Antony and Cleopatra

Act 1, Scene 1

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.

CLEOPATRA

If it be love indeed, tell me how much.

CLEOPATRA

If what you feel is really love, tell me how much.

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.

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.

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.

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.

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?

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.

Exeunt ANTONY and CLEOPATRA with the train

ANTONY and CLEOPATRA exit with their attendants.

DEMETRIUS

Is Caesar with Antonius prized so slight?

DEMETRIUS

Does Antony have so little respect for Caesar?

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.

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.

Act 1, Scene 2

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!

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.

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.

SOOTHSAYER

I make not, but foresee.

SOOTHSAYER

I don’t make fortunes; I only see them.

CHARMIAN

Pray, then, foresee me one.

CHARMIAN

Then see a good one for me.

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!

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.

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.

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.

Act 1, Scene 3

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.

Act 1, Scene 4

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.

Act 1, Scene 5

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.

Act 2, Scene 1

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.

Act 2, Scene 2

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.

Act 2, Scene 3

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.

Act 2, Scene 4

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.

Act 2, Scene 5

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.

Act 2, Scene 6

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.

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.

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.

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.

LEPIDUS

Well met here.

LEPIDUS

It’s good we had this meeting.

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?

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.

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.

Act 2, Scene 7

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.

Act 3, Scene 1

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.

Act 3, Scene 2

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.

Act 3, Scene 3

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.

Act 3, Scene 4

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.

Act 3, Scene 5

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.

Act 3, Scene 6

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.

Act 3, Scene 7

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.

Act 3, Scene 8

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.

Act 3, Scene 9

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.

Act 3, Scene 10

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.

Act 3, Scene 11

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.

Act 3, Scene 12

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.

Act 3, Scene 13

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.

Act 4, Scene 1

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.

Act 4, Scene 2

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.

Act 4, Scene 3

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.

Act 4, Scene 4

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.

Act 4, Scene 5

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.

Act 4, Scene 6

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.

Act 4, Scene 7

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.

Act 4, Scene 8

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.

Act 4, Scene 9

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.

Act 4, Scene 10

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.

Act 4, Scene 11

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.

Act 4, Scene 12

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.

Act 4, Scene 13

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.

Act 4, Scene 14

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.

Act 4, Scene 15

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.

Act 5, Scene 1

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.

Act 5, Scene 2

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.

Enter GUARDSMAN, and COUNTRYMAN bringing in a basket

The GUARDSMAN enters with a COUNTRYMAN, who carries a basket.

GUARDSMAN

This is the man.

GUARDSMAN

This is the man.

CLEOPATRA

Avoid, and leave him.

CLEOPATRA

Leave us.

Exit GUARDSMAN

The GUARDSMAN exits.

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?

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.

CLEOPATRA

Remember’st thou any that have died on ’t?

CLEOPATRA

Do you remember anyone who died of it?

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.

CLEOPATRA

Get thee hence, farewell.

CLEOPATRA

You may leave now. Farewell.

COUNTRYMAN

I wish you all joy of the worm.

COUNTRYMAN

I hope you are pleased with the snake.

He sets down his basket

He sets down the basket.

CLEOPATRA

Farewell.

CLEOPATRA

Farewell.

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.

CLEOPATRA

Ay, ay. Farewell.

CLEOPATRA

Yes, yes. Farewell.

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.

CLEOPATRA

Take thou no care. It shall be heeded.

CLEOPATRA

Don’t worry; we’ll remember your warnings.

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.

CLEOPATRA

Will it eat me?

CLEOPATRA

Will it eat me?

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.

CLEOPATRA

Well, get thee gone. Farewell.

CLEOPATRA

Well, you can go now. Farewell.

COUNTRYMAN

Yes, forsooth. I wish you joy o’ th’ worm.

COUNTRYMAN

Yes, truly, I wish you good luck with the snake.

Exit

He exits.

Enter IRAS with royal attire

IRAS enters, carrying CLEOPATRA’s royal regalia.

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.

The women dress her

CHARMIAN and IRAS begin to dress her.

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.

She kisses them. IRAS falls and dies

She kisses them. IRAS collapses and dies.

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.

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!

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.

She places an asp on her breast

She puts the snake on her breast.

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!

CHARMIAN

O eastern star!

CHARMIAN

Oh, eastern star!

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?

CHARMIAN

Oh, break! Oh, break!

CHARMIAN

Oh, if my heart would only break!

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.

Applying another asp to her arm

She puts another snake on her arm.

What should I stay—

Why should I stay—

Dies

She dies.

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.

She closes CLEOPATRA’s eyes

She closes CLEOPATRA’s eyes.

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—

Enter the GUARD, rustling in

The GUARDS rush in noisily.

FIRST GUARD

Where’s the Queen?

FIRST GUARD

Where’s the Queen?

CHARMIAN

Speak softly. Wake her not.

CHARMIAN

Speak softly. Don’t wake her.

FIRST GUARD

Caesar hath sent—

FIRST GUARD

Caesar has sent—

CHARMIAN

Too slow a messenger.

CHARMIAN

Too slow a messenger.

She applies an asp to herself.

She applies an asp to herself.

Oh, come apace, dispatch! I partly feel thee.

Oh, come quickly! I almost feel you.

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.

SECOND GUARD

There’s Dolabella sent from Caesar. Call him.

SECOND GUARD

There’s Dolabella, who was sent from Caesar. Call him.

Exit SECOND GUARD

The SECOND GUARD exits.

FIRST GUARD

What work is here, Charmian? Is this well done?

FIRST GUARD

What kind of work is this, Charmian? Is this well done?

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!

CHARMIAN dies

She dies.

Enter DOLABELLA

DOLABELLA enters.

DOLABELLA

How goes it here?

DOLABELLA

What’s going on in here?

SECOND GUARD

All dead.

SECOND GUARD

They’re all dead.

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.

Enter CAESAR and all his train, marching

CAESAR and his entourage enter, marching.

ALL

A way there, a way for Caesar!

ALL

Step aside, step aside for Caesar!

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.

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.

DOLABELLA

Who was last with them?

DOLABELLA

Who was with them last?

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.

CAESAR

Poisoned, then.

CAESAR

They were poisoned, then.

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.

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.

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.

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.

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.

Exeunt, bearing the dead bodies

They exit, with the GUARDS carrying CLEOPATRA’s bed and the two ladies.