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158. “ Well, is it, is't ? “ Is’t not? denounce against us; why
should not we “ Be there in person ?” I think both the sense and metre require:... “ Is't not denounc'd 'gainst us? why should not
we,” &c. 159. “ Your presence needs must puzzle Antony, “ Take from his heart, take from his brain,
from his time “What should not then be spar'd.” This argument is used to Cora by Rolla, in Pizarro. 160. “To taunt at slackness.Canidius, we
“Will fight," &c. The metre demands a transposition: .
“ To taunt at slackness; we, Canidius.” 161. “I have sixty sails, Cæsar, none better.”
It is monstrous to admit such an order of words as this into the text, as a verse : some change, at least is necessary: will this do? “ I have full sixty sail; Cæsar none better.” “We then can do't at land. (Enter Messenger.) “ Thy business ?”
A word seems to have been lost; perhaps, “ Thy business, briefly ?” More mutilation :
“ Cæsar has taken Toryne.” I suppose, by Antony's speech, as well as from
the hemistic, that the messenger said more: probably, “ Cæsar hath march'd a power and ta’en Toryne.” 169." His whole action grows
“ Not in the power on’t.” In his general conduct, or his whole conduct, he omits or neglects the advantages he possesses; his performance never advances with his ability. 163. " Carries beyond belief. "
While he was yet in Rome." The words, he was should be ejected. 164. “ The Emperor calls for Canidius.”
More disorder in the metre, which might, perhaps, have been thus :
Enter Messenger. Mes. “ The Emperor calls for Canidius.” Can. “ I come to him with news; methinks the
time's “ In labour; and throes forth, each mi
SCENE VIII. 166. “ Yon' ribald-rid nag of Egypt.”.
"Rid” appears to be a useless, fanciful interpolation, which, as it overloads the measure, should be withdrawn. 168. “ Sheonce being loof'd.”
I am inclined to think, that “loof'd” means no more than being aloof, removed. The nauucal term for bringing a ship close to the wind is Hot, at least in pronunciation, “ loof,” but luft.
“: Most grossly, by his own,” I am firmly of opinion, that the frequent hemistics we meet with are the effects of mutilation and corruption, and were never made by the poet. Canidius, I suppose, added, here, something like this :
“ And let him bide it.” Enobarbus's speech perhaps ran thus : "
Yet I'll follow “ The wounded chance of Antony, although "My reason sits i' the wind, direct against me.'
SCENE IX. 171. “ Do! Why, what else ?”
These words appear to have no meaning, and, as they interrupt the measure, I think they should be removed. There is no reason for supposing that the poet intentionally neglected the metre, which, I suppose, proceeded thus : Ant. “No, no, no.” Eros. "
See you here, sir?" Ant. “ () fy! fy!" Char. “ Madam Iras. “ Nay, madam; O good Empress.” Eros. “ Sir!” 172." He alone
“ Dealt on lieutenantry.” Mr. Steevens, I think, has rightly explained lieutenantry; but the adverb here, as in some other instances that have been noted, is in the wrong place, and perverts the sense, which is not, that Octavius was the only commander that relied on his lieutenants, but that he did not act for himself, but trusted entirely to those under him; i. e. he dealt on lieutenantry alone.
173. “ Ah! stand by.”
Ah me! would furnish the metre: 174. “Go to him, madam, speak to him.”'
Some words are wanting; perhaps,-beseech you. After Iras's speech, I suppose the measure ran thus: Cleo. “ Well then, sustain me:-O!" Eros.“ Most noble Sir, “ Arise, the queen approaches, see, her
head's “Declin'd, and death will quickly seize
her; but " “Your comfort, only, nowo can make the
SCENE X. 178. 66 - The queen
“Of audience, nor desire, shall fail.” This is foul grammar: “nor,” as it stands, must merely be a conjunction, and so the words exhibit the reverse of what was meant, the queen, of audience, &c. shall fail. This, however, is an inaccuracy of expression that, very probably, the poet himself is answerable for. Concord requires a different order of words: we might read, with a slight change: " The queen, “ Nor audience, nor desire shall lack, so she," &c.
“ Desire,” as on other occasions, stands for the object of desire.
SCENE XI. 179. “ Think, and die.”
Think” is, certainly, take thought-become desperately melancholy. In the fourth Act, Enobarbus says,
This blows my heart, “ If swift thought break it not, a swifter mean “ Shall outstrike thought; but thought will do't,
I feel.” See Note, Act 4, Scene 6, page 76; and also Julius Cæsar, Act 2, Scene 1, page 13 of this volume. 181. “ Why should he follow ?”
We might restore the measure by reading, instead of “ why,” wherefore. 182.“ From which, the world shall note.”
The metre requires that, instead of " from which,” we should read whence. “ Against the blown rose may they stop their
nose, “That kneelid unto the buds.”
How is this figure to be applied ? Before the bud is disclosed we stoop to inhale the coy and scanty fragrance, which, when the flower is blown, intrudes upon and oppresses the sense. This is clear enough, as far as relates to the rose; but how does it apply to the omission of accustomed ceremony towards the queen ? She appears here to be both the blown rose and the bud; but, though her vassal formerly kneeled to snuff the effluent sweets of her imperial state, where is