exeunt |
They exit. |
|
Alarums. Enter ANTONY, and SCARUS, wounded |
A battle call. ANTONY enters with SCARUS, who is wounded. |
|
SCARUS
O my brave Emperor, this is fought indeed! Had we done so at first, we had droven them home With clouts about their heads. |
SCARUS
Oh, my brave Emperor, this is what I call a fight! If we’d fought like this before, we’d have driven them home with bandaged heads. |
|
ANTONY
Thou bleed’st apace. |
ANTONY
You’re bleeding a lot. |
|
SCARUS
I had a wound here that was like a “T,” But now ’tis made an “H.” |
SCARUS
I had a scar here that looked like a “T”; now it’s an “H.” |
|
Sound retreat far off |
Distant trumpets sound the retreat. |
|
ANTONY
They do retire. |
ANTONY
They’re retreating. |
|
SCARUS
We’ll beat ’em into bench-holes. I have yet Room for six scotches more. |
SCARUS
We’ll chase ’em into their latrines. I still have room for six more wounds. |
|
Enter EROS |
EROS enters. |
|
EROS
They are beaten, sir, and our advantage serves For a fair victory. |
EROS
They’re retreating, sir, and our superiority indicates a clear victory. |
|
SCARUS
Let us score their backs And snatch ’em up, as we take hares, behind! ’Tis sport to maul a runner. |
SCARUS
Let’s slash their backs and grab ’em like we do rabbits, from behind. It’s fair game to mark a coward. |
|
ANTONY
I will reward thee Once for thy sprightly comfort and tenfold For thy good valor. Come thee on. |
ANTONY
I’ll reward you once for your cheerfulness and ten times for your courage. Come on. |
|
SCARUS
I’ll halt after. |
SCARUS
I’ll limp after you. |
|
Exeunt |
They exit. |
|
Alarum. Enter ANTONY again in a march; SCARUS, with others |
A battle call. ANTONY marches in, followed by SCARUS and others. |
|
ANTONY
We have beat him to his camp. Run one before And let the Queen know of our gests. |
ANTONY
We’ve driven him all the way back to his camp. One of you run to the Queen with the news. |
|
Exit a soldier |
A soldier exits. |
|
Tomorrow, Before the sun shall see ’s, we’ll spill the blood That has today escaped. I thank you all, For doughty-handed are you, and have fought Not as you served the cause, but as ’t had been Each man’s like mine. You have shown all Hectors. Enter the city. Clip your wives, your friends. Tell them your feats, whilst they with joyful tears Wash the congealment from your wounds and kiss The honored gashes whole. |
Before sunrise tomorrow, we’ll kill anyone who escaped today. I want to thank all of you. You’re formidable. You fought not as if you served the cause but as though it were as much your personal fight as mine. You are all Hectors. Go on into the city. Embrace your wives and your friends. Describe your feats for them while they cry for joy. Their tears will wash the congealed blood from your wounds, and they will kiss those honorable cuts until they heal. |
|
Enter CLEOPATRA |
CLEOPATRA enters. |
|
(to SCARUS) Give me thy hand. To this great fairy I’ll commend thy acts, Make her thanks bless thee. O thou day o’ the world, (to CLEOPATRA) Chain mine armed neck. Leap thou, attire and all, Through proof of harness to my heart, and there Ride on the pants triumphing! |
(to SCARUS) Give me your hand. I’ll praise your actions to this powerful enchantress so that she will thank you with blessings. Oh, light of the world, (to CLEOPATRA) wrap your arms around my armored neck. Leap, with all your finery through my armor and go straight to my heart. There you can ride upon my heartbeats, sharing in my triumph. |
|
CLEOPATRA
Lord of lords! O infinite virtue, com’st thou smiling from The world’s great snare uncaught? |
CLEOPATRA
Lord of lords! Your courage is infinite. Have you returned smiling from the great battle for the world? |
|
ANTONY
Mine nightingale, We have beat them to their beds. What, girl, though gray Do something mingle with our younger brown, yet ha’ we A brain that nourishes our nerves and can Get goal for goal of youth. Behold this man. Commend unto his lips thy favoring hand. (to SCARUS) Kiss it, my warrior. |
ANTONY
My songbird, we have beaten them to their beds. What do you think, girl! Even though there are some gray hairs among the brown, I still have a brain and muscles that will let me compete with younger men. Look at this man. Show him favor by letting him kiss your hand. (to SCARUS) Kiss it, my warrior. |
|
SCARUS kisses CLEOPATRA’s hand |
SCARUS kisses CLEOPATRA’s hand |
|
He hath fought today As if a god, in hate of mankind, had Destroyed in such a shape. |
Today he fought as though he were a god who hated mankind. |
|
CLEOPATRA
(to SCARUS) I’ll give thee, friend, An armor all of gold. It was a king’s. |
CLEOPATRA
(to SCARUS) Friend, I’ll give you armor made of gold. It belonged to a king. |
|
ANTONY
He has deserved it, were it carbuncled Like holy Phoebus’ car. Give me thy hand. Through Alexandria make a jolly march. Bear our hacked targets like the men that owe them. Had our great palace the capacity To camp this host, we all would sup together And drink carouses to the next day’s fate, Which promises royal peril.—Trumpeters, With brazen din blast you the city’s ear; Make mingle with our rattling taborins, That heaven and earth may strike their sounds together, Applauding our approach. |
ANTONY
He deserves it, even if it were covered with jewels like holy Phoebus’ car. Give me your hand. Let’s have a cheerful march through Alexandria, proudly carrying our dented shields. If we had enough room in the palace to house this army, we’d all eat together and toast tomorrow, which promises to be full of danger. Trumpeters, blast the city’s ears. Mix your fanfares with our drums, so that sounds from both heaven and earth will herald our approach. |
|
Exeunt |
Everyone exits. |
|
Enter a SENTRY and his company. ENOBARBUS follows |
A SENTRY and his company enter, followed by ENOBARBUS. |
|
SENTRY
If we be not relieved within this hour, We must return to th’ court of guard. The night Is shiny, and they say we shall embattle By th’ second hour i’ th’ morn. |
SENTRY
If we aren’t relieved in an hour, we have to return to our barracks. The night is bright, and they say we’ll be forming for battle by two a.m. |
|
FIRST WATCH
This last day was a shrewd one to ’s. |
FIRST WATCH
That last day was a hard one for us. |
|
ENOBARBUS
O bear me witness, night— |
ENOBARBUS
Oh, listen to me, night— |
|
SECOND WATCH
What man is this? |
SECOND WATCH
Who is this? |
|
FIRST WATCH
Stand close and list him. |
FIRST WATCH
Stay hidden and listen. |
|
ENOBARBUS
Be witness to me, O thou blessèd moon, When men revolted shall upon record Bear hateful memory, poor Enobarbus did Before thy face repent. |
ENOBARBUS
Be my witness, oh you blessed moon. The men who revolted against Antony will be remembered scornfully in the history books. But poor Enobarbus repented. |
|
SENTRY
Enobarbus? |
SENTRY
That’s Enobarbus? |
|
SECOND WATCH
Peace! Hark further. |
SECOND WATCH
Quiet! Keep listening. |
|
ENOBARBUS
O sovereign mistress of true melancholy, The poisonous damp of night disponge upon me, That life, a very rebel to my will, May hang no longer on me. Throw my heart Against the flint and hardness of my fault, Which, being dried with grief, will break to powder And finish all foul thoughts. O Antony, Nobler than my revolt is infamous, Forgive me in thine own particular, But let the world rank me in register A master-leaver and a fugitive. O Antony! O Antony! |
ENOBARBUS
Oh, moon, you queen of sadness, drop poisonous dew on me so that my life, which continues against my wishes, will end. Take my heart and throw it against my hard, stony sin. My heart, which dried out with grief, will surely break apart into a powder, and that will be the end of my disgusting mind. Oh, Antony! You are more noble than my revolt is dishonorable. Forgive my crimes against you, but let history record me as a fugitive traitor. Oh, Antony! Oh, Antony! |
|
He dies |
He dies. |
|
FIRST WATCH
Let’s speak to him. |
FIRST WATCH
Let’s speak to him. |
|
SENTRY
Let’s hear him, for the things he speaks may concern Caesar. |
SENTRY
Let’s listen to him. He may say something concerning Caesar. |
|
SECOND WATCH
Let’s do so. But he sleeps. |
SECOND WATCH
Good idea. But he’s sleeping. |
|
SENTRY
Swoons rather, for so bad a prayer as his Was never yet for sleep. |
SENTRY
It looks more like he fainted. No one ever gave a prayer like that before going to sleep. |
|
FIRST WATCH
Go we to him. |
FIRST WATCH
Let’s go to him. |
|
SECOND WATCH
Awake, sir, awake. Speak to us. |
SECOND WATCH
Wake up, sir, wake up. Speak to us. |
|
FIRST WATCH
Hear you, sir? |
FIRST WATCH
Do you hear us, sir? |
|
SENTRY
The hand of death hath raught him. |
SENTRY
The hand of death has taken him. |
|
Drums afar off |
Drums are heard in the distance. |
|
Hark, the drums Demurely wake the sleepers. Let us bear him To th’ court of guard. He is of note. Our hour Is fully out. |
Listen. The drums softly wake the sleepers. Let’s carry him to the barracks. He’s an important person. Our hour is up. |
|
SECOND WATCH
Come on, then. He may recover yet. |
SECOND WATCH
Come on, then. He may recover yet. |
|
Exeunt with the body |
They exit, carrying ENOBARBUS’ body. |
|
Enter ANTONY and SCARUS, with their army |
ANTONY and SCARUS enter, with the army. |
|
ANTONY
Their preparation is today by sea. We please them not by land. |
ANTONY
They’ve switched their operation to the sea today. We didn’t please them on land. |
|
SCARUS
For both, my lord. |
SCARUS
We’re ready for both, my lord. |
|
ANTONY
I would they’d fight i’ th’ fire or i’ th’ air, We’d fight there too. But this it is: our foot Upon the hills adjoining to the city Shall stay with us. Order for sea is given; They have put forth the haven, Where their appointment we may best discover And look on their endeavor. |
ANTONY
I wish they’d fight in fire or in the air. We’d meet them there too. But here’s the plan: our army will stay with us on the hills by the city. Orders have been given to the navy and they’ve left port. We’ll be able to analyze and direct the battle better from the hills. |
|
Exeunt |
They exit. |
|
Enter CAESAR and his army |
CAESAR and his army enter. |
|
CAESAR
But being charged, we will be still by land— Which, as I take ’t, we shall, for his best force Is forth to man his galleys. To the vales, And hold our best advantage. |
CAESAR
We won’t move our land forces unless we’re attacked. And I doubt that will happen, since most of Antony’s men are with his navy. Let’s take up the best positions we can in the valleys. |
|
Exeunt |
They exit. |
|
Enter ANTONY and SCARUS |
ANTONY and SCARUS enter. |
|
ANTONY
Yet they are not joined. Where yond pine does stand I shall discover all. I’ll bring thee word Straight how ’tis like to go. |
ANTONY
They still haven’t joined the battle. I’ll be able to see better from that pine tree over there. I’ll let you know right away how it’s going. |
|
Exit |
He exits. |
|
Alarum afar off, as at a sea fight |
Noises like a sea battle are heard in the distance. |
|
SCARUS
Swallows have built In Cleopatra’s sails their nests. The auguries Say they know not, they cannot tell, look grimly, And dare not speak their knowledge. Antony Is valiant and dejected, and by starts His fretted fortunes give him hope and fear Of what he has and has not. |
SCARUS
Swallows have built nests in Cleopatra’s sails. The fortunetellers won’t say whether that’s a good sign or a bad one, but they don’t look happy. Antony is valiant and dejected. His mood changes by fits and starts; his checkered luck vacillates between hope and fear, winning and losing. |
|
Enter ANTONY |
ANTONY enters. |
|
ANTONY
All is lost! This foul Egyptian hath betrayèd me. My fleet hath yielded to the foe, and yonder They cast their caps up and carouse together Like friends long lost. Triple-turned whore! ’Tis thou Hast sold me to this novice, and my heart Makes only wars on thee. Bid them all fly, For when I am revenged upon my charm, I have done all. Bid them all fly. Begone! |
ANTONY
All is lost! This treacherous Egyptian has betrayed me. My fleet has surrendered to the enemy. You can see them over there throwing their hats up in the air and drinking together like long lost friends. Three-time traitor and whore! It’s you who have sold me to this youth, Caesar. Now my war is only with you. Tell the army to flee. Revenge on Cleopatra will be my last act. Order them to escape. Go! |
|
Exit SCARUS |
SCARUS exits. |
|
O sun, thy uprise shall I see no more. Fortune and Antony part here. Even here Do we shake hands. All come to this? The hearts That spanieled me at heels, to whom I gave Their wishes, do discandy, melt their sweets On blossoming Caesar, and this pine is barked That overtopped them all. Betrayed I am. Oh, this false soul of Egypt! This grave charm, Whose eye becked forth my wars and called them home, Whose bosom was my crownet, my chief end, Like a right gypsy hath at fast and loose Beguiled me to the very heart of loss. (calling out) What, Eros, Eros! |
Oh, sun, I will never see another one of your sunrises. Luck and Antony separate here and now. Here we’ll shake hands good-bye. Is it all come to this? The brave men who followed me like little dogs, whom I rewarded, have left me to follow Caesar. I’ve been stripped of everything, betrayed. Oh, that devious Egyptian spirit! Her charms launched my wars and called them back again. Pleasing her was my main goal, and she lured me to total defeat. (calling out) Where are you, Eros! Eros! |
|
Enter CLEOPATRA |
CLEOPATRA enters. |
|
Ah, thou spell! Avaunt! |
Ah, you sorceress! Be gone! |
|
CLEOPATRA
Why is my lord enraged against his love? |
CLEOPATRA
Why is my lord enraged against his love? |
|
ANTONY
Vanish, or I shall give thee thy deserving, And blemish Caesar’s triumph. Let him take thee And hoist thee up to the shouting plebeians! Follow his chariot, like the greatest spot Of all thy sex. Most monsterlike be shown For poor’st diminutives, for dolts, and let Patient Octavia plow thy visage up With her preparèd nails! |
ANTONY
Get out of my sight, or I’ll give you what you deserve and spoil Caesar’s victory. Let him hoist you up in front of the shouting crowds! Follow his chariot, like the greatest disgrace to your whole gender. Let them exhibit you to the public for meager coins, like a monstrosity. Then let Octavia dig up your face with her nails. |
|
Exit CLEOPATRA |
CLEOPATRA exits. |
|
’Tis well th’art gone, If it be well to live, but better ’twere Thou fell’st into my fury, for one death Might have prevented many.—Eros, ho!— The shirt of Nessus is upon me. Teach me, Alcides, thou mine ancestor, thy rage. Let me lodge Lichas on the horns o’ th’ moon, And with those hands that grasped the heaviest club Subdue my worthiest self. The witch shall die. To the young Roman boy she hath sold me, and I fall Under this plot. She dies for ’t.—Eros, ho! |
If you wish to live, you had better get out of here. But I think it would have been better if you’d let me kill you. One death would have prevented the deaths of many others.—Eros, ho!—I’m wearing the shirt of Nessus. Hercules, my ancestor, teach me how to feel your rage. I’ll toss Lichas to the moon and use my mighty hands to kill my better self. The witch shall die. She sold me to that young Roman boy and now I’m ruined. She’ll die for it.—Eros, ho! |
|
Exit |
He exits. |
|
Enter CLEOPATRA, CHARMIAN, IRAS, and MARDIAN |
CLEOPATRA, CHARMIAN, IRAS, and MARDIAN enter. |
|
CLEOPATRA
Help me, my women! Oh, he’s more mad Than Telamon for his shield. The boar of Thessaly Was never so embossed. |
CLEOPATRA
Help me, ladies! Oh, Antony is more furious than Telamon, who killed himself in a jealous rage. The wild boar of Thessaly, which the goddess Diana sent to punish King Caledon for neglecting her sacrifices, didn’t foam at the mouth as much as Antony does now. |
|
CHARMIAN
To th’ monument! There lock yourself and send him word you are dead. The soul and body rive not more in parting Than greatness going off. |
CHARMIAN
Go to your tomb! Lock yourself in and send him word that you’re dead. When a great person departs, it causes more pain than when the soul leaves the body. |
|
CLEOPATRA
To th’ monument!— Mardian, go tell him I have slain myself. Say that the last I spoke was “Antony,” And word it, prithee, piteously. Hence, Mardian, And bring me how he takes my death. (to the others) To th’ monument! |
CLEOPATRA
To my tomb! Mardian, go tell him I’ve killed myself. Say the last word I spoke was “Antony,” and please word it pathetically. Go, Mardian, and let me know how he reacts to my death. (to the others) To the tomb! |
|
Exeunt |
They all exit. |
|
Enter ANTONY and EROS |
ANTONY and EROS enter. |
|
ANTONY
Eros, thou yet behold’st me? |
ANTONY
Eros, can you still see me? |
|
EROS
Ay, noble lord. |
EROS
Yes, noble lord. |
|
ANTONY
Sometimes we see a cloud that’s dragonish, A vapor sometime like a bear or lion, A towered citadel, a pendant rock, A forkèd mountain, or blue promontory With trees upon ’t that nod unto the world And mock our eyes with air. Thou hast seen these signs. They are black vesper’s pageants. |
ANTONY
Sometimes we see a cloud that looks like a dragon. Sometimes there’s a cloud like a bear or a lion, a castle, a floating rock, a craggy mountain. Or it might look like a blue cliff with trees on it that bow to the ground. These things fool our eyes by seeming solid, when they are actually only air. You’ve seen these illusions. They’re spectacles that appear at sunset. |
|
EROS
Ay, my lord. |
EROS
Yes, my lord. |
|
ANTONY
That which is now a horse, even with a thought The rack dislimns and makes it indistinct As water is in water. |
ANTONY
What looks like a horse is quick as thought disfigured by the wind, made as difficult to distinguish as water poured into water. |
|
EROS
It does, my lord. |
EROS
That’s true, my lord. |
|
ANTONY
My good knave Eros, now thy captain is Even such a body. Here I am Antony, Yet cannot hold this visible shape, my knave. I made these wars for Egypt, and the Queen, Whose heart I thought I had, for she had mine— Which whilst it was mine had annexed unto ’t A million more, now lost—she, Eros, has Packed cards with Caesar and false-played my glory Unto an enemy’s triumph. Nay, weep not, gentle Eros. There is left us Ourselves to end ourselves. |
ANTONY
Eros, my young friend, your captain is now just like that cloud. Here and now I seem like Antony, but I can’t keep myself in this form, my boy. I went to war to save Cleopatra, whose love I thought I had, since she had mine—and mine carried with it a million others, those of my soldiers, now lost. The Queen conspired with Caesar to undermine my success and assure his victory. No, don’t cry, kind Eros. We still have the option of killing ourselves. |
|
Enter MARDIAN |
MARDIAN enters. |
|
Oh, thy vile lady! She has robbed me of my sword. |
Oh, your contemptible lady! She has disarmed me. |
|
MARDIAN
No, Antony, My mistress loved thee, and her fortunes mingled With thine entirely. |
MARDIAN
No, Antony. My mistress loved you, and her destiny was completely joined with yours. |
|
ANTONY
Hence, saucy eunuch! Peace! She hath betrayed me and shall die the death. |
ANTONY
Get out, insolent eunuch! Silence! She has betrayed me and shall die. |
|
MARDIAN
Death of one person can be paid but once, And that she has discharged. What thou wouldst do Is done unto thy hand. The last she spake Was “Antony, most noble Antony!” Then in the midst a tearing groan did break The name of Antony. It was divided Between her heart and lips. She rendered life, Thy name so buried in her. |
MARDIAN
A person can only pay with their life once, and she has paid in full. What you wanted is yours. Her last words were “Antony! Most noble Antony!” Then, as she was speaking your name, a strangled groan split her words. “Antony” was divided between her heart and lips. She gave up her life with your name still within her. |
|
ANTONY
Dead, then? |
ANTONY
Is she dead, then? |
|
MARDIAN
Dead. |
MARDIAN
Dead. |
|
ANTONY
Unarm, Eros. The long day’s task is done, And we must sleep. (to MARDIAN) That thou depart’st hence safe Does pay thy labor richly. Go. |
ANTONY
Remove your armor, Eros. The long day’s work is over, and it is time to sleep. (to MARDIAN) Permission to leave unharmed is abundant payment for your news. Go! |
|
Exit MARDIAN |
MARDIAN exits. |
|
Off, pluck off! The sevenfold shield of Ajax cannot keep The battery from my heart. O, cleave, my sides! Heart, once be stronger than thy continent. Crack thy frail case!—Apace, Eros, apace. No more a soldier. Bruisèd pieces, go. You have been nobly borne. (to EROS) From me awhile. |
Off! Take off my armor. Not even Ajax’s famous shield, made of seven layers of oxhide and covered in bronze, could protect my heart from this attack. Oh, chest, obey me! Heart, for once be stronger than all the rest of the body combined. Break out of my ribcage! Faster, Eros, faster. I won’t be a soldier anymore. Battered armor, be off. You were worn with honor. (to EROS) Leave me awhile. |
|
Exit EROS |
EROS exits. |
|
I will o’ertake thee, Cleopatra, and Weep for my pardon. So it must be, for now All length is torture. Since the torch is out, Lie down and stray no farther. Now all labor Mars what it does. Yea, very force entangles Itself with strength. Seal then, and all is done.— Eros!—I come, my Queen.—Eros!—Stay for me. Where souls do couch on flowers, we’ll hand in hand, And with our sprightly port make the ghosts gaze. Dido and her Aeneas shall want troops, And all the haunt be ours.—Come, Eros, Eros! |
I will catch up with you, Cleopatra, and weep for your forgiveness. It’s the only way left, because now any extension of my life would be torture. Since the light of my life has gone out, I’ll stop here. Now any effort ruins what it attempts. Yes, even power gets in its own way. End it, then, and everything is over.—Eros!—I’m coming, my Queen!—Eros!—Wait for me. In the place where souls recline on beds of flowers we’ll walk hand in hand and amaze the other ghosts with our spirited demeanor. Those famous lovers, Dido and Aeneas, will lose their admirers, and the whole place will be devoted to us.—Come, Eros. Eros! |
|
Enter EROS |
EROS enters. |
|
EROS
What would my lord? |
EROS
What can I do for my lord? |
|
ANTONY
Since Cleopatra died I have lived in such dishonor that the gods Detest my baseness. I, that with my sword Quartered the world, and o’er green Neptune’s back With ships made cities, condemn myself to lack The courage of a woman—less noble mind Than she which by her death our Caesar tells “I am conqueror of myself.” Thou art sworn, Eros, That when the exigent should come which now Is come indeed, when I should see behind me Th’ inevitable prosecution of Disgrace and horror, that on my command, Thou then wouldst kill me. Do ’t. The time is come. Thou strik’st not me, ’tis Caesar thou defeat’st. Put color in thy cheek. |
ANTONY
Since Cleopatra died, I have lived in such dishonor that the gods despise my disgrace. Though I have made conquests throughout the four corners of the world and sailed with fleets so large they looked like floating cities, I don’t have as much courage as a woman. I have less nobility than the lady who, by killing herself, says to Caesar, “Only Cleopatra can defeat Cleopatra.” You promised me, Eros, that should the ultimate moment arrive—which it has—when dishonor and disgust are inevitable, that upon my command, you would kill me. Do it. This is that time. You won’t be striking me down, but defeating Caesar. Call up your courage. |
|
EROS
The gods withhold me! Shall I do that which all the Parthian darts, Though enemy, lost aim and could not? |
EROS
The gods forbid! Can I do what all the Parthian arrows, though shot by enemies, could not? |
|
ANTONY
Eros, Wouldst thou be windowed in great Rome and see Thy master thus with pleached arms, bending down His corrigible neck, his face subdued To penetrative shame, whilst the wheeled seat Of fortunate Caesar, drawn before him, branded His baseness that ensued? |
ANTONY
Eros, would you like to look through a window in Rome and watch your master marching in Caesar’s victory parade, his arms crossed and tied, his head bowed in submission, his face red from shame, while the chariot of triumphant Caesar precedes him, putting the final stamp to his humiliation? |
|
EROS
I would not see ’t. |
EROS
I would not. |
|
ANTONY
Come, then, for with a wound I must be cured. Draw that thy honest sword, which thou hast worn Most useful for thy country. |
ANTONY
Then come on. I must be restored to health by an injury. Draw your trustworthy sword, which you have used in such service to your country. |
|
EROS
O sir, pardon me! |
EROS
Oh, sir, pardon me! |
|
ANTONY
When I did make thee free, swor’st thou not then To do this when I bade thee? Do it at once, Or thy precedent services are all But accidents unpurposed. Draw and come. |
ANTONY
When I freed you from slavery, didn’t you swear to do this when I asked you? Do it immediately, or all your previous services to me were accidental, without purpose. Take out your sword and come on. |
|
EROS
Turn from me then that noble countenance Wherein the worship of the whole world lies. |
EROS
Then turn your noble face away from me, that face that the whole world adores. |
|
ANTONY
Lo thee! |
ANTONY
Look! |
|
He turns away |
He turns away. |
|
EROS
My sword is drawn. |
EROS
I have drawn my sword. |
|
ANTONY
Then let it do at once The thing why thou hast drawn it. |
ANTONY
Now let it carry out its purpose immediately. |
|
EROS
My dear master, My captain, and my emperor, let me say, Before I strike this bloody stroke, farewell. |
EROS
My dear master, my captain, my sovereign, let me say before I strike this fatal blow: farewell. |
|
ANTONY
’Tis said, man, and farewell. |
ANTONY
You’ve said it, friend, and farewell to you. |
|
EROS
Farewell, great chief. Shall I strike now? |
EROS
Good-bye, great commander. Should I do it now? |
|
ANTONY
Now, Eros. |
ANTONY
Now, Eros. |
|
EROS
Why, there then! |
EROS
Well, then, there! |
|
Stabs himself |
He stabs himself. |
|
Thus I do escape the sorrow Of Antony’s death. |
With this I avoid the grief of Antony’s death. |
|
He dies |
He dies. |
|
ANTONY
Thrice nobler than myself, Thou teachest me, O valiant Eros, what I should and thou couldst not. My Queen and Eros Have by their brave instruction got upon me A nobleness in record. But I will be A bridegroom in my death, and run into ’t As to a lover’s bed. Come then, and Eros, Thy master dies thy scholar. To do thus I learned of thee. |
ANTONY
Brave Eros, three times more honorable than I am! You teach me what I should do but could not. My Queen and Eros have by their brave examples beaten me to the history books. But I will embrace death as a bridegroom does his bride, and rush to it as to a lover’s bed. Come then. Eros, your master dies your student. I learned to do this from you. |
|
He falls on his sword |
He falls on his sword. |
|
How! Not dead? Not dead? The guard, ho! Oh, dispatch me! |
What! I’m not dead? Not dead?—Guard, here! Oh, kill me! |
|
Enter DERCETUS and others of a GUARD |
DERCETUS enters with three GUARDS. |
|
FIRST GUARD
What’s the noise? |
FIRST GUARD
What’s the trouble? |
|
ANTONY
I have done my work ill, friends. Oh, make an end Of what I have begun! |
ANTONY
I’ve botched the job, friends. Oh, finish what I’ve begun. |
|
SECOND GUARD
The star is fall’n. |
SECOND GUARD
Our guiding light is out. |
|
FIRST GUARD
And time is at his period. |
FIRST GUARD
And time itself is ended. |
|
ALL
Alas, and woe! |
ALL
Sadness and despair! |
|
ANTONY
Let him that loves me strike me dead. |
ANTONY
Whoever’s a real friend should strike me dead. |
|
FIRST GUARD
Not I. |
FIRST GUARD
Not me. |
|
SECOND GUARD
Nor I. |
SECOND GUARD
Me neither. |
|
THIRD GUARD
Nor anyone. |
THIRD GUARD
None of us. |
|
Exeunt GUARD |
The GUARDS exit. |
|
DERCETUS
Thy death and fortunes bid thy followers fly. |
DERCETUS
Your death and destiny advise your followers to escape. |
|
He takes up ANTONY’s sword |
He takes up ANTONY’s sword |
|
This sword but shown to Caesar, with this tidings, Shall enter me with him. |
I only need to show your sword to Caesar and tell him about your death to get into his good favor. |
|
Enter DIOMEDES |
DIOMEDES enters. |
|
DIOMEDES
Where’s Antony? |
DIOMEDES
Where’s Antony? |
|
DERCETUS
There, Diomed, there. |
DERCETUS
There, Diomedes, there. |
|
DIOMEDES
Lives he? Wilt thou not answer, man? |
DIOMEDES
Is he still alive? Why don’t you answer me, man? |
|
Exit DERCETUS |
DERCETAS exits. |
|
ANTONY
Art thou there, Diomed? Draw thy sword and give me Sufficing strokes for death. |
ANTONY
Is that you, Diomedes? Draw your sword and give me enough blows to kill me. |
|
DIOMEDES
Most absolute lord, My mistress Cleopatra sent me to thee. |
DIOMEDES
Most powerful lord, my mistress Cleopatra sent me to you. |
|
ANTONY
When did she send thee? |
ANTONY
When did she send you? |
|
DIOMEDES
Now, my lord. |
DIOMEDES
Just now, my lord. |
|
ANTONY
Where is she? |
ANTONY
Where is she? |
|
DIOMEDES
Locked in her monument. She had a prophesying fear Of what hath come to pass. For when she saw— Which never shall be found—you did suspect She had disposed with Caesar, and that your rage Would not be purged, she sent you word she was dead. But fearing since how it might work, hath sent Me to proclaim the truth, and I am come, I dread, too late. |
DIOMEDES
Locked in her tomb. She had a premonition of what has actually happened. She saw that you suspected her of negotiating a treaty with Caesar—which never will be true. Afraid that your anger would not subside, she sent you word she was dead. But later, fearing how that news might affect you, she sent me to tell you the truth. I’m afraid I’ve come too late. |
|
ANTONY
Too late, good Diomed. Call my guard, I prithee. |
ANTONY
Too late, good Diomedes. Call my guard, please. |
|
DIOMEDES
What ho, the Emperor’s guard! The guard, what ho! Come, your lord calls! |
DIOMEDES
Hey out there! Emperor’s guards! Guards, hey! Come! Your lord calls for you! |
|
Enter four or five of the GUARD of Antony |
Four or five of Antony’s GUARDS enter. |
|
ANTONY
Bear me, good friends, where Cleopatra bides. ’Tis the last service that I shall command you. |
ANTONY
Carry me, good friends, to where Cleopatra is. It’s the last command I shall ever give you. |
|
FIRST GUARD
Woe, woe are we, sir, you may not live to wear All your true followers out. |
FIRST GUARD
We’re very sorry, sir, that you may not live to wear us out with your commands. |
|
ALL
Most heavy day! |
ALL
It’s a very sad day. |
|
ANTONY
Nay, good my fellows, do not please sharp fate To grace it with your sorrows. Bid that welcome Which comes to punish us, and we punish it, Seeming to bear it lightly. Take me up. I have led you oft; carry me now, good friends, And have my thanks for all. |
ANTONY
No, my friends, don’t please fate by giving it your sorrow as well. If we welcome our punishment, we punish it right back by seeming to take it lightly. Pick me up. I have often led you, now you must carry me, my good friends—and take my thanks for everything. |
|
Exeunt, bearing ANTONY and the body of EROS |
They exit, carrying ANTONYandEROS’ body. |
|
Enter CLEOPATRA and her maids aloft, with CHARMIAN and IRAS |
CLEOPATRA, CHARMIAN, and IRAS enter with Cleopatra’s maids in the upper gallery. |
|
CLEOPATRA
O Charmian, I will never go from hence. |
CLEOPATRA
Oh, Charmian, I will never leave this tomb! |
|
CHARMIAN
Be comforted, dear madam. |
CHARMIAN
Be calm, dear lady. |
|
CLEOPATRA
No, I will not. All strange and terrible events are welcome, But comforts we despise. Our size of sorrow, Proportioned to our cause, must be as great As that which makes it. |
CLEOPATRA
No, I won’t. Strange and terrible events are all welcome, but I despise comforts. The size of my sorrow must be as great as its source. |
|
Enter below DIOMEDES |
DIOMEDESenters below. |
|
How now? Is he dead? |
What’s the news! Is he dead? |
|
DIOMEDES
His death’s upon him, but not dead. Look out o’ th’ other side your monument. His guard have brought him thither. |
DIOMEDES
He is close to death, but not dead yet. Look out the other window; his guard has brought him here. |
|
Enter below ANTONY, and the guard bearing him |
Guards enter, carrying ANTONY. |
|
CLEOPATRA
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. |
CLEOPATRA
Oh, sun, burn up the orbit in which you move, so that the world may be dark forever! Oh, Antony, Antony, Antony! Help, Charmian, help, Iras, help! Help, friends below; lift him up here. |
|
ANTONY
Peace! Not Caesar’s valor hath o’erthrown Antony, But Antony’s hath triumphed on itself. |
ANTONY
Be calm! It was not Caesar’s bravery that conquered Antony but Antony’s that has triumphed over himself. |
|
CLEOPATRA
So it should be, that none but Antony Should conquer Antony, but woe ’tis so! |
CLEOPATRA
That’s the way it should be—only Antony should conquer Antony. But how terrible that it has happened! |
|
ANTONY
I am dying, Egypt, dying. Only I here importune death awhile, until Of many thousand kisses the poor last I lay upon thy lips. |
ANTONY
I am dying, Cleopatra, dying. I just beg death to wait awhile, until I place the last of our many thousands of kisses on your lips. |
|
CLEOPATRA
I dare not, dear, Dear my lord, pardon, I dare not, Lest I be taken. Not th’ imperious show Of the full-fortuned Caesar ever shall Be brooched with me. If knife, drugs, serpents, have Edge, sting, or operation, I am safe. Your wife Octavia, with her modest eyes And still conclusion, shall acquire no honor Demuring upon me. But come, come, Antony— Help me, my women—We must draw thee up. Assist, good friends. |
CLEOPATRA
I don’t dare come down—forgive me, my lord—I don’t dare, for fear of capture. I will never be exhibited as lucky Caesar’s prize. If knives, poison, or snakes have edge, effect, or venom, I am safe from that fate. Your wife Octavia, with her self-effacing eyes and self-righteous assumptions, won’t get any praise from patronizing me. But come. Come up here, Antony—help me, ladies—we must carry you up. Help us, good friends. |
|
They begin lifting him |
They lift him. |
|
ANTONY
Oh, quick, or I am gone. |
ANTONY
Oh, quick, before I’m gone. |
|
CLEOPATRA
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, The strong-winged Mercury should fetch thee up And set thee by Jove’s side. Yet come a little. Wishers were ever fools. Oh, come, come, come! |
CLEOPATRA
Such exercise! My lord is so heavy! Our strength has all turned into sadness. That’s what makes the weight. If I had the goddess Juno’s power, I would make the strong-winged messenger, Mercury, pick you up and seat you beside Jove. Up just a little more—wishes are always foolish—oh, come on, come on, come on! |
|
They heave ANTONY aloft to CLEOPATRA |
They lift ANTONY up toCLEOPATRA. |
|
And welcome, welcome! Die when thou hast lived. Quicken with kissing. Had my lips that power, Thus would I wear them out. |
And welcome, welcome! Die where you have lived, in my arms. Let me revive you with my kisses. If my lips had the power to give life, I would wear them out like this. |
|
She kisses him |
She kisses him. |
|
ALL
A heavy sight! |
ALL
What a sad sight! |
|
ANTONY
I am dying, Egypt, dying. Give me some wine and let me speak a little. |
ANTONY
I am dying, Cleopatra, dying. Give me some wine and let me say a few words. |
|
CLEOPATRA
No, let me speak, and let me rail so high That the false huswife Fortune break her wheel, Provoked by my offense. |
CLEOPATRA
No, let me talk, and let me scold to the heavens, so that Fortune, that deceitful hussy, will become so upset that she breaks her wheel. |
|
ANTONY
One word, sweet Queen: Of Caesar seek your honor, with your safety—Oh! |
ANTONY
One thing, dear Queen: request honor, as well as safety, from Caesar. Oh! |
|
CLEOPATRA
They do not go together. |
CLEOPATRA
Honor and safety do not go together. |
|
ANTONY
Gentle, hear me. None about Caesar trust but Proculeius. |
ANTONY
Dear, listen to me: don’t trust any of Caesar’s men besides Proculeius. |
|
CLEOPATRA
My resolution and my hands I’ll trust, None about Caesar. |
CLEOPATRA
I’ll trust my determination and my hands, but none of Caesar’s men. |
|
ANTONY
The miserable change now at my end Lament nor sorrow at, but please your thoughts In feeding them with those my former fortunes, Wherein I lived the greatest prince o’ th’ world, The noblest, and do now not basely die, Not cowardly put off my helmet to My countryman—a Roman by a Roman Valiantly vanquished. Now my spirit is going. I can no more. |
ANTONY
Don’t mourn over this unhappy reversal of fortune at the end of my life. Remember my earlier lot, when I lived as the greatest, most noble prince in the world. I’m not dying shamefully, doffing my helmet to my countryman like a coward, but as a Roman, honorably conquered by another Roman. Now I feel my soul leaving. I can’t speak any more. |
|
CLEOPATRA
Noblest of men, woo’t die? Hast thou no care of me? Shall I abide In this dull world, which in thy absence is No better than a sty? O see, my women, The crown o’ th’ earth doth melt. My lord! |
CLEOPATRA
Most noble man, will you die? Don’t you care about me? Shall I stay in this dreary world, which is no better than a pigsty without you? Oh, look, ladies. The best of the world disappears. My lord! |
|
ANTONY dies |
ANTONY dies. |
|
Oh, withered is the garland of the war. The soldier’s pole is fall’n! Young boys and girls Are level now with men. The odds is gone, And there is nothing left remarkable Beneath the visiting moon. |
Oh, the glory of war has faded. The flags have fallen. Young boys and girls are equal to men. There is nothing distinctive, nothing remarkable left in the world. |
|
CHARMIAN
* * Oh, quietness, lady! |
CHARMIAN
Oh, stay calm, lady! |
|
CLEOPATRA swoons |
CLEOPATRA faints. |
|
IRAS
She’s dead too, our sovereign. |
IRAS
Our Queen is dead too. |
|
CHARMIAN
Lady! |
CHARMIAN
Lady! |
|
IRAS
Madam! |
IRAS
Madam! |
|
CHARMIAN
O madam, madam, madam! |
CHARMIAN
Oh, madam, madam, madam! |
|
IRAS
Royal Egypt, Empress! |
IRAS
Royal Egypt, Empress! |
|
CLEOPATRAstirs |
CLEOPATRA wakes up. |
|
CHARMIAN
Peace, peace, Iras. |
CHARMIAN
Quiet, quiet, Iras. |
|
CLEOPATRA
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 scepter 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? What, what, good cheer! Why, how now, Charmian? My noble girls! Ah, women, women! Look, Our lamp is spent, it’s out. Good sirs, take heart. We’ll bury him, and then, what’s brave, what’s noble, Let’s do ’t after the high Roman fashion And make death proud to take us. Come, away. This case of that huge spirit now is cold. Ah, women, women! Come. We have no friend But resolution, and the briefest end. |
CLEOPATRA
Now I am no more than a woman, ruled by the same lowly passion as the maid who milks and does the humblest chores. I might now hurl my scepter at the destructive gods and tell them that this earthly world was as good as their heavenly one, until they stole away its jewel, Antony. Now all is for nothing. Patience is foolish. Impatience suits a mad dog. So why should it be a sin to rush toward death, to seek it out in its hiding place before it dares to come to find me? How are you, my ladies? Tell me! Cheer up! How are you, Charmian? My gallant girls! Ah, ladies, look: the light of our lives has gone out. Good noble ladies, be brave. We’ll bury him, and then we’ll commit acts as brave and fine as any Romans, and make death proud to take us. Come on, you can go. The container of that great soul is now cold. Ah, ladies, ladies! Let’s go. We have no friends but determination and the quickest death. |
|
Exeunt, those above bearing off ANTONY’s body |
They exit, carryingANTONY’sbody. |
|
Enter CAESAR, with AGRIPPA, DOLABELLA, MAECENAS, GALLUS, and PROCULEIUS, and his council of war |
CAESAR enters with his war council: AGRIPPA, DOLABELLA, MAECENAS, GALLUS, and PROCULEIUS. |
|
CAESAR
Go to him, Dolabella, bid him yield. Being so frustrate, tell him, he mocks The pauses that he makes. |
CAESAR
Dolabella, go see Antony. Tell him to surrender. His position is hopeless. This delay makes him look ridiculous. |
|
DOLABELLA
Caesar, I shall. |
DOLABELLA
Right away, Caesar. |
|
Exit |
DOLABELLA exits. |
|
Enter DERCETUS, with the sword of ANTONY |
DECRETUS enters carrying ANTONY’s sword. |
|
CAESAR
Wherefore is that? And what art thou that dar’st Appear thus to us? |
CAESAR
What are you doing with a sword? Who do you think you are coming in here armed? |
|
DERCETUS
I am called Dercetus. Mark Antony I served, who best was worthy Best to be served. Whilst he stood up and spoke, He was my master, and I wore my life To spend upon his haters. If thou please To take me to thee, as I was to him I’ll be to Caesar. If thou pleasest not, I yield thee up my life. |
DERCETUS
My name is Decretus. I served Mark Antony, who was the commander most worthy of my services. While he was alive, I lived only to serve him and oppose his enemies. If you accept my service, I’ll serve you the same way. If not, you can kill me. |
|
CAESAR
What is ’t thou say’st? |
CAESAR
What are you saying? |
|
DERCETUS
I say, O Caesar, Antony is dead. |
DERCETUS
Caesar, I’m telling you that Antony is dead. |
|
CAESAR
The breaking of so great a thing should make A greater crack. The round world Should have shook lions into civil streets And citizens to their dens. The death of Antony Is not a single doom. In the name lay A moiety of the world. |
CAESAR
When such a great man dies there should be a thunderclap. The fractured world, in its confusion, should send lions into the city streets and humans into the wilderness to live in lions’ dens. This isn’t the death of one man. It’s the death of half the world. |
|
DERCETUS
He is dead, Caesar, Not by a public minister of justice, Nor by a hirèd knife, but that self hand Which writ his honor in the acts it did Hath, with the courage which the heart did lend it, Splitted the heart. This is his sword. I robbed his wound of it. Behold it stained With his most noble blood. |
DERCETUS
He’s dead, Caesar. Not by public execution or an assassin’s knife. He killed himself with the same hand that performed such brave acts. With the courage his heart lent his hand, his hand in turn split his heart. This is his sword. I pulled it from his wound. Look—his noble blood is still on it. |
|
CAESAR
Look you, sad friends, The gods rebuke me, but it is tidings To wash the eyes of kings. |
CAESAR
Listen, sad friends, though the gods may rebuke me, this news would make kings cry. |
|
AGRIPPA
And strange it is That nature must compel us to lament Our most persisted deeds. |
AGRIPPA
It’s strange that human nature makes us grieve for the very thing we’ve been trying to achieve. |
|
MAECENAS
His taints and honors Waged equal with him. |
MAECENAS
His faults were equally matched by his virtues. |
|
AGRIPPA
A rarer spirit never Did steer humanity, but you gods will give us Some faults to make us men. Caesar is touched. |
AGRIPPA
There was never a ruler as excellent as he. But gods, you give us faults so we’ll be human. Caesar is upset. |
|
MAECENAS
When such a spacious mirror’s set before him, He needs must see himself. |
MAECENAS
It’s impossible for him not to see himself in Antony. |
|
CAESAR
O Antony, I have followed thee to this, but we do launch Diseases in our bodies. I must perforce Have shown to thee such a declining day, Or look on thine. We could not stall together In the whole world. But yet let me lament With tears as sovereign as the blood of hearts That thou, my brother, my competitor In top of all design, my mate in empire, Friend and companion in the front of war, The arm of mine own body, and the heart Where mine his thoughts did kindle—that our stars, Unreconcilable, should divide Our equalness to this. Hear me, good friends— |
CAESAR
Oh, Antony. I drove you to this. But we have to get rid of a disease if it threatens our body. Either I had to ruin you, or you would have ruined me. There wasn’t enough room in the world for both of us. Even so, let me mourn, with tears that heal like a bloodletting, that you—my brother, my greatest competitor, my partner in rule, my friend and companion on the battlefield, the very arm of my body, and the heart in which mine own heart’s thoughts lived—that our fates could not be reconciled, which caused us to divide ourselves from one another. Let me tell you, friends— |
|
Enter an EGYPTIAN |
An EGYPTIAN enters. |
|
But I will tell you at some meeter season. The business of this man looks out of him. We’ll hear him what he says. (to EGYPTIAN) Whence are you? |
I’ll tell you at a better time. This man looks like his business is urgent. Let’s hear what he has to say. (to EGYPTIAN) Who are you? |
|
EGYPTIAN
A poor Egyptian yet, the Queen my mistress, Confined in all she has, her monument, Of thy intents desires instruction, That she preparedly may frame herself To th’ way she’s forced to. |
EGYPTIAN
A poor Egyptian, but my mistress, the Queen, sent me to find out what your intentions are concerning her. She’s locked up in her tomb and wants to prepare herself for her fate. |
|
CAESAR
Bid her have good heart. She soon shall know of us, by some of ours, How honorable and how kindly we Determine for her, for Caesar cannot live To be ungentle. |
CAESAR
Tell her to put her mind at rest. She’ll find out soon enough by one of our messengers how respectfully and kindly we plan to treat her. I cannot be taught how to be cruel. |
|
EGYPTIAN
So the gods preserve thee! |
EGYPTIAN
May the gods bless you. |
|
Exit |
He exits. |
|
CAESAR
Come hither, Proculeius. Go and say We purpose her no shame. Give her what comforts The quality of her passion shall require, Lest, in her greatness, by some mortal stroke She do defeat us, for her life in Rome Would be eternal in our triumph. Go, And with your speediest bring us what she says And how you find of her. |
CAESAR
Come here, Proculeius. Tell her we mean her no disrespect. Give her whatever assurances you feel she needs to keep her from killing herself. I need her alive, so that I can exhibit her in my triumphal procession and gain eternal fame. Go, and hurry back to bring us her reply and news of her state of mind. |
|
PROCULEIUS
Caesar, I shall. |
PROCULEIUS
I will, Caesar. |
|
Exit PROCULEIUS |
PROCULEIUS exits. |
|
CAESAR
Gallus, go you along. |
CAESAR
Gallus, you go with him. |
|
Exit GALLUS |
GALLUS exits. |
|
Where’s Dolabella, To second Proculeius? |
Where’s Dolabella? He’s supposed to support Proculeius. |
|
ALL
Dolabella! |
ALL
Dolabella! |
|
CAESAR
Let him alone, for I remember now How he’s employed. He shall in time be ready. Go with me to my tent, where you shall see How hardly I was drawn into this war, How calm and gentle I proceeded still In all my writings. Go with me and see What I can show in this. |
CAESAR
Never mind. I remember he’s already occupied. He’ll be done in time. Come with me. In my tent I’ll show you how unwillingly I was drawn into this war. You’ll see how calm and gentle my letters to Antony always were. Come and see the proof. |
|
Exeunt |
They exit. |
|
Enter CLEOPATRA, CHARMIAN, and IRAS |
CLEOPATRA, CHARMIAN, and IRAS enter. |
|
CLEOPATRA
My desolation does begin to make A better life. ’Tis paltry to be Caesar. Not being Fortune, he’s but Fortune’s knave, A minister of her will. And it is great To do that thing that ends all other deeds, Which shackles accidents and bolts up change, Which sleeps and never palates more the dung, The beggar’s nurse, and Caesar’s. |
CLEOPATRA
Being alone has helped me better understand my life. It’s pathetic to be Caesar. He can’t be Fortune; he’s only Fortune’s errand boy. It would be a great deed to commit suicide—that act which ends all other things, which makes all accidents and changes stop. Which causes you to sleep, and takes you away from earthly concerns. |
|
Enter PROCULEIUS |
PROCULEIUS enters. |
|
PROCULEIUS
Caesar sends greeting to the Queen of Egypt, And bids thee study on what fair demands Thou mean’st to have him grant thee. |
PROCULEIUS
Caesar greets the Queen of Egypt and asks that you consider what you will ask from him. |
|
CLEOPATRA
What’s thy name? |
CLEOPATRA
What’s your name? |
|
PROCULEIUS
My name is Proculeius. |
PROCULEIUS
My name is Proculeius. |
|
CLEOPATRA
Antony Did tell me of you, bade me trust you, but I do not greatly care to be deceived, That have no use for trusting. If your master Would have a queen his beggar, you must tell him, That majesty, to keep decorum, must No less beg than a kingdom. If he please To give me conquered Egypt for my son, He gives me so much of mine own as I Will kneel to him with thanks. |
CLEOPATRA
Antony told me about you. He said you were a man I could trust. But I don’t worry about being deceived because I don’t need to trust. If your master wants a queen to beg from him, you should tell him that a queen will beg for no less than a kingdom. If he will grant me conquered Egypt, so that I may give it to my son, I will kneel to him with thanks. |
|
PROCULEIUS
Be of good cheer. You’re fall’n into a princely hand. Fear nothing. Make your full reference freely to my lord, Who is so full of grace that it flows over On all that need. Let me report to him Your sweet dependency, and you shall find A conqueror that will pray in aid for kindness Where he for grace is kneeled to. |
PROCULEIUS
Be content. You’re in the charge of an honorable man. Don’t be afraid. You can ask for anything from my lord. His generosity flows to anyone in need. If I can tell him that you have submitted to him sweetly, he’ll request your assistance in finding ways in which he can support you. |
|
CLEOPATRA
Pray you, tell him I am his fortune’s vassal, and I send him The greatness he has got. I hourly learn A doctrine of obedience, and would gladly Look him i’ th’ face. |
CLEOPATRA
Please tell him I have surrendered to his fortune. I give up to him the glory he has won. I’m learning every hour how to be subservient. I’d be happy to meet with him in person. |
|
PROCULEIUS
This I’ll report, dear lady. Have comfort, for I know your plight is pitied Of him that caused it. |
PROCULEIUS
I’ll tell him all of this, dear lady. Be at ease. I know he’s sorry for your situation, especially since he caused it. |
|
GALLUS and Roman soldiers enter from behind and take CLEOPATRA prisoner |
GALLUS enters with soldiers. They seize CLEOPATRA. |
|
GALLUS
You see how easily she may be surprised. (to the soldiers) Guard her till Caesar come. |
GALLUS
(to PROCULEIUS) See how easy it was to capture her? (to soldiers) Guard her until Caesar arrives. |
|
IRAS
Royal Queen! |
IRAS
Your majesty! |
|
CHARMIAN
O Cleopatra! Thou art taken, Queen. |
CHARMIAN
Oh, Cleopatra! You’ve been betrayed, my Queen! |
|
CLEOPATRA draws a dagger |
CLEOPATRA pulls out a knife. |
|
CLEOPATRA
Quick, quick, good hands. |
CLEOPATRA
Quick, quick good hands! |
|
PROCULEIUS seizes the dagger |
She tries to stab herself, but PROCULEIUS seizes the dagger. |
|
PROCULEIUS
Hold, worthy lady, hold! Do not yourself such wrong, who are in this Relieved but not betrayed. |
PROCULEIUS
Stop, brave lady, stop! Don’t do such a shameful thing to yourself. We’ve rescued you from yourself. We have not betrayed you. |
|
CLEOPATRA
What, of death too, That rids our dogs of languish? |
CLEOPATRA
What, am I being denied death, as well? The thing which even dogs are given, to rid them of their suffering? |
|
PROCULEIUS
Cleopatra, Do not abuse my master’s bounty by Th’ undoing of yourself. Let the world see His nobleness well acted, which your death Will never let come forth. |
PROCULEIUS
Don’t insult my master’s generosity by killing yourself. The world will see how noble he is by the way he treats you. Your death would prevent that. |
|
CLEOPATRA
Where art thou, Death? Come hither, come! Come, come and take a queen Worth many babes and beggars! |
CLEOPATRA
Where are you, Death? Come here. Come, and you can have a queen. One queen is worth more than a whole number of babies and beggars, your cheapest conquests. |
|
PROCULEIUS
Oh, temperance, lady! |
PROCULEIUS
Oh, control yourself, lady! |
|
CLEOPATRA
Sir, I will eat no meat, I’ll not drink, sir. If idle talk will once be necessary, I’ll not sleep neither. This mortal house I’ll ruin, Do Caesar what he can. Know, sir, that I Will not wait pinioned at your master’s court, Nor once be chastised with the sober eye Of dull Octavia. Shall they hoist me up And show me to the shouting varletry Of censuring Rome? Rather a ditch in Egypt Be gentle grave unto me. Rather on Nilus’ mud Lay me stark naked and let the waterflies Blow me into abhorring. Rather make My country’s high pyramides my gibbet And hang me up in chains! |
CLEOPATRA
Sir, I won’t eat. I won’t drink. And don’t expect me to talk. I won’t sleep either. I’ll destroy my body. Let Caesar do whatever he wants. You’d better understand that I won’t wait till I’m chained up in your master’s court, and I won’t let myself be scolded even once by dull Octavia. Shall I let them exhibit me to the shouting mobs of Rome? I’d rather die in a ditch in Egypt, and make it my gentle grave. I’d rather lie in the Nile mud with flies laying their eggs in me, making me disgusting. I’d rather be hung in chains from one of our pyramids! |
|
PROCULEIUS
You do extend These thoughts of horror further than you shall Find cause in Caesar. |
PROCULEIUS
You’re letting yourself get carried away with these horrible thoughts. You’ll see that Caesar is giving you no reason to do so. |
|
Enter DOLABELLA |
DOLABELLA enters. |
|
DOLABELLA
Proculeius, What thou hast done thy master Caesar knows, And he hath sent for thee. For the Queen, I’ll take her to my guard. |
DOLABELLA
Proculeius, Caesar has heard about what you’ve done here and has sent for you. I’ll take the Queen into my custody. |
|
PROCULEIUS
So, Dolabella, It shall content me best. Be gentle to her. (to CLEOPATRA) To Caesar I will speak what you shall please, If you’ll employ me to him. |
PROCULEIUS
So be it, Dolabella. Caesar’s thanks are my greatest reward. Be kind to her. (to CLEOPATRA) I’ll relay to Caesar any request you want to give me. |
|
CLEOPATRA
Say I would die. |
CLEOPATRA
Tell him I’d like to die. |
|
Exit PROCULEIUS |
PROCULEIUS exits. |
|
DOLABELLA
Most noble Empress, you have heard of me? |
DOLABELLA
Have you heard of me, most noble Empress? |
|
CLEOPATRA
I cannot tell. |
CLEOPATRA
I don’t remember. |
|
DOLABELLA
Assuredly you know me. |
DOLABELLA
I’m sure you’ve heard of me. |
|
CLEOPATRA
No matter, sir, what I have heard or known. You laugh when boys or women tell their dreams. Is ’t not your trick? |
CLEOPATRA
It doesn’t matter what I’ve heard or known. You must be the one who laughs when boys or women tell you their dreams. Isn’t that your habit? |
|
DOLABELLA
I understand not, madam. |
DOLABELLA
I don’t know what you mean, madam. |
|
CLEOPATRA
I dreamt there was an emperor Antony. Oh, such another sleep, that I might see But such another man! |
CLEOPATRA
I dreamed about an emperor called Antony. Oh, I wish I could sleep again, so I could have another dream like that! |
|
DOLABELLA
If it might please ye— |
DOLABELLA
If you’d like— |
|
CLEOPATRA
His face was as the heavens, and therein stuck A sun and moon, which kept their course and lighted The little “O,” the earth. |
CLEOPATRA
Authority radiated from his face, and his presence brought knowledge and order to the people of earth. |
|
DOLABELLA
Most sovereign creature— |
DOLABELLA
Your majesty— |
|
CLEOPATRA
His legs bestrid the ocean. His reared arm Crested the world. His voice was propertied As all the tunèd spheres, and that to friends. But when he meant to quail and shake the orb, He was as rattling thunder. For his bounty, There was no winter in ’t, an autumn ’twas That grew the more by reaping. His delights Were dolphinlike; they showed his back above The element they lived in. In his livery Walked crowns and crownets. Realms and islands were As plates dropped from his pocket. |
CLEOPATRA
His power extended from one shore to the other, as if he straddled the ocean with his legs. When he raised his arm in command, the world trembled. He spoke exquisitely to his friends, but when he wanted to terrify the world, his voice was like thunder. There was no end to his generosity. The more he gave, the more he wanted to give. His amusements showed another side of him, one detached from his world of responsibility and duty. Kings and noblemen served him. Kingdoms and provinces dropped from his pockets like loose change. |
|
DOLABELLA
Cleopatra— |
DOLABELLA
Cleopatra— |
|
CLEOPATRA
Think you there was or might be such a man As this I dreamt of? |
CLEOPATRA
Do you think there ever was, or could there ever be, a man such as the one I dreamed about? |
|
DOLABELLA
Gentle madam, no. |
DOLABELLA
No, gentle madam. |
|
CLEOPATRA
You lie up to the hearing of the gods. But if there be nor ever were one such, It’s past the size of dreaming. Nature wants stuff To vie strange forms with fancy, yet t’ imagine An Antony were nature’s piece ’gainst fancy, Condemning shadows quite. |
CLEOPATRA
The gods can hear you lying! But if there ever were such a man, simple dreams could never contain his greatness. When it comes to creating fantastical things, the natural world cannot compete with imagination. And yet, if the natural world could create something like Antony, it would have a masterpiece to rival anything fantasy might construct. Antony would easily outshine all imaginary beings. |
|
DOLABELLA
Hear me, good madam. Your loss is as yourself, great, and you bear it As answering to the weight. Would I might never O’ertake pursued success, but I do feel, By the rebound of yours, a grief that smites My very heart at root. |
DOLABELLA
Listen to me, madam. You are a remarkable person and your loss is equally remarkable. You are responding appropriately to the greatness of that loss. I hope I never achieve success if I don’t feel some of your heartbroken grief right now. |
|
CLEOPATRA
I thank you, sir. Know you what Caesar means to do with me? |
CLEOPATRA
Thank you, sir. Do you know what Caesar intends to do with me? |
|
DOLABELLA
I am loath to tell you what I would you knew. |
DOLABELLA
I’m reluctant to tell you what I wish you knew. |
|
CLEOPATRA
Nay, pray you, sir. |
CLEOPATRA
Please, sir— |
|
DOLABELLA
Though he be honorable— |
DOLABELLA
Though he is honorable— |
|
CLEOPATRA
He’ll lead me, then, in triumph. |
CLEOPATRA
He’ll still parade me through Rome as a trophy of war. |
|
DOLABELLA
Madam, he will. I know ’t. |
DOLABELLA
I know he will, madam. |
|
Flourish. Enter CAESAR, PROCULEIUS, GALLUS, MAECENAS, and other ATTENDANTS |
Trumpets sound a royal fanfare. CAESAR, PROCULEIUS, GALLUS, MAECENAS, and other ATTENDANTS enter. |
|
ATTENDANTS
Make way there! Caesar! |
ATTENDANTS
Stand aside for Caesar. |
|
CAESAR
Which is the Queen of Egypt? |
CAESAR
Which of these ladies is the Queen of Egypt? |
|
DOLABELLA
(to CLEOPATRA) It is the Emperor, madam. |
DOLABELLA
(to CLEOPATRA) It’s the Emperor, madam. |
|
CLEOPATRA kneels |
CLEOPATRA kneels. |
|
CAESAR
Arise, you shall not kneel. I pray you, rise. Rise, Egypt. |
CAESAR
Arise. You need not kneel to me. Please rise, Queen. |
|
CLEOPATRA
Sir, the gods Will have it thus. My master and my lord I must obey. |
CLEOPATRA
The gods have ordained it to be like this, sir. You are my lord and master. I must obey. |
|
CLEOPATRA stands |
CLEOPATRA stands up. |
|
CAESAR
Take to you no hard thoughts. The record of what injuries you did us, Though written in our flesh, we shall remember As things but done by chance. |
CAESAR
Don’t think I blame you. Whatever injuries I received in the war, I put down to the fortunes of war. |
|
CLEOPATRA
Sole sir o’ th’ world, I cannot project mine own cause so well To make it clear, but do confess I have Been laden with like frailties which before Have often shamed our sex. |
CLEOPATRA
You are now the sole lord of the entire world. I can’t explain my cause very clearly. I must admit to having the weaknesses that all women are accused of. |
|
CAESAR
Cleopatra, know We will extenuate rather than enforce. If you apply yourself to our intents, Which towards you are most gentle, you shall find A benefit in this change, but if you seek To lay on me a cruelty by taking Antony’s course, you shall bereave yourself Of my good purposes and put your children To that destruction which I’ll guard them from If thereon you rely. I’ll take my leave. |
CAESAR
Cleopatra, understand that, rather than emphasize our power over you, we will soften if you accept our intentions, which are very compassionate toward you. Your acceptance will benefit you, but if you try to make me look cruel by committing suicide as Antony did, I won’t be so generous. Your children will be destroyed, a fate your submission will save them from. I’ll leave you now. |
|
CLEOPATRA
And may, through all the world! ’Tis yours, and we, Your scutcheons and your signs of conquest, shall Hang in what place you please. Here, my good lord. |
CLEOPATRA
You may do whatever you want in the world. It’s yours, and you may hang us, your trophies of war, anywhere you like. Here, my good lord. |
|
She gives him a scroll |
She hands him a list. |
|
CAESAR
You shall advise me in all for Cleopatra. |
CAESAR
You shall advise me in everything having to do with Cleopatra. |
|
CLEOPATRA
This is the brief of money, plate, and jewels I am possessed of. ’Tis exactly valued, Not petty things admitted. Where’s Seleucus? |
CLEOPATRA
This is the inventory of the money, silverware, dishes, and jewels that are still in my possession. It’s an exact list. Not even trivial things were left out. Where’s Seleucus? |
|
Enter SELEUCUS |
SELEUCUS enters. |
|
SELEUCUS
Here, madam. |
SELEUCUS
Here, madam. |
|
CLEOPATRA
This is my treasurer. Let him speak, my lord, Upon his peril, that I have reserved To myself nothing.—Speak the truth, Seleucus. |
CLEOPATRA
This is my treasurer. My lord, he will swear on his life that I haven’t kept a thing.—Tell the truth, Seleucus. |
|
SELEUCUS
Madam, I had rather seal my lips Than to my peril speak that which is not. |
SELEUCUS
Madam, I’d rather sew my lips shut than tell a lie when my life depends upon it. |
|
CLEOPATRA
What have I kept back? |
CLEOPATRA
What did I keep for myself? |
|
SELEUCUS
Enough to purchase what you have made known. |
SELEUCUS
Enough to buy everything you have declared. |
|
CAESAR
Nay, blush not, Cleopatra. I approve Your wisdom in the deed. |
CAESAR
No, don’t be ashamed, Cleopatra. You’re very prudent to set a little aside. |
|
CLEOPATRA
See, Caesar! Oh, behold How pomp is followed! Mine will now be yours, And, should we shift estates, yours would be mine. The ingratitude of this Seleucus does Even make me wild. (to SELEUCUS) O slave, of no more trust Than love that’s hired! What, goest thou back? Thou shalt Go back, I warrant thee! But I’ll catch thine eyes, Though they had wings. Slave, soulless villain, dog! Oh, rarely base! |
CLEOPATRA
Look around you, Caesar. Oh, just see what happens after the pageantry is over! What is mine will be yours now. If we were to change places, what is yours would be mine. Seleucus’ ingratitude makes me wild. (to SELEUCUS) Oh, you slave! I can’t trust you any more than a prostitute. What are you doing? Cringing away? I’ll give you a good reason to cringe, I promise you. I’ll scratch out your eyes, even if they could fly. You slave! Soulless villain! Dog! Oh, that was unbelievably low! |
|
CAESAR
Good Queen, let us entreat you— |
CAESAR
Good Queen, let me implore you— |
|
CLEOPATRA
O Caesar, what a wounding shame is this, That thou, vouchsafing here to visit me, Doing the honor of thy lordliness To one so meek, that mine own servant should Parcel the sum of my disgraces by Addition of his envy! Say, good Caesar, That I some lady trifles have reserved, Immoment toys, things of such dignity As we greet modern friends withal, and say Some nobler token I have kept apart For Livia and Octavia, to induce Their mediation, must I be unfolded With one that I have bred? The gods! It smites me Beneath the fall I have. (to SELEUCUS) Prithee, go hence, Or I shall show the cinders of my spirit Through th’ ashes of my chance. Wert thou a man, Thou wouldst have mercy on me. |
CLEOPATRA
Oh, Caesar, I am so ashamed. You condescended to visit me here, honoring my humble self with your lordly presence. And one of my own servants increases my disgrace by adding his envy! Suppose, good Caesar, that I have saved a few feminine trifles, some unimportant trinkets. These have worth only as gifts to friends. And suppose I have kept a few more expensive gifts aside for Livia and Octavia, to solicit their good wishes. Must I then be exposed by a person I’ve supported? By the gods! It adds another blow to the many I have already. (to SELEUCUS) Please leave, or I’ll show you what’s left of my spirit since my fortune was ruined. If you were a real man, you would have had mercy on me. |
|
CAESAR
Forbear, Seleucus. |
CAESAR
Leave, Seleucus. |
|
Exit SELEUCUS |
SELEUCUS exits. |
|
CLEOPATRA
Be it known that we, the greatest, are misthought For things that others do, and when we fall We answer others’ merits in our name, Are therefore to be pitied. |
CLEOPATRA
You should also know that as head of state, we are often blamed for the crimes of others. And though we may fall, we are still responsible for their offenses. I am therefore to be pitied. |
|
CAESAR
Cleopatra, Not what you have reserved nor what acknowledged Put we i’ th’ roll of conquest. Still be ’t yours. Bestow it at your pleasure, and believe Caesar’s no merchant, to make prize with you Of things that merchants sold. Therefore be cheered. Make not your thoughts your prison. No, dear Queen, For we intend so to dispose you as Yourself shall give us counsel. Feed and sleep. Our care and pity is so much upon you That we remain your friend. And so, adieu. |
CAESAR
Cleopatra, our conquest won’t include either the things you kept back or the ones you listed. It’s all still yours. Do whatever you like with it. You can trust that Caesar is not a merchant to haggle with you over your property. So cheer up. Don’t be captured by your depressed thoughts. No, dear Queen. We want to follow your own counsel when making arrangements for you. Eat and sleep. I have so much care and pity for you that you could call me friend. And so, good-bye. |
|
CLEOPATRA
My master, and my lord! |
CLEOPATRA
My master and my lord! |
|
CAESAR
Not so. Adieu. |
CAESAR
Not true. Good-bye. |
|
Flourish. Exeunt CAESAR and his train |
Trumpet flourish. CAESAR and his entourage exit. |
|
CLEOPATRA
He words me, girls, he words me, that I should not Be noble to myself. But, hark thee, Charmian. |
CLEOPATRA
He’s trying to talk me into forgetting my nobility, girls. But listen, Charmian. |
|
She whispers to CHARMIAN |
She whispers to CHARMIAN. |
|
IRAS
Finish, good lady. The bright day is done, And we are for the dark. |
IRAS
It’s time to end it, good lady. The bright day of our lives is over, and now there will only be darkness. |
|
CLEOPATRA
(to CHARMIAN) Hie thee again. I have spoke already, and it is provided. Go put it to the haste. |
CLEOPATRA
(to CHARMIAN) Go out again. I’ve already given the order, and it is ready. Hurry with your errand. |
|
CHARMIAN
Madam, I will. |
CHARMIAN
I will, madam. |
|
Enter DOLABELLA |
DOLABELLA enters. |
|
DOLABELLA
Where’s the Queen? |
DOLABELLA
Where’s the Queen? |
|
CHARMIAN
Behold, sir. |
CHARMIAN
Look, sir. |
|
Exit |
She exits. |
|
CLEOPATRA
Dolabella! |
CLEOPATRA
Dolabella. |
|
DOLABELLA
Madam, as thereto sworn by your command, Which my love makes religion to obey, I tell you this: Caesar through Syria Intends his journey, and within three days You with your children will he send before. Make your best use of this. I have performed Your pleasure and my promise. |
DOLABELLA
Madam, according to my promise—which my love to you has made a religious vow—I tell you that Caesar intends to travel through Syria. Within three days you and your children will be sent ahead. Make the best use of this information you can. I have done your bidding and fulfilled my promise. |
|
CLEOPATRA
Dolabella, I shall remain your debtor. |
CLEOPATRA
Dolabella, I will always be in debt to you. |
|
DOLABELLA
I your servant. Adieu, good Queen. I must attend on Caesar. |
DOLABELLA
And I your servant. Good-bye, good Queen. I must go attend Caesar. |
|
CLEOPATRA
Farewell, and thanks. |
CLEOPATRA
Farewell, and thanks. |
|
Exit DOLABELLA |
DOLABELLA exits. |
|
Now, Iras, what think’st thou? Thou an Egyptian puppet shalt be shown In Rome, as well as I. Mechanic slaves With greasy aprons, rules, and hammers shall Uplift us to the view. In their thick breaths, Rank of gross diet, shall be enclouded, And forced to drink their vapor. |
Now, Iras, what do you think? You will be exhibited in Rome along with me, like Egyptian puppets. Crude slaves with greasy aprons, rulers, and hammers shall lift us up so everyone can see. Their stinking breath will form a cloud around us, and we’ll be forced to inhale it. |
|
IRAS
The gods forbid! |
IRAS
The gods forbid! |
|
CLEOPATRA
Nay, ’tis most certain, Iras. Saucy lictors Will catch at us like strumpets, and scald rhymers Ballad us out o’ tune. The quick comedians Extemporally will stage us and present Our Alexandrian revels. Antony Shall be brought drunken forth, and I shall see Some squeaking Cleopatra boy my greatness I’ th’ posture of a whore. |
CLEOPATRA
No, it’s certain, Iras. Insolent lictors will paw us as if we were streetwalkers. Disreputable minstrels will write bawdy songs about us. Hotheaded comedians will stage impromptu impersonations of us and depict the celebrations we had in Alexandria. Antony will be portrayed as a drunk, and I’ll see some boy with a squeaking voice play Cleopatra as if I were a whore. |
|
IRAS
Oh, the good gods! |
IRAS
Oh, the good gods! |
|
CLEOPATRA
Nay, that’s certain. |
CLEOPATRA
No, that’s the truth. |
|
IRAS
I’ll never see ’t! For I am sure mine nails Are stronger than mine eyes. |
IRAS
I’ll never see it. I know my nails are stronger than my eyes; I’ll scratch them out. |
|
CLEOPATRA
Why, that’s the way To fool their preparation and to conquer Their most absurd intents. |
CLEOPATRA
Why, that’s just the way to frustrate their plans and defeat their absurd intentions. |
|
Enter CHARMIAN |
CHARMIAN enters. |
|
Now, Charmian! Show me, my women, like a queen. Go fetch My best attires. I am again for Cydnus, To meet Mark Antony.—Sirrah Iras, go.— Now, noble Charmian, we’ll dispatch indeed, And when thou hast done this chare I’ll give thee leave To play till doomsday. (to IRAS) Bring our crown and all. |
Now, Charmian! Women, dress me like a queen. Go get my best clothes. I will once again be as fine as when I went to Cydnus to meet Marc Antony.—Iras, go.—Now, Charmian, we’ll be quick indeed. And after you’ve done this chore, I’ll give you permission to amuse yourself until doomsday. (to IRAS) Bring our crown and all the royal symbols of office. |
|
Exit IRAS. A noise within |
IRAS exits. A noise offstage. |
|
Wherefore’s this noise? |
What’s that noise? |
|
Enter a GUARDSMAN |
A GUARDSMAN enters. |
|
GUARDSMAN
Here is a rural fellow That will not be denied your Highness’ presence. He brings you figs. |
GUARDSMAN
There’s a farmer here who won’t leave without seeing your Highness. He has brought you figs. |
|
CLEOPATRA
Let him come in. |
CLEOPATRA
Let him come in. |
|
Exit GUARDSMAN |
The GUARDSMAN exits. |
|
What poor an instrument May do a noble deed! He brings me liberty. My resolution’s placed, and I have nothing Of woman in me. Now from head to foot I am marble-constant. Now the fleeting moon No planet is of mine. |
What a poor instrument, that can do such a noble deed! He brings me freedom. My mind is made up. There’s nothing of the weak woman left in me. Now from head to foot I’m as firm as marble. Now the inconstant moon has nothing to do with me. |
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Enter GUARDSMAN, and COUNTRYMAN bringing in a basket |
The GUARDSMAN enters with a COUNTRYMAN, who carries a basket. |
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GUARDSMAN
This is the man. |
GUARDSMAN
This is the man. |
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CLEOPATRA
Avoid, and leave him. |
CLEOPATRA
Leave us. |
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Exit GUARDSMAN |
The GUARDSMAN exits. |
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Hast thou the pretty worm of Nilus there, That kills and pains not? |
Do you have in there the pretty snake of the Nile that kills without pain? |
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COUNTRYMAN
Truly, I have him, but I would not be the party that should desire you to touch him, for his biting is immortal. Those that do die of it do seldom or never recover. |
COUNTRYMAN
I certainly do have him, but I wouldn’t advise you to touch him. His bite is fatal. People who die of it seldom or never recover. |
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CLEOPATRA
Remember’st thou any that have died on ’t? |
CLEOPATRA
Do you remember anyone who died of it? |
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COUNTRYMAN
Very many, men and women too. I heard of one of them no longer than yesterday—a very honest woman, but something given to lie, as a woman should not do but in the way of honesty—how she died of the biting of it, what pain she felt. Truly, she makes a very good report o’ th’ worm. But he that will believe all that they say shall never be saved by half that they do. But this is most falliable, the worm’s an odd worm. |
COUNTRYMAN
Many people, men and women alike. I heard of one just yesterday. She was a very honest woman but rather inclined to lie—which a woman shouldn’t do unless she’s protecting her reputation. I heard how she died of its bite, how much pain she felt. Indeed, she gives a very good testimony of the snake’s power. But if you believe everything they say, you won’t be saved by half of what they do. But this is a sure thing: the snake’s an odd snake. |
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CLEOPATRA
Get thee hence, farewell. |
CLEOPATRA
You may leave now. Farewell. |
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COUNTRYMAN
I wish you all joy of the worm. |
COUNTRYMAN
I hope you are pleased with the snake. |
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He sets down his basket |
He sets down the basket. |
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CLEOPATRA
Farewell. |
CLEOPATRA
Farewell. |
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COUNTRYMAN
You must think this, look you, that the worm will do his kind. |
COUNTRYMAN
You must know that the snake will act according to his nature. |
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CLEOPATRA
Ay, ay. Farewell. |
CLEOPATRA
Yes, yes. Farewell. |
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COUNTRYMAN
Look you, the worm is not to be trusted but in the keeping of wise people, for indeed there is no goodness in the worm. |
COUNTRYMAN
Listen, the snake is dangerous unless handled by people who are used to him. There isn’t any kindness in the snake. |
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CLEOPATRA
Take thou no care. It shall be heeded. |
CLEOPATRA
Don’t worry; we’ll remember your warnings. |
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COUNTRYMAN
Very good. Give it nothing, I pray you, for it is not worth the feeding. |
COUNTRYMAN
Good. Don’t feed it, I beg you. It’s not worth feeding. |
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CLEOPATRA
Will it eat me? |
CLEOPATRA
Will it eat me? |
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COUNTRYMAN
You must not think I am so simple but I know the devil himself will not eat a woman. I know that a woman is a dish for the gods, if the devil dress her not. But, truly, these same whoreson devils do the gods great harm in their women, for in every ten that they make, the devils mar five. |
COUNTRYMAN
Don’t think I’m so dumb that I don’t know that the devil himself won’t eat a woman. I know that a woman is a dish fit only for the gods, as long as the devil hasn’t prepared the meal. But devils cause a lot of trouble for the gods regarding their women. For every ten women the gods make, the devils ruin five. |
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CLEOPATRA
Well, get thee gone. Farewell. |
CLEOPATRA
Well, you can go now. Farewell. |
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COUNTRYMAN
Yes, forsooth. I wish you joy o’ th’ worm. |
COUNTRYMAN
Yes, truly, I wish you good luck with the snake. |
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Exit |
He exits. |
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Enter IRAS with royal attire |
IRAS enters, carrying CLEOPATRA’s royal regalia. |
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CLEOPATRA
Give me my robe. Put on my crown. I have Immortal longings in me. Now no more The juice of Egypt’s grape shall moist this lip. |
CLEOPATRA
Give me my robe. Put on my crown. I long to be immortal. I won’t drink Egyptian wine again. |
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The women dress her |
CHARMIAN and IRAS begin to dress her. |
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Yare, yare, good Iras, quick. Methinks I hear Antony call. I see him rouse himself To praise my noble act. I hear him mock The luck of Caesar, which the gods give men To excuse their after wrath.—Husband, I come! Now to that name my courage prove my title! I am fire and air, my other elements I give to baser life.—So, have you done? Come then and take the last warmth of my lips. Farewell, kind Charmian. Iras, long farewell. |
Quickly, quickly, good Iras, quickly. I think I hear Antony call me. I see him revive himself to praise my noble act. I hear him mock Caesar’s luck, which the gods give to men in order to balance out their subsequent wrath. Husband, I’m coming! Now let my courage prove my title as wife. I am now made of fire and air, and I leave the other elements, earth and water, to this mortal life. So, are you done? Come then, kiss me and take the last bit of warmth from my lips. Good-bye, kind Charmian. Iras, I won’t see you again for a long time. |
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She kisses them. IRAS falls and dies |
She kisses them. IRAS collapses and dies. |
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Have I the aspic in my lips? Dost fall? If thou and nature can so gently part, The stroke of death is as a lover’s pinch, Which hurts, and is desired. Dost thou lie still? If thus thou vanishest, thou tell’st the world It is not worth leave-taking. |
Do I have the asp’s poison on my lips? Did you fall? If you can leave your body so easily, then the touch of death is like a lover’s pinch, which hurts but is desired. Do you lie still? If you leave like that, you tell the world that it’s not worthy of a good-bye. |
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CHARMIAN
Dissolve, thick cloud, and rain, that I may say The gods themselves do weep! |
CHARMIAN
Clouds, dissolve into rain, so that I could say the gods themselves are weeping! |
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CLEOPATRA
This proves me base. If she first meet the curlèd Antony, He’ll make demand of her and spend that kiss Which is my heaven to have. —Come, thou mortal wretch, |
CLEOPATRA
This proves that I’m petty: if Iras meets Antony before me, he’ll want her first and give her the kiss that is my bliss to have. Come, you deadly villain. |
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She places an asp on her breast |
She puts the snake on her breast. |
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With thy sharp teeth this knot intrinsicate Of life at once untie. Poor venomous fool Be angry and dispatch. Oh, couldst thou speak, That I might hear thee call great Caesar ass Unpolicied! |
Separate me from life with your sharp teeth. Poor poisonous fool, be angry and bite. Oh, if you could speak, I might hear you call Caesar an ass who’s been outsmarted! |
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CHARMIAN
O eastern star! |
CHARMIAN
Oh, eastern star! |
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CLEOPATRA
Peace, peace! Dost thou not see my baby at my breast, That sucks the nurse asleep? |
CLEOPATRA
Quiet, quiet! Don’t you see my baby suckling at my breast so that its nurse will fall asleep? |
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CHARMIAN
Oh, break! Oh, break! |
CHARMIAN
Oh, if my heart would only break! |
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CLEOPATRA
As sweet as balm, as soft as air, as gentle— O Antony!—Nay, I will take thee too. |
CLEOPATRA
The poison is as sweet as balm, as soft as air, as gentle—Oh, Antony!—No, I’ll take you too. |
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Applying another asp to her arm |
She puts another snake on her arm. |
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What should I stay— |
Why should I stay— |
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Dies |
She dies. |
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CHARMIAN
In this wild world? So, fare thee well. Now boast thee, Death, in thy possession lies A lass unparalleled. Downy windows, close, |
CHARMIAN
In this vile world? So, good-bye. Now, Death, you can boast that you have an incomparable girl in your possession. Close, soft eyes. |
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She closes CLEOPATRA’s eyes |
She closes CLEOPATRA’s eyes. |
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And golden Phoebus never be beheld Of eyes again so royal! Your crown’s awry. I’ll mend it and then play— |
The sun will never be seen by such royal eyes again. Your crown is crooked. I’ll straighten it, then play— |
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Enter the GUARD, rustling in |
The GUARDS rush in noisily. |
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FIRST GUARD
Where’s the Queen? |
FIRST GUARD
Where’s the Queen? |
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CHARMIAN
Speak softly. Wake her not. |
CHARMIAN
Speak softly. Don’t wake her. |
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FIRST GUARD
Caesar hath sent— |
FIRST GUARD
Caesar has sent— |
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CHARMIAN
Too slow a messenger. |
CHARMIAN
Too slow a messenger. |
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She applies an asp to herself. |
She applies an asp to herself. |
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Oh, come apace, dispatch! I partly feel thee. |
Oh, come quickly! I almost feel you. |
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FIRST GUARD
(calling) Approach, ho! All’s not well. Caesar’s beguiled. |
FIRST GUARD
(calling) Come in. Ho! All’s not well. Caesar’s been deceived. |
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SECOND GUARD
There’s Dolabella sent from Caesar. Call him. |
SECOND GUARD
There’s Dolabella, who was sent from Caesar. Call him. |
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Exit SECOND GUARD |
The SECOND GUARD exits. |
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FIRST GUARD
What work is here, Charmian? Is this well done? |
FIRST GUARD
What kind of work is this, Charmian? Is this well done? |
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CHARMIAN
It is well done and fitting for a princess Descended of so many royal kings. Ah, soldier! |
CHARMIAN
It is well done, and appropriate for a princess who has descended from so many royal kings. Ah, soldier! |
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CHARMIAN dies |
She dies. |
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Enter DOLABELLA |
DOLABELLA enters. |
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DOLABELLA
How goes it here? |
DOLABELLA
What’s going on in here? |
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SECOND GUARD
All dead. |
SECOND GUARD
They’re all dead. |
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DOLABELLA
Caesar, thy thoughts Touch their effects in this. Thyself art coming To see performed the dreaded act which thou So sought’st to hinder. |
DOLABELLA
Caesar, you thought this would happen. You’re coming here yourself to see the dreaded act you had tried to stop. |
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Enter CAESAR and all his train, marching |
CAESAR and his entourage enter, marching. |
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ALL
A way there, a way for Caesar! |
ALL
Step aside, step aside for Caesar! |
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DOLABELLA
O sir, you are too sure an augurer. That you did fear is done. |
DOLABELLA
Oh, sir, you are too good at predicting the future. What you were afraid of has happened. |
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CAESAR
Bravest at the last, She leveled at our purposes and, being royal, Took her own way. The manner of their deaths? I do not see them bleed. |
CAESAR
She was bravest at the end. She knew what I intended to do with her and, being royal, she took her own way out. How did they die? I don’t see any blood. |
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DOLABELLA
Who was last with them? |
DOLABELLA
Who was with them last? |
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FIRST GUARD
A simple countryman that brought her figs. This was his basket. |
FIRST GUARD
A simple country farmer who brought her figs. This was the basket. |
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CAESAR
Poisoned, then. |
CAESAR
They were poisoned, then. |
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FIRST GUARD
Oh, Caesar, This Charmian lived but now. She stood and spake. I found her trimming up the diadem On her dead mistress. Tremblingly she stood And on the sudden dropped. |
FIRST GUARD
Oh, Caesar, this Charmian lived until a moment ago. She stood and spoke. I found her adjusting the crown on her dead mistress. She stood trembling, then suddenly dropped dead. |
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CAESAR
Oh, noble weakness! If they had swallowed poison, ’twould appear By external swelling, but she looks like sleep, As she would catch another Antony In her strong toil of grace. |
CAESAR
Oh, noble weakness! If they had swallowed poison, it would be evident by external swelling. But she looks like she’s asleep, as if she would charm another Antony. |
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DOLABELLA
Here on her breast There is a vent of blood, and something blown. The like is on her arm. |
DOLABELLA
Here on her breast there’s a little bloody mark. There’s a similar mark on her arm. |
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FIRST GUARD
This is an aspic’s trail, and these fig leaves Have slime upon them, such as th’ aspic leaves Upon the caves of Nile. |
FIRST GUARD
This is an asp’s trail, and these fig leaves have slime on them, just like the kind that asps deposit on the caves by the Nile. |
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CAESAR
Most probable That so she died, for her physician tells me She hath pursued conclusions infinite Of easy ways to die. Take up her bed And bear her women from the monument. She shall be buried by her Antony. No grave upon the earth shall clip in it A pair so famous. High events as these Strike those that make them, and their story is No less in pity than his glory which Brought them to be lamented. Our army shall In solemn show attend this funeral, And then to Rome. Come, Dolabella, see High order in this great solemnity. |
CAESAR
That’s probably how she died. Her doctor told me she had searched for an infinite number of easy ways to die. Pick up her bed and carry her ladies out of the tomb. She shall be buried next to her Antony. No other grave on earth shall hold a pair this famous. Momentous events like these strike those that cause them. Antony and Cleopatra’s story is as pitiable as my military exploits are glorious. Our army shall somberly attend this funeral and then depart for Rome. Come, Dolabella. See that there is a dignified splendor to this great solemnity. |
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Exeunt, bearing the dead bodies |
They exit, with the GUARDS carrying CLEOPATRA’s bed and the two ladies. |