The actor may plead pardon. I'll none now:- I'll think them every one an Antony, And say, Ah, ha! you're caught. Char. 'Twas merry, when You wager'd on your angling; when your diver Cleo. That time!-0 times! I laugh'd him out of patience; and that night Enter a Messenger. Ram thou thy fruitful tidings in mine ears, Mess. Cleo. Antony's dead?— Madam, madam, 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 Mess. First, madam, he's well. Cleo. 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. Mess. Good madam, hear me. Cleo. Well, go to, I will; But there's no goodness in thy face: If Antony ; Be free, and healthful,-why so tart a favour Mess. Will't please you, hear me? Cleo. I have a mind to strike thee, ere thou speak'st: Yet, if thou say, Antony lives, is well, Or friends with Cæsar, or not captive to him, I'll set thee in a shower of gold, and hail Rich pearls upon thee. Mess. Cæsar and he are greater friends than ever. Cleo. Make thee a fortune from me. Mess. But yet, madam, Cleo. I do not like but yet, it does allay The good precedence'; fye upon but yet: But yet is as a gaoler to bring forth Some monstrous malefactor. Pr'ythee, friend, Pour out the pack of matter to mine ear, The good and bad together: He's friends with Cæsar; In state of health, thou say'st; and, thou say'st, free. Mess. Free, madam! no; I made no such report: He's bound unto Octavia. Cleo. Mess. For the best turn i'the bed. Cleo. For what good turn? I am pale, Charmian. [Strikes him down. Mess. Madam, he's married to Octavia. Cleo. The most infectious pestilence upon thee! Mess. Good madam, patience. 8 Not like a formal man.] i. e. a man in form, i. e. shape. You should come in the form of a fury, and not in the form of a man. 9 it does allay The good precedence ;] i. e. abates the good quality of what is already reported. Cleo. What say you?-Hence, [Strikes him again. Horrible villain! or I'll spurn thine eyes Like balls before me; I'll unhair thy head; [She hales him up and down. Thou shalt be whipp'd with wire, and stew'd in brine, Smarting in ling'ring pickle. Mess. Gracious madam, I, that do bring the news, made not the match. Cleo. Say, 'tis not so, a province I will give thee, And I will boot thee with what gift beside Mess. He's married, madam. Cleo. Rogue, thou hast liv'd too long. Mess. [Draws a dagger. Nay, then I'll run : What mean you, madam? I have made no fault. [Exit. Char. Good madam, keep yourself within yourself; The man is innocent. Cleo. 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. Char. He is afeard to come. Cleo. 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.-Come hither, sir. 1 These hands do lack nobility, that they strike A meaner than myself;] Perhaps here was intended an indirect censure of queen Elizabeth, for her unprincely and unfeminine treatment of the amiable earl of Essex. The play was probably not produced till after her death, when a stroke at her proud and passionate demeanour to her courtiers and maids of honour (for her majesty used to chastise them too) might be safely Re-enter Messenger. Though it be honest, it is never good To bring bad news: Give to a gracious message Themselves, when they be felt. Cleo. The gods confound thee! dost thou hold there still? Mess. Should I lie, madam? Cleo. Thou would'st appear most ugly. He is married? Cleo. He is married? Mess. Take no offence, that I would not offend you: To punish me for what you make me do, Seems much unequal: He is married to Octavia. Cleo. O, that his fault should make a knave of thee, Thou art not!-What? thou'rt sure of't †?-Get thee hence : The merchandise which thou hast brought from Rome, [Exit Messenger. hazarded. In a subsequent part of this scene there is (as Dr. Grey has observed) an evident allusion to Elizabeth's enquiries concerning the person of her rival, Mary, queen of Scots. MALONE. —were submerg'd,] Submerg'd is whelmed under water. "Thou art not what thou'rt sure of."-MALOne. Char. Good your highness, patience. Cleo. In praising Antony, I have disprais'd Cæsar. Char. Many times, madam. Cleo. Lead me from hence, I am paid for't now, I faint; O Iras, Charmian,-'Tis no matter:- Report the feature of Octavia, her years, The colour of her hair :-bring me word quickly.— [Exit ALEXAS. Let him for ever go':-Let him not-Charmian, [TO MARDIAN. Bring me word, how tall she is.-Pity me, Charmian, But do not speak to me.-Lead me to my chamber. [Exeunt. SCENE VI. Near Misenum. Enter POMPEY and MENAS, at one side, with Drum and Trumpet: at another, CESAR, LEPIDUS, ANTONY, ENOBARBUS, MECENAS, with Soldiers marching. Pom. Your hostages I have, so have you mine; And we shall talk before we fight. Cæs. Most meet, That first we come to words; and therefore have we Which, if thou hast consider'd, let us know 3 the feature of Octavia,] By feature seems to be meant the cast and make of her face. Feature, however, anciently appears to have signified beauty in general. 4 Let him for ever go :] She is now talking in broken sentences, not of the messenger, but of Antony. JOHNSON. |