The full text side-by-side with a translation into modern English.
| Elizabethan English | Modern English | ||
| DRAMATIS PERSONAE | CHARACTERS | ||
| MARK ANTONY, Triumvirs | Mark Antony, Triumvirs | ||
| OCTAVIUS CAESAR, " | Octavius Caesar, " | ||
| M. AEMILIUS LEPIDUS, " | Linculathus, " | ||
| SEXTUS POMPEIUS, " | Sixth Pompey, " | ||
| DOMITIUS ENOBARBUS, friend to Antony | Domitius Enobarbus, Freund von Antony | ||
| VENTIDIUS, " " " | Ventidius "" " | ||
| EROS, " " " | Eros, "" " | ||
| SCARUS, " " " | Scarus, "" "" | ||
| DERCETAS, " " " | Thecet "" | ||
| DEMETRIUS, " " " | Demetrius, "" " | ||
| PHILO, " " " | Philo, "" "" | ||
| MAECENAS, friend to Caesar | Maecenas, Freund von Caesar | ||
| AGRIPPA, " " " | Agrippa, "" " | ||
| DOLABELLA, " " " | Dolabella, "" " | ||
| PROCULEIUS, " " " | Proculeius, "" " | ||
| THYREUS, " " " | Thyreus, "" " | ||
| GALLUS, " " " | Gallus, "" " | ||
| MENAS, friend to Pompey | Menas, friend of Pompey | ||
| MENECRATES, " " " | Menecrate, "" " | ||
| VARRIUS, " " " | Varrius, "" " | ||
| TAURUS, Lieutenant-General to Caesar | Taurus, lieutenant general of Caesar | ||
| CANIDIUS, Lieutenant-General to Antony | Canidius, generalleutnant von Antony | ||
| SILIUS, an Officer in Ventidius's army | Silk or Offizier in Ventidius' Armee | ||
| EUPHRONIUS, an Ambassador from Antony to Caesar | Euphronius, an ambassador from Antony to Caesar | ||
| ALEXAS, attendant on Cleopatra | Alex, with the on on Cleopatra | ||
| MARDIAN, " " " | Mardian, "" | ||
| SELEUCUS, " " " | Seleucus, "" " | ||
| DIOMEDES, " " " | Diomedes, "" " | ||
| A SOOTHSAYER | A sedative switch | ||
| A CLOWN | A CLOWN | ||
| CLEOPATRA, Queen of Egypt | Cleopatra, Queen of Egypt | ||
| OCTAVIA, sister to Caesar and wife to Antony | Octavia, sister of Caesar and wife of Antony | ||
| CHARMIAN, lady attending on Cleopatra | Charmian, lady who participates in Cleopatra | ||
| IRAS, " " " " | Iras "," "" " | ||
| Officers, Soldiers, Messengers, and Attendants | Officers, soldiers, messengers and companions | ||
| SCENE: | SCENE: | ||
| The Roman Empire | The Roman Empire | ||
| ACT I. SCENE I. | Act I. Sene I. | ||
| Alexandria. CLEOPATRA'S palace | Alexandria. Cleopatras Palast | ||
| Enter DEMETRIUS and PHILO | Enter Demetrius and Philo | ||
| PHILO. Nay, but this dotage of our general's | Philo. No, but our general daily daily | ||
| O'erflows the measure. Those his goodly eyes, | O'erflows the measure. The his good eyes | ||
| That o'er the files and musters of the war | About the files and patterns of war | ||
| Have glow'd like plated Mars, now bend, now turn, | Lays like platted Mars, now Bend, turn now, | ||
| The office and devotion of their view | The office and the dedication of your view | ||
| Upon a tawny front. His captain's heart, | On a yellow -brown front. The heart of his captain, | ||
| Which in the scuffles of great fights hath burst | What is planned in the scuffles of great fights | ||
| The buckles on his breast, reneges all temper, | The buckles on his chest, the whole temperament | ||
| And is become the bellows and the fan | And has become the bellows and the fan | ||
| To cool a gipsy's lust. | Cool off the lust of a dwarf. | ||
| Flourish. Enter ANTONY, CLEOPATRA, her LADIES, the train, | Bloom. Enter Antony, Cleopatra, your ladies, the train, | ||
| with eunuchs fanning her | With eunuchs that you subject | ||
| Look where they come! | Look where you are going! | ||
| Take but good note, and you shall see in him | Just take a good note and you will see in him | ||
| The triple pillar of the world transform'd | The triple pillar of the world turned | ||
| Into a strumpet's fool. Behold and see. | In the fools of a stocking. See and see. | ||
| CLEOPATRA. If it be love indeed, tell me how much. | CLEOPATRA. If it is indeed love, tell me how much. | ||
| ANTONY. There's beggary in the love that can be reckon'd. | Antony. There are beggars in love that can calculate. | ||
| CLEOPATRA. I'll set a bourn how far to be belov'd. | CLEOPATRA. I will determine a bourn how far you should be complained about. | ||
| ANTONY. Then must thou needs find out new heaven, new earth. | Antony. Then you have to find out a new sky, new earth. | ||
| Enter a MESSENGER | Enter a messenger | ||
| MESSENGER. News, my good lord, from Rome. | DELIVERY BOY. News, my good gentleman, from Rome. | ||
| ANTONY. Grates me the sum. | Antony. I grab the sum. | ||
| CLEOPATRA. Nay, hear them, Antony. | CLEOPATRA. No, hear her, Antony. | ||
| Fulvia perchance is angry; or who knows | Fulvia Perchance is angry; Or who knows | ||
| If the scarce-bearded Caesar have not sent | If the narrow cesar has not sent | ||
| His pow'rful mandate to you: 'Do this or this; | His powerful mandate to you: “Do that or that; | ||
| Take in that kingdom and enfranchise that; | Take up this kingdom and take it in; | ||
| Perform't, or else we damn thee.' | Performance not, otherwise we are damning. ' | ||
| ANTONY. How, my love? | Antony. How my love? | ||
| CLEOPATRA. Perchance? Nay, and most like, | CLEOPATRA. Maybe? No, and most similar, | ||
| You must not stay here longer; your dismission | You are no longer allowed to stay here; Their dismissal | ||
| Is come from Caesar; therefore hear it, Antony. | Come from Caesar; So hear it, Antony. | ||
| Where's Fulvia's process? Caesar's I would say? Both? | Where is Fulvia's process? I would say Caesar? Both? | ||
| Call in the messengers. As I am Egypt's Queen, | Call the messengers. I am Egypt's queen | ||
| Thou blushest, Antony, and that blood of thine | You blame, Antony and this blood from yours | ||
| Is Caesar's homager. Else so thy cheek pays shame | Is Caesar's homage. Otherwise your cheek will pay off shame | ||
| When shrill-tongu'd Fulvia scolds. The messengers! | When Fulvia scolds shrill dentist. The messengers! | ||
| ANTONY. Let Rome in Tiber melt, and the wide arch | Antony. Let Rome melt in Tiber and the wide arc | ||
| Of the rang'd empire fall! Here is my space. | The rank'd empire autumn! Here is my room. | ||
| Kingdoms are clay; our dungy earth alike | Kingdoms are sound; Our dung earth alike | ||
| Feeds beast as man. The nobleness of life | Feed the animal as a man. The neatness of life | ||
| Is to do thus [emhracing], when such a mutual pair | Is to be done [Emhracing] if such a mutual couple | ||
| And such a twain can do't, in which I bind, | And such a Twain cannot do it in which I bind | ||
| On pain of punishment, the world to weet | About the pain of punishment the world to Weet | ||
| We stand up peerless. | We get up equally. | ||
| CLEOPATRA. Excellent falsehood! | CLEOPATRA. Excellent lie! | ||
| Why did he marry Fulvia, and not love her? | Why did he get Fulvia and didn't love her? | ||
| I'll seem the fool I am not. Antony | I will shine the fool I am not. Antony | ||
| Will be himself. | Will be himself. | ||
| ANTONY. But stirr'd by Cleopatra. | Antony. But knocked over by Cleopatra. | ||
| Now for the love of Love and her soft hours, | Now out of love for love and their soft hours, | ||
| Let's not confound the time with conference harsh; | Don't let the time with a conference not confuse. | ||
| There's not a minute of our lives should stretch | There is no minute of our lives to stretch | ||
| Without some pleasure now. What sport to-night? | Without a pleasure now. Which sport tonight? | ||
| CLEOPATRA. Hear the ambassadors. | CLEOPATRA. Listen the ambassadors. | ||
| ANTONY. Fie, wrangling queen! | Antony. Fie, Wrangling Queen! | ||
| Whom everything becomes- to chide, to laugh, | If you get everything- to hunt, laugh, | ||
| To weep; whose every passion fully strives | Cry; whose passion enables passion | ||
| To make itself in thee fair and admir'd. | To make yourself fair and admire. | ||
| No messenger but thine, and all alone | No messenger except your and all alone | ||
| To-night we'll wander through the streets and note | At night we will hike and write down through the streets | ||
| The qualities of people. Come, my queen; | The characteristics of people. Come on my queen; | ||
| Last night you did desire it. Speak not to us. | You wished for last night. Don't talk to us. | ||
| Exeunt ANTONY and CLEOPATRA, with the train | Execunt Antony and Cleopatra by Train | ||
| DEMETRIUS. Is Caesar with Antonius priz'd so slight? | Demetrius. Is Caesar so low with Antonius Priz? | ||
| PHILO. Sir, sometimes when he is not Antony, | Philo. Sir, sometimes when he's not Anony | ||
| He comes too short of that great property | He is too short of this great property | ||
| Which still should go with Antony. | What else should go with Antony. | ||
| DEMETRIUS. I am full sorry | Demetrius. It's sorry for me, it's sorry for me | ||
| That he approves the common liar, who | That he has the common liar, who, approved, the | ||
| Thus speaks of him at Rome; but I will hope | So he speaks of him in Rome; But I'll hope | ||
| Of better deeds to-morrow. Rest you happy! Exeunt | Of better acts tomorrow. Rest you happy! Exeunt | ||
| SCENE II. | Scene II. | ||
| Alexandria. CLEOPATRA'S palace | Alexandria. Cleopatras Palast | ||
| Enter CHARMIAN, IRAS, ALEXAS, and a SOOTHSAYER | Enter Charmian, Iras, Alexas and a Soothsayer | ||
| CHARMIAN. Lord Alexas, sweet Alexas, most anything Alexas, | Charmian. Lord Alex, Sweet Alex, almost everything Alex, Alex, | ||
| almost | fast | ||
| most absolute Alexas, where's the soothsayer that you prais'd | At Alexas, where is the fortune teller you have praised | ||
| so | Also | ||
| to th' Queen? O that I knew this husband, which you say must | To the queen? Oh, that I knew this husband you have to say | ||
| charge his horns with garlands! | Get his horns with garlands! | ||
| ALEXAS. Soothsayer! | Alex. Fortune Teller! | ||
| SOOTHSAYER. Your will? | FORTUNE TELLER. Your will? | ||
| CHARMIAN. Is this the man? Is't you, sir, that know things? | Charmian. Is that the man? Do you know, sir, that knows that? | ||
| SOOTHSAYER. In nature's infinite book of secrecy | FORTUNE TELLER. In the infinite confidentiality of nature of nature | ||
| A little I can read. | I can read a bit. | ||
| ALEXAS. Show him your hand. | Alexas. Show him your hand. | ||
| Enter ENOBARBUS | Enter monobarbus | ||
| ENOBARBUS. Bring in the banquet quickly; wine enough | Enobarbus. Bring the banquet quickly; Wine enough | ||
| Cleopatra's health to drink. | Drinking Cleopatra's health. | ||
| CHARMIAN. Good, sir, give me good fortune. | Charmian. Well, sir, give me luck. | ||
| SOOTHSAYER. I make not, but foresee. | FORTUNE TELLER. I don't do it, but ahead. | ||
| CHARMIAN. Pray, then, foresee me one. | Charmian. Then pray for a foresight. | ||
| SOOTHSAYER. You shall be yet far fairer than you are. | FORTUNE TELLER. You will be far more fairer than you. | ||
| CHARMIAN. He means in flesh. | Charmian. He means in the meat. | ||
| IRAS. No, you shall paint when you are old. | Iras. No, you should paint when you are old. | ||
| CHARMIAN. Wrinkles forbid! | Charmian. Prohibit wrinkles! | ||
| ALEXAS. Vex not his prescience; be attentive. | Alexas. Do not annoy his foresight; be attentive. | ||
| CHARMIAN. Hush! | Charmian. Stille! | ||
| SOOTHSAYER. You shall be more beloving than beloved. | FORTUNE TELLER. They will be more depressing than loved. | ||
| CHARMIAN. I had rather heat my liver with drinking. | Charmian. I preferred to heat my liver with a drink. | ||
| ALEXAS. Nay, hear him. | Alexas. No, hear him. | ||
| CHARMIAN. Good now, some excellent fortune! Let me be married | Charmian. Well now, an excellent assets! Let me be married | ||
| to | to | ||
| three kings in a forenoon, and widow them all. Let me have a | Three kings in one morning and widow all. Let me have one | ||
| child at fifty, to whom Herod of Jewry may do homage. Find me | Child at fifty, who can pay homage to Herod of Judaism. Find me | ||
| to | to | ||
| marry me with Octavius Caesar, and companion me with my | Marriage to Octavius Caesar and accompany me with mine | ||
| mistress. | Herrin. | ||
| SOOTHSAYER. You shall outlive the lady whom you serve. | FORTUNE TELLER. You will survive the lady who serve. | ||
| CHARMIAN. O, excellent! I love long life better than figs. | Charmian. O, excellent! I love the long life better than figs. | ||
| SOOTHSAYER. You have seen and prov'd a fairer former fortune | FORTUNE TELLER. You have seen and proved a more fairer earlier assets | ||
| Than that which is to approach. | As what you should approach. | ||
| CHARMIAN. Then belike my children shall have no names. | Charmian. Then my children will not have any names. | ||
| Prithee, how many boys and wenches must I have? | Prithee, how many boys and Wenches do I have to have? | ||
| SOOTHSAYER. If every of your wishes had a womb, | FORTUNE TELLER. If each of your wishes had a womb, | ||
| And fertile every wish, a million. | And fertile every wish, one million. | ||
| CHARMIAN. Out, fool! I forgive thee for a witch. | Charmian. Get out, fool! I give you a witch. | ||
| ALEXAS. You think none but your sheets are privy to your | Alexas. You think none other than your leaves are inaugurated | ||
| wishes. | wishes. | ||
| CHARMIAN. Nay, come, tell Iras hers. | Charmian. No, come on, say Iras hers. | ||
| ALEXAS. We'll know all our fortunes. | Alexas. We will all know our assets. | ||
| ENOBARBUS. Mine, and most of our fortunes, to-night, shall be- | Enobarbus. Mine and most of our assets will be tonight | ||
| drunk to bed. | Drunk to bed. | ||
| IRAS. There's a palm presages chastity, if nothing else. | Iras. There is a palm that makes chastity, although nothing else. | ||
| CHARMIAN. E'en as the o'erflowing Nilus presageth famine. | Charmian. E'en as the O'erflowing Nilus Presageth famine. | ||
| IRAS. Go, you wild bedfellow, you cannot soothsay. | Iras. Go, you wild bed fur, you can't calm down. | ||
| CHARMIAN. Nay, if an oily palm be not a fruitful | Charmian. No, if an oily palm is not fertile | ||
| prognostication, I | Forecast, me | ||
| cannot scratch mine ear. Prithee, tell her but worky-day | I can't scratch my ear. Prithee, tell her, but working day | ||
| fortune. | Wealth. | ||
| SOOTHSAYER. Your fortunes are alike. | FORTUNE TELLER. Your fortune is the same. | ||
| IRAS. But how, but how? Give me particulars. | Iras. But how, but how? Give me details. | ||
| SOOTHSAYER. I have said. | FORTUNE TELLER. I have said. | ||
| IRAS. Am I not an inch of fortune better than she? | Iras. Am I not a centimeter fortune better than you? | ||
| CHARMIAN. Well, if you were but an inch of fortune better than | Charmian. Well, if they were only one centimeter of assets better than | ||
| I, | I, | ||
| where would you choose it? | Where would you choose it? | ||
| IRAS. Not in my husband's nose. | Iras. Not in my husband's nose. | ||
| CHARMIAN. Our worser thoughts heavens mend! Alexas- come, his | Charmian. Our worse sky harden! Alexas- come, his | ||
| fortune, his fortune! O, let him marry a woman that cannot | Luck, his luck! Oh, let him marry a woman who cannot | ||
| go, | walk, | ||
| sweet Isis, I beseech thee! And let her die too, and give him | Sweet Isis, I am asking you! And let them die and give it | ||
| a | a | ||
| worse! And let worse follow worse, till the worst of all | worse! And worse worse worse, until the worst of all | ||
| follow | consequences | ||
| him laughing to his grave, fiftyfold a cuckold! Good Isis, | He laughs at his grave, fifty -five a rooster! Good ISIS, | ||
| hear | Listen | ||
| me this prayer, though thou deny me a matter of more weight; | I this prayer, even though you deny me a question of more weight; | ||
| good | gut | ||
| Isis, I beseech thee! | Isis, I ask you! | ||
| IRAS. Amen. Dear goddess, hear that prayer of the people! For, | Iras. Amen. Dear goddess, hear this prayer of the people! To the, | ||
| as | how | ||
| it is a heartbreaking to see a handsome man loose-wiv'd, so | It is a heartbreaking man to see a handsome man who is loose, so | ||
| it is | it is | ||
| a deadly sorrow to behold a foul knave uncuckolded. | A deadly grief not to see a bad villain. | ||
| Therefore, | Because of this, | ||
| dear Isis, keep decorum, and fortune him accordingly! | Dear ISIS, keep your decency and happiness! | ||
| CHARMIAN. Amen. | Charmian. Amen. | ||
| ALEXAS. Lo now, if it lay in their hands to make me a cuckold, | Alexas. Lo now when it was in your hands to make me a tap, | ||
| they | you | ||
| would make themselves whores but they'ld do't! | Would make whores, but you wouldn't do it! | ||
| Enter CLEOPATRA | Enter Cleopatra | ||
| ENOBARBUS. Hush! Here comes Antony. | Eoousbus. Silent! Heres Into for annoying. | ||
| CHARMIAN. Not he; the Queen. | Charmian. Not him; the Queen. | ||
| CLEOPATRA. Saw you my lord? | CLEOPATRA. Did you see my lord | ||
| ENOBARBUS. No, lady. | Monobarbus. Nun, Dame. | ||
| CLEOPATRA. Was he not here? | CLEOPATRA. Wasn't he here? | ||
| CHARMIAN. No, madam. | Charmian. Nein, Madam. | ||
| CLEOPATRA. He was dispos'd to mirth; but on the sudden | CLEOPATRA. He was on shepherd. but suddenly | ||
| A Roman thought hath struck him. Enobarbus! | A Roman thought had hit him. Enobarbus! | ||
| ENOBARBUS. Madam? | Monobarbus. Madam? | ||
| CLEOPATRA. Seek him, and bring him hither. Where's Alexas? | CLEOPATRA. Find him and bring him here. Where is Alexas? | ||
| ALEXAS. Here, at your service. My lord approaches. | Alexas. Here to your service. My gentleman is approaching. | ||
| Enter ANTONY, with a MESSENGER and attendants | Enter Antony with a messenger and companion | ||
| CLEOPATRA. We will not look upon him. Go with us. | CLEOPATRA. We won't look at him. Come with us. | ||
| Exeunt CLEOPATRA, ENOBARBUS, and the rest | Leave Cleopatra, Enobarbus and the rest | ||
| MESSENGER. Fulvia thy wife first came into the field. | DELIVERY BOY. Fulvia Your wife came into the field for the first time. | ||
| ANTONY. Against my brother Lucius? | Antony. Against my brother Lucius? | ||
| MESSENGER. Ay. | Bottle. Ay. | ||
| But soon that war had end, and the time's state | But soon this war ended and the condition of the time | ||
| Made friends of them, jointing their force 'gainst Caesar, | Found friends of them, join Caesar's profit, | ||
| Whose better issue in the war from Italy | Its better problem in war from Italy | ||
| Upon the first encounter drave them. | They drave them at the first encounter. | ||
| ANTONY. Well, what worst? | Antony. Well, what the worst? | ||
| MESSENGER. The nature of bad news infects the teller. | DELIVERY BOY. The nature of bad news infects the narrator. | ||
| ANTONY. When it concerns the fool or coward. On! | Antony. If it affects the fool or coward. On! | ||
| Things that are past are done with me. 'Tis thus: | Things that have passed are done with me. 'Tis like this: | ||
| Who tells me true, though in his tale lie death, | Who tells me true, although in his history there is death | ||
| I hear him as he flatter'd. | I hear him when he flattered. | ||
| MESSENGER. Labienus- | Bote. Labienus- | ||
| This is stiff news- hath with his Parthian force | This is stiff news with its Parthian force | ||
| Extended Asia from Euphrates, | Extended Asia from Euphrates, | ||
| His conquering banner shook from Syria | His conquered banner trembled from Syria | ||
| To Lydia and to Ionia, | To Lydia and Ionia, | ||
| Whilst- | While- | ||
| ANTONY. Antony, thou wouldst say. | Antony. Antony, you would say. | ||
| MESSENGER. O, my lord! | DELIVERY BOY. Oh, my Lord! | ||
| ANTONY. Speak to me home; mince not the general tongue; | Antony. Talk to me at home; Hack meat not the general tongue; | ||
| Name Cleopatra as she is call'd in Rome. | Name Cleopatra as you are called in Rome. | ||
| Rail thou in Fulvia's phrase, and taunt my faults | Do you seem in Fulvia's sentence and mock my mistakes | ||
| With such full licence as both truth and malice | With such a full license as truth and malice | ||
| Have power to utter. O, then we bring forth weeds | Power are expressed. O, then we bring up weeds | ||
| When our quick minds lie still, and our ills told us | When our fast heads are still and our illnesses told us | ||
| Is as our earing. Fare thee well awhile. | Is like our ear. Tariff you well. | ||
| MESSENGER. At your noble pleasure. Exit | DELIVERY BOY. After your noble pleasure. Exit | ||
| ANTONY. From Sicyon, ho, the news! Speak there! | Antony. From Sicyon, HO, The News! Talk there! | ||
| FIRST ATTENDANT. The man from Sicyon- is there such an one? | First companion. The man from Sicyon- is there one? | ||
| SECOND ATTENDANT. He stays upon your will. | Second companion. He stays on your will. | ||
| ANTONY. Let him appear. | Antony. Let him appear. | ||
| These strong Egyptian fetters I must break, | I have to break these strong Egyptian bonds | ||
| Or lose myself in dotage. | Or lose me in do. | ||
| Enter another MESSENGER with a letter | Enter another messenger with a letter | ||
| What are you? | What are you? | ||
| SECOND MESSENGER. Fulvia thy wife is dead. | Second messenger. Fulvia your wife is dead. | ||
| ANTONY. Where died she? | Antony. Where did she die? | ||
| SECOND MESSENGER. In Sicyon. | Second Messenger. In Sicyon. | ||
| Her length of sickness, with what else more serious | Your illness with what else is more serious | ||
| Importeth thee to know, this bears. [Gives the letter] | Importety knowing that is wearing. [Gives the letter] | ||
| ANTONY. Forbear me. Exit MESSENGER | Antony. To get me. Leave messenger | ||
| There's a great spirit gone! Thus did I desire it. | It is a great ghost away! That's how I wanted it. | ||
| What our contempts doth often hurl from us | What our contempt often hurts from us | ||
| We wish it ours again; the present pleasure, | We wish it again; The current pleasure, | ||
| By revolution low'ring, does become | Becomes low through revolution | ||
| The opposite of itself. She's good, being gone; | The opposite of itself. It is good and is gone; | ||
| The hand could pluck her back that shov'd her on. | The hand was able to pluck her back, which she shouted at. | ||
| I must from this enchanting queen break off. | I have to cancel from this enchanting queen. | ||
| Ten thousand harms, more than the ills I know, | Ten thousand damage, more than the diseases I know | ||
| My idleness doth hatch. How now, Enobarbus! | My idleness slips. Like now, Enobarbus! | ||
| Re-enter ENOBARBUS | Wiederermangeler Monobarbus | ||
| ENOBARBUS. What's your pleasure, sir? | Enobarbus. What is your pleasure, sir? | ||
| ANTONY. I must with haste from hence. | Antony. I have to do with a hurry. | ||
| ENOBARBUS. Why, then we kill all our women. We see how mortal | Enobarbus. Why, then we all kill our women. We see how mortal | ||
| an | a | ||
| unkindness is to them; if they suffer our departure, death's | For them, unfriendliness is; If you suffer our departure, deaths | ||
| the | the | ||
| word. | Word. | ||
| ANTONY. I must be gone. | Antony. I have to be gone. | ||
| ENOBARBUS. Under a compelling occasion, let women die. It were | Enobarbus. Let women die under a convincing opportunity. It was | ||
| pity | Sympathy | ||
| to cast them away for nothing, though between them and a | to throw them away for free, although between them and a | ||
| great | Great | ||
| cause they should be esteemed nothing. Cleopatra, catching | Because nothing should be valued. Cleopatra, catch | ||
| but | but | ||
| the least noise of this, dies instantly; I have seen her die | The slightest noise of it dies immediately; I saw how she dies | ||
| twenty times upon far poorer moment. I do think there is | Twenty times after a far poorer moment. I think there is | ||
| mettle | zeal | ||
| in death, which commits some loving act upon her, she hath | In death, which with her love | ||
| such a | such a | ||
| celerity in dying. | School in -death. | ||
| ANTONY. She is cunning past man's thought. | Antony. It is thought. | ||
| ENOBARBUS. Alack, sir, no! Her passions are made of nothing but | Enobarbus. Alack, Sir, no! Their passions only consist of | ||
| the | the | ||
| finest part of pure love. We cannot call her winds and waters | The most beautiful part of pure love. We cannot call them winds and water | ||
| sighs and tears; they are greater storms and tempests than | sighs and tears; They are larger storms and storms than | ||
| almanacs can report. This cannot be cunning in her; if it be, | Almanacs can report. That cannot be torn in it; If so | ||
| she | you | ||
| makes a show'r of rain as well as Jove. | Makes a show of rain and jove. | ||
| ANTONY. Would I had never seen her! | Antony. I would never have seen her! | ||
| ENOBARBUS. O Sir, you had then left unseen a wonderful piece of | Enobarbus. O SIR, you had seen a wonderful piece | ||
| work, which not to have been blest withal would have | Work that would not have been with the smoke would have | ||
| discredited | discredited | ||
| your travel. | Your journey. | ||
| ANTONY. Fulvia is dead. | Antony. Fulvia is dead. | ||
| ENOBARBUS. Sir? | Monobarbus. Cheese? | ||
| ANTONY. Fulvia is dead. | Antony. Fulvia is dead. | ||
| ENOBARBUS. Fulvia? | Monobarbus. Fulvia? | ||
| ANTONY. Dead. | Reason. Tot. | ||
| ENOBARBUS. Why, sir, give the gods a thankful sacrifice. When | Enobarbus. Why, Sir, give the gods a grateful victim. When | ||
| it | it is | ||
| pleaseth their deities to take the wife of a man from him, it | inspires their deities to take a man's wife from him | ||
| shows to man the tailors of the earth; comforting therein | shows man the tailors of the earth; calming | ||
| that | the | ||
| when old robes are worn out there are members to make new. If | If old robes are worn out, there are members to make new ones. if | ||
| there were no more women but Fulvia, then had you indeed a | There were no more women than Fulvia, then she actually had one | ||
| cut, | cut, | ||
| and the case to be lamented. This grief is crown'd with | and the case to complain. This grief becomes crowned with | ||
| consolation: your old smock brings forth a new petticoat; and | Consolation: Your old Smock produces a new petticoat; and | ||
| indeed the tears live in an onion that should water this | In fact, the tears live in an onion that should water this | ||
| sorrow. | Grief. | ||
| ANTONY. The business she hath broached in the state | Antony. The business she spoke in the state | ||
| Cannot endure my absence. | Can't endure my absence. | ||
| ENOBARBUS. And the business you have broach'd here cannot be | Enobarbus. And the business you have annoyed here cannot be | ||
| without you; especially that of Cleopatra's, which wholly | without you; Especially those of Cleopatras, which completely | ||
| depends | is based | ||
| on your abode. | on your residence. | ||
| ANTONY. No more light answers. Let our officers | Antony. No more easy answers. Leave our officers | ||
| Have notice what we purpose. I shall break | Note what we aim. I will break | ||
| The cause of our expedience to the Queen, | The cause of our expedient forced recipients, the queen, | ||
| And get her leave to part. For not alone | And let your vacation separate. For not alone | ||
| The death of Fulvia, with more urgent touches, | The death of Fulvia with more urgent touches, | ||
| Do strongly speak to us; but the letters to | Talk to us strongly; But the letters | ||
| Of many our contriving friends in Rome | From many of our faulty friends in Rome | ||
| Petition us at home. Sextus Pompeius | Petition us at home. Sixth pompeius | ||
| Hath given the dare to Caesar, and commands | Has the cars for Caesar and command | ||
| The empire of the sea; our slippery people, | The realm of the sea; Our slippery people | ||
| Whose love is never link'd to the deserver | Whose love is never linked to the deserver | ||
| Till his deserts are past, begin to throw | Until his deserts are over, they start throwing | ||
| Pompey the Great and all his dignities | Pompey the big one and all of its dignity | ||
| Upon his son; who, high in name and power, | On his son; Who, high in names and power, | ||
| Higher than both in blood and life, stands up | Higher than both in the blood and in life, stands up | ||
| For the main soldier; whose quality, going on, | For the main soldier; whose quality, continues, | ||
| The sides o' th' world may danger. Much is breeding | The pages in the world can have driven. The breeding is much | ||
| Which, like the courser's hair, hath yet but life | What, like the hair of the Courser, still have life, but life | ||
| And not a serpent's poison. Say our pleasure, | And not the poison of a snake. Say our pleasure | ||
| To such whose place is under us, requires | To those whose place is among us, requires | ||
| Our quick remove from hence. | Our quick removal from now. | ||
| ENOBARBUS. I shall do't. Exeunt | Enobarbus. I won't do. Exit | ||
| SCENE III. | Scene III. | ||
| Alexandria. CLEOPATRA'S palace | Alexandria. Cleopatras Palast | ||
| Enter CLEOPATRA, CHARMIAN, IRAS, and ALEXAS | Enter Cleopatra, Charmian, Iras and Alexas | ||
| CLEOPATRA. Where is he? | CLEOPATRA. Where is he? | ||
| CHARMIAN. I did not see him since. | Charmian. I haven't seen him since then. | ||
| CLEOPATRA. See where he is, who's with him, what he does. | CLEOPATRA. See where he is, who is with him, what he is doing. | ||
| I did not send you. If you find him sad, | I haven't sent you. If you find him sad | ||
| Say I am dancing; if in mirth, report | Say, I dance; If in Mirt, report | ||
| That I am sudden sick. Quick, and return. Exit ALEXAS | That I'm suddenly sick. Rapid and return. Leave Alexas | ||
| CHARMIAN. Madam, methinks, if you did love him dearly, | Charmian. Madam, I'm when you love him very much | ||
| You do not hold the method to enforce | You do not keep the method for enforcement | ||
| The like from him. | Like him. | ||
| CLEOPATRA. What should I do I do not? | CLEOPATRA. What should I not do? | ||
| CHARMIAN. In each thing give him way; cross him in nothing. | Charmian. Give him in every thing; Cross it in nothing. | ||
| CLEOPATRA. Thou teachest like a fool- the way to lose him. | CLEOPATRA. You teach like a fool's way to lose it. | ||
| CHARMIAN. Tempt him not so too far; I wish, forbear; | Charmian. Don't try it that far; I wish, Vorbear; | ||
| In time we hate that which we often fear. | Over time, we hate what we often fear. | ||
| Enter ANTONY | Enter Antony | ||
| But here comes Antony. | But here comes Antony. | ||
| CLEOPATRA. I am sick and sullen. | CLEOPATRA. I am sick and grumpy. | ||
| ANTONY. I am sorry to give breathing to my purpose- | Antony. I'm sorry to breathe my purpose. | ||
| CLEOPATRA. Help me away, dear Charmian; I shall fall. | CLEOPATRA. Help me away, dear Charmian; I'll fall. | ||
| It cannot be thus long; the sides of nature | So it can't be long; The sides of nature | ||
| Will not sustain it. | It will not maintain it. | ||
| ANTONY. Now, my dearest queen- | Antony. Well, my favorite queen | ||
| CLEOPATRA. Pray you, stand farther from me. | CLEOPATRA. Pray, stand further away from me. | ||
| ANTONY. What's the matter? | Antony. What's happening? | ||
| CLEOPATRA. I know by that same eye there's some good news. | CLEOPATRA. I know there is some good news. | ||
| What says the married woman? You may go. | What does the married woman say? You can go. | ||
| Would she had never given you leave to come! | If she would never have to go to come! | ||
| Let her not say 'tis I that keep you here- | Don't let them say that I keep you here- | ||
| I have no power upon you; hers you are. | I have no power on you; Your you are. | ||
| ANTONY. The gods best know- | Antony. The best way to know the gods- | ||
| CLEOPATRA. O, never was there queen | CLEOPATRA. Oh, there was never queen there | ||
| So mightily betray'd! Yet at the first | So reveal a lot! But in the first | ||
| I saw the treasons planted. | I saw the planted property. | ||
| ANTONY. Cleopatra- | Reason. Cleopatra- | ||
| CLEOPATRA. Why should I think you can be mine and true, | CLEOPATRA. Why should I think you can be mine and true | ||
| Though you in swearing shake the throned gods, | Although they shake the throne gods in the weakness, | ||
| Who have been false to Fulvia? Riotous madness, | Who was Fulvia wrong? Insane madness, | ||
| To be entangled with those mouth-made vows, | With these mouthworthy vows, | ||
| Which break themselves in swearing! | That break in cursing! | ||
| ANTONY. Most sweet queen- | Antony. The sweet queen most | ||
| CLEOPATRA. Nay, pray you seek no colour for your going, | CLEOPATRA. No, pray, you are not looking for color for your walking | ||
| But bid farewell, and go. When you sued staying, | But say goodbye and go. If you sue, stay | ||
| Then was the time for words. No going then! | Then the time was for words. No, then! | ||
| Eternity was in our lips and eyes, | The eternity was in our lips and eyes, | ||
| Bliss in our brows' bent, none our parts so poor | Happiness in the bent brews, none of our parts so poor | ||
| But was a race of heaven. They are so still, | But was a breed of heaven. You are so quiet | ||
| Or thou, the greatest soldier of the world, | Or you, the largest soldier in the world, | ||
| Art turn'd the greatest liar. | Art became the biggest liar. | ||
| ANTONY. How now, lady! | Antony. Like now, lady! | ||
| CLEOPATRA. I would I had thy inches. Thou shouldst know | CLEOPATRA. I would have your centimeter. You should know it | ||
| There were a heart in Egypt. | There was a heart in Egypt. | ||
| ANTONY. Hear me, queen: | Antony. Listen to me, queen: | ||
| The strong necessity of time commands | The strong need for time commands | ||
| Our services awhile; but my full heart | Our services a while; But my full heart | ||
| Remains in use with you. Our Italy | Remains used for them. Our Italy | ||
| Shines o'er with civil swords: Sextus Pompeius | Lights over with civilian swords: Sextus Pompeius | ||
| Makes his approaches to the port of Rome; | Makes his approaches to the port of Rome; | ||
| Equality of two domestic powers | Equality of two domestic powers | ||
| Breed scrupulous faction; the hated, grown to strength, | Breeding unscrupulous faction; The hat, grown into strength, | ||
| Are newly grown to love. The condemn'd Pompey, | Are new to love. The convicted Pompeius, | ||
| Rich in his father's honour, creeps apace | Rich in honor of his father, creeps noticeably | ||
| Into the hearts of such as have not thrived | Do not thrive into the hearts of such | ||
| Upon the present state, whose numbers threaten; | In the current state, the numbers of which are threatened; | ||
| And quietness, grown sick of rest, would purge | And calm that are fed up with calm would clean | ||
| By any desperate change. My more particular, | Through every desperate change. My special | ||
| And that which most with you should safe my going, | And what is the most with you should be my walking, | ||
| Is Fulvia's death. | Is Fulvia's death. | ||
| CLEOPATRA. Though age from folly could not give me freedom, | CLEOPATRA. Although the age of folly could not give me a freedom | ||
| It does from childishness. Can Fulvia die? | It does of childhood. Can Fulvia die? | ||
| ANTONY. She's dead, my Queen. | Antony. She is dead, my queen. | ||
| Look here, and at thy sovereign leisure read | Look here and in your sovereign free time reading | ||
| The garboils she awak'd. At the last, best. | The Garboils that she wakes up. Last, best. | ||
| See when and where she died. | See when and where it died. | ||
| CLEOPATRA. O most false love! | CLEOPATRA. O Most false love! | ||
| Where be the sacred vials thou shouldst fill | Where are the sacred vials that you should fill | ||
| With sorrowful water? Now I see, I see, | With sad water? Now I see, I see | ||
| In Fulvia's death how mine receiv'd shall be. | In Fulvia's death, as mine is preserved. | ||
| ANTONY. Quarrel no more, but be prepar'd to know | Antony. No more arguments, but are prepared to know it | ||
| The purposes I bear; which are, or cease, | The purposes that I stand; which are or stop | ||
| As you shall give th' advice. By the fire | How to give the advice. At the fire | ||
| That quickens Nilus' slime, I go from hence | This accelerates Nilus' mucus, I go from now on | ||
| Thy soldier, servant, making peace or war | Close your soldier, servant, peace or war | ||
| As thou affects. | How you influence. | ||
| CLEOPATRA. Cut my lace, Charmian, come! | CLEOPATRA. Cut my tip, charmian, come on! | ||
| But let it be; I am quickly ill and well- | But let it be; I am quickly sick and good | ||
| So Antony loves. | So Antony loves. | ||
| ANTONY. My precious queen, forbear, | Antony. My precious queen, Vorbear, | ||
| And give true evidence to his love, which stands | And give his love that stands, true evidence | ||
| An honourable trial. | An honorable process. | ||
| CLEOPATRA. So Fulvia told me. | CLEOPATRA. So Fulvia told me. | ||
| I prithee turn aside and weep for her; | I turn aside and cry for you; | ||
| Then bid adieu to me, and say the tears | Then offer me a goodbye and say the tears | ||
| Belong to Egypt. Good now, play one scene | Belong to Egypt. Well now, play a scene | ||
| Of excellent dissembling, and let it look | Of excellent burning and make it look | ||
| Like perfect honour. | Like perfect honor. | ||
| ANTONY. You'll heat my blood; no more. | Antony. You will heat my blood; no longer. | ||
| CLEOPATRA. You can do better yet; but this is meetly. | CLEOPATRA. You can do it even better; But that's meeting. | ||
| ANTONY. Now, by my sword- | Antony. Now from my sword | ||
| CLEOPATRA. And target. Still he mends; | CLEOPATRA. And goal. He still repairs; | ||
| But this is not the best. Look, prithee, Charmian, | But that's not the best. Look, Prithee, Charmian, | ||
| How this Herculean Roman does become | How this Herculean novel becomes | ||
| The carriage of his chafe. | The carriage of his chafe. | ||
| ANTONY. I'll leave you, lady. | Antony. I'll leave you, lady. | ||
| CLEOPATRA. Courteous lord, one word. | CLEOPATRA. Polite gentleman, a word. | ||
| Sir, you and I must part- but that's not it. | Sir, you and I have to partly- but that's not it. | ||
| Sir, you and I have lov'd- but there's not it. | Sir, you and I loved- but it's not there. | ||
| That you know well. Something it is I would- | You know that well. Something is I would- | ||
| O, my oblivion is a very Antony, | Oh, my forgetting is a very antonism, | ||
| And I am all forgotten! | And I'm all forgotten! | ||
| ANTONY. But that your royalty | Antony. But that your royal house | ||
| Holds idleness your subject, I should take you | Keys her topic, I should take it with me | ||
| For idleness itself. | For idle aisle itself. | ||
| CLEOPATRA. 'Tis sweating labour | CLEOPATRA. It sweats work | ||
| To bear such idleness so near the heart | To wear such idleness so near the heart | ||
| As Cleopatra this. But, sir, forgive me; | As Cleopatra that. But, sir, forgive me; | ||
| Since my becomings kill me when they do not | Since mine will kill me if they don't do it | ||
| Eye well to you. Your honour calls you hence; | Good to you. From now on she calls her honor; | ||
| Therefore be deaf to my unpitied folly, | Therefore deaf for my unbeated folly, | ||
| And all the gods go with you! Upon your sword | And all gods go with you! On your sword | ||
| Sit laurel victory, and smooth success | Laurel Sieg and smooth success | ||
| Be strew'd before your feet! | Be scattered in front of your feet! | ||
| ANTONY. Let us go. Come. | Antony. Let's go. Come. | ||
| Our separation so abides and flies | Our separation stays that way and flies | ||
| That thou, residing here, goes yet with me, | That you live here is still going with me, | ||
| And I, hence fleeting, here remain with thee. | And I, so fleeting, stay with you. | ||
| Away! Exeunt | A way! Exit | ||
| SCENE IV. | Feel IV. | ||
| Rome. CAESAR'S house | Rom. Caesars Haus | ||
| Enter OCTAVIUS CAESAR, reading a letter; LEPIDUS, and their train | Enter Octavius Caesar and read a letter; Lepidus and your train | ||
| CAESAR. You may see, Lepidus, and henceforth know, | CAESAR. You can see Lepidus and from now on know | ||
| It is not Caesar's natural vice to hate | It is not to hate Caesar's natural vice | ||
| Our great competitor. From Alexandria | Our big competitor. From Alexandria | ||
| This is the news: he fishes, drinks, and wastes | This is the message: he fishes, drinks and wastes | ||
| The lamps of night in revel; is not more manlike | The lamps of the night in Revel; is not more male | ||
| Than Cleopatra, nor the queen of Ptolemy | As Cleopatra or the Queen of Ptolemy | ||
| More womanly than he; hardly gave audience, or | More feminine than him; hardly given the audience or | ||
| Vouchsaf'd to think he had partners. You shall find there | Voucheaf'D to believe that he would have a partner. You will find there | ||
| A man who is the abstract of all faults | A man who is the summary of all mistakes | ||
| That all men follow. | That all men follow. | ||
| LEPIDUS. I must not think there are | Lepidus. I can't believe that there is | ||
| Evils enow to darken all his goodness. | Evil rose to darken all of his goodness. | ||
| His faults, in him, seem as the spots of heaven, | His mistakes in him seem to be the stains of the sky, | ||
| More fiery by night's blackness; hereditary | Fiery in the blackness of the night; hereditary | ||
| Rather than purchas'd; what he cannot change | More than bought; What he can't change | ||
| Than what he chooses. | As what he chooses. | ||
| CAESAR. You are too indulgent. Let's grant it is not | CAESAR. They are too forgiving. Do not let us grant it is not | ||
| Amiss to tumble on the bed of Ptolemy, | Distances on the bed of Ptolemy, | ||
| To give a kingdom for a mirth, to sit | Give a kingdom for a joy, sit | ||
| And keep the turn of tippling with a slave, | And hold the turn with a slave, | ||
| To reel the streets at noon, and stand the buffet | To save the streets at noon and to survive the buffet | ||
| With knaves that smell of sweat. Say this becomes him- | With patterns that smell sweat. Say that will become him- | ||
| As his composure must be rare indeed | In fact, his serenity must be rare | ||
| Whom these things cannot blemish- yet must Antony | If you can't do these things, Antony has to have Antony | ||
| No way excuse his foils when we do bear | Under no circumstances excuse his foils when we wear it | ||
| So great weight in his lightness. If he fill'd | So much weight in its ease. When he filled | ||
| His vacancy with his voluptuousness, | His place with his bad | ||
| Full surfeits and the dryness of his bones | Full surfing and the drought of his bones | ||
| Call on him for't! But to confound such time | Call him! But to confuse this time | ||
| That drums him from his sport and speaks as loud | That drums him from his sport and speaks so loudly | ||
| As his own state and ours- 'tis to be chid | Than his own state and ours- it is chid | ||
| As we rate boys who, being mature in knowledge, | When we evaluate boys who are ripe in the knowledge, | ||
| Pawn their experience to their present pleasure, | Care your experience for your current pleasure, | ||
| And so rebel to judgment. | And so they rebel. | ||
| Enter a MESSENGER | Enter a messenger | ||
| LEPIDUS. Here's more news. | Lepidus. There are more news here. | ||
| MESSENGER. Thy biddings have been done; and every hour, | DELIVERY BOY. Your bidders were done; and every hour, | ||
| Most noble Caesar, shalt thou have report | The noble Caesar you have reported, you say | ||
| How 'tis abroad. Pompey is strong at sea, | Like TIS abroad. Pompey is strong at sea, | ||
| And it appears he is belov'd of those | And it seems that it is burdened by them | ||
| That only have fear'd Caesar. To the ports | Only Caesar fears that. To the ports | ||
| The discontents repair, and men's reports | The repairs of dissatisfaction and the reports of men | ||
| Give him much wrong'd. | Give him a lot wrong. | ||
| CAESAR. I should have known no less. | CAESAR. I shouldn't have known less. | ||
| It hath been taught us from the primal state | We were taught out of the original state | ||
| That he which is was wish'd until he were; | That he was desired until he was; | ||
| And the ebb'd man, ne'er lov'd till ne'er worth love, | And the ebbe'd man, neos law, which is worth, love, | ||
| Comes dear'd by being lack'd. This common body, | Come on by lacking. This common body, | ||
| Like to a vagabond flag upon the stream, | Like to go to a vagabond flag on the current, | ||
| Goes to and back, lackeying the varying tide, | Go back and forth and paint the different tide, | ||
| To rot itself with motion. | Retain with movement. | ||
| MESSENGER. Caesar, I bring thee word | DELIVERY BOY. Caesar, I bring your word with me | ||
| Menecrates and Menas, famous pirates, | Menecates and menas, famous pirates, | ||
| Make the sea serve them, which they ear and wound | Let the sea serve what you have ear and wound | ||
| With keels of every kind. Many hot inroads | With all kinds of keels. Many hot intruders | ||
| They make in Italy; the borders maritime | They do in Italy; The boundaries maritime | ||
| Lack blood to think on't, and flush youth revolt. | A lack of blood to think and rinse youth gun. | ||
| No vessel can peep forth but 'tis as soon | No ship can presume so quickly, but it's so fast | ||
| Taken as seen; for Pompey's name strikes more | As seen; For Pompey's name, more strikes | ||
| Than could his war resisted. | As if his war could resist. | ||
| CAESAR. Antony, | CAESAR. Antony, | ||
| Leave thy lascivious wassails. When thou once | Leave your lascivious Wassensails. If you once | ||
| Was beaten from Modena, where thou slew'st | Was beaten from Modena where you hit | ||
| Hirtius and Pansa, consuls, at thy heel | Hirtius and Pansa, Consuln, in your Heel | ||
| Did famine follow; whom thou fought'st against, | Followed famine; Who you fought against, | ||
| Though daintily brought up, with patience more | Although addressed gratifyingly, more with patience | ||
| Than savages could suffer. Thou didst drink | As a wild one could suffer. You drank | ||
| The stale of horses and the gilded puddle | The stale horses and the gilded puddle | ||
| Which beasts would cough at. Thy palate then did deign | Which beasts would cough. Your palate then turned away | ||
| The roughest berry on the rudest hedge; | The roughest berry on the most crossed hedge; | ||
| Yea, like the stag when snow the pasture sheets, | Yes, like the deer when the pasture blades snow snow, | ||
| The barks of trees thou brows'd. On the Alps | The trees that you break through. In the Alps | ||
| It is reported thou didst eat strange flesh, | It is reported that you have eaten strange meat | ||
| Which some did die to look on. And all this- | What some died to look. And all that- | ||
| It wounds thine honour that I speak it now- | It hurt your honor that I am talking about it now. | ||
| Was borne so like a soldier that thy cheek | Was worn like a soldier that your cheek | ||
| So much as lank'd not. | As much as ground. | ||
| LEPIDUS. 'Tis pity of him. | Lepidus. "Tie pity with him. | ||
| CAESAR. Let his shames quickly | CAESAR. Leave his shame quickly | ||
| Drive him to Rome. 'Tis time we twain | Drive him to Rome. It's time that we two | ||
| Did show ourselves i' th' field; and to that end | Showed us the field; and for this purpose | ||
| Assemble we immediate council. Pompey | Assembly we instant advice. Pompey | ||
| Thrives in our idleness. | Thrives in our idle aisle. | ||
| LEPIDUS. To-morrow, Caesar, | Lepidus. Morgen, Caesar, | ||
| I shall be furnish'd to inform you rightly | I will submit to rightly inform you | ||
| Both what by sea and land I can be able | I can be able to do something at sea and on land | ||
| To front this present time. | To take this current time. | ||
| CAESAR. Till which encounter | CAESAR. To what encounter | ||
| It is my business too. Farewell. | It is also my business. Taking leave. | ||
| LEPIDUS. Farewell, my lord. What you shall know meantime | Lepidus. Farewell, sir. What you will know in the meantime | ||
| Of stirs abroad, I shall beseech you, sir, | I will ask you from touch abroad, sir, | ||
| To let me be partaker. | To let me participate. | ||
| CAESAR. Doubt not, sir; | CAESAR. Doubt not, sir; | ||
| I knew it for my bond. Exeunt | I knew for my bond. Exeunt | ||
| SCENE V. | Sente V. | ||
| Alexandria. CLEOPATRA'S palace | Alexandria. Cleopatras Palast | ||
| Enter CLEOPATRA, CHARMIAN, IRAS, and MARDIAN | Enter Cleopatra, Charmian, Ira and Mardian | ||
| CLEOPATRA. Charmian! | Kleopatra. Charmian! | ||
| CHARMIAN. Madam? | Charmian. Madam? | ||
| CLEOPATRA. Ha, ha! | Cleopatra. Ha, ha! | ||
| Give me to drink mandragora. | Give me a drink. | ||
| CHARMIAN. Why, madam? | Charmian. Why, Madam? | ||
| CLEOPATRA. That I might sleep out this great gap of time | CLEOPATRA. So that I could sleep in this big gap in time | ||
| My Antony is away. | My Antonie is gone. | ||
| CHARMIAN. You think of him too much. | Charmian. They think too much about him. | ||
| CLEOPATRA. O, 'tis treason! | Cleopatra. Oh, it's betrayal! | ||
| CHARMIAN. Madam, I trust, not so. | Charmian. Madam, I don't trust it that way. | ||
| CLEOPATRA. Thou, eunuch Mardian! | Kleopatra. Du, Eunuch Mardian! | ||
| MARDIAN. What's your Highness' pleasure? | Mardian. What is the pleasure of your sovereignty? | ||
| CLEOPATRA. Not now to hear thee sing; I take no pleasure | CLEOPATRA. Not now to hear you sing; I am not a pleasure | ||
| In aught an eunuch has. 'Tis well for thee | In something has an eunuch. It's good for you | ||
| That, being unseminar'd, thy freer thoughts | That, not to be seminar, your freer thoughts | ||
| May not fly forth of Egypt. Hast thou affections? | Must not fly out Egypt. Do you have affection? | ||
| MARDIAN. Yes, gracious madam. | Mardian. Ja, Gnädiger Madam. | ||
| CLEOPATRA. Indeed? | CLEOPATRA. As a matter of fact? | ||
| MARDIAN. Not in deed, madam; for I can do nothing | Mardian. Not in fact, Madam; Because I can't do anything | ||
| But what indeed is honest to be done. | But what is indeed honest to be done. | ||
| Yet have I fierce affections, and think | I still have violent affection and think about it | ||
| What Venus did with Mars. | What Venus did with Mars. | ||
| CLEOPATRA. O Charmian, | Kleopatra. O Charmian, | ||
| Where think'st thou he is now? Stands he or sits he? | Where do you think now? Is he standing or sitting? | ||
| Or does he walk? or is he on his horse? | Or does he go? Or is he on his horse? | ||
| O happy horse, to bear the weight of Antony! | O Happy Horse to wear Antony's weight! | ||
| Do bravely, horse; for wot'st thou whom thou mov'st? | Tu brave, horse; Because you moved yourself? | ||
| The demi-Atlas of this earth, the arm | The demi atlas of this earth, the arm | ||
| And burgonet of men. He's speaking now, | And Burgonet of men. He speaks now | ||
| Or murmuring 'Where's my serpent of old Nile?' | Or murmur: "Where is my snake of the old Nile?" | ||
| For so he calls me. Now I feed myself | Because that's how he calls me. Now I feed myself | ||
| With most delicious poison. Think on me, | With the most delicious poison. Think of me | ||
| That am with Phoebus' amorous pinches black, | I am black with Phoebus' in love, | ||
| And wrinkled deep in time? Broad-fronted Caesar, | And frown deeply in time? Caesar with a wide front, | ||
| When thou wast here above the ground, I was | When you disappeared here over the ground, I was | ||
| A morsel for a monarch; and great Pompey | A bite for a monarch; and great pompine | ||
| Would stand and make his eyes grow in my brow; | Dignity and let his eyes grow in my forehead; | ||
| There would he anchor his aspect and die | There he would anchor and die his aspect | ||
| With looking on his life. | With a view of his life. | ||
| Enter ALEXAS | Enter Alex | ||
| ALEXAS. Sovereign of Egypt, hail! | Alexas. Sovereign from Egypt, hail! | ||
| CLEOPATRA. How much unlike art thou Mark Antony! | CLEOPATRA. How much in contrast to art, Mark Antony! | ||
| Yet, coming from him, that great med'cine hath | But this great med'cine comes from him | ||
| With his tinct gilded thee. | With his tinker you devour you. | ||
| How goes it with my brave Mark Antony? | How is my brave Mark Antony? | ||
| ALEXAS. Last thing he did, dear Queen, | Alexas. Last what he did, dear Queen, Queen, | ||
| He kiss'd- the last of many doubled kisses- | He kisses- the last of many doubles kisses | ||
| This orient pearl. His speech sticks in my heart. | This Orient pearl. His language is in my heart. | ||
| CLEOPATRA. Mine ear must pluck it thence. | CLEOPATRA. My ear has to pluck it from there. | ||
| ALEXAS. 'Good friend,' quoth he | Alexas. "Good friend", he quoth | ||
| Say the firm Roman to great Egypt sends | Say that the Roman company sends to great Egypt | ||
| This treasure of an oyster; at whose foot, | This treasure of an oyster; On whose foot, | ||
| To mend the petty present, I will piece | To repair the little gift, I'll finish | ||
| Her opulent throne with kingdoms. All the East, | Your opulent throne with kingdoms. All east, | ||
| Say thou, shall call her mistress.' So he nodded, | Do you say, should call your lover. So he nodded | ||
| And soberly did mount an arm-gaunt steed, | And soberly made an ARM-Gaunt-Ross, | ||
| Who neigh'd so high that what I would have spoke | Who was so high that I had spoken | ||
| Was beastly dumb'd by him. | Was stupid. | ||
| CLEOPATRA. What, was he sad or merry? | CLEOPATRA. What was he sad or happy? | ||
| ALEXAS. Like to the time o' th' year between the extremes | Alexas. As in the time of the year between the extremes | ||
| Of hot and cold; he was nor sad nor merry. | Of hot and cold; He was still sad or happy. | ||
| CLEOPATRA. O well-divided disposition! Note him, | CLEOPATRA. O well -resolved disposition! Note him | ||
| Note him, good Charmian; 'tis the man; but note him! | Note him, good charmian; It is the man; But note it! | ||
| He was not sad, for he would shine on those | He wasn't sad because he would shine on these | ||
| That make their looks by his; he was not merry, | That makes her look of him; He wasn't happy | ||
| Which seem'd to tell them his remembrance lay | What seemed to tell them that his memory was | ||
| In Egypt with his joy; but between both. | In Egypt with his joy; But between the two. | ||
| O heavenly mingle! Be'st thou sad or merry, | O Heavenly mix! Be sad or happy | ||
| The violence of either thee becomes, | The violence of both becomes, | ||
| So does it no man else. Met'st thou my posts? | Nobody else does it. Do you make my contributions? | ||
| ALEXAS. Ay, madam, twenty several messengers. | Alexas. Ay, Madam, twenty several messengers. | ||
| Why do you send so thick? | Why do you send so thick? | ||
| CLEOPATRA. Who's born that day | CLEOPATRA. Who was born that day? | ||
| When I forget to send to Antony | When I forget to send to Antony | ||
| Shall die a beggar. Ink and paper, Charmian. | Should die a beggar. Ink and paper, charmian. | ||
| Welcome, my good Alexas. Did I, Charmian, | Welcome, my good Alexas. I have, charmian, | ||
| Ever love Caesar so? | Do you ever love Caesar? | ||
| CHARMIAN. O that brave Caesar! | Charmian. O This brave Caesar! | ||
| CLEOPATRA. Be chok'd with such another emphasis! | CLEOPATRA. Be equipped with such a further emphasis! | ||
| Say 'the brave Antony.' | Say the brave Antony. ' | ||
| CHARMIAN. The valiant Caesar! | Charmian. Der Valiant Caesar! | ||
| CLEOPATRA. By Isis, I will give thee bloody teeth | CLEOPATRA. I will give you bloody teeth from ISIS | ||
| If thou with Caesar paragon again | If you are back with Caesar Paragon | ||
| My man of men. | My husband of men. | ||
| CHARMIAN. By your most gracious pardon, | Charmian. From your most lovable forgiveness, | ||
| I sing but after you. | I sing, but after you. | ||
| CLEOPATRA. My salad days, | CLEOPATRA. My salad days, | ||
| When I was green in judgment, cold in blood, | When I was green in the judgment, cold in the blood, | ||
| To say as I said then. But come, away! | To say how I said back then. But come away! | ||
| Get me ink and paper. | Get ink and paper. | ||
| He shall have every day a several greeting, | He should have part of the greeting every day, | ||
| Or I'll unpeople Egypt. Exeunt | Or I will be unpose Egypt. Exeunt | ||
| <<THIS ELECTRONIC VERSION OF THE COMPLETE WORKS OF WILLIAM | << this electronic version of the full works by William | ||
| SHAKESPEARE IS COPYRIGHT 1990-1993 BY WORLD LIBRARY, INC., AND IS | Shakespeare is Copyright 1990-1993 by World Library, Inc., and is | ||
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| ACT II. SCENE I. | ACT II. Sente I. | ||
| Messina. POMPEY'S house | Messina. Pompeys Haus | ||
| Enter POMPEY, MENECRATES, and MENAS, in warlike manner | Enter Pompey, menecates and menas in a war | ||
| POMPEY. If the great gods be just, they shall assist | POMPEY. If the big gods are fair, they will help | ||
| The deeds of justest men. | The deeds of the judicial men. | ||
| MENECRATES. Know, worthy Pompey, | Menecate. Know, worthy pompeius, | ||
| That what they do delay they not deny. | They don't deny what they delay. | ||
| POMPEY. Whiles we are suitors to their throne, decays | POMPEY. While we are applicants of their throne, it disintegrates | ||
| The thing we sue for. | The thing we complain about. | ||
| MENECRATES. We, ignorant of ourselves, | Menecate. We who do not know ourselves | ||
| Beg often our own harms, which the wise pow'rs | Often begging our own damage that the pastor wise | ||
| Deny us for our good; so find we profit | Refuse us for our estate; So we think we benefit | ||
| By losing of our prayers. | By loss of our prayers. | ||
| POMPEY. I shall do well. | POMPEY. I will do it well. | ||
| The people love me, and the sea is mine; | People love me and the sea belongs to me; | ||
| My powers are crescent, and my auguring hope | My forces are Crescent and my Auging Hope | ||
| Says it will come to th' full. Mark Antony | Says it will be full. Mark Antony | ||
| In Egypt sits at dinner, and will make | Sits in dinner in Egypt and will do | ||
| No wars without doors. Caesar gets money where | No wars without doors. Caesar gets money where | ||
| He loses hearts. Lepidus flatters both, | He loses heart. Lepidus flatters both, | ||
| Of both is flatter'd; but he neither loves, | Both are flattered; But he doesn't love it either | ||
| Nor either cares for him. | Neither takes care of him. | ||
| MENAS. Caesar and Lepidus | Menas. Caesar und Lepidus | ||
| Are in the field. A mighty strength they carry. | Are in the field. A powerful force that you wear. | ||
| POMPEY. Where have you this? 'Tis false. | POMPEY. Where did you have that? It is wrong. | ||
| MENAS. From Silvius, sir. | Art. Von Silhi, Sir. | ||
| POMPEY. He dreams. I know they are in Rome together, | POMPEY. He dreams. I know that they are together in Rome | ||
| Looking for Antony. But all the charms of love, | Looking for Antony. But all stimuli of love, | ||
| Salt Cleopatra, soften thy wan'd lip! | Salt Cleopatra, soft your wan'd lip! | ||
| Let witchcraft join with beauty, lust with both; | Leave witchcraft with beauty, lust with both; | ||
| Tie up the libertine in a field of feasts, | Tie the libertine together in a field of festivals, | ||
| Keep his brain fuming. Epicurean cooks | Hold his brain. Epicurean chefs | ||
| Sharpen with cloyless sauce his appetite, | Sharpen his appetite with a borderless sauce, | ||
| That sleep and feeding may prorogue his honour | This sleep and feeding can be his honor | ||
| Even till a Lethe'd dullness- | Even until a killed mattness | ||
| Enter VARRIUS | Enter Varrius | ||
| How now, Varrius! | Like now, Varrius! | ||
| VARRIUS. This is most certain that I shall deliver: | Varrius. This is the safest thing that I will deliver: | ||
| Mark Antony is every hour in Rome | Mark Antony is every hour in Rome | ||
| Expected. Since he went from Egypt 'tis | Expected. Since he went from Egypt, TIS | ||
| A space for farther travel. | A room for further trips. | ||
| POMPEY. I could have given less matter | POMPEY. I could have given less matter | ||
| A better ear. Menas, I did not think | A better ear. Menas, I didn't think | ||
| This amorous surfeiter would have donn'd his helm | This faith -in love would have destroyed his helmet | ||
| For such a petty war; his soldiership | For such a little war; His soldier's ship | ||
| Is twice the other twain. But let us rear | Is twice as the other Twain. But let's in the back | ||
| The higher our opinion, that our stirring | The higher our opinion is that our stirring | ||
| Can from the lap of Egypt's widow pluck | Can pluck from the lap of the Egyptian widow | ||
| The ne'er-lust-wearied Antony. | The Ne'er-Lust-Baum-Antony. | ||
| MENAS. I cannot hope | Menas. I can't hope | ||
| Caesar and Antony shall well greet together. | Caesar and Antony will greet well together. | ||
| His wife that's dead did trespasses to Caesar; | His wife, who is dead, entered Caesar; | ||
| His brother warr'd upon him; although, I think, | His brother was on him; Although I think | ||
| Not mov'd by Antony. | Not moved by Antony. | ||
| POMPEY. I know not, Menas, | POMPEY. I don't know Menas, | ||
| How lesser enmities may give way to greater. | How smaller enemies can make for larger soft tissues. | ||
| Were't not that we stand up against them all, | Weren't that we all stand against them | ||
| Twere pregnant they should square between themselves; | Twere pregnant, you should sit between yourself; | ||
| For they have entertained cause enough | Because they talked enough | ||
| To draw their swords. But how the fear of us | Draw your swords. But like the fear of us | ||
| May cement their divisions, and bind up | Can consolidate and connect your divisions | ||
| The petty difference we yet not know. | The small difference we don't know yet. | ||
| Be't as our gods will have't! It only stands | Don't be like our gods! It just stands | ||
| Our lives upon to use our strongest hands. | Our life after using our strongest hands. | ||
| Come, Menas. Exeunt | Come on, manas. Exit | ||
| SCENE II. | Scene II. | ||
| Rome. The house of LEPIDUS | Rome. Lepidus' House | ||
| Enter ENOBARBUS and LEPIDUS | Enter Enobarbus and Lepidus | ||
| LEPIDUS. Good Enobarbus, 'tis a worthy deed, | Lepidus. Good Enobarbus, it is a worthy deed | ||
| And shall become you well, to entreat your captain | And should be good for you to ask your captain | ||
| To soft and gentle speech. | Too soft and gentle language. | ||
| ENOBARBUS. I shall entreat him | Enobarbus. I'll ask him | ||
| To answer like himself. If Caesar move him, | How to answer himself. When Caesar move him | ||
| Let Antony look over Caesar's head | Let Antony look over Caesar's head | ||
| And speak as loud as Mars. By Jupiter, | And speak as loudly as Mars. From Jupiter, | ||
| Were I the wearer of Antonius' beard, | Was I the wearer of Antonius' Bart? | ||
| I would not shave't to-day. | I wouldn't shave today. | ||
| LEPIDUS. 'Tis not a time | Lepidus. "Tie no time | ||
| For private stomaching. | For private stomach. | ||
| ENOBARBUS. Every time | Monobarbus. Every time | ||
| Serves for the matter that is then born in't. | Serves for the matter where it is not born. | ||
| LEPIDUS. But small to greater matters must give way. | Lepidus. But small to larger affairs have to give in. | ||
| ENOBARBUS. Not if the small come first. | Enobarbus. Not when the little ones come first. | ||
| LEPIDUS. Your speech is passion; | Lepidus. Your speech is passion; | ||
| But pray you stir no embers up. Here comes | But pray, you don't stir the embers. Here comes | ||
| The noble Antony. | The noble Antony. | ||
| Enter ANTONY and VENTIDIUS | Enter Antony and Ventidius | ||
| ENOBARBUS. And yonder, Caesar. | Monobarbus. And over there, Caesar. | ||
| Enter CAESAR, MAECENAS, and AGRIPPA | Enter Caesar, Maecenas and Agrippa | ||
| ANTONY. If we compose well here, to Parthia. | Antony. If we compose well here, to Parthia. | ||
| Hark, Ventidius. | Hark, Ventidius. | ||
| CAESAR. I do not know, Maecenas. Ask Agrippa. | CAESAR. I don't know, Maecenas. Ask Agrippa. | ||
| LEPIDUS. Noble friends, | Lepidus. Edle freunde | ||
| That which combin'd us was most great, and let not | What combined us was great and did not leave it | ||
| A leaner action rend us. What's amiss, | A slim action makes us. What is wrong | ||
| May it be gently heard. When we debate | May it be heard gently. When we discuss | ||
| Our trivial difference loud, we do commit | Our trivial difference loud, we undertake | ||
| Murder in healing wounds. Then, noble partners, | Murder in healing wounds. Then noble partner, | ||
| The rather for I earnestly beseech, | That rather because I seriously ask | ||
| Touch you the sourest points with sweetest terms, | Touch the oxest points with sweetest terms, | ||
| Nor curstness grow to th' matter. | Curstness is also growing to this matter. | ||
| ANTONY. 'Tis spoken well. | Antony. It is well spoken. | ||
| Were we before our arinies, and to fight, | Were we before our arinia and fight? | ||
| I should do thus. [Flourish] | I should do that. [Bloom] | ||
| CAESAR. Welcome to Rome. | CAESAR. Welcome to Rome. | ||
| ANTONY. Thank you. | Antony. Many Thanks. | ||
| CAESAR. Sit. | Caesar. Let it be. | ||
| ANTONY. Sit, sir. | Antony. Sit, sir. | ||
| CAESAR. Nay, then. [They sit] | CAESAR. No, then. [They sit] | ||
| ANTONY. I learn you take things ill which are not so, | Antony. I learn that you make things sick, which is not so | ||
| Or being, concern you not. | Or don't worry. | ||
| CAESAR. I must be laugh'd at | CAESAR. I have to laugh | ||
| If, or for nothing or a little, | If or for nothing or a little, | ||
| Should say myself offended, and with you | Should say I'm offended and with you | ||
| Chiefly i' the world; more laugh'd at that I should | Mainly I the world; More laughs that I should | ||
| Once name you derogately when to sound your name | Once they call them derogatory when they should listen to their names | ||
| It not concern'd me. | I am not concerned with. | ||
| ANTONY. My being in Egypt, Caesar, | Antony. My being in Egypt, Caesar, | ||
| What was't to you? | What was not with you? | ||
| CAESAR. No more than my residing here at Rome | CAESAR. No more than my residence here in Rome | ||
| Might be to you in Egypt. Yet, if you there | Could be in Egypt for you. But when they are there | ||
| Did practise on my state, your being in Egypt | Practiced in my state, your being in Egypt | ||
| Might be my question. | Could be my question. | ||
| ANTONY. How intend you- practis'd? | Antony. How do you intend? | ||
| CAESAR. You may be pleas'd to catch at mine intent | CAESAR. You may be gratifying to catch with my intention | ||
| By what did here befall me. Your wife and brother | Through what did me here. Your wife and brother | ||
| Made wars upon me, and their contestation | Made wars against me and their argument | ||
| Was theme for you; you were the word of war. | Was a topic for her; You were the word of war. | ||
| ANTONY. You do mistake your business; my brother never | Antony. You confuse your business; My brother never | ||
| Did urge me in his act. I did inquire it, | I pushed me in act. I asked it | ||
| And have my learning from some true reports | And learn from some real reports | ||
| That drew their swords with you. Did he not rather | That has dragged her swords with them. He didn't prefer | ||
| Discredit my authority with yours, | Discredit my authority with your, | ||
| And make the wars alike against my stomach, | And make the wars against my stomach | ||
| Having alike your cause? Of this my letters | Have your thing right away? From this my letters | ||
| Before did satisfy you. If you'll patch a quarrel, | Previously satisfied you. If you patch a dispute | ||
| As matter whole you have not to make it with, | As a matter, you don't have to make it with | ||
| It must not be with this. | It shouldn't be with it. | ||
| CAESAR. You praise yourself | CAESAR. You praise yourself | ||
| By laying defects of judgment to me; but | By defending myself; but | ||
| You patch'd up your excuses. | You patched your excuses. | ||
| ANTONY. Not so, not so; | Antony. Not so, not so; | ||
| I know you could not lack, I am certain on't, | I know that you couldn't be missing, I'm sure it is not | ||
| Very necessity of this thought, that I, | Very necessity of this idea that I, | ||
| Your partner in the cause 'gainst which he fought, | Her partner in the thing he fought what he was fighting | ||
| Could not with graceful eyes attend those wars | Could not take part in these wars with graceful eyes | ||
| Which fronted mine own peace. As for my wife, | Which made my own peace. As for my wife | ||
| I would you had her spirit in such another! | I would have her spirit in another! | ||
| The third o' th' world is yours, which with a snaffle | The third o 'th' | ||
| You may pace easy, but not such a wife. | They may occur easily, but not such a woman. | ||
| ENOBARBUS. Would we had all such wives, that the men might go | Enobarbus. We all had such women so that the men could go | ||
| to | to | ||
| wars with the women! | Wear with the women! | ||
| ANTONY. So much uncurbable, her garboils, Caesar, | Antony. So much unattached, her garboils, Caesar, | ||
| Made out of her impatience- which not wanted | Made out of their impatience- which didn't want | ||
| Shrewdness of policy too- I grieving grant | Smart of politics too- I mourning grants | ||
| Did you too much disquiet. For that you must | Did you worry too much? For that you have to | ||
| But say I could not help it. | But say I couldn't help. | ||
| CAESAR. I wrote to you | CAESAR. I wrote to you | ||
| When rioting in Alexandria; you | When teasing in Alexandria; she | ||
| Did pocket up my letters, and with taunts | I packed my letters and packed with mockery | ||
| Did gibe my missive out of audience. | Published my letter from the audience. | ||
| ANTONY. Sir, | Antony. Mister, | ||
| He fell upon me ere admitted. Then | He fell towards me, he admitted. then | ||
| Three kings I had newly feasted, and did want | Three kings that I had eaten fresh and wanted | ||
| Of what I was i' th' morning; but next day | From what I was, I was the morning; But the next day | ||
| I told him of myself, which was as much | I told him about what was just as much | ||
| As to have ask'd him pardon. Let this fellow | To forgive him. Leave this guy | ||
| Be nothing of our strife; if we contend, | Don't be of our dispute; When we fight | ||
| Out of our question wipe him. | From our question they wipe it out. | ||
| CAESAR. You have broken | CAESAR. You broke | ||
| The article of your oath, which you shall never | The article of your oath you never | ||
| Have tongue to charge me with. | Do you have the tongue with which I can charge myself. | ||
| LEPIDUS. Soft, Caesar! | Lepidus. Weich, Caesar! | ||
| ANTONY. No; | Reason. No; | ||
| Lepidus, let him speak. | Lepidus, let him speak. | ||
| The honour is sacred which he talks on now, | The honor is sacred to which he is talking about | ||
| Supposing that I lack'd it. But on, Caesar: | Suppose I lack it. But continue, Caesar: | ||
| The article of my oath- | The article of my oath | ||
| CAESAR. To lend me arms and aid when I requir'd them, | CAESAR. Borrow and help me when I asked them | ||
| The which you both denied. | What you both denied. | ||
| ANTONY. Neglected, rather; | Antony. Rather neglected, rather; | ||
| And then when poisoned hours had bound me up | And then when poisoned hours had bound me | ||
| From mine own knowledge. As nearly as I may, | From my own knowledge. As almost as I can | ||
| I'll play the penitent to you; but mine honesty | I'll play the male to you. But my honesty | ||
| Shall not make poor my greatness, nor my power | Should neither make my size nor my power bad | ||
| Work without it. Truth is, that Fulvia, | Without working. Truth is that Fulvia, | ||
| To have me out of Egypt, made wars here; | To get me out of Egypt, to make wars here; | ||
| For which myself, the ignorant motive, do | For which I myself can do the ignorant motif | ||
| So far ask pardon as befits mine honour | So far, ask for a forgiveness of how it corresponds to my honor | ||
| To stoop in such a case. | To bend down in such a case. | ||
| LEPIDUS. 'Tis noble spoken. | Lepidus. "Binde Noble Gesprochen. | ||
| MAECENAS. If it might please you to enforce no further | Maecenas. If you could like it, not to get through further | ||
| The griefs between ye- to forget them quite | The grief between you to forget them entirely | ||
| Were to remember that the present need | Should remember that the current needs | ||
| Speaks to atone you. | Speaks to pay them. | ||
| LEPIDUS. Worthily spoken, Maecenas. | Lepidus. Würdig Gesprochen, Maecenas. | ||
| ENOBARBUS. Or, if you borrow one another's love for the | Enobarbus. Or if they borrow each other | ||
| instant, | immediate, | ||
| you may, when you hear no more words of Pompey, return it | If you no longer hear words from Pompeius, you can give it back | ||
| again. | again. | ||
| You shall have time to wrangle in when you have nothing else | You will have time to get up if you have nothing else | ||
| to | to | ||
| do. | also. | ||
| ANTONY. Thou art a soldier only. Speak no more. | Antony. You are just a soldier. Don't talk anymore. | ||
| ENOBARBUS. That truth should be silent I had almost forgot. | Enobarbus. This truth should be silent that I had almost forgotten. | ||
| ANTONY. You wrong this presence; therefore speak no more. | Antony. You wrong in this presence; Therefore no longer speak. | ||
| ENOBARBUS. Go to, then- your considerate stone! | Enobarbus. Go to your considerate stone! | ||
| CAESAR. I do not much dislike the matter, but | CAESAR. I don't like the matter, but | ||
| The manner of his speech; for't cannot be | The nature of his speech; I can't be | ||
| We shall remain in friendship, our conditions | We will remain in friendship, our conditions | ||
| So diff'ring in their acts. Yet if I knew | So difficult in their actions. But if I knew it | ||
| What hoop should hold us stanch, from edge to edge | Which tire should keep us from Edge to Edge | ||
| O' th' world, I would pursue it. | Oh the world, I would follow it. | ||
| AGRIPPA. Give me leave, Caesar. | Agrippa. Give me a vacation, Caesar. | ||
| CAESAR. Speak, Agrippa. | CAESAR. Talk, Agrippa. | ||
| AGRIPPA. Thou hast a sister by the mother's side, | Agrippa. You have a sister alongside the mother | ||
| Admir'd Octavia. Great Mark Antony | Admiration Octavia. Great Mark Antony | ||
| Is now a widower. | Is now widower. | ||
| CAESAR. Say not so, Agrippa. | CAESAR. Don't say that, Agrippa. | ||
| If Cleopatra heard you, your reproof | When Cleopatra heard her, her blame | ||
| Were well deserv'd of rashness. | Were well earned by careful | ||
| ANTONY. I am not married, Caesar. Let me hear | Antony. I'm not married, Caesar. Let me hear | ||
| Agrippa further speak. | Agrippa continue to speak. | ||
| AGRIPPA. To hold you in perpetual amity, | Agrippa. To keep yourself in eternal amity, | ||
| To make you brothers, and to knit your hearts | To make you brothers and knit your hearts | ||
| With an unslipping knot, take Antony | Take Antony with an unfortunate knot | ||
| Octavia to his wife; whose beauty claims | Octavia to his wife; their beauty claims | ||
| No worse a husband than the best of men; | Not worse a husband than the best of men; | ||
| Whose virtue and whose general graces speak | Their virtue and their general graces speak | ||
| That which none else can utter. By this marriage | What nobody else can say. Through this marriage | ||
| All little jealousies, which now seem great, | All little jealousy that now appear great, | ||
| And all great fears, which now import their dangers, | And all great fears that now import their dangers, | ||
| Would then be nothing. Truths would be tales, | Would then be nothing. Truth would be stories, | ||
| Where now half tales be truths. Her love to both | Where half stories are now truths. Your love for both | ||
| Would each to other, and all loves to both, | Would be with others and everyone loved both, | ||
| Draw after her. Pardon what I have spoke; | Draw her. Forgive what I have spoken; | ||
| For 'tis a studied, not a present thought, | Because it is a studied, not a thought, | ||
| By duty ruminated. | Cleared according to duty. | ||
| ANTONY. Will Caesar speak? | Antony. Will Caesar speak? | ||
| CAESAR. Not till he hears how Antony is touch'd | CAESAR. Only when he hears how Antony is touched | ||
| With what is spoke already. | With what is already being spoken. | ||
| ANTONY. What power is in Agrippa, | Antony. What power is in Agrippa, | ||
| If I would say 'Agrippa, be it so,' | If I said "Agrippa, be it,", " | ||
| To make this good? | Do that good? | ||
| CAESAR. The power of Caesar, and | CAESAR. The power of Caesar and | ||
| His power unto Octavia. | His power against Octavia. | ||
| ANTONY. May I never | Antony. I must never | ||
| To this good purpose, that so fairly shows, | For this good cause, that shows pretty much that, | ||
| Dream of impediment! Let me have thy hand. | Dream of obstacle! Let me have your hand. | ||
| Further this act of grace; and from this hour | Further this act of grace; And from this hour | ||
| The heart of brothers govern in our loves | The heart of the brothers rules in our loved ones | ||
| And sway our great designs! | And look our great designs! | ||
| CAESAR. There is my hand. | CAESAR. There is my hand. | ||
| A sister I bequeath you, whom no brother | A sister, I beg you that no brother | ||
| Did ever love so dearly. Let her live | Has ever loved so much. Let them live | ||
| To join our kingdoms and our hearts; and never | To join our kingdoms and our hearts; And never | ||
| Fly off our loves again! | Fly from our love again! | ||
| LEPIDUS. Happily, amen! | Lepidus. Happy! | ||
| ANTONY. I did not think to draw my sword 'gainst Pompey; | Antony. I didn't think I was pulling my sword, winning Pompey. | ||
| For he hath laid strange courtesies and great | Because he has laid strange courtesy and great | ||
| Of late upon me. I must thank him only, | Lately on me. I just have to thank him | ||
| Lest my remembrance suffer ill report; | So that my memory does not suffer sick; | ||
| At heel of that, defy him. | Despite him despite him. | ||
| LEPIDUS. Time calls upon's. | Lepidus. On Zeit Erfurt. | ||
| Of us must Pompey presently be sought, | Pompeius must currently be sought by us, | ||
| Or else he seeks out us. | Or he is looking for us. | ||
| ANTONY. Where lies he? | Antony. Where is he? | ||
| CAESAR. About the Mount Misenum. | Caesar. About the Mount members. | ||
| ANTONY. What is his strength by land? | Antony. What is his strength of land? | ||
| CAESAR. Great and increasing; but by sea | CAESAR. Great and increasing; But at sea | ||
| He is an absolute master. | He is an absolute master. | ||
| ANTONY. So is the fame. | Antony. So is fame. | ||
| Would we had spoke together! Haste we for it. | Would we have spoken together? Let's hurry for it. | ||
| Yet, ere we put ourselves in arms, dispatch we | But if we put ourselves in the arms, we send us | ||
| The business we have talk'd of. | The business we talked about. | ||
| CAESAR. With most gladness; | CAESAR. With great joy; | ||
| And do invite you to my sister's view, | And invite yourself into my sister's point of view | ||
| Whither straight I'll lead you. | Where will I lead you. | ||
| ANTONY. Let us, Lepidus, | Antony. Let us, glamorous, | ||
| Not lack your company. | Your company is not missing. | ||
| LEPIDUS. Noble Antony, | Lepidus. Edler Antony, | ||
| Not sickness should detain me. [Flourish] | No illness should hold on to me. [Bloom] | ||
| Exeunt all but ENOBARBUS, AGRIPPA, MAECENAS | Leave Everyone Except Enobarbus, Agrippa, Maecenas | ||
| MAECENAS. Welcome from Egypt, sir. | Maecenas. Welcome from Egypt, Sir. | ||
| ENOBARBUS. Half the heart of Caesar, worthy Maecenas! My | Enobarbus. Half of the heart of Caesar, worthy Maecenas! my | ||
| honourable | honorable | ||
| friend, Agrippa! | Friend, Agrippa! | ||
| AGRIPPA. Good Enobarbus! | Agrippa. Good enobarbus! | ||
| MAECENAS. We have cause to be glad that matters are so well | Maecenas. We have the cause of being happy that things are so good | ||
| digested. You stay'd well by't in Egypt. | digested. You stay well in Egypt. | ||
| ENOBARBUS. Ay, sir; we did sleep day out of countenance and | Enobarbus. Yes, sir; We slept out the day out of our face and | ||
| made | did | ||
| the night light with drinking. | The night light with drinking. | ||
| MAECENAS. Eight wild boars roasted whole at a breakfast, and | Maecenas. Eight wild boars were completely roasted at a breakfast, and | ||
| but | but | ||
| twelve persons there. Is this true? | Twelve people there. Is that true? | ||
| ENOBARBUS. This was but as a fly by an eagle. We had much more | Enobarbus. This was only a fly of an eagle. We had a lot more | ||
| monstrous matter of feast, which worthily deserved noting. | Monstrous matter of the festival that it deservedly deserved to be noted. | ||
| MAECENAS. She's a most triumphant lady, if report be square to | Maecenas. She is a very triumphant woman when the report is square | ||
| her. | She. | ||
| ENOBARBUS. When she first met Mark Antony she purs'd up his | Enobarbus. When she met Mark Antony for the first time, she followed his | ||
| heart, | Heart, | ||
| upon the river of Cydnus. | On the river of Cydnus. | ||
| AGRIPPA. There she appear'd indeed! Or my reporter devis'd well | Agrippa. She actually seemed there! Or my reporter Devis was good | ||
| for | to the | ||
| her. | She. | ||
| ENOBARBUS. I will tell you. | Enobarbus. I will tell you. | ||
| The barge she sat in, like a burnish'd throne, | The load barge in which she was sitting like a burning throne, | ||
| Burn'd on the water. The poop was beaten gold; | Burned on the water. The droppings were beaten gold; | ||
| Purple the sails, and so perfumed that | Lila the sails and so perfume that | ||
| The winds were love-sick with them; the oars were silver, | The winds were love with them; The oars were silver, | ||
| Which to the tune of flutes kept stroke, and made | What kept a stroke of the melody of flutes and did | ||
| The water which they beat to follow faster, | The water they beat to follow faster, | ||
| As amorous of their strokes. For her own person, | As a lover of their strokes. For your own person, | ||
| It beggar'd all description. She did lie | It begged all description. she lied | ||
| In her pavilion, cloth-of-gold, of tissue, | In her pavilion, gold dress, the fabric, | ||
| O'erpicturing that Venus where we see | O'erpicting this venus, where we see | ||
| The fancy out-work nature. On each side her | The unusual out-work nature. On each side you | ||
| Stood pretty dimpled boys, like smiling Cupids, | Standed rather eaten boys, like smiling amors, | ||
| With divers-colour'd fans, whose wind did seem | With varied fans whose wind seemed | ||
| To glow the delicate cheeks which they did cool, | To shine the delicate cheeks, which they cooled, | ||
| And what they undid did. | And what they and what they did. | ||
| AGRIPPA. O, rare for Antony! | Agrippa. Oh, rarely for Antony! | ||
| ENOBARBUS. Her gentlewomen, like the Nereides, | Enobarbus. Your gentle women, like the Nereides, | ||
| So many mermaids, tended her i' th' eyes, | So many mermaids, they cared for their eyes, | ||
| And made their bends adornings. At the helm | And made their bends decorated. At the top | ||
| A seeming mermaid steers. The silken tackle | An apparent mermaid controls. The silk tackle | ||
| Swell with the touches of those flower-soft hands | Swell with the touches of these flower floor hands | ||
| That yarely frame the office. From the barge | The frame the Yarely office. From the sign | ||
| A strange invisible perfume hits the sense | A strange invisible perfume hits the meaning | ||
| Of the adjacent wharfs. The city cast | Of the adjacent kaif. The city occupied | ||
| Her people out upon her; and Antony, | Your people on her; and Antony, | ||
| Enthron'd i' th' market-place, did sit alone, | Enthron'd i 'The' Markt-Place, sat alone, | ||
| Whistling to th' air; which, but for vacancy, | Pipes into the air; What, but for vacancy, | ||
| Had gone to gaze on Cleopatra too, | Was also on Cleopatra, too, | ||
| And made a gap in nature. | And made a gap in nature. | ||
| AGRIPPA. Rare Egyptian! | Agrippa. Rare Egyptian! | ||
| ENOBARBUS. Upon her landing, Antony sent to her, | Enobarbus. When she landed, Antony sent her to her, | ||
| Invited her to supper. She replied | Invited them to dinner. She replied | ||
| It should be better he became her guest; | It should be better that he became your guest; | ||
| Which she entreated. Our courteous Antony, | What she asked. Our polite antony, | ||
| Whom ne'er the word of 'No' woman heard speak, | Who the word of the 'no' woman who is heard speak, speak, speak, | ||
| Being barber'd ten times o'er, goes to the feast, | To be ten times barbers goes to the festival, | ||
| And for his ordinary pays his heart | And because his heart usually pays his heart | ||
| For what his eyes eat only. | For what only his eyes eat. | ||
| AGRIPPA. Royal wench! | Agrippa. Royal Wench! | ||
| She made great Caesar lay his sword to bed. | She made a big Caesar who put his sword in bed. | ||
| He ploughed her, and she cropp'd. | He plowed her and she crapped. | ||
| ENOBARBUS. I saw her once | Enobarbus. I saw her once | ||
| Hop forty paces through the public street; | Hop forty steps through the public road; | ||
| And, having lost her breath, she spoke, and panted, | And after losing her breath, she said and gasped. | ||
| That she did make defect perfection, | That she made defective perfection | ||
| And, breathless, pow'r breathe forth. | And breathless breathes pow'r. | ||
| MAECENAS. Now Antony must leave her utterly. | Maecenas. Now Antony has to leave her completely. | ||
| ENOBARBUS. Never! He will not. | Enobarbus. Never! He will not. | ||
| Age cannot wither her, nor custom stale | Age cannot wither or stale custom | ||
| Her infinite variety. Other women cloy | Their infinite diversity. Other women cloy | ||
| The appetites they feed, but she makes hungry | The appetite you feed, but she makes you hungry | ||
| Where most she satisfies; for vilest things | Where most they satisfy them; For bad things | ||
| Become themselves in her, that the holy priests | Become in it that the sacred priests | ||
| Bless her when she is riggish. | Bless it when she is riggish. | ||
| MAECENAS. If beauty, wisdom, modesty, can settle | Maecenas. When beauty, wisdom, modesty can settle | ||
| The heart of Antony, Octavia is | The heart of Antony, Octavia is | ||
| A blessed lottery to him. | A blessed lottery for him. | ||
| AGRIPPA. Let us go. | Agrippa. Let's go. | ||
| Good Enobarbus, make yourself my guest | Good enobarbus, make yourself my guest | ||
| Whilst you abide here. | While you stay here. | ||
| ENOBARBUS. Humbly, sir, I thank you. Exeunt | Enobarbus. Humble, Sir, Thank you. Exit | ||
| SCENE III. | Scene III. | ||
| Rome. CAESAR'S house | Rom. Caesars Haus | ||
| Enter ANTONY, CAESAR, OCTAVIA between them | Enter Antony, Caesar, Octavia between you | ||
| ANTONY. The world and my great office will sometimes | Antony. The world and my big office will sometimes do it | ||
| Divide me from your bosom. | Share me from your breast. | ||
| OCTAVIA. All which time | Octavia. All the time | ||
| Before the gods my knee shall bow my prayers | In front of the gods my knee is banned my prayers | ||
| To them for you. | For you for you. | ||
| ANTONY. Good night, sir. My Octavia, | Antony. Good night, sir. My octavia, | ||
| Read not my blemishes in the world's report. | Don't read my mistakes in the world's report. | ||
| I have not kept my square; but that to come | I didn't keep my place; But that comes | ||
| Shall all be done by th' rule. Good night, dear lady. | Should all be done by the rule. Good night, dear woman. | ||
| OCTAVIA. Good night, sir. | Octavia. Good night, sir. | ||
| CAESAR. Good night. Exeunt CAESAR and OCTAVIA | Caesar. Good night. Leave Caesar and Octavia | ||
| Enter SOOTHSAYER | Enter Soothsayer | ||
| ANTONY. Now, sirrah, you do wish yourself in Egypt? | Antony. Well, Sirrah, do you want in Egypt? | ||
| SOOTHSAYER. Would I had never come from thence, nor you | FORTUNE TELLER. I would never have come from there and not from you | ||
| thither! | there! | ||
| ANTONY. If you can- your reason. | Antony. If you can have your reason. | ||
| SOOTHSAYER. I see it in my motion, have it not in my tongue; | FORTUNE TELLER. I see it in my movement, don't have it in my tongue; | ||
| but | but | ||
| yet hie you to Egypt again. | But hie again to Egypt. | ||
| ANTONY. Say to me, | Antony. Say to me | ||
| Whose fortunes shall rise higher, Caesar's or mine? | Whose assets will rise higher, Caesar or mine? | ||
| SOOTHSAYER. Caesar's. | FORTUNE TELLER. Caesars. | ||
| Therefore, O Antony, stay not by his side. | Therefore, O Antony, don't stay by his side. | ||
| Thy daemon, that thy spirit which keeps thee, is | Your Daemon, the one who holds you is | ||
| Noble, courageous, high, unmatchable, | Noble, brave, high, unreachable, | ||
| Where Caesar's is not; but near him thy angel | Where Caesar is not; But near your angel | ||
| Becomes a fear, as being o'erpow'r'd. Therefore | Becomes afraid that it is a role. Because of this | ||
| Make space enough between you. | Make room between you. | ||
| ANTONY. Speak this no more. | Antony. Do not speak that anymore. | ||
| SOOTHSAYER. To none but thee; no more but when to thee. | FORTUNE TELLER. To no one except you; Not more, but when you. | ||
| If thou dost play with him at any game, | If you play with him every game | ||
| Thou art sure to lose; and of that natural luck | You are sure to lose; And from this natural happiness | ||
| He beats thee 'gainst the odds. Thy lustre thickens | He beats you to win the chances. Your shine thicker | ||
| When he shines by. I say again, thy spirit | When he's going over. I'll say again your mind | ||
| Is all afraid to govern thee near him; | Is afraid to rule you near him; | ||
| But, he away, 'tis noble. | But he gone, it's noble. | ||
| ANTONY. Get thee gone. | Antony. Go away. | ||
| Say to Ventidius I would speak with him. | Say to ventidus, I would talk to him. | ||
| Exit SOOTHSAYER | End Soothsayer | ||
| He shall to Parthia.- Be it art or hap, | He should go to Parthia.- be it art or hap, | ||
| He hath spoken true. The very dice obey him; | He spoke true. The cubes obey him; | ||
| And in our sports my better cunning faints | And in our sports my better cunning powerful | ||
| Under his chance. If we draw lots, he speeds; | Under his chance. If we draw many, he accelerates; | ||
| His cocks do win the battle still of mine, | His cocks win the battle that is still me, | ||
| When it is all to nought, and his quails ever | If everything is ever and his quail is ever | ||
| Beat mine, inhoop'd, at odds. I will to Egypt; | Beat mine, inhop'd, in contradiction. I'm going to Egypt; | ||
| And though I make this marriage for my peace, | And although I make this marriage for my peace, | ||
| I' th' East my pleasure lies. | I am my pleasure when I lie east. | ||
| Enter VENTIDIUS | Enter ventidius | ||
| O, come, Ventidius, | Oh, Komm, Ventidius, | ||
| You must to Parthia. Your commission's ready; | You have to go to Parthia. Your commission is ready; | ||
| Follow me and receive't. Exeunt | Follow me and don't get you. Exeunt | ||
| SCENE IV. | Feel IV. | ||
| Rome. A street | Rome. A street | ||
| Enter LEPIDUS, MAECENAS, and AGRIPPA | Betreten Sie Lepidus, Maecenas und Agrippa | ||
| LEPIDUS. Trouble yourselves no further. Pray you hasten | Lepidus. Don't get any further. Pray, you hurry up | ||
| Your generals after. | Your generals afterwards. | ||
| AGRIPPA. Sir, Mark Antony | Agrippa. Sir, Mark Antony | ||
| Will e'en but kiss Octavia, and we'll follow. | But wants to kiss octavia, and we will follow. | ||
| LEPIDUS. Till I shall see you in your soldier's dress, | Lepidus. Until I will see you in the dress of your soldier, | ||
| Which will become you both, farewell. | Both of her will say goodbye. | ||
| MAECENAS. We shall, | Maecenas. We should, | ||
| As I conceive the journey, be at th' Mount | As I take the trip, be on the mountain | ||
| Before you, Lepidus. | In front of you, glamorous. | ||
| LEPIDUS. Your way is shorter; | Lepidus. Your path is shorter; | ||
| My purposes do draw me much about. | My purposes attract me a lot. | ||
| You'll win two days upon me. | You will win with me for two days. | ||
| BOTH. Sir, good success! | BOTH. Sir, good success! | ||
| LEPIDUS. Farewell. Exeunt | Lepidus. Taking leave. Exit | ||
| SCENE V. | Sente V. | ||
| Alexandria. CLEOPATRA'S palace | Alexandria. Cleopatras Palast | ||
| Enter CLEOPATRA, CHARMIAN, IRAS, and ALEXAS | Enter Cleopatra, Charmian, Iras and Alexas | ||
| CLEOPATRA. Give me some music- music, moody food | CLEOPATRA. Give me music, moody food | ||
| Of us that trade in love. | Of us who act in love. | ||
| ALL. The music, ho! | EVERYONE. The music, HO! | ||
| Enter MARDIAN the eunuch | Enter Mardian the Eunuch | ||
| CLEOPATRA. Let it alone! Let's to billiards. Come, Charmian. | CLEOPATRA. Leave it alone! Let's go to billiards. Come on, charmian. | ||
| CHARMIAN. My arm is sore; best play with Mardian. | Charmian. My arm is sore; Best game with Mardian. | ||
| CLEOPATRA. As well a woman with an eunuch play'd | CLEOPATRA. Also played a woman with an eunuch | ||
| As with a woman. Come, you'll play with me, sir? | Like a woman. Come on, you will play with me, sir? | ||
| MARDIAN. As well as I can, madam. | Mardian. So wie ich Kann, Madam. | ||
| CLEOPATRA. And when good will is show'd, though't come too | CLEOPATRA. And if the good will shows, it doesn't happen too | ||
| short, | short, | ||
| The actor may plead pardon. I'll none now. | The actor can turn to forgive. I'm not going to anyone now. | ||
| Give me mine angle- we'll to th' river. There, | Give me my angle- we become the river. There, | ||
| My music playing far off, I will betray | I will reveal my music that plays far away | ||
| Tawny-finn'd fishes; my bended hook shall pierce | Tawny Finn Fish; My cheated hook should drill through | ||
| Their slimy jaws; and as I draw them up | Their slimy pine; And while I build it | ||
| I'll think them every one an Antony, | I will think of all as Antony | ||
| And say 'Ah ha! Y'are caught.' | And say 'ah ha! You are caught. ' | ||
| CHARMIAN. 'Twas merry when | Charmian. 'Twas happy when | ||
| You wager'd on your angling; when your diver | You have wandered on your fishing; If your diver | ||
| Did hang a salt fish on his hook, which he | A salt fish hangs on his hooks, what he | ||
| With fervency drew up. | With structural power. | ||
| CLEOPATRA. That time? O times | CLEOPATRA. This time? O times | ||
| I laughed him out of patience; and that night | I laughed at him out of patience; And this night | ||
| I laugh'd him into patience; and next morn, | I laugh at him; And the next morning, | ||
| Ere the ninth hour, I drunk him to his bed, | Um the ninth hour, I drank him on his bed | ||
| Then put my tires and mantles on him, whilst | Then put my tires and coat on him while | ||
| I wore his sword Philippan. | I wore his sword Philippan. | ||
| Enter a MESSENGER | Enter a messenger | ||
| O! from Italy? | Ö! From Italy? | ||
| Ram thou thy fruitful tidings in mine ears, | Ram your fertile messages in mines, | ||
| That long time have been barren. | This long time was sterile. | ||
| MESSENGER. Madam, madam- | Bottle. Madam, madam- | ||
| CLEOPATRA. Antony's dead! If thou say so, villain, | CLEOPATRA. Antony is dead! If you say it, villain, | ||
| Thou kill'st thy mistress; but well and free, | You kill your mistress; But good and free, | ||
| If thou so yield him, there is gold, and here | If you deliver it so, there is gold and here | ||
| My bluest veins to kiss- a hand that kings | My bluish veins too kissing- a hand, the kings kings | ||
| Have lipp'd, and trembled kissing. | Have Lipp 'and kissed. | ||
| MESSENGER. First, madam, he is well. | DELIVERY BOY. First, Madam, he's fine. | ||
| CLEOPATRA. Why, there's more gold. | CLEOPATRA. Why, there is more gold. | ||
| But, sirrah, mark, we use | But Sirrah, Mark, we use | ||
| To say the dead are well. Bring it to that, | To say that the dead are good. Bring it to | ||
| The gold I give thee will I melt and pour | I will melt and water the gold that I give you | ||
| Down thy ill-uttering throat. | Your bad neck. | ||
| MESSENGER. Good madam, hear me. | DELIVERY BOY. Good woman, hear me. | ||
| CLEOPATRA. Well, go to, I will. | CLEOPATRA. Well, go too, I'll. | ||
| But there's no goodness in thy face. If Antony | But your face is not good. When Antony | ||
| Be free and healthful- why so tart a favour | Be free and healthy- why such a favor at weird | ||
| To trumpet such good tidings? If not well, | So good news about trumpets? If not good | ||
| Thou shouldst come like a Fury crown'd with snakes, | You should come like a rage crown with snakes, | ||
| Not like a formal man. | Not like a formal man. | ||
| MESSENGER. Will't please you hear me? | DELIVERY BOY. Please don't hear me? | ||
| CLEOPATRA. I have a mind to strike thee ere thou speak'st. | CLEOPATRA. I have a mind to beat you before you speak. | ||
| Yet, if thou say Antony lives, is well, | But if you say that Antony lives, it's fine, | ||
| Or friends with Caesar, or not captive to him, | Or caught friends with Caesar or not for him. | ||
| I'll set thee in a shower of gold, and hail | I will use you in a gold show | ||
| Rich pearls upon thee. | Rich pearls on you. | ||
| MESSENGER. Madam, he's well. | DELIVERY BOY. Madam, he's fine. | ||
| CLEOPATRA. Well said. | CLEOPATRA. Well said. | ||
| MESSENGER. And friends with Caesar. | DELIVERY BOY. And friends with Caesar. | ||
| CLEOPATRA. Th'art an honest man. | CLEOPATRA. This is an honest man. | ||
| MESSENGER. Caesar and he are greater friends than ever. | DELIVERY BOY. Caesar and he are bigger friends than ever. | ||
| CLEOPATRA. Make thee a fortune from me. | CLEOPATRA. Make yourself a fortune of me. | ||
| MESSENGER. But yet, madam- | DELIVERY BOY. But Madam- | ||
| CLEOPATRA. I do not like 'but yet.' It does allay | CLEOPATRA. I don't like 'but.' It runs | ||
| The good precedence; fie upon 'but yet'! | The good priority; Fie on 'but anyway'! | ||
| But yet' is as a gaoler to bring forth | But 'is to be produced as a gaoler | ||
| Some monstrous malefactor. Prithee, friend, | Some monster meal factors. Prithee, friend, | ||
| Pour out the pack of matter to mine ear, | Pour out the pack of matter to the ear, ear, | ||
| The good and bad together. He's friends with Caesar; | The good and bad together. He is friends with Caesar; | ||
| In state of health, thou say'st; and, thou say'st, free. | You say in health; And you say free. | ||
| MESSENGER. Free, madam! No; I made no such report. | DELIVERY BOY. Free, Madam! No; I haven't made such a report. | ||
| He's bound unto Octavia. | He is bound to Octavia. | ||
| CLEOPATRA. For what good turn? | CLEOPATRA. For what good turn? | ||
| MESSENGER. For the best turn i' th' bed. | DELIVERY BOY. For the best turn i 'the' bed. | ||
| CLEOPATRA. I am pale, Charmian. | CLEOPATRA. I'm pale, charmian. | ||
| MESSENGER. Madam, he's married to Octavia. | DELIVERY BOY. Madam, he is married to Octavia. | ||
| CLEOPATRA. The most infectious pestilence upon thee! | CLEOPATRA. The most contagious pestilence on you! | ||
| [Strikes him down] | [Beats it down] | ||
| MESSENGER. Good madam, patience. | DELIVERY BOY. Good woman, patience. | ||
| CLEOPATRA. What say you? Hence, [Strikes him] | CLEOPATRA. What are you saying? Hence [beats him] | ||
| Horrible villain! or I'll spurn thine eyes | Terrible villain! Or I will dirty your eyes | ||
| Like balls before me; I'll unhair thy head; | Like balls in front of me; I will relieve your head; | ||
| [She hales him up and down] | [She halves him up and down] | ||
| Thou shalt be whipp'd with wire and stew'd in brine, | You should be kept with wire and in saltlake, | ||
| Smarting in ling'ring pickle. | Smarting in Ling'ring Gurke. | ||
| MESSENGER. Gracious madam, | DELIVERY BOY. Gracious Madam, | ||
| I that do bring the news made not the match. | I didn't do the match. | ||
| CLEOPATRA. Say 'tis not so, a province I will give thee, | CLEOPATRA. Don't say it that way, a province that I will give you | ||
| And make thy fortunes proud. The blow thou hadst | And make your happiness proud. The blow you had | ||
| Shall make thy peace for moving me to rage; | Should make your peace because I move to anger; | ||
| And I will boot thee with what gift beside | And I will boot you with which gift | ||
| Thy modesty can beg. | Your modesty can beg. | ||
| MESSENGER. He's married, madam. | DELIVERY BOY. He is married, Madam. | ||
| CLEOPATRA. Rogue, thou hast liv'd too long. [Draws a knife] | CLEOPATRA. Valley, you took too long. [Draws a knife] | ||
| MESSENGER. Nay, then I'll run. | DELIVERY BOY. No, then I'll run. | ||
| What mean you, madam? I have made no fault. Exit | What do you mean, Madam? I didn't make a mistake. Exit | ||
| CHARMIAN. Good madam, keep yourself within yourself: | Charmian. Good woman, keep you in you: | ||
| The man is innocent. | The man is innocent. | ||
| CLEOPATRA. Some innocents scape not the thunderbolt. | CLEOPATRA. Some innocent people do not collect the flash. | ||
| Melt Egypt into Nile! and kindly creatures | Melt Egypt in Nil! and friendly creatures | ||
| Turn all to serpents! Call the slave again. | Turn to snakes! Call the slave again. | ||
| Though I am mad, I will not bite him. Call! | Although I'm crazy, I won't bite him. Phone call! | ||
| CHARMIAN. He is afear'd to come. | Charmian. He is on the rise to come. | ||
| CLEOPATRA. I will not hurt him. | CLEOPATRA. I won't hurt him. | ||
| These hands do lack nobility, that they strike | These hands have no nobility that they strike | ||
| A meaner than myself; since I myself | A mean more than me; Since I myself | ||
| Have given myself the cause. | I gave myself the thing. | ||
| Enter the MESSENGER again | Enter the messenger again | ||
| Come hither, sir. | Come here, sir. | ||
| Though it be honest, it is never good | Although it's honest, it is never good | ||
| To bring bad news. Give to a gracious message | Bring bad news. Give a gracious message | ||
| An host of tongues; but let ill tidings tell | A variety of tongues; But let illness messages tell | ||
| Themselves when they be felt. | Even if they are felt. | ||
| MESSENGER. I have done my duty. | DELIVERY BOY. I did my duty. | ||
| CLEOPATRA. Is he married? | CLEOPATRA. Is he married? | ||
| I cannot hate thee worser than I do | I can't hate you worse than me | ||
| If thou again say 'Yes.' | If you say 'yes' again. | ||
| MESSENGER. He's married, madam. | DELIVERY BOY. He is married, Madam. | ||
| CLEOPATRA. The gods confound thee! Dost thou hold there still? | CLEOPATRA. The gods confuse you! Do you still hold there? | ||
| MESSENGER. Should I lie, madam? | DELIVERY BOY. Should I lie, woman? | ||
| CLEOPATRA. O, I would thou didst, | CLEOPATRA. Oh, I would do you | ||
| So half my Egypt were submerg'd and made | So half of my Egypt were accommodated and made | ||
| A cistern for scal'd snakes! Go, get thee hence. | A cistern for scaled snakes! So get. | ||
| Hadst thou Narcissus in thy face, to me | Did you have daffodils on your face, for me | ||
| Thou wouldst appear most ugly. He is married? | You would appear the ugliest. He is married? | ||
| MESSENGER. I crave your Highness' pardon. | DELIVERY BOY. I long for her sovereignty. | ||
| CLEOPATRA. He is married? | CLEOPATRA. He is married? | ||
| MESSENGER. Take no offence that I would not offend you; | DELIVERY BOY. Do not insult that I would not insult you. | ||
| To punish me for what you make me do | To punish me for what you get me to do me | ||
| Seems much unequal. He's married to Octavia. | Seems a lot uneven. He is married to Octavia. | ||
| CLEOPATRA. O, that his fault should make a knave of thee | CLEOPATRA. O that his fault should make a villain of you | ||
| That art not what th'art sure of! Get thee hence. | This art is not what that is certain! So get you. | ||
| The merchandise which thou hast brought from Rome | The goods you brought out of Rome | ||
| Are all too dear for me. Lie they upon thy hand, | Are only too nice for me. Lie on your hand | ||
| And be undone by 'em! Exit MESSENGER | And can be reversed by them! Leave messenger | ||
| CHARMIAN. Good your Highness, patience. | Charmian. Well, your sovereignty, patience. | ||
| CLEOPATRA. In praising Antony I have disprais'd Caesar. | CLEOPATRA. When I praised Antony, I refuted Caesar from Caesar. | ||
| CHARMIAN. Many times, madam. | Charmian. Oft Madam. | ||
| CLEOPATRA. I am paid for't now. Lead me from hence, | CLEOPATRA. I am not paid now. Give me from now on | ||
| I faint. O Iras, Charmian! 'Tis no matter. | I faint. Iras, Charmian! It does not matter. | ||
| Go to the fellow, good Alexas; bid him | Go to the guy, good Alexas; offer him | ||
| Report the feature of Octavia, her years, | Report the characteristic of Octavia, your years, | ||
| Her inclination; let him not leave out | Their inclination; Don't let him leave out | ||
| The colour of her hair. Bring me word quickly. | The color of your hair. Bring my word quickly. | ||
| Exit ALEXAS | Leave Alex | ||
| Let him for ever go- let him not, Charmian- | Let him go forever- do not let him, charmian- | ||
| Though he be painted one way like a Gorgon, | Although he is painted in one direction like a Gorgon, | ||
| The other way's a Mars. [To MARDIAN] | The other way is a Mars. [After Mardian] | ||
| Bid you Alexas | Offer them Alexas | ||
| Bring me word how tall she is.- Pity me, Charmian, | Bring me the news of how big it is. | ||
| But do not speak to me. Lead me to my chamber. Exeunt | But don't talk to me. Give me to my chamber. Exeunt | ||
| SCENE VI. | Scene we. | ||
| Near Misenum | Near Missenu Near Miss | ||
| Flourish. Enter POMPEY and MENAS at one door, with drum and | Bloom. Enter Pompey and Menas on a door, with drum and | ||
| trumpet; | Trumpet; | ||
| at another, CAESAR, ANTONY, LEPIDUS, ENOBARBUS, MAECENAS, | In einem Anderen Caesar, Antony, Lepidus, Enobarbus, Maecenas, | ||
| AGRIPPA, | Agrippa, | ||
| with soldiers marching | march with soldiers | ||
| POMPEY. Your hostages I have, so have you mine; | POMPEY. I have your hostages, so you have mine; | ||
| And we shall talk before we fight. | And we'll talk before we fight. | ||
| CAESAR. Most meet | CAESAR. Most meet | ||
| That first we come to words; and therefore have we | We first come up with the words; And that's why we have | ||
| Our written purposes before us sent; | Our written purposes before us sent us; | ||
| Which if thou hast considered, let us know | What if you thought about it, let us know | ||
| If 'twill tie up thy discontented sword | If 'till your dissatisfied sword together | ||
| And carry back to Sicily much tall youth | And back to Sicily, a lot of high youth | ||
| That else must perish here. | Otherwise, this has to be killed. | ||
| POMPEY. To you all three, | POMPEY. All three of you, | ||
| The senators alone of this great world, | The senators alone of this big world, | ||
| Chief factors for the gods: I do not know | Main factors for the gods: I don't know | ||
| Wherefore my father should revengers want, | So my father should want to vanish | ||
| Having a son and friends, since Julius Caesar, | Have had a son and friends since Julius Caesar, | ||
| Who at Philippi the good Brutus ghosted, | Who in Philippi, the good brutus, ghosts, | ||
| There saw you labouring for him. What was't | There they saw worked for him. What wasn't | ||
| That mov'd pale Cassius to conspire? and what | The moving pale Cassius to conspiracy? and what | ||
| Made the all-honour'd honest Roman, Brutus, | Made the all-honor-honest novel, brutus, | ||
| With the arm'd rest, courtiers of beauteous freedom, | With the armory, courtes of beautiful freedom, | ||
| To drench the Capitol, but that they would | To soak the Capitol, but that they would do it | ||
| Have one man but a man? And that is it | Do you have a man except a man? And that's it | ||
| Hath made me rig my navy, at whose burden | I have prepared myself for my navy, when it comes to stress | ||
| The anger'd ocean foams; with which I meant | The angered ocean damage; By which I meant | ||
| To scourge th' ingratitude that despiteful Rome | To fuel this and ingratitude | ||
| Cast on my noble father. | Advertising on my noble father. | ||
| CAESAR. Take your time. | Caesar. Do you names. | ||
| ANTONY. Thou canst not fear us, Pompey, with thy sails; | Antony. You can't fear us, pompey, with your sails; | ||
| We'll speak with thee at sea; at land thou know'st | We will speak to you at sea; On land, you know | ||
| How much we do o'er-count thee. | How much do we do about you. | ||
| POMPEY. At land, indeed, | POMPEY. On land, indeed, | ||
| Thou dost o'er-count me of my father's house. | You organized me from my father's house. | ||
| But since the cuckoo builds not for himself, | But since the cuckoo doesn't build for itself, | ||
| Remain in't as thou mayst. | Don't stay like you Mayst. | ||
| LEPIDUS. Be pleas'd to tell us- | Lepidus. Be asked to tell us. | ||
| For this is from the present- how you take | Because this comes from the present- as you take | ||
| The offers we have sent you. | The offers we sent you. | ||
| CAESAR. There's the point. | CAESAR. There is the point. | ||
| ANTONY. Which do not be entreated to, but weigh | Antony. That are not attracted, but weigh | ||
| What it is worth embrac'd. | What it is worth hugging. | ||
| CAESAR. And what may follow, | CAESAR. And what can follow | ||
| To try a larger fortune. | Try a bigger assets. | ||
| POMPEY. You have made me offer | POMPEY. You made me offered | ||
| Of Sicily, Sardinia; and I must | Of Sicily, Sardinia; And I have to | ||
| Rid all the sea of pirates; then to send | Free the sea of the pirates; Then to send | ||
| Measures of wheat to Rome; this 'greed upon, | Wheat dimensions to Rome; These greed on, | ||
| To part with unhack'd edges and bear back | To separate and drain from the dislocated edges | ||
| Our targes undinted. | Our wrong stands unhindered. | ||
| ALL. That's our offer. | EVERYONE. That is our offer. | ||
| POMPEY. Know, then, | POMPEY. Then know then, | ||
| I came before you here a man prepar'd | I came here in front of you a man who was prepared | ||
| To take this offer; but Mark Antony | To accept this offer; But Mark Antony | ||
| Put me to some impatience. Though I lose | Place me on impatience. Although I lose | ||
| The praise of it by telling, you must know, | The praise of telling you need to know | ||
| When Caesar and your brother were at blows, | When Caesar and your brother were in blows, | ||
| Your mother came to Sicily and did find | Your mother came to Sicily and found found | ||
| Her welcome friendly. | Your welcome friendly. | ||
| ANTONY. I have heard it, Pompey, | Antony. I heard it, Pompey, | ||
| And am well studied for a liberal thanks | And I'm well studied for a liberal thank you | ||
| Which I do owe you. | What I owe you. | ||
| POMPEY. Let me have your hand. | POMPEY. Let me have your hand. | ||
| I did not think, sir, to have met you here. | I didn't think I had met her here. | ||
| ANTONY. The beds i' th' East are soft; and thanks to you, | Antony. The beds i 'the east are soft; And thanks to you | ||
| That call'd me timelier than my purpose hither; | That calls me as my purpose here; | ||
| For I have gained by't. | Because I didn't win. | ||
| CAESAR. Since I saw you last | CAESAR. Since I last saw you | ||
| There is a change upon you. | It has a change in them. | ||
| POMPEY. Well, I know not | POMPEY. well, I do not know | ||
| What counts harsh fortune casts upon my face; | What counts hard fortune that affects my face; | ||
| But in my bosom shall she never come | But it should never come in my breast | ||
| To make my heart her vassal. | To make my heart your vassal. | ||
| LEPIDUS. Well met here. | Lepidus. Gut Getroffen Hier. | ||
| POMPEY. I hope so, Lepidus. Thus we are agreed. | POMPEY. I hope it, lepidus. So we are agreed. | ||
| I crave our composition may be written, | I long for our composition can be written | ||
| And seal'd between us. | And seals between us. | ||
| CAESAR. That's the next to do. | CAESAR. This is the next. | ||
| POMPEY. We'll feast each other ere we part, and let's | POMPEY. We will attach each other before we separate and let us let us | ||
| Draw lots who shall begin. | Draw loosely that should begin. | ||
| ANTONY. That will I, Pompey. | Antony. I will, Pompey. | ||
| POMPEY. No, Antony, take the lot; | POMPEY. No, Antony, take it off; | ||
| But, first or last, your fine Egyptian cookery | But first or finally her fine Egyptian cuisine | ||
| Shall have the fame. I have heard that Julius Caesar | Should have fame. I heard this Julius Caesar | ||
| Grew fat with feasting there. | Was fat when he feast. | ||
| ANTONY. You have heard much. | Antony. You heard a lot. | ||
| POMPEY. I have fair meanings, sir. | POMPEY. I have fair meanings, sir. | ||
| ANTONY. And fair words to them. | Antony. And nice words to you. | ||
| POMPEY. Then so much have I heard; | POMPEY. Then I heard so much; | ||
| And I have heard Apollodorus carried- | And I wore Apollodorus | ||
| ENOBARBUS. No more of that! He did so. | Enobarbus. Not more! He did it. | ||
| POMPEY. What, I pray you? | POMPEY. What, I pray you? | ||
| ENOBARBUS. A certain queen to Caesar in a mattress. | Enobarbus. A certain queen in Caesar in a mattress. | ||
| POMPEY. I know thee now. How far'st thou, soldier? | POMPEY. I know you now. How far are you, soldier? | ||
| ENOBARBUS. Well; | Monobarbus. Spring; | ||
| And well am like to do, for I perceive | And well, I do it because I notice | ||
| Four feasts are toward. | Four festivals are towards. | ||
| POMPEY. Let me shake thy hand. | POMPEY. Let me shake your hand. | ||
| I never hated thee; I have seen thee fight, | I never hated you; I saw you fought | ||
| When I have envied thy behaviour. | When I envied your behavior. | ||
| ENOBARBUS. Sir, | Monobarbus. Cheese, | ||
| I never lov'd you much; but I ha' prais'd ye | I never loved you much; But I pressed you | ||
| When you have well deserv'd ten times as much | If you deserve it ten times as much | ||
| As I have said you did. | As I said, they did it. | ||
| POMPEY. Enjoy thy plainness; | POMPEY. Enjoy your plain text; | ||
| It nothing ill becomes thee. | Nothing sick gets to you. | ||
| Aboard my galley I invite you all. | I invite you all on board my gallery. | ||
| Will you lead, lords? | Will you lead lords? | ||
| ALL. Show's the way, sir. | EVERYONE. Show is the way, sir. | ||
| POMPEY. Come. Exeunt all but ENOBARBUS and MENAS | Pompey. Come. Leave all except Enobarbus and Menas | ||
| MENAS. [Aside] Thy father, Pompey, would ne'er have made this | Menas. [Next to] your father, Pompeius, wouldn't have done that | ||
| treaty.- You and I have known, sir. | Contract- you and I knew it, sir. | ||
| ENOBARBUS. At sea, I think. | Enobarbus. I think at sea. | ||
| MENAS. We have, sir. | Menas. We have, sir. | ||
| ENOBARBUS. You have done well by water. | Enobarbus. They made themselves well through water. | ||
| MENAS. And you by land. | Menas. And you on land. | ||
| ENOBARBUS. I Will praise any man that will praise me; though it | Enobarbus. I will praise every man who will praise me; although it | ||
| cannot be denied what I have done by land. | Can not be denied what I did through land. | ||
| MENAS. Nor what I have done by water. | Menas. Whatever I did through water. | ||
| ENOBARBUS. Yes, something you can deny for your own safety: you | Enobarbus. Yes, something you can deny for your own security: you | ||
| have been a great thief by sea. | I was a big thief on the sea route. | ||
| MENAS. And you by land. | Menas. And you on land. | ||
| ENOBARBUS. There I deny my land service. But give me your hand, | Enobarbus. There I deny my country service. But give me your hand | ||
| Menas; if our eyes had authority, here they might take two | Menas; If our eyes had authority, you could take two here | ||
| thieves kissing. | Thieves kiss. | ||
| MENAS. All men's faces are true, whatsome'er their hands are. | Menas. All faces of the men are true, what are their hands. | ||
| ENOBARBUS. But there is never a fair woman has a true face. | Enobarbus. But there is never a beautiful woman who has a real face. | ||
| MENAS. No slander: they steal hearts. | Menas. No defamation: you steal hearts. | ||
| ENOBARBUS. We came hither to fight with you. | Enobarbus. We came here to fight with you. | ||
| MENAS. For my part, I am sorry it is turn'd to a drinking. | Menas. I'm sorry that it will drink. | ||
| Pompey doth this day laugh away his fortune. | Pompey makes his fortune away this day. | ||
| ENOBARBUS. If he do, sure he cannot weep't back again. | Enobarbus. If he does it, he certainly can't return. | ||
| MENAS. Y'have said, sir. We look'd not for Mark Antony here. | Menas. You said Sir. We don't look at Mark Antony here. | ||
| Pray | Pray | ||
| you, is he married to Cleopatra? | You, is he married to Cleopatra? | ||
| ENOBARBUS. Caesar' sister is call'd Octavia. | Monobarbus. Caesar 'sister is called Octavia. | ||
| MENAS. True, sir; she was the wife of Caius Marcellus. | Menas. Right, sir; She was the woman of Caius Marcellus. | ||
| ENOBARBUS. But she is now the wife of Marcus Antonius. | Enobarbus. But she is now the wife of Marcus Antonius. | ||
| MENAS. Pray ye, sir? | Art. Pray you, sir? | ||
| ENOBARBUS. 'Tis true. | Monobarbus. It's true. | ||
| MENAS. Then is Caesar and he for ever knit together. | Menas. Then Caesar and he knitted together forever. | ||
| ENOBARBUS. If I were bound to divine of this unity, I would not | Enobarbus. If I were divine to this unit, I would not | ||
| prophesy so. | Prophecy so. | ||
| MENAS. I think the policy of that purpose made more in the | Menas. I think the politics of this purpose has done more in that | ||
| marriage | marriage | ||
| than the love of the parties. | than the love of the parties. | ||
| ENOBARBUS. I think so too. But you shall find the band that | Enobarbus. I agree. But you will find the band that | ||
| seems | seems | ||
| to tie their friendship together will be the very strangler | Bind their friendship together, the fragler will be | ||
| of | from | ||
| their amity: Octavia is of a holy, cold, and still | Your amity: Octavia is sacred, cold and still | ||
| conversation. | Conversation. | ||
| MENAS. Who would not have his wife so? | Menas. Who wouldn't have his wife like that? | ||
| ENOBARBUS. Not he that himself is not so; which is Mark Antony. | Enobarbus. Not he that he is not like that; This is Mark Antony. | ||
| He | Is | ||
| will to his Egyptian dish again; then shall the sighs of | Will again to his Egyptian court; Then the sighs of | ||
| Octavia | Octavia | ||
| blow the fire up in Caesar, and, as I said before, that which | Blow the fire in Caesar in the air and, as I said, what what | ||
| is | is | ||
| the strength of their amity shall prove the immediate author | The strength of her amity proves the immediate author | ||
| of | from | ||
| their variance. Antony will use his affection where it is; he | Your variance. Antony will use his affection where it is; he | ||
| married but his occasion here. | Married, but his opportunity here. | ||
| MENAS. And thus it may be. Come, sir, will you aboard? I have a | Menas. And so it can be. Come on, sir, will you be on board? I have a | ||
| health for you. | Health for you. | ||
| ENOBARBUS. I shall take it, sir. We have us'd our throats in | Enobarbus. I'll take it, sir. We have our throat in | ||
| Egypt. | Egypt. | ||
| MENAS. Come, let's away. Exeunt | Menas. Come on go tos. Output | ||
| ACT_2|SC_7 | ACT_2 | SC_7 | ||
| SCENE VII. | Hears VII. | ||
| On board POMPEY'S galley, off Misenum | On board Pompey Gallener, outside the miserum | ||
| Music plays. Enter two or three SERVANTS with a banquet | Music plays. Enter two or three employees with a banquet | ||
| FIRST SERVANT. Here they'll be, man. Some o' their plants are | First servant. You will be here, man. Some are their plants | ||
| ill-rooted already; the least wind i' th' world will blow | already badly rooted; The slightest wind that I 'the world "is blowing | ||
| them | she | ||
| down. | Low. | ||
| SECOND SERVANT. Lepidus is high-colour'd. | Second servant. Lepidus is highly colored. | ||
| FIRST SERVANT. They have made him drink alms-drink. | First servant. You made it to drink alms. | ||
| SECOND SERVANT. As they pinch one another by the disposition, | Second servant. How they pinch each other through the disposition, | ||
| he | is | ||
| cries out 'No more!'; reconciles them to his entreaty and | screams 'no more!'; reconciled with his planned and | ||
| himself | even | ||
| to th' drink. | to the drink. | ||
| FIRST SERVANT. But it raises the greater war between him and | First servant. But it brings the major war between him and on | ||
| his | his | ||
| discretion. | Discretion. | ||
| SECOND SERVANT. Why, this it is to have a name in great men's | Second servant. This is to have a name in great men | ||
| fellowship. I had as lief have a reed that will do me no | Community. I had a reeds that will make me no | ||
| service | Service | ||
| as a partizan I could not heave. | I couldn't lift myself as partizan. | ||
| FIRST SERVANT. To be call'd into a huge sphere, and not to be | First servant. To be called in a huge sphere and not to be | ||
| seen | seen | ||
| to move in't, are the holes where eyes should be, which | Do not move are the holes where the eyes should be, which | ||
| pitifully | miserably | ||
| disaster the cheeks. | Catastrophe the cheeks. | ||
| A sennet sounded. Enter CAESAR, ANTONY, LEPIDUS, | A SENNET sounded. Enter Caesar, Antony, Lepidus | ||
| POMPEY, AGRIPPA, MAECENAS, ENOBARBUS, MENAS, | Pompey, Agrippa, Maecenas, Enobarbus, Manas, | ||
| with other CAPTAINS | With other captains | ||
| ANTONY. [To CAESAR] Thus do they, sir: they take the flow o' | Antony. [To Caesar] So do you, Sir: You take the river o ' | ||
| th' | th ' | ||
| Nile | Nil | ||
| By certain scales i' th' pyramid; they know | Through certain scales I am the pyramid; you know | ||
| By th' height, the lowness, or the mean, if dearth | Due to the height, the depth or the mean, albeit deficiency | ||
| Or foison follow. The higher Nilus swells | Or follow foison. The higher nilus swells | ||
| The more it promises; as it ebbs, the seedsman | The more it promises; Like Ebbs, the Samensmann | ||
| Upon the slime and ooze scatters his grain, | His grain scattered on the mucus and Ooze, | ||
| And shortly comes to harvest. | And shortly to harvest. | ||
| LEPIDUS. Y'have strange serpents there. | Lepidus. You have strange snakes there. | ||
| ANTONY. Ay, Lepidus. | Reason. Is glamorous. | ||
| LEPIDUS. Your serpent of Egypt is bred now of your mud by the | Lepidus. Your snake Egypt is now bred by her mud | ||
| operation of your sun; so is your crocodile. | Operation of your sun; So is your crocodile. | ||
| ANTONY. They are so. | Antony. You are so. | ||
| POMPEY. Sit- and some wine! A health to Lepidus! | POMPEY. Sit and some wine! A health to Lepidus! | ||
| LEPIDUS. I am not so well as I should be, but I'll ne'er out. | Lepidus. I'm not as good as I should be, but I won't get it out. | ||
| ENOBARBUS. Not till you have slept. I fear me you'll be in till | Enobarbus. Not until you slept. I'm afraid you will be in Till | ||
| then. | then. | ||
| LEPIDUS. Nay, certainly, I have heard the Ptolemies' pyramises | Lepidus. No, sure, 1 heard the Ptolemies Pyramises | ||
| are | are | ||
| very goodly things. Without contradiction I have heard that. | Very good things. I heard that without contradiction. | ||
| MENAS. [Aside to POMPEY] Pompey, a word. | Menas. [Apart from Pompey] Pompey, a word. | ||
| POMPEY. [Aside to MENAS] Say in mine ear; what is't? | POMPEY. [Apart from Menas] they say in my ear; What is T? | ||
| MENAS. [Aside to POMPEY] Forsake thy seat, I do beseech thee, | Menas. [Apart from pompei | ||
| Captain, | Captain, | ||
| And hear me speak a word. | And hear me a word. | ||
| POMPEY. [ Whispers in's ear ] Forbear me till anon- | POMPEY. [Whispers in ear] after me to the anon | ||
| This wine for Lepidus! | This wine for lepidus! | ||
| LEPIDUS. What manner o' thing is your crocodile? | Lepidus. How is your crocodile? | ||
| ANTONY. It is shap'd, sir, like itself, and it is as broad as | Antony. It's form'd, sir, like yourself, and it's as wide as | ||
| it | it is | ||
| hath breadth; it is just so high as it is, and moves with it | Has width; It's just as high as it is and moves with it | ||
| own | own | ||
| organs. It lives by that which nourisheth it, and the | Organs. It lives after what it feeds and that | ||
| elements | elements | ||
| once out of it, it transmigrates. | As soon as it came out of it, it wanders. | ||
| LEPIDUS. What colour is it of? | Lepidus. Welche FARBE HAT are you? | ||
| ANTONY. Of it own colour too. | Antony. Of his own color too. | ||
| LEPIDUS. 'Tis a strange serpent. | Lepidus. "Tie a strange snake. | ||
| ANTONY. 'Tis so. And the tears of it are wet. | Antony. It is so. And the tears of it are wet. | ||
| CAESAR. Will this description satisfy him? | CAESAR. Will this description satisfy him? | ||
| ANTONY. With the health that Pompey gives him, else he is a | Antony. With the health that Pompey gives him, he is otherwise a | ||
| very | very | ||
| epicure. | Connoisseur. | ||
| POMPEY. [Aside to MENAS] Go, hang, sir, hang! Tell me of that! | POMPEY. [Next to menas] go, hang, sir, hang! Tell me about it! | ||
| Away! | A way! | ||
| Do as I bid you.- Where's this cup I call'd for? | Do how I give you. Where is this cup for which I call? | ||
| MENAS. [Aside to POMPEY] If for the sake of merit thou wilt | Menas. [Apart from pompei | ||
| hear | Listen | ||
| me, | me, | ||
| Rise from thy stool. | Increase from your chair. | ||
| POMPEY. [Aside to MENAS] I think th'art mad. [Rises and walks | POMPEY. [Apart from Menas] I think that's crazy. [Rises and walks | ||
| aside] The matter? | aside] the thing? | ||
| MENAS. I have ever held my cap off to thy fortunes. | Menas. I have ever kept my cap in your fortune. | ||
| POMPEY. Thou hast serv'd me with much faith. What's else to | POMPEY. You gave me a lot of faith. What else is too? | ||
| say?- | to say?- | ||
| Be jolly, lords. | Be funny, gentlemen. | ||
| ANTONY. These quicksands, Lepidus, | Antony. Diese Quicksands, Lepidus, | ||
| Keep off them, for you sink. | Keep them from them because they sink. | ||
| MENAS. Wilt thou be lord of all the world? | Menas. Do you want to be master of the whole world? | ||
| POMPEY. What say'st thou? | POMPEY. What are you saying? | ||
| MENAS. Wilt thou be lord of the whole world? That's twice. | Menas. Do you want to be master of the whole world? That is twice. | ||
| POMPEY. How should that be? | POMPEY. How should that be? | ||
| MENAS. But entertain it, | Menas. But entertain, | ||
| And though you think me poor, I am the man | And although you think I think it's poor, I'm the man | ||
| Will give thee all the world. | Will give you the whole world. | ||
| POMPEY. Hast thou drunk well? | POMPEY. Did you get well drunk? | ||
| MENAS. No, Pompey, I have kept me from the cup. | Menas. No, Pompey, I kept myself from the cup. | ||
| Thou art, if thou dar'st be, the earthly Jove; | You are when you are the earthly jove; | ||
| Whate'er the ocean pales or sky inclips | What fades the ocean or sky included | ||
| Is thine, if thou wilt ha't. | Is your if you haven't had. | ||
| POMPEY. Show me which way. | POMPEY. Show me which way. | ||
| MENAS. These three world-sharers, these competitors, | Menas. These three world patterns, these competitors, | ||
| Are in thy vessel. Let me cut the cable; | Are in your ship. Let me cut the cable; | ||
| And when we are put off, fall to their throats. | And when we are moved, they fall into their throat. | ||
| All there is thine. | Everything is yours. | ||
| POMPEY. Ah, this thou shouldst have done, | POMPEY. Ah, you should have done that | ||
| And not have spoke on't. In me 'tis villainy: | And didn't talk about it. In me it is angry: | ||
| In thee't had been good service. Thou must know | There was not a good service in you. You must know | ||
| Tis not my profit that does lead mine honour: | It is not my profit that leads my honor: | ||
| Mine honour, it. Repent that e'er thy tongue | My honor, it. Regret what your tongue has experienced | ||
| Hath so betray'd thine act. Being done unknown, | Has revealed your action. To be made unknown, | ||
| I should have found it afterwards well done, | I should have done it well afterwards | ||
| But must condemn it now. Desist, and drink. | But now has to condemn it. Desist and drink. | ||
| MENAS. [Aside] For this, | Menas. [Aside] for | ||
| I'll never follow thy pall'd fortunes more. | I will never follow you again. | ||
| Who seeks, and will not take when once 'tis offer'd, | Who is looking for and will not take it if it is offered | ||
| Shall never find it more. | Should never find it anymore. | ||
| POMPEY. This health to Lepidus! | POMPEY. This health to Lepidus! | ||
| ANTONY. Bear him ashore. I'll pledge it for him, Pompey. | Antony. Retfite him on land. I will promise it for him, Pompey. | ||
| ENOBARBUS. Here's to thee, Menas! | Monobarbus. Here you are, menas! | ||
| MENAS. Enobarbus, welcome! | Menas. Enobarbus, Welcome! | ||
| POMPEY. Fill till the cup be hid. | POMPEY. Fill until the cup is hidden. | ||
| ENOBARBUS. There's a strong fellow, Menas. | Enobarbus. There is a strong guy, menas. | ||
| [Pointing to the servant who carries off LEPIDUS] | [Reference to the servant who breaks off lepidus] | ||
| MENAS. Why? | Menas. Why? | ||
| ENOBARBUS. 'A bears the third part of the world, man; see'st | Enobarbus. 'A Bärt the third part of the world, man; Can you see it | ||
| not? | Not? | ||
| MENAS. The third part, then, is drunk. Would it were all, | Menas. So the third part is drunk. Would it be all | ||
| That it might go on wheels! | That it could go on wheels! | ||
| ENOBARBUS. Drink thou; increase the reels. | Enobarbus. Drink you; Increase the roles. | ||
| MENAS. Come. | Menas. Essen. | ||
| POMPEY. This is not yet an Alexandrian feast. | POMPEY. This is not yet Alexandrian. | ||
| ANTONY. It ripens towards it. Strike the vessels, ho! | Antony. It rubs on it. Beat the ships, Ho! | ||
| Here's to Caesar! | Here is Caesar! | ||
| CAESAR. I could well forbear't. | CAESAR. I couldn't practice it. | ||
| It's monstrous labour when I wash my brain | It's monstrous work when I wash my brain | ||
| And it grows fouler. | And fouls grow. | ||
| ANTONY. Be a child o' th' time. | Antony. Be a child of the time. | ||
| CAESAR. Possess it, I'll make answer. | CAESAR. I have it, I'll answer. | ||
| But I had rather fast from all four days | But I had pretty quickly from all four days | ||
| Than drink so much in one. | Than drinking in one. | ||
| ENOBARBUS. [To ANTONY] Ha, my brave emperor! | Enobarbus. [To Antony] Ha, my brave emperor! | ||
| Shall we dance now the Egyptian Bacchanals | Should we dance the Egyptian Bacchanals now? | ||
| And celebrate our drink? | And celebrate our drink? | ||
| POMPEY. Let's ha't, good soldier. | POMPEY. Don't let us, good soldier. | ||
| ANTONY. Come, let's all take hands, | Antony. Come on, let's take my hands | ||
| Till that the conquering wine hath steep'd our sense | Up to the conquering wine has penetrated our meaning | ||
| In soft and delicate Lethe. | In soft and delicate Lethe. | ||
| ENOBARBUS. All take hands. | Enobarbus. Everyone takes their hands. | ||
| Make battery to our ears with the loud music, | Make the battery into our ears with the loud music, | ||
| The while I'll place you; then the boy shall sing; | I will place you time; Then the boy will sing; | ||
| The holding every man shall bear as loud | The holding every man will endure so loudly | ||
| As his strong sides can volley. | Like his strong sides volley. | ||
| [Music plays. ENOBARBUS places them hand in hand] | [Music plays. Enobarbus puts it hand in hand] | ||
| THE SONG | THE SONG | ||
| Come, thou monarch of the vine, | Come on, you monarch of the vine, | ||
| Plumpy Bacchus with pink eyne! | Plumpy Bacchus Mit rosa eyne! | ||
| In thy fats our cares be drown'd, | In your fats, our worries are drowned, | ||
| With thy grapes our hairs be crown'd. | Our hair is crowned with your grapes. | ||
| Cup us till the world go round, | Cup us until the world goes around, | ||
| Cup us till the world go round! | Cup us until the world goes around! | ||
| CAESAR. What would you more? Pompey, good night. Good brother, | CAESAR. What would you more? Pompey, good night. Good brother, | ||
| Let me request you off; our graver business | Let me ask me; Our gray business | ||
| Frowns at this levity. Gentle lords, let's part; | Frown with this ease. Gentle gentlemen, let's participate; | ||
| You see we have burnt our cheeks. Strong Enobarb | You see we burned our cheeks. Strong enobarb | ||
| Is weaker than the wine, and mine own tongue | Is weaker than the wine and my own tongue | ||
| Splits what it speaks. The wild disguise hath almost | Split what it speaks. The wild cladding almost has | ||
| Antick'd us all. What needs more words? Good night. | Anticke us all. What does more words need? Good night. | ||
| Good Antony, your hand. | Good Antonie, your hand. | ||
| POMPEY. I'll try you on the shore. | POMPEY. I will try you on the bank. | ||
| ANTONY. And shall, sir. Give's your hand. | Antony. And should, sir. Give your hand. | ||
| POMPEY. O Antony, | Pompey. O Antony, | ||
| You have my father's house- but what? We are friends. | You have my father's house but what? We are friends. | ||
| Come, down into the boat. | Come on, down on board. | ||
| ENOBARBUS. Take heed you fall not. | Enobarbus. Note that you don't fall. | ||
| Exeunt all but ENOBARBUS and MENAS | Leave all except Enobarbus and Menas | ||
| Menas, I'll not on shore. | Menas, I'm not going ashore. | ||
| MENAS. No, to my cabin. | Menas. No, to my cabin. | ||
| These drums! these trumpets, flutes! what! | These drums! These trumpets, flute! What! | ||
| Let Neptune hear we bid a loud farewell | Let Neptune hear that we offer a loud farewell | ||
| To these great fellows. Sound and be hang'd, sound out! | To these big people. Sound and hanging, sound! | ||
| [Sound a flourish, with drums] | [Sound a blooming, with drums] | ||
| ENOBARBUS. Hoo! says 'a. There's my cap. | Enobarbus. Hoo! says' a. There is my cap. | ||
| MENAS. Hoo! Noble Captain, come. Exeunt | Menas. Hoo! Noble captain, come. Exit | ||
| ACT_3|SC_1 | ACT_3 | SC_1 | ||
| ACT III. SCENE I. | ACT III. Sente I. | ||
| A plain in Syria | A level in Syria | ||
| Enter VENTIDIUS, as it were in triumph, with SILIUS | Enter ventidius, as it was in the triumph, with Silius | ||
| and other Romans, OFFICERS and soldiers; the dead body | and other Romans, officers and soldiers; the corpse | ||
| of PACORUS borne before him | From Pacorus who was worn in front of him | ||
| VENTIDIUS. Now, darting Parthia, art thou struck, and now | Ventidius. Now, Parthia, you are beaten and now | ||
| Pleas'd fortune does of Marcus Crassus' death | Ask for assets of Marcus Crassus' death | ||
| Make me revenger. Bear the King's son's body | Make me implemented. Wear the son of the son of the son | ||
| Before our army. Thy Pacorus, Orodes, | In front of our army. Your pacorus, orodes, | ||
| Pays this for Marcus Crassus. | Pays this for Marcus Crassus. | ||
| SILIUS. Noble Ventidius, | Silius. Noble ventidius | ||
| Whilst yet with Parthian blood thy sword is warm | While your sword is still warm with parthical blood | ||
| The fugitive Parthians follow; spur through Media, | The fleeting Parthians follow; Sporn through the media, | ||
| Mesopotamia, and the shelters whither | Mesopotamia and the accommodations where to | ||
| The routed fly. So thy grand captain, Antony, | The Routed Fly. So your big captain, Antony, | ||
| Shall set thee on triumphant chariots and | Should you rely on triumphant characters and | ||
| Put garlands on thy head. | Place the garlands on your head. | ||
| VENTIDIUS. O Silius, Silius, | Ventidius. Oh silius | ||
| I have done enough. A lower place, note well, | I did enough. A lower location, note well, | ||
| May make too great an act; for learn this, Silius: | Can be too big for an action; For learning, Silius: | ||
| Better to leave undone than by our deed | To undo better than through our deed | ||
| Acquire too high a fame when him we serve's away. | Acquire too high fame if it serves when we serve. | ||
| Caesar and Antony have ever won | Caesar and Antony have ever won | ||
| More in their officer, than person. Sossius, | More in your officer as a person. Sossius, | ||
| One of my place in Syria, his lieutenant, | One of my place in Syria, his lieutenant, | ||
| For quick accumulation of renown, | For a quick accumulation of awareness, | ||
| Which he achiev'd by th' minute, lost his favour. | What he had achieved through the minute lost his favor. | ||
| Who does i' th' wars more than his captain can | Who do I do more than his captain than his captain can? | ||
| Becomes his captain's captain; and ambition, | Becomes the captain of his captain; and ambition, | ||
| The soldier's virtue, rather makes choice of loss | Rather, the virtue of the soldier makes the choice of loss | ||
| Than gain which darkens him. | To win what darkens him. | ||
| I could do more to do Antonius good, | I could do more to make Antonius well | ||
| But 'twould offend him; and in his offence | But 'would insult him; And in his offense | ||
| Should my performance perish. | Should my performance perish. | ||
| SILIUS. Thou hast, Ventidius, that | Silius. Du Hast, Ventidius, Das | ||
| Without the which a soldier and his sword | Without the one soldier and his sword | ||
| Grants scarce distinction. Thou wilt write to Antony? | Grants rare distinction. Do you want to write Antony? | ||
| VENTIDIUS. I'll humbly signify what in his name, | Ventidius. I will humbly mean what in his name, | ||
| That magical word of war, we have effected; | We influenced this magical war word; | ||
| How, with his banners, and his well-paid ranks, | How, with his banners and his well -paid rows, | ||
| The ne'er-yet-beaten horse of Parthia | The ne'er-adeted horse of Parthi | ||
| We have jaded out o' th' field. | We equipped the field. | ||
| SILIUS. Where is he now? | Silius. Where is he now? | ||
| VENTIDIUS. He purposeth to Athens; whither, with what haste | Ventidius. He aims to Athens; Where to, with what hurry | ||
| The weight we must convey with's will permit, | The weight we have to convey with the will allow it | ||
| We shall appear before him.- On, there; pass along. | We will appear before him. pass on. | ||
| Exeunt | Exit | ||
| ACT_3|SC_2 | ACT_3 | SC_2 | ||
| SCENE II. Rome. CAESAR'S house | Scene II. Rome. Caesar's house | ||
| Enter AGRIPPA at one door, ENOBARBUS at another | Enter Agrippa on a door, Enobarbus in another | ||
| AGRIPPA. What, are the brothers parted? | Agrippa. What are the brothers separated? | ||
| ENOBARBUS. They have dispatch'd with Pompey; he is gone; | Enobarbus. You sent with Pompey; He is gone; | ||
| The other three are sealing. Octavia weeps | The other three are sealed. Octavia cry | ||
| To part from Rome; Caesar is sad; and Lepidus, | To separate from Rome; Caesar is sad; and Lepidus, | ||
| Since Pompey's feast, as Menas says, is troubled | As Menas says, since Pompey has been disturbed | ||
| With the green sickness. | With the green illness. | ||
| AGRIPPA. 'Tis a noble Lepidus. | Agrippa. "Bind a noble glamorous. | ||
| ENOBARBUS. A very fine one. O, how he loves Caesar! | Enobarbus. A very fine. Oh, as he loves Caesar! | ||
| AGRIPPA. Nay, but how dearly he adores Mark Antony! | Agrippa. No, but how much he loves Mark Antony! | ||
| ENOBARBUS. Caesar? Why he's the Jupiter of men. | Enobarbus. Caesar? Why he is the Jupiter of men. | ||
| AGRIPPA. What's Antony? The god of Jupiter. | Agrippa. What is Antony? The god of Jupiter. | ||
| ENOBARBUS. Spake you of Caesar? How! the nonpareil! | Enobarbus. Saving you from Caesar? As! The not -parking! | ||
| AGRIPPA. O, Antony! O thou Arabian bird! | Agrippa. O, Antony! O you Arab bird! | ||
| ENOBARBUS. Would you praise Caesar, say 'Caesar'- go no | Enobarbus. If you would praise Caesar, say 'Caesar' go no | ||
| further. | In addition. | ||
| AGRIPPA. Indeed, he plied them both with excellent praises. | Agrippa. In fact, he praised both with excellent praise. | ||
| ENOBARBUS. But he loves Caesar best. Yet he loves Antony. | Enobarbus. But he loves Caesar best. But he loves Antony. | ||
| Hoo! hearts, tongues, figures, scribes, bards, poets, cannot | Hoo! Hearts, tongues, figures, scribes, bard, poet, cannot | ||
| Think, speak, cast, write, sing, number- hoo!- | Think, speak, throw, write, sing, number hoo!-- | ||
| His love to Antony. But as for Caesar, | His love for Antony. But what Caesar, | ||
| Kneel down, kneel down, and wonder. | Known you down, kneel down and wonder. | ||
| AGRIPPA. Both he loves. | Agrippa. He loves both. | ||
| ENOBARBUS. They are his shards, and he their beetle. [Trumpets | Enobarbus. You are his broken glass and he is your beetle. [Trumpets | ||
| within] So- | within] so- | ||
| This is to horse. Adieu, noble Agrippa. | This is on horseback. Adieu, Noble Agrippa. | ||
| AGRIPPA. Good fortune, worthy soldier, and farewell. | Agrippa. Happiness, worthy soldier and farewell. | ||
| Enter CAESAR, ANTONY, LEPIDUS, and OCTAVIA | Betreten Sie Caesar, Antony, Lepidus und Octavia | ||
| ANTONY. No further, sir. | Antony. No, further, sir. | ||
| CAESAR. You take from me a great part of myself; | CAESAR. You take a large part of myself; | ||
| Use me well in't. Sister, prove such a wife | Do not use me well. Sister, they prove such a woman | ||
| As my thoughts make thee, and as my farthest band | How my thoughts make you and as mine the most | ||
| Shall pass on thy approof. Most noble Antony, | Should pass on your approach. The noblest Antony, | ||
| Let not the piece of virtue which is set | Don't let the piece of virtue that is set | ||
| Betwixt us as the cement of our love | Between us as a cement of our love | ||
| To keep it builded be the ram to batter | To keep it built, the RAM is to the dough | ||
| The fortress of it; for better might we | The fortress; We could do better | ||
| Have lov'd without this mean, if on both parts | Have loved without this mean if in both parts | ||
| This be not cherish'd. | That is not appreciated. | ||
| ANTONY. Make me not offended | Antony. Do not insult me | ||
| In your distrust. | In your distrust. | ||
| CAESAR. I have said. | CAESAR. I have said. | ||
| ANTONY. You shall not find, | Antony. You shouldn't find | ||
| Though you be therein curious, the least cause | Although they are curious there, the slightest cause | ||
| For what you seem to fear. So the gods keep you, | For what you seem to fear. So the gods hold you | ||
| And make the hearts of Romans serve your ends! | And let the hearts of the Romans serve their goals! | ||
| We will here part. | We will take part here. | ||
| CAESAR. Farewell, my dearest sister, fare thee well. | CAESAR. Farewell, my favorite sister, it's good for you. | ||
| The elements be kind to thee and make | The elements are friendly to you and do | ||
| Thy spirits all of comfort! Fare thee well. | Your ghosts all comfort! Live well. | ||
| OCTAVIA. My noble brother! | Octavia. My noble brother! | ||
| ANTONY. The April's in her eyes. It is love's spring, | Antony. April is in their eyes. It is the spring of love | ||
| And these the showers to bring it on. Be cheerful. | And this the showers that should attract it. Be happy. | ||
| OCTAVIA. Sir, look well to my husband's house; and- | Octavia. Sir, look good to my husband's house; and- | ||
| CAESAR. What, Octavia? | CAESAR. Was, Octavia? | ||
| OCTAVIA. I'll tell you in your ear. | Octavia. I'll tell you in your ear. | ||
| ANTONY. Her tongue will not obey her heart, nor can | Antony. Your tongue will neither obey your heart, nor can it | ||
| Her heart inform her tongue- the swan's down feather, | Your heart informs her tongue- the swanish feather, | ||
| That stands upon the swell at the full of tide, | That is on the swelling full of flood, | ||
| And neither way inclines. | And neither the path is leaning. | ||
| ENOBARBUS. [Aside to AGRIPPA] Will Caesar weep? | Enobarbus. [In addition to Agrippa] Will Caesar cry? | ||
| AGRIPPA. [Aside to ENOBARBUS] He has a cloud in's face. | Agrippa. [Apart from Enobarbus] He has a cloud on his face. | ||
| ENOBARBUS. [Aside to AGRIPPA] He were the worse for that, were | Enobarbus. [Apart from Agrippa] he was worse for it, were | ||
| he a | is a | ||
| horse; | Horse; | ||
| So is he, being a man. | So he is to be a man. | ||
| AGRIPPA. [Aside to ENOBARBUS] Why, Enobarbus, | Agrippa. [Apart from monobarbus] why, monobarbus, | ||
| When Antony found Julius Caesar dead, | Als Antony Julius Caesar Tot Fand, | ||
| He cried almost to roaring; and he wept | He almost cried to roar; And he cried | ||
| When at Philippi he found Brutus slain. | When he was in Philippi, he found Brutus killed. | ||
| ENOBARBUS. [Aside to AGRIPPA] That year, indeed, he was | Enobarbus. [Apart from Agrippa] this year he was indeed, he was | ||
| troubled | troubled | ||
| with a rheum; | With a rheum; | ||
| What willingly he did confound he wail'd, | He stole what was willingly confused | ||
| Believe't- till I weep too. | Do not believe until I am also wines. | ||
| CAESAR. No, sweet Octavia, | CAESAR. No, sweet octavia, | ||
| You shall hear from me still; the time shall not | You should still hear from me; Time must not | ||
| Out-go my thinking on you. | I overlook my thinking to you. | ||
| ANTONY. Come, sir, come; | Antony. Come, sir, come; | ||
| I'll wrestle with you in my strength of love. | I will wrestle with you in my strength of love. | ||
| Look, here I have you; thus I let you go, | Look here I have you here; So I let you go | ||
| And give you to the gods. | And give yourself the gods. | ||
| CAESAR. Adieu; be happy! | CAESAR. Adieu; be happy! | ||
| LEPIDUS. Let all the number of the stars give light | Lepidus. Let the number of stars give light | ||
| To thy fair way! | To your fair way! | ||
| CAESAR. Farewell, farewell! [Kisses OCTAVIA] | CAESAR. Farewell, farewell! [Kisses Octavia] | ||
| ANTONY. Farewell! Trumpets sound. Exeunt | Antony. Taking leave! Trumpets sound. Exeunt | ||
| ACT_3|SC_3 | ACT_3 | SC_3 | ||
| SCENE III. | Scene III. | ||
| Alexandria. CLEOPATRA'S palace | Alexandria. Cleopatras Palast | ||
| Enter CLEOPATRA, CHARMIAN, IRAS, and ALEXAS | Enter Cleopatra, Charmian, Iras and Alexas | ||
| CLEOPATRA. Where is the fellow? | CLEOPATRA. Where is the guy? | ||
| ALEXAS. Half afeard to come. | Alexas. Half up to come. | ||
| CLEOPATRA. Go to, go to. | CLEOPATRA. Go to. | ||
| Enter the MESSENGER as before | Enter the messengers as before | ||
| Come hither, sir. | Come here, sir. | ||
| ALEXAS. Good Majesty, | Alex. Good majesty, | ||
| Herod of Jewry dare not look upon you | Herod of Jews don't dare to look at you | ||
| But when you are well pleas'd. | But if you are fine. | ||
| CLEOPATRA. That Herod's head | CLEOPATRA. The head of this herod | ||
| I'll have. But how, when Antony is gone, | I will have. But how when Antony is gone | ||
| Through whom I might command it? Come thou near. | Who could I order? Come on, you're nearby. | ||
| MESSENGER. Most gracious Majesty! | DELIVERY BOY. The most gracious majesty! | ||
| CLEOPATRA. Didst thou behold Octavia? | CLEOPATRA. Did you see Octavia? | ||
| MESSENGER. Ay, dread Queen. | Delivery Boy. Ay, Fear Queen. | ||
| CLEOPATRA. Where? | CLEOPATRA. Where? | ||
| MESSENGER. Madam, in Rome | BOTE. Madam in Rom | ||
| I look'd her in the face, and saw her led | I looked her in the face and saw her guided | ||
| Between her brother and Mark Antony. | Between their brother and Mark Antony. | ||
| CLEOPATRA. Is she as tall as me? | CLEOPATRA. Is it as big as me? | ||
| MESSENGER. She is not, madam. | DELIVERY BOY. She is not, woman. | ||
| CLEOPATRA. Didst hear her speak? Is she shrill-tongu'd or low? | CLEOPATRA. Did she hear her speaking? Is it shrill or low? | ||
| MESSENGER. Madam, I heard her speak: she is low-voic'd. | DELIVERY BOY. Madam, I heard you speak: she is low-voic'd. | ||
| CLEOPATRA. That's not so good. He cannot like her long. | CLEOPATRA. It's not that good. He can't like it for long. | ||
| CHARMIAN. Like her? O Isis! 'tis impossible. | Charmian. As? O isis! It is impossible. | ||
| CLEOPATRA. I think so, Charmian. Dull of tongue and dwarfish! | CLEOPATRA. I think so, charmian. Stump of tongue and dwarfs! | ||
| What majesty is in her gait? Remember, | Which majesty is in your gang? Remember | ||
| If e'er thou look'dst on majesty. | If you look at Majesty. | ||
| MESSENGER. She creeps. | DELIVERY BOY. She crawls. | ||
| Her motion and her station are as one; | Your movement and your station are one; | ||
| She shows a body rather than a life, | It shows more of a body than a life | ||
| A statue than a breather. | A statue as a breather. | ||
| CLEOPATRA. Is this certain? | CLEOPATRA. Is that safe? | ||
| MESSENGER. Or I have no observance. | DELIVERY BOY. Or I have no compliance. | ||
| CHARMIAN. Three in Egypt | Charmian. Three in Egypt | ||
| Cannot make better note. | Can't make a better note. | ||
| CLEOPATRA. He's very knowing; | CLEOPATRA. He knows very much; | ||
| I do perceive't. There's nothing in her yet. | I don't notice. There is nothing in her yet. | ||
| The fellow has good judgment. | The guy has a good judgment. | ||
| CHARMIAN. Excellent. | Charmian. Excellent. | ||
| CLEOPATRA. Guess at her years, I prithee. | CLEOPATRA. I think I have Prithee in their years. | ||
| MESSENGER. Madam, | DELIVERY BOY. Madam, | ||
| She was a widow. | She was a widow. | ||
| CLEOPATRA. Widow? Charmian, hark! | CLEOPATRA. Widow? Charmian, Hark! | ||
| MESSENGER. And I do think she's thirty. | DELIVERY BOY. And I think she's thirty. | ||
| CLEOPATRA. Bear'st thou her face in mind? Is't long or round? | CLEOPATRA. The you from your wrinkles? Isn't long or round? | ||
| MESSENGER. Round even to faultiness. | DELIVERY BOY. Round even until the debt. | ||
| CLEOPATRA. For the most part, too, they are foolish that are | CLEOPATRA. For the most part they are also stupid who are | ||
| so. | Also. | ||
| Her hair, what colour? | Your hair, what color? | ||
| MESSENGER. Brown, madam; and her forehead | DELIVERY BOY. Brown, Madam; And her forehead | ||
| As low as she would wish it. | As deep as you would like it. | ||
| CLEOPATRA. There's gold for thee. | CLEOPATRA. There is gold for you. | ||
| Thou must not take my former sharpness ill. | You must not make my earlier sharpness sick. | ||
| I will employ thee back again; I find thee | I will reset you; I find you | ||
| Most fit for business. Go make thee ready; | Most suitable for business. Get ready; | ||
| Our letters are prepar'd. Exeunt MESSENGER | Our letters are prepared. Exeunt messenger | ||
| CHARMIAN. A proper man. | Charmian. A real man. | ||
| CLEOPATRA. Indeed, he is so. I repent me much | CLEOPATRA. In fact, he is like that. I regret a lot | ||
| That so I harried him. Why, methinks, by him, | I hid him. Why, from him, from him, | ||
| This creature's no such thing. | The creature is not like that. | ||
| CHARMIAN. Nothing, madam. | Charmian. Nothing, Madam. | ||
| CLEOPATRA. The man hath seen some majesty, and should know. | CLEOPATRA. The man saw a majesty and should know. | ||
| CHARMIAN. Hath he seen majesty? Isis else defend, | Charmian. Did he see majesty? Otherwise defend isis, | ||
| And serving you so long! | And serve you for so long! | ||
| CLEOPATRA. I have one thing more to ask him yet, good Charmian. | CLEOPATRA. I still have one to ask him, good charmian. | ||
| But 'tis no matter; thou shalt bring him to me | But it does not matter; You should bring him to me | ||
| Where I will write. All may be well enough. | Where I will write. Everyone can be good enough. | ||
| CHARMIAN. I warrant you, madam. Exeunt | Charmian. I guarantee you, Madam. Exit | ||
| ACT_3|SC_4 | ACT_3 | SC_4 | ||
| SCENE IV. | Feel IV. | ||
| Athens. ANTONY'S house | Athens. Antony's house | ||
| Enter ANTONY and OCTAVIA | Enter Antony and Octavia | ||
| ANTONY. Nay, nay, Octavia, not only that- | Antony. No, no, Octavia, not just that- | ||
| That were excusable, that and thousands more | That was excusable, that and thousands more | ||
| Of semblable import- but he hath wag'd | Of tempable imports- but it sparked | ||
| New wars 'gainst Pompey; made his will, and read it | New Wars' Gainst Pompey; made his will and read it | ||
| To public ear; | To the public ear; | ||
| Spoke scandy of me; when perforce he could not | Spoke Scandy of me; If the Perforce couldn't | ||
| But pay me terms of honour, cold and sickly | But pay me honor, cold and pathological | ||
| He vented them, most narrow measure lent me; | He bleed her, the closest measure gave me; | ||
| When the best hint was given him, he not took't, | When the best hint was given to him, he did not take what wasn't | ||
| Or did it from his teeth. | Or did it do it from his teeth. | ||
| OCTAVIA. O my good lord, | Octavia. O my good gentleman, | ||
| Believe not all; or if you must believe, | Do not believe everyone; Or if you have to believe | ||
| Stomach not all. A more unhappy lady, | Stomach not all. An unfortunate woman, | ||
| If this division chance, ne'er stood between, | If this division has a chance, there was a one in between, | ||
| Praying for both parts. | Pray for both parts. | ||
| The good gods will mock me presently | The good gods are currently mocking me | ||
| When I shall pray 'O, bless my lord and husband!' | When I get praying: "O, bless my Lord and my husband!" | ||
| Undo that prayer by crying out as loud | Run over this prayer by crying so loudly | ||
| O, bless my brother!' Husband win, win brother, | Oh, bless my brother! 'Win husband, win brother, | ||
| Prays, and destroys the prayer; no mid-way | Pray and destroy prayer; No middle | ||
| Twixt these extremes at all. | Twixt this extreme. | ||
| ANTONY. Gentle Octavia, | Antony. Gentle octaves, | ||
| Let your best love draw to that point which seeks | Let your best love draw up to this point that addiction | ||
| Best to preserve it. If I lose mine honour, | Best preserve. When I lose my honor | ||
| I lose myself; better I were not yours | I lose myself; I wasn't better | ||
| Than yours so branchless. But, as you requested, | As yours. But how they asked | ||
| Yourself shall go between's. The meantime, lady, | Yourself will go between it. The meantime, lady, | ||
| I'll raise the preparation of a war | I will increase the preparation of a war | ||
| Shall stain your brother. Make your soonest haste; | Should dye your brother. Make your soonest hurry; | ||
| So your desires are yours. | Your wishes are yours. | ||
| OCTAVIA. Thanks to my lord. | Octavia. Thanks to my gentleman. | ||
| The Jove of power make me, most weak, most weak, | The Jove of Power makes me the weakest, the weakest, the weakest, | ||
| Your reconciler! Wars 'twixt you twain would be | Your reconciler! War it 'twixt you would be twain | ||
| As if the world should cleave, and that slain men | As if the world should split and these slain men | ||
| Should solder up the rift. | Should solder the crack. | ||
| ANTONY. When it appears to you where this begins, | Antony. If it appears to you where this begins | ||
| Turn your displeasure that way, for our faults | Turn your displeasure in this way for our mistakes | ||
| Can never be so equal that your love | Can never be so that your love | ||
| Can equally move with them. Provide your going; | Can move with you equally. Give your way; | ||
| Choose your own company, and command what cost | Choose your own company and command what costs | ||
| Your heart has mind to. Exeunt | Then Herz has the mind. Exit | ||
| ACT_3|SC_5 | ACT_3 | SC_5 | ||
| SCENE V. | Sente V. | ||
| Athens. ANTONY'S house | Athens. Antony's house | ||
| Enter ENOBARBUS and EROS, meeting | Enter enobarbus and peanut, meet | ||
| ENOBARBUS. How now, friend Eros! | Enobarbus. Like now, friend Eros! | ||
| EROS. There's strange news come, sir. | EROS. There is strange news, sir. | ||
| ENOBARBUS. What, man? | Monobarbus. Which man? | ||
| EROS. Caesar and Lepidus have made wars upon Pompey. | Eros. Caesar and Lepidus have waged wars against Pompey. | ||
| ENOBARBUS. This is old. What is the success? | Enobarbus. That is old. What is success? | ||
| EROS. Caesar, having made use of him in the wars 'gainst | EROS. Caesar, who used him in warrior profit | ||
| Pompey, | Pompey, | ||
| presently denied him rivality, would not let him partake in | The rivalry at the moment would not let him participate | ||
| the | the | ||
| glory of the action; and not resting here, accuses him of | Fame of the action; And not here, accuses him | ||
| letters | Letters | ||
| he had formerly wrote to Pompey; upon his own appeal, seizes | He used to write to Pompey; Supplemented according to its own appeal procedure | ||
| him. | him. | ||
| So the poor third is up, till death enlarge his confine. | The poor third is therefore off until death enlarges its restriction. | ||
| ENOBARBUS. Then, world, thou hast a pair of chaps- no more; | Enobarbus. Then you no longer have a few chaps; | ||
| And throw between them all the food thou hast, | And throw between them all the food you have | ||
| They'll grind the one the other. Where's Antony? | You will grind one. Where is Antony? | ||
| EROS. He's walking in the garden- thus, and spurns | EROS. He goes into the garden and smeared | ||
| The rush that lies before him; cries 'Fool Lepidus!' | The rush lying in front of him; cry 'fool lepidus!' | ||
| And threats the throat of that his officer | And threatens the neck of it his officer | ||
| That murd'red Pompey. | Das Murd'red Pompey. | ||
| ENOBARBUS. Our great navy's rigg'd. | Enobarbus. The rigg'd of our big navy. | ||
| EROS. For Italy and Caesar. More, Domitius: | Eros. Fur Italian und Caius. Mehr, Domitius: | ||
| My lord desires you presently; my news | My gentleman wishes you at the moment; My news | ||
| I might have told hereafter. | I might have told myself in the following. | ||
| ENOBARBUS. 'Twill be naught; | Monobarbus. 'Twill Sei Naukr; | ||
| But let it be. Bring me to Antony. | But let it be. Bring me to Antony. | ||
| EROS. Come, sir. Exeunt | Eros. Come on, sir. Exit | ||
| ACT_3|SC_6 | ACT_3 | SC_6 | ||
| SCENE VI. | Scene we. | ||
| Rome. CAESAR'S house | Rom. Caesars Haus | ||
| Enter CAESAR, AGRIPPA, and MAECENAS | Enter Caesar, Agrippa and Maecenas | ||
| CAESAR. Contemning Rome, he has done all this and more | CAESAR. He thought about Rome that did everything and more | ||
| In Alexandria. Here's the manner of't: | In Alexandria. Here is the species and not: | ||
| I' th' market-place, on a tribunal silver'd, | I 'Th' Markt-Place, on a Tribunal Silber'd, | ||
| Cleopatra and himself in chairs of gold | Cleopatra and yourself in gold chairs | ||
| Were publicly enthron'd; at the feet sat | Were publicly tied up; In to to | ||
| Caesarion, whom they call my father's son, | Caesarion, which they call my father's son, | ||
| And all the unlawful issue that their lust | And all the illegal problem that has their lust | ||
| Since then hath made between them. Unto her | Since then she has done between them. To her | ||
| He gave the stablishment of Egypt; made her | He gave the stallishment of Egypt; made her | ||
| Of lower Syria, Cyprus, Lydia, | From Lower Syria, Cyprus, Lydia, | ||
| Absolute queen. | Absolute queen. | ||
| MAECENAS. This in the public eye? | Maecenas. That in public? | ||
| CAESAR. I' th' common show-place, where they exercise. | CAESAR. I 'The' Common Show-Platz, where you train. | ||
| His sons he there proclaim'd the kings of kings: | His sons he announced there was the kings of the kings: | ||
| Great Media, Parthia, and Armenia, | Large media, Parthia and Armenia, | ||
| He gave to Alexander; to Ptolemy he assign'd | Is gab alexander; Two ptolem muses are in | ||
| Syria, Cilicia, and Phoenicia. She | Syria, Kilikia and Phenicia. she | ||
| In th' habiliments of the goddess Isis | In the habiliments of the goddess Isis | ||
| That day appear'd; and oft before gave audience, | Appeared that day; And often before the audience gave | ||
| As 'tis reported, so. | As it reported. | ||
| MAECENAS. Let Rome be thus | Maecenas. Be so rome | ||
| Inform'd. | Inform. | ||
| AGRIPPA. Who, queasy with his insolence | Agrippa. Who, male with his insolence | ||
| Already, will their good thoughts call from him. | Want to call their good thoughts from him. | ||
| CAESAR. The people knows it, and have now receiv'd | CAESAR. People know it and have now received | ||
| His accusations. | His accusations. | ||
| AGRIPPA. Who does he accuse? | Agrippa. Who does he accuse? | ||
| CAESAR. Caesar; and that, having in Sicily | CAESAR. Caesar; And that, in Sicily | ||
| Sextus Pompeius spoil'd, we had not rated him | Sextus pompeius spoiled, we hadn't rated him | ||
| His part o' th' isle. Then does he say he lent me | Its part of the Isle. Then he says he lent me | ||
| Some shipping, unrestor'd. Lastly, he frets | Some shipping, unrest. Finally he is annoyed | ||
| That Lepidus of the triumvirate | Dieser Lepidus des triavatats | ||
| Should be depos'd; and, being, that we detain | Should be deposited; and be that we hold on to | ||
| All his revenue. | All of his income. | ||
| AGRIPPA. Sir, this should be answer'd. | Agrippa. Sir, that should be answered. | ||
| CAESAR. 'Tis done already, and messenger gone. | CAESAR. It is already done and messenger is gone. | ||
| I have told him Lepidus was grown too cruel, | I told him that Lepidus has become too cruel | ||
| That he his high authority abus'd, | That he lights his high authority, | ||
| And did deserve his change. For what I have conquer'd | And deserves its change. For what I have conquered | ||
| I grant him part; but then, in his Armenia | I grant him a part; But then in his Armenia | ||
| And other of his conquer'd kingdoms, | And others of his conquered kingdoms, | ||
| Demand the like. | Request how. | ||
| MAECENAS. He'll never yield to that. | Maecenas. He will never give in to that. | ||
| CAESAR. Nor must not then be yielded to in this. | CAESAR. At that time it should not be shown in this area. | ||
| Enter OCTAVIA, with her train | Enter Octavia with your train | ||
| OCTAVIA. Hail, Caesar, and my lord! hail, most dear Caesar! | Octavia. Hail, Caesar and my Lord! Hail, preferably Caesar! | ||
| CAESAR. That ever I should call thee cast-away! | CAESAR. I should ever call you that as a cast-away! | ||
| OCTAVIA. You have not call'd me so, nor have you cause. | Octavia. You didn't call me that way, nor do you have the cause. | ||
| CAESAR. Why have you stol'n upon us thus? You come not | CAESAR. Why did you come across us like that? You are not coming | ||
| Like Caesar's sister. The wife of Antony | Like Caesar's sister. The wife of Antony | ||
| Should have an army for an usher, and | Should have an army for a place in the place, and | ||
| The neighs of horse to tell of her approach | The horse's neighbors to tell about their approach | ||
| Long ere she did appear. The trees by th' way | Long um she appeared. The trees in the way | ||
| Should have borne men, and expectation fainted, | Should have worn men and should have passed the expectations, | ||
| Longing for what it had not. Nay, the dust | Longing for what it didn't have. No, the dust | ||
| Should have ascended to the roof of heaven, | Should have risen to the roof of the sky, | ||
| Rais'd by your populous troops. But you are come | Rais from their populated troops. But you came | ||
| A market-maid to Rome, and have prevented | A market -diving to Rome and prevented | ||
| The ostentation of our love, which left unshown | The east station of our love, which remained unshakable | ||
| Is often left unlov'd. We should have met you | Is often revealed. We should have met you | ||
| By sea and land, supplying every stage | At sea and land that deliver every level | ||
| With an augmented greeting. | With an extended greeting. | ||
| OCTAVIA. Good my lord, | Octavia. Good my lord, | ||
| To come thus was I not constrain'd, but did it | So I didn't get to a limited extent, but it did | ||
| On my free will. My lord, Mark Antony, | On my free will. My Lord, Mark Antony, | ||
| Hearing that you prepar'd for war, acquainted | Hear that you have prepared for the war, familiarized | ||
| My grieved ear withal; whereon I begg'd | My sad ear; What I begged on | ||
| His pardon for return. | His forgiveness for the return. | ||
| CAESAR. Which soon he granted, | CAESAR. What he soon granted | ||
| Being an obstruct 'tween his lust and him. | A disability of his lust and he. | ||
| OCTAVIA. Do not say so, my lord. | Octavia. Don't say it, my Lord. | ||
| CAESAR. I have eyes upon him, | CAESAR. I have eyes on him | ||
| And his affairs come to me on the wind. | And his affairs come to me in the wind. | ||
| Where is he now? | Where is he now? | ||
| OCTAVIA. My lord, in Athens. | Octavia. My gentleman in Athens. | ||
| CAESAR. No, my most wronged sister: Cleopatra | CAESAR. No, my most false sister: Cleopatra | ||
| Hath nodded him to her. He hath given his empire | Hath nodded him to her. He gave his empire | ||
| Up to a whore, who now are levying | To a whore, who is raising now | ||
| The kings o' th' earth for war. He hath assembled | The kings of the earth for war. He gathered | ||
| Bocchus, the king of Libya; Archelaus | Bocchus der Konig von Libyan; Archelaus | ||
| Of Cappadocia; Philadelphos, king | Of Cappadocia; Philadelphos, king | ||
| Of Paphlagonia; the Thracian king, Adallas; | from Paphlagonia; The Thrakian king, lessons; | ||
| King Manchus of Arabia; King of Pont; | King Manchus of Arabia; King of the Pont; | ||
| Herod of Jewry; Mithridates, king | Herod of Judaism; Mithridates, king | ||
| Of Comagene; Polemon and Amyntas, | From comagene; Polemon and amyntas, | ||
| The kings of Mede and Lycaonia, with | The kings of Mede and Lykaonia with | ||
| More larger list of sceptres. | Other larger list of sceptres. | ||
| OCTAVIA. Ay me most wretched, | Octavia. Ay me on the miserable, misery, | ||
| That have my heart parted betwixt two friends, | That separated my heart between two friends, | ||
| That does afflict each other! | This affects each other! | ||
| CAESAR. Welcome hither. | CAESAR. Welcome. | ||
| Your letters did withhold our breaking forth, | Your letters have held back our outbreaks | ||
| Till we perceiv'd both how you were wrong led | Until we perceived both how they did wrong | ||
| And we in negligent danger. Cheer your heart; | And we in negligent danger. Cheers your heart; | ||
| Be you not troubled with the time, which drives | Don't be worrying over time that drives | ||
| O'er your content these strong necessities, | About their content of these strong necessities, | ||
| But let determin'd things to destiny | But let things determine for fate | ||
| Hold unbewail'd their way. Welcome to Rome; | Keep your way unbelief. Welcome to Rome; | ||
| Nothing more dear to me. You are abus'd | Nothing more that I love. You are Abus | ||
| Beyond the mark of thought, and the high gods, | Beyond the monument and the high gods, | ||
| To do you justice, make their ministers | To do justice, make your ministers | ||
| Of us and those that love you. Best of comfort, | Of us and those who love you. Best comfort, | ||
| And ever welcome to us. | And always welcome to us. | ||
| AGRIPPA. Welcome, lady. | Agrippa. Welcome, lady. | ||
| MAECENAS. Welcome, dear madam. | Maecenas. Welcome, Dear Madam. | ||
| Each heart in Rome does love and pity you; | Every heart in Rome loves and pity; | ||
| Only th' adulterous Antony, most large | Only this more Eventony, greatest, greatest | ||
| In his abominations, turns you off, | In his atrocation, turns you out | ||
| And gives his potent regiment to a trull | And gives his strong regiment a traum | ||
| That noises it against us. | That's it against us. | ||
| OCTAVIA. Is it so, sir? | Octavia. Is it so, sir? | ||
| CAESAR. Most certain. Sister, welcome. Pray you | CAESAR. The safest. Sister, welcome. Pray you | ||
| Be ever known to patience. My dear'st sister! Exeunt | Be ever known to patience. My dear sister! Exeunt | ||
| ACT_3|SC_7 | ACT_3 | SC_7 | ||
| SCENE VII. | Hears VII. | ||
| ANTONY'S camp near Actium | Antony's camp near Actium | ||
| Enter CLEOPATRA and ENOBARBUS | Enter Cleopatra and Monobarbus | ||
| CLEOPATRA. I will be even with thee, doubt it not. | CLEOPATRA. I will even be with you, don't doubt it. | ||
| ENOBARBUS. But why, why, | Enobarbus. But why, why | ||
| CLEOPATRA. Thou hast forspoke my being in these wars, | CLEOPATRA. You have granted my being in these wars | ||
| And say'st it is not fit. | And say it's not fit. | ||
| ENOBARBUS. Well, is it, is it? | Monobarbus. Nun, internship? | ||
| CLEOPATRA. Is't not denounc'd against us? Why should not we | CLEOPATRA. Isn't denunc against us? Why shouldn't we | ||
| Be there in person? | Be there personally? | ||
| ENOBARBUS. [Aside] Well, I could reply: | Enobarbus. [Apart from] I could answer: | ||
| If we should serve with horse and mares together | If we should serve with horse and mares | ||
| The horse were merely lost; the mares would bear | The horse was only lost; The mares would endure | ||
| A soldier and his horse. | A soldier and his horse. | ||
| CLEOPATRA. What is't you say? | CLEOPATRA. What are you not? | ||
| ENOBARBUS. Your presence needs must puzzle Antony; | Monobarbus. Her Presence Must Puzzle Antonie; | ||
| Take from his heart, take from his brain, from's time, | Take from his heart, take from his brain, from the time, from his time, | ||
| What should not then be spar'd. He is already | What shouldn't be saved then. He is already | ||
| Traduc'd for levity; and 'tis said in Rome | Traded for lightness; and 'said in Rome | ||
| That Photinus an eunuch and your maids | This phoinus an eunuch and your maids | ||
| Manage this war. | Manage this war. | ||
| CLEOPATRA. Sink Rome, and their tongues rot | CLEOPATRA. Sink Rome and their tongues rot | ||
| That speak against us! A charge we bear i' th' war, | That speaks against us! An indictment that we are wearing the war | ||
| And, as the president of my kingdom, will | And as president of my kingdom | ||
| Appear there for a man. Speak not against it; | Appear there for a man. Don't speak against it; | ||
| I will not stay behind. | I won't stay behind. | ||
| Enter ANTONY and CANIDIUS | Enter Antony and Canidius | ||
| ENOBARBUS. Nay, I have done. | Enobarbus. No, I did it. | ||
| Here comes the Emperor. | Here comes the emperor. | ||
| ANTONY. Is it not strange, Canidius, | Antony. Isn't it strange, canidius | ||
| That from Tarentum and Brundusium | That from Pennsylvania and Brundus | ||
| He could so quickly cut the Ionian sea, | He could cut the Ionian Sea so quickly, | ||
| And take in Toryne?- You have heard on't, sweet? | And pick up Toryne?- You haven't heard, cute? | ||
| CLEOPATRA. Celerity is never more admir'd | CLEOPATRA. Celesity is never admiring again | ||
| Than by the negligent. | Than through the negligent. | ||
| ANTONY. A good rebuke, | Antony. A good reprimand, | ||
| Which might have well becom'd the best of men | What can become the best person | ||
| To taunt at slackness. Canidius, we | Putly mock. Canidius, we | ||
| Will fight with him by sea. | Will fight with him at sea. | ||
| CLEOPATRA. By sea! What else? | CLEOPATRA. By sea! What else? | ||
| CANIDIUS. Why will my lord do so? | Canidius. Why will my Lord do that? | ||
| ANTONY. For that he dares us to't. | Antony. For that he dares to do it. | ||
| ENOBARBUS. So hath my lord dar'd him to single fight. | Enobarbus. So my gentleman, I had him for a single fight. | ||
| CANIDIUS. Ay, and to wage this battle at Pharsalia, | Sweets. Ay, and for wages in this battle in Phrasalia, | ||
| Where Caesar fought with Pompey. But these offers, | Where Caesar fought with Pompeius. But these offers, | ||
| Which serve not for his vantage, he shakes off; | What does not serve for his perspective, he shakes off; | ||
| And so should you. | And you too. | ||
| ENOBARBUS. Your ships are not well mann'd; | Enobarbus. Your ships are not well drawn; | ||
| Your mariners are muleteers, reapers, people | Her Mariner are Muleteer, Schnitter, people | ||
| Ingross'd by swift impress. In Caesar's fleet | Ingross'd from Swift impressed. In Caesar's fleet | ||
| Are those that often have 'gainst Pompey fought; | Are those who have often fought; | ||
| Their ships are yare; yours heavy. No disgrace | Your ships are Yare; your difficult. No shame | ||
| Shall fall you for refusing him at sea, | Should fall because you have refused to see him at sea, | ||
| Being prepar'd for land. | Be prepared on land. | ||
| ANTONY. By sea, by sea. | Antony. At sea, at sea. | ||
| ENOBARBUS. Most worthy sir, you therein throw away | Enobarbus. The worthy gentleman, they throw away there | ||
| The absolute soldiership you have by land; | The absolute soldier that you have from land; | ||
| Distract your army, which doth most consist | Distract your army that exist the most | ||
| Of war-mark'd footmen; leave unexecuted | Of war stamps; Leave undetected | ||
| Your own renowned knowledge; quite forgo | Your own known knowledge; Quite on that | ||
| The way which promises assurance; and | The path that promises the certainty; and | ||
| Give up yourself merely to chance and hazard | Just give yourself chance and dangers | ||
| From firm security. | From solid security. | ||
| ANTONY. I'll fight at sea. | Antony. I will fight at sea. | ||
| CLEOPATRA. I have sixty sails, Caesar none better. | CLEOPATRA. I have sixty sails, Caesar no better. | ||
| ANTONY. Our overplus of shipping will we burn, | Antony. We will burn our shipping surplus | ||
| And, with the rest full-mann'd, from th' head of Actium | And with the rest full of actium from the head of the actium | ||
| Beat th' approaching Caesar. But if we fail, | Beat the approaching Caesar. But when we fail | ||
| We then can do't at land. | We cannot then do ashore. | ||
| Enter a MESSENGER | Enter a messenger | ||
| Thy business? | Your business? | ||
| MESSENGER. The news is true, my lord: he is descried; | DELIVERY BOY. The message is true, Lord: He is deactivated; | ||
| Caesar has taken Toryne. | Caesar took Toryne. | ||
| ANTONY. Can he be there in person? 'Tis impossible- | Antony. Can he be there personally? It is impossible- | ||
| Strange that his power should be. Canidius, | Strange that his strength should be. Canidius, | ||
| Our nineteen legions thou shalt hold by land, | Our nineteen legions you should keep in the country | ||
| And our twelve thousand horse. We'll to our ship. | And our twelve thousand horse. We become our ship. | ||
| Away, my Thetis! | Way, my thetis! | ||
| Enter a SOLDIER | Enter a soldier | ||
| How now, worthy soldier? | How now, worthy soldier? | ||
| SOLDIER. O noble Emperor, do not fight by sea; | SOLDIER. O Noble Kaiser, don't fight on the sea route; | ||
| Trust not to rotten planks. Do you misdoubt | Do not trust the lazy boards. Falseede? | ||
| This sword and these my wounds? Let th' Egyptians | This sword and this my wounds? Leave the Egyptians | ||
| And the Phoenicians go a-ducking; we | And the Phoenicians go a ducker; we | ||
| Have us'd to conquer standing on the earth | Do you have to conquer us on earth | ||
| And fighting foot to foot. | And fight foot on foot. | ||
| ANTONY. Well, well- away. | Antony. Well, good away. | ||
| Exeunt ANTONY, CLEOPATRA, and ENOBARBUS | Leave Anthony, Cleopatra and Enobarbus | ||
| SOLDIER. By Hercules, I think I am i' th' right. | SOLDIER. From Hercules I think I'm right. | ||
| CANIDIUS. Soldier, thou art; but his whole action grows | Canidius. Soldier, you are; But his whole campaign grows | ||
| Not in the power on't. So our leader's led, | Not in power. So the management of our guide led, | ||
| And we are women's men. | And we are men. | ||
| SOLDIER. You keep by land | SOLDIER. You stop on land | ||
| The legions and the horse whole, do you not? | The legions and the horse whole, right? | ||
| CANIDIUS. Marcus Octavius, Marcus Justeius, | Canidius. Marcus Octavius, Marcus Justeius, | ||
| Publicola, and Caelius are for sea; | Publicola and Caelicola are for sea; | ||
| But we keep whole by land. This speed of Caesar's | But we hold the whole country. This speed of Caesars | ||
| Carries beyond belief. | Carries beyond faith. | ||
| SOLDIER. While he was yet in Rome, | SOLDIER. While he was still in Rome, | ||
| His power went out in such distractions as | His power went into distractions like | ||
| Beguil'd all spies. | Throw all spies. | ||
| CANIDIUS. Who's his lieutenant, hear you? | Canidius. Who is his lieutenant, hear yourself? | ||
| SOLDIER. They say one Taurus. | SOLDIER. You say a bull. | ||
| CANIDIUS. Well I know the man. | Canidius. Nun, Ich Kenne den Mann. | ||
| Enter a MESSENGER | Enter a messenger | ||
| MESSENGER. The Emperor calls Canidius. | Bote. Der Kaiser Nennt Canidius. | ||
| CANIDIUS. With news the time's with labour and throes forth | Canidius. With news the time with work and throwing yards excellent | ||
| Each minute some. Exeunt | Every minute some. Exit | ||
| ACT_3|SC_8 | ACT_3 | SC_8 | ||
| SCENE VIII. | Scene VIII. | ||
| A plain near Actium | A Level Near Actium | ||
| Enter CAESAR, with his army, marching | Enter Caesar with his army, march | ||
| CAESAR. Taurus! | Caesar. ! | ||
| TAURUS. My lord? | BULL. Sir? | ||
| CAESAR. Strike not by land; keep whole; provoke not battle | CAESAR. Do not beat through land; Hold the whole; do not provoke | ||
| Till we have done at sea. Do not exceed | Until we did it at sea. Do not exceed | ||
| The prescript of this scroll. Our fortune lies | The pre -script of this scroll. Our assets lies | ||
| Upon this jump. Exeunt | With this jump. Exit | ||
| ACT_3|SC_9 | ACT_3 | SC_9 | ||
| SCENE IX. | I feel ix. | ||
| Another part of the plain | Another part of the level | ||
| Enter ANTONY and ENOBARBUS | Enter Antony and Enobarbus | ||
| ANTONY. Set we our squadrons on yon side o' th' hill, | Antony. Set our seasons on your side of the hill, | ||
| In eye of Caesar's battle; from which place | In Eye von Caesar's struggle; From what place | ||
| We may the number of the ships behold, | We can see the number of ships | ||
| And so proceed accordingly. Exeunt | And continually accordingly. Exit | ||
| ACT_3|SC_10 | ACT_3 | SC_10 | ||
| SCENE X. | Feel x. | ||
| Another part of the plain | Another part of the level | ||
| CANIDIUS marcheth with his land army one way | Canidius Marcheth with his land army in one way | ||
| over the stage, and TAURUS, the Lieutenant of | over the stage and bull, the lieutenant of | ||
| CAESAR, the other way. After their going in is heard | Caesar, different. After your entry is heard | ||
| the noise of a sea-fight | The sound of a sea fight | ||
| Alarum. Enter ENOBARBUS | Wing. Enter Enobarbus | ||
| ENOBARBUS. Naught, naught, all naught! I can behold no longer. | Enobarbus. Nothing, nothing, everything naug! I can't see anymore. | ||
| Th' Antoniad, the Egyptian admiral, | Th 'Antoniad, The Egyptian Admiral, | ||
| With all their sixty, fly and turn the rudder. | Fly with all your sixty and turn the helm. | ||
| To see't mine eyes are blasted. | In order not to see my eyes, are blown up. | ||
| Enter SCARUS | Enter Scarus | ||
| SCARUS. Gods and goddesses, | Scarus. Gods and goddesses, | ||
| All the whole synod of them! | The whole synod of you! | ||
| ENOBARBUS. What's thy passion? | Enobarbus. What is your passion? | ||
| SCARUS. The greater cantle of the world is lost | Scarus. The larger Kant in the world is lost | ||
| With very ignorance; we have kiss'd away | With very ignorance; We kissed away | ||
| Kingdoms and provinces. | Kingdoms and provinces. | ||
| ENOBARBUS. How appears the fight? | Enobarbus. How does the fight appear? | ||
| SCARUS. On our side like the token'd pestilence, | Scarus. On our side like the token pestilence, | ||
| Where death is sure. Yon ribaudred nag of Egypt- | Where death is safe. Yon Ribaudred Nag of Egypt | ||
| Whom leprosy o'ertake!- i' th' midst o' th' fight, | Whom lepra o'ertake!- I 'the middle of the fight, | ||
| When vantage like a pair of twins appear'd, | When a few twins are triggered, appeared | ||
| Both as the same, or rather ours the elder- | Both as the same or rather ours the older one | ||
| The breese upon her, like a cow in June- | The Breese on them, like a cow in the juni | ||
| Hoists sails and flies. | Heavy sails and flies. | ||
| ENOBARBUS. That I beheld; | Enobarbus. That I saw; | ||
| Mine eyes did sicken at the sight and could not | My eyes got sick at the sight and couldn't | ||
| Endure a further view. | Endure another view. | ||
| SCARUS. She once being loof'd, | Scarus. She was loved once | ||
| The noble ruin of her magic, Antony, | The noble ruin of her magic, Antony, | ||
| Claps on his sea-wing, and, like a doting mallard, | Claps on his sea wing and, like a Pospurian massive, | ||
| Leaving the fight in height, flies after her. | The struggle in height leaves and flies to her. | ||
| I never saw an action of such shame; | I have never seen an action by such shame; | ||
| Experience, manhood, honour, ne'er before | Experience, masculinity, honor, before | ||
| Did violate so itself. | Has hurt himself in this way. | ||
| ENOBARBUS. Alack, alack! | Monobarbus. Alack, Alack! | ||
| Enter CANIDIUS | Enter Canidius | ||
| CANIDIUS. Our fortune on the sea is out of breath, | Canidius. Our fortune by the sea is out of breath. | ||
| And sinks most lamentably. Had our general | And sinks on the defendant. Had our general | ||
| Been what he knew himself, it had gone well. | Was what he knew himself, it had gone well. | ||
| O, he has given example for our flight | O, he gave an example of our flight | ||
| Most grossly by his own! | The roughest of itself! | ||
| ENOBARBUS. Ay, are you thereabouts? | Enobarbus. Me, an essential of? | ||
| Why then, good night indeed. | Then why good night. | ||
| CANIDIUS. Toward Peloponnesus are they fled. | Canidius. They fled towards Peloponnes. | ||
| SCARUS. 'Tis easy to't; and there I will attend | Scarus. It is easy to do; And I'll participate | ||
| What further comes. | What's next. | ||
| CANIDIUS. To Caesar will I render | Canidius. Will 1 render | ||
| My legions and my horse; six kings already | My legions and my horse; Six kings already | ||
| Show me the way of yielding. | Show me the way to give in. | ||
| ENOBARBUS. I'll yet follow | Enobarbus. I'll follow | ||
| The wounded chance of Antony, though my reason | Antony's wounded chance, although my reason | ||
| Sits in the wind against me. Exeunt | Sits against me in the wind. Exeunt | ||
| ACT_3|SC_11 | ACT_3 | SC_11 | ||
| SCENE XI. | Sente xi. | ||
| Alexandria. CLEOPATRA'S palace | Alexandria. Cleopatras Palast | ||
| Enter ANTONY With attendants | Enter Antony with the companions | ||
| ANTONY. Hark! the land bids me tread no more upon't; | Antony. Listen! The country no longer offers me; | ||
| It is asham'd to bear me. Friends, come hither. | It is Asham to carry me. Friends, come here. | ||
| I am so lated in the world that I | I am so in the world that I | ||
| Have lost my way for ever. I have a ship | I lost my way forever. I have a ship | ||
| Laden with gold; take that; divide it. Fly, | Loaded with gold; Take that; Share it. To fly, | ||
| And make your peace with Caesar. | And make your peace with Caesar. | ||
| ALL. Fly? Not we! | EVERYONE. To fly? Not us! | ||
| ANTONY. I have fled myself, and have instructed cowards | Antony. I have fled myself and I have instructed cowlings | ||
| To run and show their shoulders. Friends, be gone; | To run and show their shoulders. Friends, be gone; | ||
| I have myself resolv'd upon a course | I decided on a course | ||
| Which has no need of you; be gone. | Which doesn't need you; be away. | ||
| My treasure's in the harbour, take it. O, | My darling is in the harbor, take it. Ö, | ||
| I follow'd that I blush to look upon. | I follow that I blushed to see them. | ||
| My very hairs do mutiny; for the white | My hair makes mutiny; For the white | ||
| Reprove the brown for rashness, and they them | Linger the brown with slave and you | ||
| For fear and doting. Friends, be gone; you shall | For fear and point. Friends, be gone; you shall | ||
| Have letters from me to some friends that will | I have letters from mine to some friends who will do it | ||
| Sweep your way for you. Pray you look not sad, | Don't sweep your way to you. Pray, you don't look sad | ||
| Nor make replies of loathness; take the hint | Still answers of hideousness; Take the hint | ||
| Which my despair proclaims. Let that be left | What my despair announces. Leave that left | ||
| Which leaves itself. To the sea-side straight way. | What leaves itself. Straight on the sea side. | ||
| I will possess you of that ship and treasure. | I will own it from this ship and treasure. | ||
| Leave me, I pray, a little; pray you now; | Leave me, I pray a little; Pray now; | ||
| Nay, do so, for indeed I have lost command; | No, do that, because in fact I lost the command; | ||
| Therefore I pray you. I'll see you by and by. [Sits down] | That's why I pray you. We'll see each other at and after. [Sits down] | ||
| Enter CLEOPATRA, led by CHARMIAN and IRAS, | Enter Cleopatra, led by Charmian and Iras, | ||
| EROS following | Eros following | ||
| EROS. Nay, gentle madam, to him! Comfort him. | EROS. No, gentle Madam, to him! Comfort him. | ||
| IRAS. Do, most dear Queen. | Iras. Do the favorite queen. | ||
| CHARMIAN. Do? Why, what else? | Charmian. Do? Why, what else? | ||
| CLEOPATRA. Let me sit down. O Juno! | CLEOPATRA. Let me sit down. O juno! | ||
| ANTONY. No, no, no, no, no. | Antony. NO NO NO NO NO | ||
| EROS. See you here, sir? | EROS. See you here, sir? | ||
| ANTONY. O, fie, fie, fie! | Antony. Oh, either! | ||
| CHARMIAN. Madam! | Charmian. Madam! | ||
| IRAS. Madam, O good Empress! | Iras. Madam, O good empress! | ||
| EROS. Sir, sir! | EROS. Sir, Sir! | ||
| ANTONY. Yes, my lord, yes. He at Philippi kept | Antony. Yes, my lord, yes. He held in Philippi | ||
| His sword e'en like a dancer, while I struck | His sword like a dancer while I was beating | ||
| The lean and wrinkled Cassius; and 'twas I | The slim and wrinkled Cassius; and 'Twas I | ||
| That the mad Brutus ended; he alone | That the crazy brood ended; He alone | ||
| Dealt on lieutenantry, and no practice had | Treated with a lieuten drive and had no practice | ||
| In the brave squares of war. Yet now- no matter. | In the brave quadrans of the war. But now- no matter. | ||
| CLEOPATRA. Ah, stand by! | Cleopatra. Ah, stitch Yes! | ||
| EROS. The Queen, my lord, the Queen! | EROS. The queen, sir, the queen! | ||
| IRAS. Go to him, madam, speak to him. | Iras. Go to him, woman, that is, talking to him. | ||
| He is unqualitied with very shame. | It is unqualified by very shame. | ||
| CLEOPATRA. Well then, sustain me. O! | CLEOPATRA. Well then, stop me. Ö! | ||
| EROS. Most noble sir, arise; the Queen approaches. | EROS. The noblest sir is created; The queen approaches. | ||
| Her head's declin'd, and death will seize her but | The declin of your head and death will take you | ||
| Your comfort makes the rescue. | Their comfort makes the rescue. | ||
| ANTONY. I have offended reputation- | Antony. I insulted the call. | ||
| A most unnoble swerving. | An extremely unnecessary momentum. | ||
| EROS. Sir, the Queen. | EROS. Sir, the queen. | ||
| ANTONY. O, whither hast thou led me, Egypt? See | Antony. Oh, where did you lead me, Egypt? See | ||
| How I convey my shame out of thine eyes | How I can convey my shame from your eyes | ||
| By looking back what I have left behind | By looking back on what I left behind | ||
| Stroy'd in dishonour. | Stroy in shame. | ||
| CLEOPATRA. O my lord, my lord, | CLEOPATRA. O My Lord, sir, | ||
| Forgive my fearful sails! I little thought | Forgive my anxious sails! I thought a little | ||
| You would have followed. | You would have followed. | ||
| ANTONY. Egypt, thou knew'st too well | Antony. Egypt, you knew too well | ||
| My heart was to thy rudder tied by th' strings, | My heart was on your rudder that was bound by the threads, | ||
| And thou shouldst tow me after. O'er my spirit | And you should drag me afterwards. About my mind | ||
| Thy full supremacy thou knew'st, and that | Your full supremacy, you knew and that | ||
| Thy beck might from the bidding of the gods | Your Beck could be from the gods' commandment | ||
| Command me. | Command me. | ||
| CLEOPATRA. O, my pardon! | CLEOPATRA. Oh, my forgiveness! | ||
| ANTONY. Now I must | Antony. Now I must | ||
| To the young man send humble treaties, dodge | The young man modest contracts, dodge | ||
| And palter in the shifts of lowness, who | And palter in the shifts of the lukewarm | ||
| With half the bulk o' th' world play'd as I pleas'd, | With half the mass that the world played as I liked it, | ||
| Making and marring fortunes. You did know | Make assets and marry. they knew | ||
| How much you were my conqueror, and that | How much were you my conqueror and that | ||
| My sword, made weak by my affection, would | My sword, which was made weak by my affection, would | ||
| Obey it on all cause. | Obey it from everyone. | ||
| CLEOPATRA. Pardon, pardon! | CLEOPATRA. Sorry, forgiveness! | ||
| ANTONY. Fall not a tear, I say; one of them rates | Antony. If you don't fall tear, I say; one of them rated | ||
| All that is won and lost. Give me a kiss; | Everything that is won and lost. Give me a kiss; | ||
| Even this repays me. | Even that pays me back. | ||
| We sent our schoolmaster; is 'a come back? | We sent our schoolmaster; Is it back? | ||
| Love, I am full of lead. Some wine, | Dear, I'm full of lead. Some wine, | ||
| Within there, and our viands! Fortune knows | Within there and our stocks! Happiness knows | ||
| We scorn her most when most she offers blows. Exeunt | We despise them the most when most of them offer blows. Exeunt | ||
| ACT_3|SC_12 | ACT_3 | SC_12 | ||
| SCENE XII. | Feel XII. | ||
| CAESAR'S camp in Egypt | Caesar's camp in Egypt | ||
| Enter CAESAR, AGRIPPA, DOLABELLA, THYREUS, with others | Enter Caesar, Agrippa, Dolabella, Thyreus, with others | ||
| CAESAR. Let him appear that's come from Antony. | CAESAR. Let him appear that comes from Antony. | ||
| Know you him? | Do you know yourself | ||
| DOLABELLA. Caesar, 'tis his schoolmaster: | Dolabella. Caesar, "Bind his schoolmaster: | ||
| An argument that he is pluck'd, when hither | One argument that he plucking when he is here | ||
| He sends so poor a pinion of his wing, | He sends such a bad pinion of his wing, | ||
| Which had superfluous kings for messengers | Had the superfluous kings for messengers | ||
| Not many moons gone by. | Not many moons have passed. | ||
| Enter EUPHRONIUS, Ambassador from ANTONY | Enter Euphronius, Ambassador of Antony | ||
| CAESAR. Approach, and speak. | CAESAR. Approach and speak. | ||
| EUPHRONIUS. Such as I am, I come from Antony. | Euphronius. The way I am, I come from Antony. | ||
| I was of late as petty to his ends | I've been smaller to his ends lately | ||
| As is the morn-dew on the myrtle leaf | How about the morning on the myrtle leaf | ||
| To his grand sea. | To his big sea. | ||
| CAESAR. Be't so. Declare thine office. | CAESAR. Not so. Explain your office. | ||
| EUPHRONIUS. Lord of his fortunes he salutes thee, and | Euphronius. Lord of his fortune, he greets you, and | ||
| Requires to live in Egypt; which not granted, | Must live in Egypt; What does not grant | ||
| He lessens his requests and to thee sues | He reduces his inquiries and sues you | ||
| To let him breathe between the heavens and earth, | To let him breathe between heaven and earth, | ||
| A private man in Athens. This for him. | A private individual in Athens. That for him. | ||
| Next, Cleopatra does confess thy greatness, | Next, Cleopatra confesses your size, | ||
| Submits her to thy might, and of thee craves | She submits for her power and from you who longs for | ||
| The circle of the Ptolemies for her heirs, | The circle of Ptolemia for their heirs, | ||
| Now hazarded to thy grace. | Now endangered your grace. | ||
| CAESAR. For Antony, | CAESAR. For Antony, | ||
| I have no ears to his request. The Queen | I have no ears for his request. The Queen | ||
| Of audience nor desire shall fail, so she | The audience or desire will fail, i.e. they | ||
| From Egypt drive her all-disgraced friend, | From Egypt you drive your all-disgrace friend, | ||
| Or take his life there. This if she perform, | Or take his life there. This if it occurs | ||
| She shall not sue unheard. So to them both. | She must not complain unheard. So to both of them. | ||
| EUPHRONIUS. Fortune pursue thee! | Euphronius. Happiness to follow you! | ||
| CAESAR. Bring him through the bands. Exit EUPHRONIUS | CAESAR. Bring him through the bands. End Euphronius | ||
| [To THYREUS] To try thy eloquence, now 'tis time. Dispatch; | [To thyreus] to try your eloquence, now it's time. To ship; | ||
| From Antony win Cleopatra. Promise, | Cleopatra win from Antony. Promise, | ||
| And in our name, what she requires; add more, | And in our name what it needs; Add more, | ||
| From thine invention, offers. Women are not | From their invention, offers. Women are not | ||
| In their best fortunes strong; but want will perjure | Strong in their best assets; But Will will be permanent | ||
| The ne'er-touch'd vestal. Try thy cunning, Thyreus; | The Ne'er Touch-Vestal. Try your cunning, thyreus; | ||
| Make thine own edict for thy pains, which we | Make your own edict of your pain that we | ||
| Will answer as a law. | Will answer as law. | ||
| THYREUS. Caesar, I go. | Thyreus. Caesar, I'm going. | ||
| CAESAR. Observe how Antony becomes his flaw, | CAESAR. Observe how Antony becomes his mistake | ||
| And what thou think'st his very action speaks | And what you think, his action speaks? | ||
| In every power that moves. | In every force that moves. | ||
| THYREUS. Caesar, I shall. Exeunt | Thyreus. Caesar, 1 Soll. Exit | ||
| ACT_3|SC_13 | ACT_3 | SC_13 | ||
| SCENE XIII. | Feel XIII. | ||
| Alexandria. CLEOPATRA'S palace | Alexandria. Cleopatras Palast | ||
| Enter CLEOPATRA, ENOBARBUS, CHARMIAN, and IRAS | Enter Cleopatra, Enobarbus, Charmian and Iras | ||
| CLEOPATRA. What shall we do, Enobarbus? | CLEOPATRA. What should we do, Enobarbus? | ||
| ENOBARBUS. Think, and die. | Enobarbus. Think and that. | ||
| CLEOPATRA. Is Antony or we in fault for this? | CLEOPATRA. Is Antony or we to blame for it? | ||
| ENOBARBUS. Antony only, that would make his will | Enobarbus. Only Antony, that would do his will | ||
| Lord of his reason. What though you fled | Lord of his reason. What even though you have fled | ||
| From that great face of war, whose several ranges | From this large face of war, the several areas of which | ||
| Frighted each other? Why should he follow? | Frightened? Why should he follow? | ||
| The itch of his affection should not then | The itching of his affection should not then | ||
| Have nick'd his captainship, at such a point, | I did his captain at such a point, Nick, | ||
| When half to half the world oppos'd, he being | If he is back half to half past half to the world, he is | ||
| The mered question. 'Twas a shame no less | The merry question. 'It was no less a shame | ||
| Than was his loss, to course your flying flags | As his loss to pursue their flying flags | ||
| And leave his navy gazing. | And let his navy look. | ||
| CLEOPATRA. Prithee, peace. | Kleopatra. Prithee, Frieden. | ||
| Enter EUPHRONIUS, the Ambassador; with ANTONY | Enter Euphronius, the ambassador; With Antony | ||
| ANTONY. Is that his answer? | Antony. Is that his answer? | ||
| EUPHRONIUS. Ay, my lord. | Euphronius. Yes my Lord. | ||
| ANTONY. The Queen shall then have courtesy, so she | Antony. The queen will then have courtesy, so she | ||
| Will yield us up. | Will give us up. | ||
| EUPHRONIUS. He says so. | Euphronius. He says it. | ||
| ANTONY. Let her know't. | Antony. Don't let them know. | ||
| To the boy Caesar send this grizzled head, | To young Caesar send this grown head, | ||
| And he will fill thy wishes to the brim | And he will fulfill your wishes to the edge | ||
| With principalities. | With principal. | ||
| CLEOPATRA. That head, my lord? | CLEOPATRA. This head, sir? | ||
| ANTONY. To him again. Tell him he wears the rose | Antony. Back to him. Tell him that he is wearing the rose | ||
| Of youth upon him; from which the world should note | From youth to him; From what the world should consider | ||
| Something particular. His coin, ships, legions, | Something special. His coin, ships, legions, | ||
| May be a coward's whose ministers would prevail | Can be a coward whose minister would prevail | ||
| Under the service of a child as soon | So quickly under the service of a child | ||
| As i' th' command of Caesar. I dare him therefore | How I am command from Caesar '. I therefore dare to | ||
| To lay his gay comparisons apart, | Put his gay comparisons apart, | ||
| And answer me declin'd, sword against sword, | And answer me declin'd, sword against sword, | ||
| Ourselves alone. I'll write it. Follow me. | We alone. I'll write it. Follow me. | ||
| Exeunt ANTONY and EUPHRONIUS | Leave Antony and Euphonius | ||
| EUPHRONIUS. [Aside] Yes, like enough high-battled Caesar will | Euphronius. [Aside] yes, like enough Caesar with a high level | ||
| Unstate his happiness, and be stag'd to th' show | Dissolve his luck and stagger to this show | ||
| Against a sworder! I see men's judgments are | Against a racket! I see that the judgments of the men are | ||
| A parcel of their fortunes, and things outward | A package of your assets and things to the outside world | ||
| Do draw the inward quality after them, | Draw the inner quality according to them, | ||
| To suffer all alike. That he should dream, | All suffer the same. That he should dream | ||
| Knowing all measures, the full Caesar will | If you know all the measures, the full caesar becomes | ||
| Answer his emptiness! Caesar, thou hast subdu'd | Answer his emptiness! Caesar, you subjected | ||
| His judgment too. | His judgment too. | ||
| Enter a SERVANT | Enter a servant | ||
| SERVANT. A messenger from Caesar. | Servant. A Boils of Caesar. | ||
| CLEOPATRA. What, no more ceremony? See, my women! | CLEOPATRA. What, no more ceremony? See my women! | ||
| Against the blown rose may they stop their nose | You can stop your nose against the blown rose | ||
| That kneel'd unto the buds. Admit him, sir. Exit SERVANT | That knelt on the buds. Give it up, sir. Leave servants | ||
| ENOBARBUS. [Aside] Mine honesty and I begin to square. | Enobarbus. [Next to] my honesty and I start too square. | ||
| The loyalty well held to fools does make | The loyalty that thinks is good for fools | ||
| Our faith mere folly. Yet he that can endure | Our belief mere foolish. But the one who can endure | ||
| To follow with allegiance a fall'n lord | Follow a case of lord with the loyalty | ||
| Does conquer him that did his master conquer, | Conquered him who conquered his master | ||
| And earns a place i' th' story. | And deserves a place where I "". | ||
| Enter THYREUS | Enter thyreus | ||
| CLEOPATRA. Caesar's will? | CLEOPATRA. Caesar's will? | ||
| THYREUS. Hear it apart. | Thyreus. Hear it apart. | ||
| CLEOPATRA. None but friends: say boldly. | CLEOPATRA. Nobody except friends: say courageously. | ||
| THYREUS. So, haply, are they friends to Antony. | Thyreus. So, glowing, are you friends of Antony? | ||
| ENOBARBUS. He needs as many, sir, as Caesar has, | Enobarbus. He needs as many sir as Caesar has. | ||
| Or needs not us. If Caesar please, our master | Or don't need us. If Caesar please our master | ||
| Will leap to be his friend. For us, you know | Will jump to be his friend. For us you know | ||
| Whose he is we are, and that is Caesar's. | Whose we are and that is Caesar. | ||
| THYREUS. So. | Thyreus. So. | ||
| Thus then, thou most renown'd: Caesar entreats | So you are the best known: Caesar stage | ||
| Not to consider in what case thou stand'st | Not to consider the case you are in | ||
| Further than he is Caesar. | Further than he is Caesar. | ||
| CLEOPATRA. Go on. Right royal! | CLEOPATRA. Go on. Really royal! | ||
| THYREUS. He knows that you embrace not Antony | Thyreus. He knows that they are not hugging Antony | ||
| As you did love, but as you fear'd him. | How you loved, but how you fear it. | ||
| CLEOPATRA. O! | Cleopatra. Oh! | ||
| THYREUS. The scars upon your honour, therefore, he | Thyreus. The scars according to their honor, so he, he | ||
| Does pity, as constrained blemishes, | Does pity, as a limited blemish, | ||
| Not as deserv'd. | Not deserved. | ||
| CLEOPATRA. He is a god, and knows | CLEOPATRA. He is a god and knows | ||
| What is most right. Mine honour was not yielded, | What's the right thing. My honor was not given in | ||
| But conquer'd merely. | But just conquer. | ||
| ENOBARBUS. [Aside] To be sure of that, | Enobarbus. [Aside] to be safe | ||
| I will ask Antony. Sir, sir, thou art so leaky | I will ask Antony. Sir, sir, you are so leaky | ||
| That we must leave thee to thy sinking, for | That we have to leave you to your demise because | ||
| Thy dearest quit thee. Exit | Your loved one ends you. Exit | ||
| THYREUS. Shall I say to Caesar | Thyreus. Should I say Caesar? | ||
| What you require of him? For he partly begs | What do you need from him? Because he partially asks | ||
| To be desir'd to give. It much would please him | To be given. He would like it very much | ||
| That of his fortunes you should make a staff | That of his assets you should do a staff | ||
| To lean upon. But it would warm his spirits | To support. But it would warm his mood | ||
| To hear from me you had left Antony, | To hear from me, they left Antony | ||
| And put yourself under his shroud, | And put yourself under his easy corner, | ||
| The universal landlord. | The universal landlord. | ||
| CLEOPATRA. What's your name? | CLEOPATRA. What's your name? | ||
| THYREUS. My name is Thyreus. | Thyreus. My name is Thyreus. | ||
| CLEOPATRA. Most kind messenger, | CLEOPATRA. The friendliest messenger, messenger, | ||
| Say to great Caesar this: in deputation | Say this to great Caesar: in deputation | ||
| I kiss his conquring hand. Tell him I am prompt | I kiss his conquent hand. Tell him that I'm fast | ||
| To lay my crown at 's feet, and there to kneel. | Put my crown at your feet and kneel there. | ||
| Tell him from his all-obeying breath I hear | Tell him about his too -covered breath that I hear | ||
| The doom of Egypt. | The Doom Egypt. | ||
| THYREUS. 'Tis your noblest course. | Thyreus. It is your noblest course. | ||
| Wisdom and fortune combating together, | Wisdom and lucky fights together, | ||
| If that the former dare but what it can, | If that dares the former, but what it can | ||
| No chance may shake it. Give me grace to lay | No chance can shake it. Give me mercy to lay | ||
| My duty on your hand. | My duty on your hand. | ||
| CLEOPATRA. Your Caesar's father oft, | CLEOPATRA. The father of her caesar, who often, | ||
| When he hath mus'd of taking kingdoms in, | If he had taken himself in by kingdoms, in | ||
| Bestow'd his lips on that unworthy place, | Gave this unworthy place its lips, | ||
| As it rain'd kisses. | How it kissed. | ||
| Re-enter ANTONY and ENOBARBUS | Take back in Antony and Enobarbus | ||
| ANTONY. Favours, by Jove that thunders! | Antony. Favors, from Jove the Thunder! | ||
| What art thou, fellow? | What art you, scholarship holder? | ||
| THYREUS. One that but performs | Thyreus. One that works | ||
| The bidding of the fullest man, and worthiest | The commandment of the full man and most worthy | ||
| To have command obey'd. | To obey command. | ||
| ENOBARBUS. [Aside] You will be whipt. | Enobarbus. [Apart from] you will joke. | ||
| ANTONY. Approach there.- Ah, you kite!- Now, gods and devils! | Antony. Take care of yourself. | ||
| Authority melts from me. Of late, when I cried 'Ho!' | Authority melts from me. Lately when I 'HO!' Cried, I cried | ||
| Like boys unto a muss, kings would start forth | How boys would have to start kings | ||
| And cry 'Your will?' Have you no ears? I am | And cry 'your will?' Do you have no ears I am | ||
| Antony yet. | Annony still. | ||
| Enter servants | Enter servants | ||
| Take hence this Jack and whip him. | Take this jack and whip it. | ||
| ENOBARBUS. 'Tis better playing with a lion's whelp | Enobarbus. It is better to play with a lion -soft | ||
| Than with an old one dying. | Than with an old dying. | ||
| ANTONY. Moon and stars! | Antony. Moon and stars! | ||
| Whip him. Were't twenty of the greatest tributaries | Whip him. Were not twenty of the biggest tributaries | ||
| That do acknowledge Caesar, should I find them | Recognize the Caesar, I should find them | ||
| So saucy with the hand of she here- what's her name | So cheekily with her from you- what is it called? | ||
| Since she was Cleopatra? Whip him, fellows, | Since she was Cleopatra? Whip him, companions, | ||
| Till like a boy you see him cringe his face, | Until like a boy, they see that he beats his face together | ||
| And whine aloud for mercy. Take him hence. | And loud with mercy. Take it with it. | ||
| THYMUS. Mark Antony- | THYMUSDRÃœSE. Mark Antony- | ||
| ANTONY. Tug him away. Being whipt, | Antony. Pull him away. Joke | ||
| Bring him again: the Jack of Caesar's shall | Bring him again: The Jack von Caesar should | ||
| Bear us an errand to him. Exeunt servants with THYREUS | Submit an order to him. Diener with Thyreus Exeunt | ||
| You were half blasted ere I knew you. Ha! | You were half blown up before I knew you. Ha! | ||
| Have I my pillow left unpress'd in Rome, | I left my pillow unhappily in Rome, | ||
| Forborne the getting of a lawful race, | Forborne receiving a lawful breed, | ||
| And by a gem of women, to be abus'd | And through a jewel of women to stop | ||
| By one that looks on feeders? | From someone who looks at FEEDERS? | ||
| CLEOPATRA. Good my lord- | CLEOPATRA. Good my | ||
| ANTONY. You have been a boggler ever. | Antony. You have ever been a Boggler. | ||
| But when we in our viciousness grow hard- | But if we become hard in our malice | ||
| O misery on't!- the wise gods seel our eyes, | Oh misery!- The wise gods souls our eyes, | ||
| In our own filth drop our clear judgments, make us | Make our clear judgments in our own dirt | ||
| Adore our errors, laugh at's while we strut | Worship our mistakes, laugh at while we strut | ||
| To our confusion. | To our confusion. | ||
| CLEOPATRA. O, is't come to this? | CLEOPATRA. Oh, doesn't come to that? | ||
| ANTONY. I found you as a morsel cold upon | Antony. I found you as a bite cold | ||
| Dead Caesar's trencher. Nay, you were a fragment | Dead Caesars Trencher. No, you were a fragment | ||
| Of Cneius Pompey's, besides what hotter hours, | By Cneius Pompeys, apart from which hotter hours, | ||
| Unregist'red in vulgar fame, you have | Unregisted in vulgar fame, you have | ||
| Luxuriously pick'd out; for I am sure, | Luxuriously selected; Because I'm sure | ||
| Though you can guess what temperance should be, | You can guess what should be moderate | ||
| You know not what it is. | You don't know what it is. | ||
| CLEOPATRA. Wherefore is this? | CLEOPATRA. Why is this? | ||
| ANTONY. To let a fellow that will take rewards, | Antony. A guy who will take rewards | ||
| And say 'God quit you!' be familiar with | And say 'God left you!' Be familiar with | ||
| My playfellow, your hand, this kingly seal | My playfellow, your hand, this royal seal | ||
| And plighter of high hearts! O that I were | And monastery of high hearts! O that was me | ||
| Upon the hill of Basan to outroar | On the hill from Basan to Outroar | ||
| The horned herd! For I have savage cause, | The horned herd! Because I have a wild thing | ||
| And to proclaim it civilly were like | And to announce that civil goods like | ||
| A halter'd neck which does the hangman thank | A half -important neck that thanks the hangman | ||
| For being yare about him. | Because he goes over him. | ||
| Re-enter a SERVANT with THYREUS | Take back a servant with Thyreus | ||
| Is he whipt? | Is he funny? | ||
| SERVANT. Soundly, my lord. | SERVANT. So good, my gentleman. | ||
| ANTONY. Cried he? and begg'd 'a pardon? | Antony. He called? And begged a forgiveness? | ||
| SERVANT. He did ask favour. | Servant. He beat beat. | ||
| ANTONY. If that thy father live, let him repent | Antony. When this father lives, let him reverse | ||
| Thou wast not made his daughter; and be thou sorry | You didn't do his daughter; And be you sorry, you are sorry | ||
| To follow Caesar in his triumph, since | To follow Caesar in his triumph since then | ||
| Thou hast been whipt for following him. Henceforth | You followed yourself. From now on | ||
| The white hand of a lady fever thee! | The white hand of a lady fever you! | ||
| Shake thou to look on't. Get thee back to Caesar; | You shake not to look. Bring you back to Caesar; | ||
| Tell him thy entertainment; look thou say | Tell him your entertainment; Look you say | ||
| He makes me angry with him; for he seems | He makes me angry with him; Because he seems | ||
| Proud and disdainful, harping on what I am, | Proud and contemptible, harping on what I am, | ||
| Not what he knew I was. He makes me angry; | I was not what he knew. He makes me angry; | ||
| And at this time most easy 'tis to do't, | And at that time the easiest to do what is not to be done, | ||
| When my good stars, that were my former guides, | As my good stars, these were my former guides, | ||
| Have empty left their orbs and shot their fires | Let the balls empty and shot your fire | ||
| Into th' abysm of hell. If he mislike | In the abyss of hell. If he likes wrong | ||
| My speech and what is done, tell him he has | My speech and what is done, tell him that he has it | ||
| Hipparchus, my enfranched bondman, whom | Hipparchus, my recorded Bondman, the | ||
| He may at pleasure whip or hang or torture, | He can whip or torture or torture if you are pleased | ||
| As he shall like, to quit me. Urge it thou. | As he wants to leave me. It penetrated, you. | ||
| Hence with thy stripes, be gone. Exit THYREUS | Therefore with your stripes are gone. Leave the thyreus | ||
| CLEOPATRA. Have you done yet? | CLEOPATRA. Have you already done | ||
| ANTONY. Alack, our terrene moon | Antony. Alack, oner terrehendonds | ||
| Is now eclips'd, and it portends alone | Is now Eclips and it sets alone | ||
| The fall of Antony. | The case of Antony. | ||
| CLEOPATRA. I must stay his time. | CLEOPATRA. I have to stay his time. | ||
| ANTONY. To flatter Caesar, would you mingle eyes | Antony. To flatter Caesar, would you mix your eyes? | ||
| With one that ties his points? | With someone who holds his points together? | ||
| CLEOPATRA. Not know me yet? | CLEOPATRA. Don't know me yet? | ||
| ANTONY. Cold-hearted toward me? | Antony. Cold -hearted towards me? | ||
| CLEOPATRA. Ah, dear, if I be so, | CLEOPATRA. Ah, honey when I am like that | ||
| From my cold heart let heaven engender hail, | Let the sky bounce from my cold heart, | ||
| And poison it in the source, and the first stone | And poison it in the source and in the first stone | ||
| Drop in my neck; as it determines, so | Drop in my throat; As it determines, so | ||
| Dissolve my life! The next Caesarion smite! | Mine resolve my life! The next Caesarion Smite! | ||
| Till by degrees the memory of my womb, | Until after the memory of my womb, | ||
| Together with my brave Egyptians all, | Together with my brave Egyptians everyone, | ||
| By the discandying of this pelleted storm, | Through the disc of this pelleted storm, | ||
| Lie graveless, till the flies and gnats of Nile | Lie weakly until the flies and mosquitoes of the Nile | ||
| Have buried them for prey. | I buried them for prey. | ||
| ANTONY. I am satisfied. | Antony. I am happy. | ||
| Caesar sits down in Alexandria, where | Caesar is in Alexandria, where | ||
| I will oppose his fate. Our force by land | I will resist his fate. Our strength through land | ||
| Hath nobly held; our sever'd navy to | Has held noble; Our separate marine too | ||
| Have knit again, and fleet, threat'ning most sea-like. | I knitted again and fleet, threatening by the sea. | ||
| Where hast thou been, my heart? Dost thou hear, lady? | Where were you my heart Do you hear, lady? | ||
| If from the field I shall return once more | If I will return from the field from the field | ||
| To kiss these lips, I will appear in blood. | To kiss these lips, I will appear in the blood. | ||
| I and my sword will earn our chronicle. | I and my sword will earn our chronicle. | ||
| There's hope in't yet. | There is still hope. | ||
| CLEOPATRA. That's my brave lord! | CLEOPATRA. This is my brave gentleman! | ||
| ANTONY. I will be treble-sinew'd, hearted, breath'd, | Antony. I will be triple, warm, breath. | ||
| And fight maliciously. For when mine hours | And fight malicious. For time hours | ||
| Were nice and lucky, men did ransom lives | Were nice and happy, men lived ransoms | ||
| Of me for jests; but now I'll set my teeth, | From me for joke; But now I'm putting my teeth | ||
| And send to darkness all that stop me. Come, | And send everything into the darkness of me. Come, | ||
| Let's have one other gaudy night. Call to me | Let's have a bright night. Call me to me | ||
| All my sad captains; fill our bowls once more; | All my sad captains; Fill our shells again; | ||
| Let's mock the midnight bell. | Let us mock the midnight bell. | ||
| CLEOPATRA. It is my birthday. | CLEOPATRA. It's my birthday. | ||
| I had thought t'have held it poor; but since my lord | I thought it was poor; But since my Lord | ||
| Is Antony again, I will be Cleopatra. | Is Antony again, I'll be Cleopatra. | ||
| ANTONY. We will yet do well. | Antony. We will still do it well. | ||
| CLEOPATRA. Call all his noble captains to my lord. | CLEOPATRA. Call all of his noble captains to my master. | ||
| ANTONY. Do so, we'll speak to them; and to-night I'll force | Antony. Let's do that, we'll talk to you; And tonight I'll force me | ||
| The wine peep through their scars. Come on, my queen, | The wine looks through their scars. Come on, my queen, | ||
| There's sap in't yet. The next time I do fight | There is still juice. Next time I fight | ||
| I'll make death love me; for I will contend | I will let death do that I love myself; Because I'll fight | ||
| Even with his pestilent scythe. Exeunt all but ENOBARBUS | Also with his pestilent scythe. Leave all except Enobarbus | ||
| ENOBARBUS. Now he'll outstare the lightning. To be furious | Enobarbus. Now he will surpass the flash. To be infuriated | ||
| Is to be frighted out of fear, and in that mood | Is to be afraid of fear and in this mood | ||
| The dove will peck the estridge; and I see still | The pigeon will peck the scot; And I still see | ||
| A diminution in our captain's brain | A reduction of our captain's brain | ||
| Restores his heart. When valour preys on reason, | His heart restores. When bravery draws reason, | ||
| It eats the sword it fights with. I will seek | It eats the sword with which it is fighting. I will search | ||
| Some way to leave him. Exit | One way to leave it. Exit | ||
| ACT_4|SC_1 | ACT_4 | SC_1 | ||
| ACT IV. SCENE I. | ACT IV. Sente I. | ||
| CAESAR'S camp before Alexandria | Caesar's camp in front of Alexandria | ||
| Enter CAESAR, AGRIPPA, and MAECENAS, with his army; | Enter Caesar, Agrippa and Maecenas with his army; | ||
| CAESAR reading a letter | Caesar reads a letter | ||
| CAESAR. He calls me boy, and chides as he had power | CAESAR. He calls me boys and blame him as he had power | ||
| To beat me out of Egypt. My messenger | To beat me out of Egypt. My messenger | ||
| He hath whipt with rods; dares me to personal combat, | He struck with rods; venture to personal struggle | ||
| Caesar to Antony. Let the old ruffian know | Caesar to Antony. Let the old Ruffian know | ||
| I have many other ways to die, meantime | In the meantime I have many other ways to die | ||
| Laugh at his challenge. | Laugh at his challenge. | ||
| MAECENAS. Caesar must think | Maecenas. Caesar muss denken | ||
| When one so great begins to rage, he's hunted | If you start doing so big, it will be hunted | ||
| Even to falling. Give him no breath, but now | Even to fall. Don't give him a breath, but now | ||
| Make boot of his distraction. Never anger | Make boots out of his distraction. Never anger | ||
| Made good guard for itself. | Made a good guard in itself. | ||
| CAESAR. Let our best heads | CAESAR. Leave our best heads | ||
| Know that to-morrow the last of many battles | Do you know that tomorrow the last of many battles | ||
| We mean to fight. Within our files there are | We want to fight. There are in our files | ||
| Of those that serv'd Mark Antony but late | Of those who served Mark Antony late | ||
| Enough to fetch him in. See it done; | Enough to get it. Do you see it; | ||
| And feast the army; we have store to do't, | And celebrate the army; We have a business that doesn't have to do | ||
| And they have earn'd the waste. Poor Antony! Exeunt | And they deserve the waste. Poor Antonie! Exeunt | ||
| ACT_4|SC_2 | ACT_4 | SC_2 | ||
| SCENE II. | Scene II. | ||
| Alexandria. CLEOPATRA's palace | Alexandria. Cleopatras Palast | ||
| Enter ANTONY, CLEOPATRA, ENOBARBUS, CHARMIAN, IRAS, | Enter Anthony, Cleopatra, Enobarbus, Charmian, Iras, | ||
| ALEXAS, with others | Alex with others | ||
| ANTONY. He will not fight with me, Domitius? | Antony. He won't fight with me, Domitius? | ||
| ENOBARBUS. No. | Monobarbus. no | ||
| ANTONY. Why should he not? | Antony. Why shouldn't he? | ||
| ENOBARBUS. He thinks, being twenty times of better fortune, | Enobarbus. He thinks it's twenty better assets, | ||
| He is twenty men to one. | He is twenty men. | ||
| ANTONY. To-morrow, soldier, | Antony. Tomorrow, soldier, | ||
| By sea and land I'll fight. Or I will live, | I will fight at sea and country. Or I'll live | ||
| Or bathe my dying honour in the blood | Or bathe my dying honor in the blood | ||
| Shall make it live again. Woo't thou fight well? | Should let it live again. Woo not fighting well? | ||
| ENOBARBUS. I'll strike, and cry 'Take all.' | Enobarbus. I will beat and cry 'Take everything.' | ||
| ANTONY. Well said; come on. | Antony. Well said; light up. | ||
| Call forth my household servants; let's to-night | Continue my household servants; Leave us tonight | ||
| Be bounteous at our meal. | Be plenty of our meals. | ||
| Enter three or four servitors | Enter three or four servitors | ||
| Give me thy hand, | Give me your hand, | ||
| Thou has been rightly honest. So hast thou; | You were rightly honest. So you have; | ||
| Thou, and thou, and thou. You have serv'd me well, | You and you and you. You served me well | ||
| And kings have been your fellows. | And kings were your colleagues. | ||
| CLEOPATRA. [Aside to ENOBARBUS] What means this? | CLEOPATRA. [Apart from Enobarbus] What does that mean? | ||
| ENOBARBUS. [Aside to CLEOPATRA] 'Tis one of those odd tricks | Enobarbus. [Apart from Cleopatra] of one of these strange tricks | ||
| which | the | ||
| sorrow shoots | Grief shoots | ||
| Out of the mind. | On the head. | ||
| ANTONY. And thou art honest too. | Antony. And you are honest too. | ||
| I wish I could be made so many men, | I wish I could be made so many men | ||
| And all of you clapp'd up together in | And all of them worked together in | ||
| An Antony, that I might do you service | An antony so that I could operate it | ||
| So good as you have done. | As good as you did. | ||
| SERVANT. The gods forbid! | SERVANT. Forbid the gods! | ||
| ANTONY. Well, my good fellows, wait on me to-night. | Antony. Well, my good scholarship holders, wait for me tonight. | ||
| Scant not my cups, and make as much of me | Not sparsely my cups and make them so much out of me | ||
| As when mine empire was your fellow too, | As when my empire was your guy, | ||
| And suffer'd my command. | And suffer my command. | ||
| CLEOPATRA. [Aside to ENOBARBUS] What does he mean? | CLEOPATRA. [Apart from Enobarbus] What does he mean? | ||
| ENOBARBUS. [Aside to CLEOPATRA] To make his followers weep. | Enobarbus. [Apart from Cleopatra] to let his followers cry. | ||
| ANTONY. Tend me to-night; | Antony. Tonight me; | ||
| May be it is the period of your duty. | Maybe it's the time of your duty. | ||
| Haply you shall not see me more; or if, | Smooth, you shouldn't see me anymore; or when, | ||
| A mangled shadow. Perchance to-morrow | A mutilated shadow. morning | ||
| You'll serve another master. I look on you | You will serve another master. I look at you | ||
| As one that takes his leave. Mine honest friends, | As one who says goodbye. My honest friends, | ||
| I turn you not away; but, like a master | I don't turn away; But like a master | ||
| Married to your good service, stay till death. | Married to your good service, stay until death. | ||
| Tend me to-night two hours, I ask no more, | Tort me two hours tonight, I no longer ask | ||
| And the gods yield you for't! | And the gods don't give you! | ||
| ENOBARBUS. What mean you, sir, | Enobarbus. What does it mean, sir, | ||
| To give them this discomfort? Look, they weep; | To give you this discomfort? Look, they cry; | ||
| And I, an ass, am onion-ey'd. For shame! | And I, an ass, am onion -eyed. To be ashamed! | ||
| Transform us not to women. | Don't transform us into women. | ||
| ANTONY. Ho, ho, ho! | Reason. To be to be! | ||
| Now the witch take me if I meant it thus! | Now the witch takes me when I mean it! | ||
| Grace grow where those drops fall! My hearty friends, | Grace grows where these drops fall! My hearty friends, | ||
| You take me in too dolorous a sense; | You take me to delorious sense; | ||
| For I spake to you for your comfort, did desire you | Because I spoke to them for their comfort and wished them | ||
| To burn this night with torches. Know, my hearts, | To burn this night with torches. White, my hearts, | ||
| I hope well of to-morrow, and will lead you | I hope well of tomorrow and will lead you | ||
| Where rather I'll expect victorious life | Where I would rather expect the victorious life | ||
| Than death and honour. Let's to supper, come, | As death and honor. Let's dinner, come, come, | ||
| And drown consideration. Exeunt | And drowning consideration. Exit | ||
| ACT_4|SC_3 | ACT_4 | SC_3 | ||
| SCENE III. | Scene III. | ||
| Alexandria. Before CLEOPATRA's palace | Alexandria. In front of Cleopatra's palace | ||
| Enter a company of soldiers | Enter a company of soldiers | ||
| FIRST SOLDIER. Brother, good night. To-morrow is the day. | First soldier. Brother, good night. Tomorrow is the day. | ||
| SECOND SOLDIER. It will determine one way. Fare you well. | Second soldier. A way will determine. Good luck for the future. | ||
| Heard you of nothing strange about the streets? | Do you hear them from nothing strange on the streets? | ||
| FIRST SOLDIER. Nothing. What news? | First soldier. Nothing. What news? | ||
| SECOND SOLDIER. Belike 'tis but a rumour. Good night to you. | Second soldier. Belike 'is a rumor. Good night. | ||
| FIRST SOLDIER. Well, sir, good night. | First soldier. Well, Sir, good night. | ||
| [They meet other soldiers] | [You meet other soldiers] | ||
| SECOND SOLDIER. Soldiers, have careful watch. | Second soldier. Soldiers have careful watch. | ||
| FIRST SOLDIER. And you. Good night, good night. | First soldier. And you. Good night! Good night. | ||
| [The two companies separate and place themselves | [The two companies separate and place themselves | ||
| in every corner of the stage] | In every corner of the stage] | ||
| SECOND SOLDIER. Here we. And if to-morrow | Second soldier. Here. And if tomorrow | ||
| Our navy thrive, I have an absolute hope | Our navy thrives, I have an absolute hope | ||
| Our landmen will stand up. | Our countrymen will get up. | ||
| THIRD SOLDIER. 'Tis a brave army, | Third soldier. It is a brave army | ||
| And full of purpose. | And full of purpose. | ||
| [Music of the hautboys is under the stage] | [Music of the skin boys is under stage] | ||
| SECOND SOLDIER. Peace, what noise? | Second soldier. Peace, what noise? | ||
| THIRD SOLDIER. List, list! | Third soldier. List, list! | ||
| SECOND SOLDIER. Hark! | Second soldier. Listen! | ||
| THIRD SOLDIER. Music i' th' air. | Third soldier. Music i 'the air. | ||
| FOURTH SOLDIER. Under the earth. | Fourth soldier. Under the earth. | ||
| THIRD SOLDIER. It signs well, does it not? | Third soldier. It signs well, right? | ||
| FOURTH SOLDIER. No. | Fourth soldier. no | ||
| THIRD SOLDIER. Peace, I say! | Third soldier. Peace, I say! | ||
| What should this mean? | What is that supposed to mean? | ||
| SECOND SOLDIER. 'Tis the god Hercules, whom Antony lov'd, | Second soldier. It is the god Hercules, whom Antony loved, | ||
| Now leaves him. | Now leaves him. | ||
| THIRD SOLDIER. Walk; let's see if other watchmen | Third soldier. Stroll; Let's see if other guards | ||
| Do hear what we do. | Listen what we do. | ||
| SECOND SOLDIER. How now, masters! | Second soldier. Like now, master! | ||
| SOLDIERS. [Speaking together] How now! | Soldiers. [Talk together] as now! | ||
| How now! Do you hear this? | Like right now! Do you hear the? | ||
| FIRST SOLDIER. Ay; is't not strange? | First soldier. AY; Isn't it strange? | ||
| THIRD SOLDIER. Do you hear, masters? Do you hear? | Third soldier. Do you hear, master? Do you hear? | ||
| FIRST SOLDIER. Follow the noise so far as we have quarter; | First soldier. Follow the noise as far as we have the quarter; | ||
| Let's see how it will give off. | Let's see how it will give. | ||
| SOLDIERS. Content. 'Tis strange. Exeunt | Soldiers. Contents. "It's strange. Output | ||
| ACT_4|SC_4 | ACT_4 | SC_4 | ||
| SCENE IV. | Feel IV. | ||
| Alexandria. CLEOPATRA's palace | Alexandria. Cleopatras Palast | ||
| Enter ANTONY and CLEOPATRA, CHARMIAN, IRAS, | Enter Antony and Cleopatra, Charmian, Iras, | ||
| with others | with others | ||
| ANTONY. Eros! mine armour, Eros! | Antony. Eros! My armor, Eros! | ||
| CLEOPATRA. Sleep a little. | CLEOPATRA. Sleep a little. | ||
| ANTONY. No, my chuck. Eros! Come, mine armour, Eros! | Antony. No, my chuck. Eros! Come on my armor, Eros! | ||
| Enter EROS with armour | Enter Eros with armor | ||
| Come, good fellow, put mine iron on. | Come on, good guy, put on my iron. | ||
| If fortune be not ours to-day, it is | If happiness is not ours today, it is it | ||
| Because we brave her. Come. | Because we defy her. Come. | ||
| CLEOPATRA. Nay, I'll help too. | CLEOPATRA. No, I will help too. | ||
| What's this for? | What is it for? | ||
| ANTONY. Ah, let be, let be! Thou art | Antony. Ah, let's be, let's be! You are art | ||
| The armourer of my heart. False, false; this, this. | The arm or my heart. Wrong, wrong; the the. | ||
| CLEOPATRA. Sooth, la, I'll help. Thus it must be. | CLEOPATRA. Sooth, La, I will help. So it has to be. | ||
| ANTONY. Well, well; | Antony. Good Good; | ||
| We shall thrive now. Seest thou, my good fellow? | We will now thrive. Do you remain my good guy? | ||
| Go put on thy defences. | Go to your defense. | ||
| EROS. Briefly, sir. | EROS. In short, sir. | ||
| CLEOPATRA. Is not this buckled well? | CLEOPATRA. Isn't that well strapped? | ||
| ANTONY. Rarely, rarely! | Antony. Rare, Rare! | ||
| He that unbuckles this, till we do please | Who does this until we please do it | ||
| To daff't for our repose, shall hear a storm. | A storm will hear our calm. | ||
| Thou fumblest, Eros, and my queen's a squire | You fumbled, Eros and my queen are a bang | ||
| More tight at this than thou. Dispatch. O love, | This makes it thicker than you. O love, | ||
| That thou couldst see my wars to-day, and knew'st | That you could see my wars today and knew | ||
| The royal occupation! Thou shouldst see | The royal cast! You should see | ||
| A workman in't. | Not a worker. | ||
| Enter an armed SOLDIER | Enter an armed soldier | ||
| Good-morrow to thee. Welcome. | Good Morrow for you. Warm welcome. | ||
| Thou look'st like him that knows a warlike charge. | You look like him, who knows a warlike charges. | ||
| To business that we love we rise betime, | To the business we love, we are increasing Betime, | ||
| And go to't with delight. | And don't go with joy. | ||
| SOLDIER. A thousand, sir, | SOLDIER. A thousand, sir, | ||
| Early though't be, have on their riveted trim, | However, I am not, I don't have it for your riveted equipment, | ||
| And at the port expect you. | And they await them at the harbor. | ||
| [Shout. Flourish of trumpets within] | [Scream. Trumpets flourish inside] | ||
| Enter CAPTAINS and soldiers | Enter captains and soldiers | ||
| CAPTAIN. The morn is fair. Good morrow, General. | CAPTAIN. The morning is fair. Good morning, general. | ||
| ALL. Good morrow, General. | EVERYONE. Good morning, general. | ||
| ANTONY. 'Tis well blown, lads. | Antony. It's blown well. | ||
| This morning, like the spirit of a youth | This morning, like the spirit of a young person | ||
| That means to be of note, begins betimes. | This means that it is remarkable, then. | ||
| So, so. Come, give me that. This way. Well said. | So that's how. Come on, give me that. This way. Well said. | ||
| Fare thee well, dame, whate'er becomes of me. | Target yourself well, lady, what'er becomes me. | ||
| This is a soldier's kiss. Rebukeable, | This is the kiss of a soldier. Bland, | ||
| And worthy shameful check it were, to stand | And worthy shameful review was to stand | ||
| On more mechanic compliment; I'll leave thee | On more mechanical compliment; I will leave you | ||
| Now like a man of steel. You that will fight, | Now like a steel man. You will fight | ||
| Follow me close; I'll bring you to't. Adieu. | Follow me close; I will get you to do it. Adieu. | ||
| Exeunt ANTONY, EROS, CAPTAINS and soldiers | Leave Antony, peanut, captains and soldiers | ||
| CHARMIAN. Please you retire to your chamber? | Charmian. Please go back to your chamber? | ||
| CLEOPATRA. Lead me. | CLEOPATRA. Lead me. | ||
| He goes forth gallantly. That he and Caesar might | He continues gallantly. That he and Caesar could | ||
| Determine this great war in single fight! | Determine this big war in the single fight! | ||
| Then, Antony- but now. Well, on. Exeunt | Then Antony- but now. Well, on. Exeunt | ||
| ACT_4|SC_5 | ACT_4 | SC_5 | ||
| SCENE V. | Sente V. | ||
| Alexandria. ANTONY'S camp | Alexandria. Antonys Lager | ||
| Trumpets sound. Enter ANTONY and EROS, a SOLDIER | Trumpets sound. Enter Antony and Eros, a soldier | ||
| meeting them | You meet | ||
| SOLDIER. The gods make this a happy day to Antony! | SOLDIER. The gods make this a happy day for Antony! | ||
| ANTONY. Would thou and those thy scars had once prevail'd | Antony. If you and this had once predicted your scars | ||
| To make me fight at land! | So that I can fight on land! | ||
| SOLDIER. Hadst thou done so, | SOLDIER. Did you do that | ||
| The kings that have revolted, and the soldier | The kings who were outraged and the soldier | ||
| That has this morning left thee, would have still | That left you this morning, it would still have | ||
| Followed thy heels. | Followed your paragraphs. | ||
| ANTONY. Who's gone this morning? | Antony. Who is gone this morning? | ||
| SOLDIER. Who? | SOLDIER. Who? | ||
| One ever near thee. Call for Enobarbus, | One near you. Call to Enobarbus, | ||
| He shall not hear thee; or from Caesar's camp | He shouldn't hear you; Or from Caesar's camp | ||
| Say 'I am none of thine.' | Say: "I'm not yours." | ||
| ANTONY. What say'st thou? | Antony. What are you saying? | ||
| SOLDIER. Sir, | SOLDIER. Mister, | ||
| He is with Caesar. | He is with Caesar. | ||
| EROS. Sir, his chests and treasure | EROS. Sir, his chest and his darling | ||
| He has not with him. | He doesn't have with him. | ||
| ANTONY. Is he gone? | Antony. Is he gone? | ||
| SOLDIER. Most certain. | SOLDIER. The safest. | ||
| ANTONY. Go, Eros, send his treasure after; do it; | Antony. Go, eros, send his sweetheart afterwards; Do it; | ||
| Detain no jot, I charge thee. Write to him- | Do not arrest a Jot, I calculate you. Write him- | ||
| I will subscribe- gentle adieus and greetings; | I will subscribe to aggressive adieus and greetings; | ||
| Say that I wish he never find more cause | Say that I wish he never finds the cause more | ||
| To change a master. O, my fortunes have | Change a master. O, my fortune has | ||
| Corrupted honest men! Dispatch. Enobarbus! Exeunt | Performed honest men? To ship. Enobarbus! Exit | ||
| ACT_4|SC_6 | ACT_4 | SC_6 | ||
| SCENE VI. | Scene we. | ||
| Alexandria. CAESAR'S camp | Alexandria. Caesars Lager | ||
| Flourish. Enter AGRIPPA, CAESAR, With DOLABELLA | Bloom. Enter Agrippa, Caesar, with Dolabella | ||
| and ENOBARBUS | and monobarbus | ||
| CAESAR. Go forth, Agrippa, and begin the fight. | CAESAR. Go out, Agrippa and start the fight. | ||
| Our will is Antony be took alive; | Our will is that Antony is being taken alive; | ||
| Make it so known. | Make it so well known. | ||
| AGRIPPA. Caesar, I shall. Exit | Agrippa. Caesar, I will. Exit | ||
| CAESAR. The time of universal peace is near. | CAESAR. The time of universal peace is close. | ||
| Prove this a prosp'rous day, the three-nook'd world | Prov that this proves as a prospoS-day day | ||
| Shall bear the olive freely. | The olive should be free. | ||
| Enter A MESSENGER | Enter a messenger | ||
| MESSENGER. Antony | BOTE. Antony | ||
| Is come into the field. | Is in the field. | ||
| CAESAR. Go charge Agrippa | CAESAR. Go up Agrippa | ||
| Plant those that have revolted in the vant, | Plant those who resist in the Vant, | ||
| That Antony may seem to spend his fury | That Antony seems to spend his anger | ||
| Upon himself. Exeunt all but ENOBARBUS | In itself. Leave all except Enobarbus | ||
| ENOBARBUS. Alexas did revolt and went to Jewry on | Enobarbus. Alexas opened up and went to the Jew | ||
| Affairs of Antony; there did dissuade | Antony matters; There was a lot of | ||
| Great Herod to incline himself to Caesar | Great Herod to tend to Caesar | ||
| And leave his master Antony. For this pains | And leave his master Antony. For this pain | ||
| Casaer hath hang'd him. Canidius and the rest | Casaer held it. Canidius and the rest | ||
| That fell away have entertainment, but | That fell away, but it has entertainment, but | ||
| No honourable trust. I have done ill, | No honorable trust. I made sick | ||
| Of which I do accuse myself so sorely | From which I accuse myself so painfully | ||
| That I will joy no more. | That I will no longer be happy. | ||
| Enter a SOLDIER of CAESAR'S | Enter a soldier from Caesars | ||
| SOLDIER. Enobarbus, Antony | Soldat. Monobarbus, Antony | ||
| Hath after thee sent all thy treasure, with | After you had sent all of your sweetheart, with | ||
| His bounty overplus. The messenger | His bounty overplus. The messenger | ||
| Came on my guard, and at thy tent is now | Came up with my guard and in your tent is now | ||
| Unloading of his mules. | Unloading his mules. | ||
| ENOBARBUS. I give it you. | Enobarbus. I give it to you. | ||
| SOLDIER. Mock not, Enobarbus. | Soldier. To not seem, monobarbus. | ||
| I tell you true. Best you saf'd the bringer | I tell you true. It was best to secure the bringer | ||
| Out of the host. I must attend mine office, | From the host. I have to take part in my office | ||
| Or would have done't myself. Your emperor | Or I wouldn't have done myself. Your emperor | ||
| Continues still a Jove. Exit | Still a jove. Exit | ||
| ENOBARBUS. I am alone the villain of the earth, | Enobarbus. I am alone, the villain of the earth, | ||
| And feel I am so most. O Antony, | And feel that I am so much. O Antony, | ||
| Thou mine of bounty, how wouldst thou have paid | You mean how have you paid? | ||
| My better service, when my turpitude | My better service when my turpitude | ||
| Thou dost so crown with gold! This blows my heart. | You have so crown with gold! That blows my heart. | ||
| If swift thought break it not, a swifter mean | If Swift thought it didn't break it, a sill means | ||
| Shall outstrike thought; but thought will do't, I feel. | Should think superior; But I didn't think I would feel. | ||
| I fight against thee? No! I will go seek | I fight you? No! I will search | ||
| Some ditch wherein to die; the foul'st best fits | A ditch in which to die; The foul's best fits | ||
| My latter part of life. Exit | My latter part of life. Exit | ||
| ACT_4|SC_7 | ACT_4 | SC_7 | ||
| SCENE VII. | Hears VII. | ||
| Field of battle between the camps | Battlefield between the camps | ||
| Alarum. Drums and trumpets. Enter AGRIPPA | Alarum. Drums and trumpets. Enter Agrippa | ||
| and others | and other | ||
| AGRIPPA. Retire. We have engag'd ourselves too far. | Agrippa. Leave. We have committed ourselves too far. | ||
| Caesar himself has work, and our oppression | Caesar itself has work and our oppression | ||
| Exceeds what we expected. Exeunt | Exceeds what we expected. Exeunt | ||
| Alarums. Enter ANTONY, and SCARUS wounded | Wings. Enter Antony and Scarus Wundedd | ||
| SCARUS. O my brave Emperor, this is fought indeed! | Scarus. O My brave emperor, that is indeed fighting! | ||
| Had we done so at first, we had droven them home | If we did this first, we had pulled her home | ||
| With clouts about their heads. | With influences over their heads. | ||
| ANTONY. Thou bleed'st apace. | Antony. You bubble. | ||
| SCARUS. I had a wound here that was like a T, | Scarus. I had a wound here that was like a T | ||
| But now 'tis made an H. | But now it made a H. | ||
| ANTONY. They do retire. | Antony. They withdraw. | ||
| SCARUS. We'll beat'em into bench-holes. I have yet | Scarus. We will hit bankers. I still have | ||
| Room for six scotches more. | Rooms for six Scots more. | ||
| Enter EROS | Enter eros | ||
| EROS. They are beaten, sir, and our advantage serves | EROS. They are beaten, sir, and our advantage serves | ||
| For a fair victory. | For a fair victory. | ||
| SCARUS. Let us score their backs | Scarus. Let us get your back | ||
| And snatch 'em up, as we take hares, behind. | And grab them as we take rabbits behind. | ||
| Tis sport to maul a runner. | TIS SPORT to mouse a runner. | ||
| ANTONY. I will reward thee | Antony. I will reward you | ||
| Once for thy sprightly comfort, and tenfold | Once for your lively comfort and ten times | ||
| For thy good valour. Come thee on. | For your good bravery. Get to you. | ||
| SCARUS. I'll halt after. Exeunt | Scarus. I'll stop afterwards. Exit | ||
| ACT_4|SC_8 | ACT_4 | SC_8 | ||
| SCENE VIII. | Scene VIII. | ||
| Under the walls of Alexandria | Among the walls of Alexandria | ||
| Alarum. Enter ANTONY, again in a march; SCARUS | Wing. Enter Antony again in a march; scare | ||
| with others | with others | ||
| ANTONY. We have beat him to his camp. Run one before | Antony. We hit him in his camp. Run one before | ||
| And let the Queen know of our gests. To-morrow, | And let the queen know about our gestures. Morning, | ||
| Before the sun shall see's, we'll spill the blood | Before the sun will see, we will spill the blood | ||
| That has to-day escap'd. I thank you all; | That escaped today. I thank you all; | ||
| For doughty-handed are you, and have fought | They are for Doughty hands and fought them | ||
| Not as you serv'd the cause, but as't had been | Not how they serve the matter, but how it was not | ||
| Each man's like mine; you have shown all Hectors. | Every man is like mine; They showed all the hectors. | ||
| Enter the city, clip your wives, your friends, | Enter the city, clamp your women, your friends, | ||
| Tell them your feats; whilst they with joyful tears | Tell them your achievements; while they are with joyful tears | ||
| Wash the congealment from your wounds and kiss | Wash the creation from your wounds and kiss | ||
| The honour'd gashes whole. | The honor went entirely. | ||
| Enter CLEOPATRA, attended | Enter Cleopatra, visited | ||
| [To SCARUS] Give me thy hand- | [To Scarus] give me your hand- | ||
| To this great fairy I'll commend thy acts, | I will recommend your deeds to this great fairy | ||
| Make her thanks bless thee. O thou day o' th' world, | Make them thanks, bless you. O du day of the world, | ||
| Chain mine arm'd neck. Leap thou, attire and all, | Chain mine Arm'd neck. Jump, clothes and everything, | ||
| Through proof of harness to my heart, and there | By evidence of the dishes for my heart and there | ||
| Ride on the pants triumphing. | Triumph triumph with your pants. | ||
| CLEOPATRA. Lord of lords! | CLEOPATRA. Lord of the gentlemen! | ||
| O infinite virtue, com'st thou smiling from | O endless virtue, you smile out | ||
| The world's great snare uncaught? | The big loop of the world uncluded? | ||
| ANTONY. Mine nightingale, | Antony. My Nightingale, | ||
| We have beat them to their beds. What, girl! though grey | We hit her to your beds. Which girl! although gray | ||
| Do something mingle with our younger brown, yet ha' we | Do something with our younger brown, but have been | ||
| A brain that nourishes our nerves, and can | A brain that feeds our nerves and can | ||
| Get goal for goal of youth. Behold this man; | Get the goal of the youth goal. See this man; | ||
| Commend unto his lips thy favouring hand- | Lure his lips when you have favored hand. | ||
| Kiss it, my warrior- he hath fought to-day | Kiss it, my warrior he fought today | ||
| As if a god in hate of mankind had | As if a god in the hatred of mankind | ||
| Destroyed in such a shape. | Destroyed in such a form. | ||
| CLEOPATRA. I'll give thee, friend, | CLEOPATRA. I'll give you, friend, | ||
| An armour all of gold; it was a king's. | A armor of gold; It was a king. | ||
| ANTONY. He has deserv'd it, were it carbuncled | Antony. He deserves it or where it has carbous | ||
| Like holy Phoebus' car. Give me thy hand. | Like Holy Phoebus's car. Give me your hand. | ||
| Through Alexandria make a jolly march; | Alexandria make a fun march; | ||
| Bear our hack'd targets like the men that owe them. | Wear our hacked goals like the men who owe them. | ||
| Had our great palace the capacity | Had our big palace the capacity | ||
| To camp this host, we all would sup together, | To camp this host, we would all take care of | ||
| And drink carouses to the next day's fate, | And drink Karusen for the fate of the next day, | ||
| Which promises royal peril. Trumpeters, | What the royal danger promises. Trumpeter, | ||
| With brazen din blast you the city's ear; | With the bold DIN they blow up the city's ear; | ||
| Make mingle with our rattling tabourines, | Make yourself together with our rattling taborines | ||
| That heaven and earth may strike their sounds together | This sky and earth can collapse their sounds | ||
| Applauding our approach. Exeunt | Applaud our approach. Exit | ||
| ACT_4|SC_9 | ACT_4 | SC_9 | ||
| SCENE IX. | I feel ix. | ||
| CAESAR'S camp | Caesars Lager | ||
| Enter a CENTURION and his company; ENOBARBUS follows | Enter a Zenturion and its company; Enobarbus follows | ||
| CENTURION. If we be not reliev'd within this hour, | CENTURION. If we are not relivy within this hour, | ||
| We must return to th' court of guard. The night | We have to return to the Court of Justice. The night | ||
| Is shiny, and they say we shall embattle | Is shiny and you say we will be bedding | ||
| By th' second hour i' th' morn. | The morning with the second hour. | ||
| FIRST WATCH. This last day was | First o'clock. This last day was | ||
| A shrewd one to's. | A clever. | ||
| ENOBARBUS. O, bear me witness, night- | Monobarbus. O, drink me, witness, night | ||
| SECOND WATCH. What man is this? | Second o'clock. Which man is that? | ||
| FIRST WATCH. Stand close and list him. | First o'clock. Stand close and list him. | ||
| ENOBARBUS. Be witness to me, O thou blessed moon, | Enobarbus. Be witness for me, oh you blessed moon, | ||
| When men revolted shall upon record | When men will appear | ||
| Bear hateful memory, poor Enobarbus did | Hasser -filled memory, the poor enobarbus did it | ||
| Before thy face repent! | Before your face refer! | ||
| CENTURION. Enobarbus? | Zenturio. Monobarbus? | ||
| SECOND WATCH. Peace! | Second o'clock. Peace! | ||
| Hark further. | Hark on. | ||
| ENOBARBUS. O sovereign mistress of true melancholy, | Enobarbus. O Sovereign Mistress of True Melancholy, | ||
| The poisonous damp of night disponge upon me, | The toxic moisture of the night that unfolds me, | ||
| That life, a very rebel to my will, | This life, a very rebel for my will, | ||
| May hang no longer on me. Throw my heart | Can't hang on me anymore. Throw my heart | ||
| Against the flint and hardness of my fault, | Against the flint and the hardness of my guilt, | ||
| Which, being dried with grief, will break to powder, | What, dried with grief, break the powder, | ||
| And finish all foul thoughts. O Antony, | And end all the bad thoughts. O Antony, | ||
| Nobler than my revolt is infamous, | Noble than my revolt is notorious | ||
| Forgive me in thine own particular, | Forgive me in your own special, especially, | ||
| But let the world rank me in register | But let the world be classified in the register | ||
| A master-leaver and a fugitive! | A Master Leaver and a refugee! | ||
| O Antony! O Antony! [Dies] | Reason! Reason! [Dies] | ||
| FIRST WATCH. Let's speak to him. | First o'clock. Let us speak to him. | ||
| CENTURION. Let's hear him, for the things he speaks | CENTURION. Let us hear him for the things he speaks | ||
| May concern Caesar. | Can affect Caesar. | ||
| SECOND WATCH. Let's do so. But he sleeps. | Second o'clock. Let's do that. But he sleeps. | ||
| CENTURION. Swoons rather; for so bad a prayer as his | CENTURION. Swoons more; For as bad a prayer as being | ||
| Was never yet for sleep. | Has never been to sleep. | ||
| FIRST WATCH. Go we to him. | First o'clock. Let's go to him. | ||
| SECOND WATCH. Awake, sir, awake; speak to us. | Second o'clock. Wake, sir, awake; Talk to us. | ||
| FIRST WATCH. Hear you, sir? | First o'clock. Do you hear them, sir? | ||
| CENTURION. The hand of death hath raught him. | CENTURION. The hand of death did it. | ||
| [Drums afar off ] Hark! the drums | [Drums in the distance] Hark! the drums | ||
| Demurely wake the sleepers. Let us bear him | Weck the sleeper. Let us endure him | ||
| To th' court of guard; he is of note. Our hour | To the Court; It is remarkable. Our hour | ||
| Is fully out. | Is full. | ||
| SECOND WATCH. Come on, then; | Second o'clock. Come on; | ||
| He may recover yet. Exeunt with the body | He can still recover. Execition with the body | ||
| ACT_4|SC_10 | ACT_4 | SC_10 | ||
| SCENE X. | Feel x. | ||
| Between the two camps | Between the two camps | ||
| Enter ANTONY and SCARUS, with their army | Enter Antony and Scarus with your army | ||
| ANTONY. Their preparation is to-day by sea; | Antony. Your preparation is at sea today; | ||
| We please them not by land. | We don't like them on land. | ||
| SCARUS. For both, my lord. | Scarus. For both, my Lord. | ||
| ANTONY. I would they'd fight i' th' fire or i' th' air; | Antony. I would fight it against the fire or I 'the air; | ||
| We'd fight there too. But this it is, our foot | We would also fight there. But that's our foot | ||
| Upon the hills adjoining to the city | On the hills on the city | ||
| Shall stay with us- Order for sea is given; | Should remain in the US order for the sea; | ||
| They have put forth the haven- | You have produced the port. | ||
| Where their appointment we may best discover | Where your appointment we can best discover | ||
| And look on their endeavour. Exeunt | And take a look at your endeavor. Exeunt | ||
| ACT_4|SC_11 | ACT_4 | SC_11 | ||
| SCENE XI. | Sente xi. | ||
| Between the camps | Between the camps | ||
| Enter CAESAR and his army | Enter Caesar and his army | ||
| CAESAR. But being charg'd, we will be still by land, | CAESAR. But if we are laid, we will still be ashore | ||
| Which, as I take't, we shall; for his best force | What like me, we will; For its best strength | ||
| Is forth to man his galleys. To the vales, | Is his galleys to man. To the Vales, | ||
| And hold our best advantage. Exeunt | And keep our best advantage. Exeunt | ||
| ACT_4|SC_12 | ACT_4 | SC_12 | ||
| SCENE XII. | Feel XII. | ||
| A hill near Alexandria | A hill near Alexandria | ||
| Enter ANTONY and SCARUS | Enter Antony and Scarus | ||
| ANTONY. Yet they are not join'd. Where yond pine does stand | Antony. However, they are not connected. Where Yond Pine is standing | ||
| I shall discover all. I'll bring thee word | I will discover everyone. I'll bring you the floor | ||
| Straight how 'tis like to go. Exit | Just as it likes. Exit | ||
| SCARUS. Swallows have built | Scarus. Swallows have built | ||
| In Cleopatra's sails their nests. The augurers | Her nests sail in Cleopatras. The augurers | ||
| Say they know not, they cannot tell; look grimly, | Say, you don't know, you can't say it; Appearance, grim, | ||
| And dare not speak their knowledge. Antony | And dare not to speak your knowledge. Antony | ||
| Is valiant and dejected; and by starts | Is brave and depressed; And through starts | ||
| His fretted fortunes give him hope and fear | His annoying fate give him hope and fear | ||
| Of what he has and has not. | From what he has and what is not. | ||
| [Alarum afar off, as at a sea-fight] | [Wings of ARE OFF, like on a sea fight] | ||
| Re-enter ANTONY | Enter Antony again | ||
| ANTONY. All is lost! | Antony. All is lost! | ||
| This foul Egyptian hath betrayed me. | This bad Egyptian Egyptian revealed me. | ||
| My fleet hath yielded to the foe, and yonder | My fleet gave the enemy and over there | ||
| They cast their caps up and carouse together | They throw their caps together and Carouse together | ||
| Like friends long lost. Triple-turn'd whore! 'tis thou | Like friends, have lost a long time. Triple twisted whore! 'It is you | ||
| Hast sold me to this novice; and my heart | Did you sell me to this beginner; and my Heart | ||
| Makes only wars on thee. Bid them all fly; | Just make wars on you. Offer you all flies; | ||
| For when I am reveng'd upon my charm, | Because when I got on my charm, | ||
| I have done all. Bid them all fly; begone. Exit SCARUS | I did everything. Offer you all flies; Begin. Terminate scarus | ||
| O sun, thy uprise shall I see no more! | O sun, I shouldn't see your climb anymore! | ||
| Fortune and Antony part here; even here | Fortune and Antony part here; Even here | ||
| Do we shake hands. All come to this? The hearts | Let's shake our hand. Everyone is added? The hearts | ||
| That spaniel'd me at heels, to whom I gave | These Spaniele had me at Heels, whom I gave | ||
| Their wishes, do discandy, melt their sweets | Your wishes, do discandy, melt your sweets | ||
| On blossoming Caesar; and this pine is bark'd | On blooming Caesar; And this jaw is barking | ||
| That overtopp'd them all. Betray'd I am. | She all flooded that. I am betrayed. | ||
| O this false soul of Egypt! this grave charm- | O this wrong soul of Egypt! This heavy charm | ||
| Whose eye beck'd forth my wars and call'd them home, | Whose eye caused my wars and called them home, | ||
| Whose bosom was my crownet, my chief end- | Whose breast was my crown, my head end | ||
| Like a right gypsy hath at fast and loose | Like a right gypsy, it has quick and easy | ||
| Beguil'd me to the very heart of loss. | I had to the heart of the loss. | ||
| What, Eros, Eros! | Was, Eros, Eros! | ||
| Enter CLEOPATRA | Enter Cleopatra | ||
| Ah, thou spell! Avaunt! | Ah, you conjure up! Avaunt! | ||
| CLEOPATRA. Why is my lord enrag'd against his love? | CLEOPATRA. Why was my Lord submitted against his love? | ||
| ANTONY. Vanish, or I shall give thee thy deserving | Antony. Disappear or I'll give you your deserved | ||
| And blemish Caesar's triumph. Let him take thee | And the triumph of flaw Caesar. Let him take you | ||
| And hoist thee up to the shouting plebeians; | And lift yourself to the screaming plebejers; | ||
| Follow his chariot, like the greatest spot | Follow his charging car, like the biggest place | ||
| Of all thy sex; most monster-like, be shown | Of all your sex; Most monster -like, are shown | ||
| For poor'st diminutives, for doits, and let | For bad diminutives, for doits and let | ||
| Patient Octavia plough thy visage up | Patient Octavia plow your face | ||
| With her prepared nails. Exit CLEOPATRA | With their prepared nails. Leave Cleopatra | ||
| Tis well th'art gone, | It is good what is gone | ||
| If it be well to live; but better 'twere | If it is good to live; But better 'Twere | ||
| Thou fell'st into my fury, for one death | You fell into my anger for death | ||
| Might have prevented many. Eros, ho! | Could have prevented many. Eros, Ho! | ||
| The shirt of Nessus is upon me; teach me, | Nessus's shirt is on me; Teach me, | ||
| Alcides, thou mine ancestor, thy rage; | Alciden, you my ancestor, your anger; | ||
| Let me lodge Lichas on the horns o' th' moon, | Let me lure you on the horns of the moon, | ||
| And with those hands that grasp'd the heaviest club | And with these hands that learned the heaviest club | ||
| Subdue my worthiest self. The witch shall die. | Subject my worthy self. The witch will die. | ||
| To the young Roman boy she hath sold me, and I fall | She sold me to the young Roman boy and I fell | ||
| Under this plot. She dies for't. Eros, ho! Exit | Under this conspiracy. She doesn't die. Eros, Ho! Exit | ||
| ACT_4|SC_13 | ACT_4 | SC_13 | ||
| SCENE XIII. | Feel XIII. | ||
| Alexandria. CLEOPATRA's palace | Alexandria. Cleopatras Palast | ||
| Enter CLEOPATRA, CHARMIAN, IRAS, and MARDIAN | Enter Cleopatra, Charmian, Ira and Mardian | ||
| CLEOPATRA. Help me, my women. O, he is more mad | CLEOPATRA. Help me, my women. O, he is angrier | ||
| Than Telamon for his shield; the boar of Thessaly | As a telamon for his sign; The boar of Thessaly | ||
| Was never so emboss'd. | Has never been shaped. | ||
| CHARMIAN. To th'monument! | Charmian. To Th'Monument! | ||
| There lock yourself, and send him word you are dead. | There you lock yourself and send him a word that you are dead. | ||
| The soul and body rive not more in parting | The soul and the body are no longer in goodbye | ||
| Than greatness going off. | As a size starts. | ||
| CLEOPATRA. To th' monument! | CLEOPATRA. To this monument! | ||
| Mardian, go tell him I have slain myself; | Mardian, tell him, I killed myself; | ||
| Say that the last I spoke was 'Antony' | Say that the last thing I spoke was "Antony" | ||
| And word it, prithee, piteously. Hence, Mardian, | Und form es, prithee, peeös. Daher Mardian, | ||
| And bring me how he takes my death. To th' monument! | And bring me how he takes my death. To this monument! | ||
| Exeunt | Exit | ||
| ACT_4|SC_14 | ACT_4 | SC_14 | ||
| SCENE XIV. | Feel XIV. | ||
| CLEOPATRA'S palace | Cleopatra's palace | ||
| Enter ANTONY and EROS | Enter Antony and Eros | ||
| ANTONY. Eros, thou yet behold'st me? | Antony. Eros, you still saw me? | ||
| EROS. Ay, noble lord. | Eros. Ay, noble Gentleman. | ||
| ANTONY. Sometime we see a cloud that's dragonish; | Antony. At some point we see a cloud that is dragon. | ||
| A vapour sometime like a bear or lion, | A steam at some point like a bear or lion, | ||
| A tower'd citadel, a pendent rock, | A tower citadel, a violent rock, | ||
| A forked mountain, or blue promontory | A forked mountain or a blue fountain | ||
| With trees upon't that nod unto the world | With trees that don't nod like that, nod the world | ||
| And mock our eyes with air. Thou hast seen these signs; | And mock our eyes with air. You saw these characters; | ||
| They are black vesper's pageants. | You are Black Vespers Festival. | ||
| EROS. Ay, my lord. | Eros. Yes my Lord. | ||
| ANTONY. That which is now a horse, even with a thought | Antony. What a horse is now, also with a thought | ||
| The rack dislimns, and makes it indistinct, | The rack lights up and makes it indistinct, | ||
| As water is in water. | There is water in water. | ||
| EROS. It does, my lord. | EROS. It does, my Lord. | ||
| ANTONY. My good knave Eros, now thy captain is | Antony. My good villain, now your captain is | ||
| Even such a body. Here I am Antony; | Even such a body. Here I am Antony; | ||
| Yet cannot hold this visible shape, my knave. | But not this visible form, my villain. | ||
| I made these wars for Egypt; and the Queen- | I made these wars for Egypt; And the queen | ||
| Whose heart I thought I had, for she had mine, | Whose heart I thought I had because she had mine | ||
| Which, whilst it was mine, had annex'd unto't | What, although it was mine, had not annexed what wasn't | ||
| A million moe, now lost- she, Eros, has | A million moe, now lost- has | ||
| Pack'd cards with Caesar, and false-play'd my glory | Pack cards with Caesar and false fame | ||
| Unto an enemy's triumph. | To the triumph of an enemy. | ||
| Nay, weep not, gentle Eros; there is left us | No, not wine, gentle eros; There are us | ||
| Ourselves to end ourselves. | We end ourselves. | ||
| Enter MARDIAN | Enter Mardian | ||
| O, thy vile lady! | Oh, your hideous lady! | ||
| She has robb'd me of my sword. | She made me from my sword Robb. | ||
| MARDIAN. No, Antony; | Mardian. Nein, Antony; | ||
| My mistress lov'd thee, and her fortunes mingled | My lover loved you and her fortune mingled | ||
| With thine entirely. | With your whole. | ||
| ANTONY. Hence, saucy eunuch; peace! | Antony. Hence cheeky eunuch; Peace! | ||
| She hath betray'd me, and shall die the death. | She betrayed me and is supposed to die. | ||
| MARDIAN. Death of one person can be paid but once, | Mardian. The death of a person can only be paid once | ||
| And that she has discharg'd. What thou wouldst do | And that she released. What you would do | ||
| Is done unto thy hand. The last she spake | Is made on your hand. The last one spoke | ||
| Was 'Antony! most noble Antony!' | Was' Antony! The noblest Antonie! ' | ||
| Then in the midst a tearing groan did break | Then a torn moan broke | ||
| The name of Antony; it was divided | The name Antony; It was shared | ||
| Between her heart and lips. She rend'red life, | Between her heart and her lips. She makes life | ||
| Thy name so buried in her. | Your name is so buried in it. | ||
| ANTONY. Dead then? | Antony. Then dead? | ||
| MARDIAN. Dead. | Mardian. TOT. | ||
| ANTONY. Unarm, Eros; the long day's task is done, | Antony. Unarm, eros; The task of the long day is done | ||
| And we must sleep. That thou depart'st hence safe | And we have to sleep. So that you are sure, certainly sure | ||
| Does pay thy labour richly. Go. Exit MARDIAN | Pay your work plenty. Walk. Mardian go out | ||
| Off, pluck off! | From, pluck! | ||
| The sevenfold shield of Ajax cannot keep | Ajax's seven -time sign cannot be kept | ||
| The battery from my heart. O, cleave, my sides! | The battery from my heart. Oh, columns, my sides! | ||
| Heart, once be stronger than thy continent, | Heart, be once stronger than your continent, | ||
| Crack thy frail case. Apace, Eros, apace.- | Crack your frail case. Apace, Eros, Apace .--- | ||
| No more a soldier. Bruised pieces, go; | No more soldier. Injured pieces, go; | ||
| You have been nobly borne.- From me awhile. Exit EROS | They were born by me for a while. Leave eros | ||
| I will o'ertake thee, Cleopatra, and | I will, Cleopatra and | ||
| Weep for my pardon. So it must be, for now | Wines for my forgiveness. So it has to be for the time being | ||
| All length is torture. Since the torch is out, | All lengths are torture. The torch is out | ||
| Lie down, and stray no farther. Now all labour | Lay down and no further stray. Now all work | ||
| Mars what it does; yea, very force entangles | Mars what it does; Yes, very tightly tangle | ||
| Itself with strength. Seal then, and all is done. | Even with strength. Seal then and everything is ready. | ||
| Eros!- I come, my queen.- Eros!- Stay for me; | Eros!- I come, my queen. EOS!- Stay for me; | ||
| Where souls do couch on flowers, we'll hand in hand, | Where souls go to couch on flowers, we become hand in hand, | ||
| And with our sprightly port make the ghosts gaze. | And look at the ghosts with our lively harbor. | ||
| Dido and her Aeneas shall want troops, | Dido and their aeneas will want to troops | ||
| And all the haunt be ours.- Come, Eros, Eros! | And be all of us. | ||
| Re-enter EROS | Back in Eros | ||
| EROS. What would my lord? | EROS. What would my Lord? | ||
| ANTONY. Since Cleopatra died, | Antony. Since Cleopatra died, | ||
| I have liv'd in such dishonour that the gods | I lived in such a shame that the gods | ||
| Detest my baseness. I, that with my sword | Faith my lowness. Me, that with my sword | ||
| Quarter'd the world, and o'er green Neptune's back | Quarter the world and other green Neptuns back | ||
| With ships made cities, condemn myself to lack | Judge me with ships that made cities not to lack | ||
| The courage of a woman; less noble mind | The courage of a woman; Less noble mind | ||
| Than she which by her death our Caesar tells | When she tells what our Caesar tells through her death | ||
| I am conqueror of myself.' Thou art sworn, Eros, | I am a conqueror of myself. 'You are sworn, eros, | ||
| That, when the exigent should come- which now | That if that should come urgently- what now | ||
| Is come indeed- when I should see behind me | Indeed, when I should see behind me | ||
| Th' inevitable prosecution of | The inevitable prosecution of | ||
| Disgrace and horror, that, on my command, | Shame and horror that, on my command, | ||
| Thou then wouldst kill me. Do't; the time is come. | You would then kill me. Point; The time has come. | ||
| Thou strik'st not me; 'tis Caesar thou defeat'st. | You don't hit me; 'It's Caesar, you defeated yourself. | ||
| Put colour in thy cheek. | Put color in your cheek. | ||
| EROS. The gods withhold me! | EROS. The gods hold me back! | ||
| Shall I do that which all the Parthian darts, | Should I do what all Parthian arrows? | ||
| Though enemy, lost aim and could not? | Although enemy, lost goal and not? | ||
| ANTONY. Eros, | Antony. Eros, | ||
| Wouldst thou be window'd in great Rome and see | Would you be in great Rome and see and see and see | ||
| Thy master thus with pleach'd arms, bending down | Your master with sudden arms bends down | ||
| His corrigible neck, his face subdu'd | His corrective neck, his face subs | ||
| To penetrative shame, whilst the wheel'd seat | Into the penetrative shame while the wheel seat of the bikes is | ||
| Of fortunate Caesar, drawn before him, branded | Of the happy Caesar, marked in front of him, branded | ||
| His baseness that ensued? | His defeat followed? | ||
| EROS. I would not see't. | EROS. I wouldn't see. | ||
| ANTONY. Come, then; for with a wound I must be cur'd. | Antony. Come then; Because I have to be summarized with a wound. | ||
| Draw that thy honest sword, which thou hast worn | Draw this honest sword that you have worn | ||
| Most useful for thy country. | The most useful for your country. | ||
| EROS. O, sir, pardon me! | Eros. O, sir, forgive me! | ||
| ANTONY. When I did make thee free, swor'st thou not then | Antony. When I cleared you, you don't look back then | ||
| To do this when I bade thee? Do it at once, | To do that when I asked you? Do it immediately | ||
| Or thy precedent services are all | Or your precedents are all | ||
| But accidents unpurpos'd. Draw, and come. | But accidents unpurpos'd. Draw and come. | ||
| EROS. Turn from me then that noble countenance, | EROS. Then turn away from me, this noble face, | ||
| Wherein the worship of the whole world lies. | The worship of the whole world is. | ||
| ANTONY. Lo thee! [Turning from him] | Antony. You are you! [Turn away from him] | ||
| EROS. My sword is drawn. | EROS. My sword is drawn. | ||
| ANTONY. Then let it do at once | Antony. Then let it do it immediately | ||
| The thing why thou hast drawn it. | The thing why you drawn it. | ||
| EROS. My dear master, | EROS. My dear master | ||
| My captain and my emperor, let me say, | My captain and my emperor, let me say | ||
| Before I strike this bloody stroke, farewell. | Before I meet this bloody stroke, I say goodbye. | ||
| ANTONY. 'Tis said, man; and farewell. | Antony. It said, man; and farewell. | ||
| EROS. Farewell, great chief. Shall I strike now? | EROS. Farewell, great boss. Should I beat now? | ||
| ANTONY. Now, Eros. | Antony. Well, Eros. | ||
| EROS. Why, there then! Thus do I escape the sorrow | EROS. Why then! This is how I escape the grief | ||
| Of Antony's death. [Kills himself | By Antony's death. [Bringing himself up | ||
| ANTONY. Thrice nobler than myself! | Antony. Three times more noble than me! | ||
| Thou teachest me, O valiant Eros, what | You think I, o Valiant Eros, what | ||
| I should, and thou couldst not. My queen and Eros | I should, and you couldn't. My queen and Eros | ||
| Have, by their brave instruction, got upon me | I rose to me through their courageous instructions | ||
| A nobleness in record. But I will be | Nobody in recording. But I'll be | ||
| A bridegroom in my death, and run into't | A groom in my death and do not run | ||
| As to a lover's bed. Come, then; and, Eros, | As for a lover's bed. Come then; and Eros, | ||
| Thy master dies thy scholar. To do thus | Your master dies your scholar. To pretend | ||
| [Falling on his sword] | [Fall on his sword] | ||
| I learn'd of thee. How? not dead? not dead?- | I'm learning from you. As? not dead? not dead?- | ||
| The guard, ho! O, dispatch me! | The guard, HO! Oh, send me! | ||
| Enter DERCETAS and a guard | Enter Dercetas and a guard | ||
| FIRST GUARD. What's the noise? | First guard. What is the sound? | ||
| ANTONY. I have done my work ill, friends. O, make an end | Antony. I made my work sick, friends. O, put an end | ||
| Of what I have begun. | From what I started. | ||
| SECOND GUARD. The star is fall'n. | Second guard. The star is autumn. | ||
| FIRST GUARD. And time is at his period. | First guard. And the time is in his time. | ||
| ALL. Alas, and woe! | EVERYONE. Unfortunately and woe! | ||
| ANTONY. Let him that loves me, strike me dead. | Antony. Leave him who loves me, beat me dead. | ||
| FIRST GUARD. Not I. | First guard. Not me. | ||
| SECOND GUARD. Nor I. | Second guard. No. I. | ||
| THIRD GUARD. Nor any one. Exeunt guard | Guards. I still ani one. Guard exeunt | ||
| DERCETAS. Thy death and fortunes bid thy followers fly. | Dercetas. Your death and fate will fly your followers flying. | ||
| This sword but shown to Caesar, with this tidings, | This sword, but showed Caesar with these messages, | ||
| Shall enter me with him. | Should enter me with him. | ||
| Enter DIOMEDES | Enter Diomedes | ||
| DIOMEDES. Where's Antony? | Diomedes. Where is Antony? | ||
| DERCETAS. There, Diomed, there. | Dercetas. Dirt, Duthud, Dort. | ||
| DIOMEDES. Lives he? | Diomedes. Do he live? | ||
| Wilt thou not answer, man? Exit DERCETAS | Don't you want to answer, man? Leave Dercetas | ||
| ANTONY. Art thou there, Diomed? Draw thy sword and give me | Antony. Art you there, diomed? Draw your sword and give me | ||
| Sufficing strokes for death. | Achieving strokes for death. | ||
| DIOMEDES. Most absolute lord, | Diomedes. The absolute gentleman, Lord, | ||
| My mistress Cleopatra sent me to thee. | My beloved Cleopatra sent me to you. | ||
| ANTONY. When did she send thee? | Antony. When did she send you? | ||
| DIOMEDES. Now, my lord. | Diomedes. Well, my lord. | ||
| ANTONY. Where is she? | Antony. Where is she? | ||
| DIOMEDES. Lock'd in her monument. She had a prophesying fear | Diomedes. Closed in your monument. She was a prophecy fear | ||
| Of what hath come to pass; for when she saw- | From what is done; Because when she Sautte- | ||
| Which never shall be found- you did suspect | What should never be found- they have suspected | ||
| She had dispos'd with Caesar, and that your rage | She had disposed with Caesar and that her anger | ||
| Would not be purg'd, she sent you word she was dead; | I would not be cared for, she sent you word, she was dead; | ||
| But fearing since how it might work, hath sent | But since then how it could work, he has sent | ||
| Me to proclaim the truth; and I am come, | I announced the truth; And I came | ||
| I dread, too late. | I'm afraid too late. | ||
| ANTONY. Too late, good Diomed. Call my guard, I prithee. | Antony. Too late, well diomated. Call my guard, I Prithee. | ||
| DIOMEDES. What, ho! the Emperor's guard! The guard, what ho! | Diomedes. What, Ho! The watch of the emperor! The guard what he! | ||
| Come, your lord calls! | Come on your Lord! | ||
| Enter four or five of the guard of ANTONY | Enter four or five Antony security guards | ||
| ANTONY. Bear me, good friends, where Cleopatra bides; | Antony. Wear me, good friends where Cleopatra Bidt; | ||
| Tis the last service that I shall command you. | It is the last service I will command you. | ||
| FIRST GUARD. Woe, woe are we, sir, you may not live to wear | First guard. Woe, woe we are, sir, you cannot live to live | ||
| All your true followers out. | All of their true followers. | ||
| ALL. Most heavy day! | EVERYONE. Hardest day! | ||
| ANTONY. Nay, good my fellows, do not please sharp fate | Antony. No, well, my people, please please spicy fate | ||
| To grace it with your sorrows. Bid that welcome | To adorn it with your worries. Offer this welcome | ||
| Which comes to punish us, and we punish it, | What comes to punish us and we punish it | ||
| Seeming to bear it lightly. Take me up. | It seems easy to wear. Take me up. | ||
| I have led you oft; carry me now, good friends, | I have led you often; Wear me now, good friends | ||
| And have my thanks for all. Exeunt, hearing ANTONY | And thanked my thanks for everyone. Listen to how Antony hears | ||
| ACT_4|SC_15 | ACT_4 | SC_15 | ||
| SCENE XV. | Feel XV. | ||
| Alexandria. A monument | Alexandria. A monument | ||
| Enter CLEOPATRA and her maids aloft, with CHARMIAN | Enter Cleopatra and your maids with charmian in the air | ||
| and IRAS | and Iras | ||
| CLEOPATRA. O Charmian, I will never go from hence! | CLEOPATRA. O Charmian, I will never go! | ||
| CHARMIAN. Be comforted, dear madam. | Charmian. Be comforted, dear Madam. | ||
| CLEOPATRA. No, I will not. | CLEOPATRA. No, I will not. | ||
| All strange and terrible events are welcome, | All strange and terrible events are welcome | ||
| But comforts we despise; our size of sorrow, | But consoles; Our size of grief, | ||
| Proportion'd to our cause, must be as great | Proportional to our cause must be just as great | ||
| As that which makes it. | Than what it does. | ||
| Enter DIOMEDES, below | Enter diomedes below | ||
| How now! Is he dead? | Like right now! Is he dead? | ||
| DIOMEDES. His death's upon him, but not dead. | Diomedes. His death is on him, but not dead. | ||
| Look out o' th' other side your monument; | Look at the other side of your monument. | ||
| His guard have brought him thither. | His guard brought him there. | ||
| Enter, below, ANTONY, borne by the guard | Enter Antony below, worn by the guard | ||
| CLEOPATRA. O sun, | Cleopatra. I call it | ||
| Burn the great sphere thou mov'st in! Darkling stand | Burn the large sphere, you move in! Darkness | ||
| The varying shore o' th' world. O Antony, | The different banks of the world. O Antony, | ||
| Antony, Antony! Help, Charmian; help, Iras, help; | Antony, Antony! Help, charmian; Help, Iras, help; | ||
| Help, friends below! Let's draw him hither. | Help, friends below! Let's draw him here. | ||
| ANTONY. Peace! | Antony. Peace! | ||
| Not Caesar's valour hath o'erthrown Antony, | Not Caesar's bravery has Antony, | ||
| But Antony's hath triumph'd on itself. | But Antony's triumphed. | ||
| CLEOPATRA. So it should be, that none but Antony | CLEOPATRA. So it should be that only Antony should be | ||
| Should conquer Antony; but woe 'tis so! | Should conquer Antony; But like this! | ||
| ANTONY. I am dying, Egypt, dying; only | Antony. I die, Egypt, dies; only | ||
| I here importune death awhile, until | I have death here for a while | ||
| Of many thousand kisses the poor last | The arms of many thousands of a thousand kiss last | ||
| I lay upon thy lips. | I lay on your lips. | ||
| CLEOPATRA. I dare not, dear. | CLEOPATRA. I don't dare, dear. | ||
| Dear my lord, pardon! I dare not, | Dear my lord, forgiveness! I dont dare, | ||
| Lest I be taken. Not th' imperious show | So that I am not taken. Not the imperian show | ||
| Of the full-fortun'd Caesar ever shall | Of the full Caesar | ||
| Be brooch'd with me. If knife, drugs, serpents, have | Be brooch with me. When knives, drugs, snakes, have | ||
| Edge, sting, or operation, I am safe. | The edge, sting or operation, I'm safe. | ||
| Your wife Octavia, with her modest eyes | Your wife Octavia with her modest eyes | ||
| And still conclusion, shall acquire no honour | And still conclusion, will not get any honor | ||
| Demuring upon me. But come, come, Antony- | I go down over me. But come on, come, antony- | ||
| Help me, my women- we must draw thee up; | Help me, my women- we have to open you; | ||
| Assist, good friends. | Assist, good friends. | ||
| ANTONY. O, quick, or I am gone. | Antony. Oh, fast or I'm gone. | ||
| CLEOPATRA. Here's sport indeed! How heavy weighs my lord! | CLEOPATRA. Indeed, there is sport here! How heavy my gentleman weighs! | ||
| Our strength is all gone into heaviness; | Our strength is in severity; | ||
| That makes the weight. Had I great Juno's power, | That makes the weight. I had great Juno's strength | ||
| The strong-wing'd Mercury should fetch thee up, | The strong mercury should get you | ||
| And set thee by Jove's side. Yet come a little. | And sit on Jove's side. But come a little. | ||
| Wishers were ever fools. O come, come, | The wishes were always fools. O Come, come ,, | ||
| [They heave ANTONY aloft to CLEOPATRA] | [You raise Antony in the air to Cleopatra] | ||
| And welcome, welcome! Die where thou hast liv'd. | And welcome, welcome! Die where you live. | ||
| Quicken with kissing. Had my lips that power, | Accelerate with kisses. Had my lips this force | ||
| Thus would I wear them out. | That's how I would take them out. | ||
| ALL. A heavy sight! | EVERYONE. A difficult sight! | ||
| ANTONY. I am dying, Egypt, dying. | Antony. I die, Egypt, dies. | ||
| Give me some wine, and let me speak a little. | Give me some wine and let me speak a little. | ||
| CLEOPATRA. No, let me speak; and let me rail so high | CLEOPATRA. No, let me speak; and let me seem so high | ||
| That the false huswife Fortune break her wheel, | That the false husband can break her bike, | ||
| Provok'd by my offence. | Provoked through my offense. | ||
| ANTONY. One word, sweet queen: | Antony. A word, sweet queen: | ||
| Of Caesar seek your honour, with your safety. O! | From Caesar you are looking for your honor with your security. Ö! | ||
| CLEOPATRA. They do not go together. | CLEOPATRA. They don't go together. | ||
| ANTONY. Gentle, hear me: | Antony. Gentle, hear me: | ||
| None about Caesar trust but Proculeius. | None over Caesar Trust, but procures. | ||
| CLEOPATRA. My resolution and my hands I'll trust; | CLEOPATRA. I will trust my solution and my hands; | ||
| None about Caesar | None over Caesar | ||
| ANTONY. The miserable change now at my end | Antony. The miserable change now at my end | ||
| Lament nor sorrow at; but please your thoughts | Mourning still complaint; But please your thoughts | ||
| In feeding them with those my former fortunes | In feeding with which my previous assets feed | ||
| Wherein I liv'd the greatest prince o' th' world, | Although I lived the biggest prince in the world, | ||
| The noblest; and do now not basely die, | The noblest; and do not die fundamentally now | ||
| Not cowardly put off my helmet to | Not to branch off my helmet to | ||
| My countryman- a Roman by a Roman | My compatriot- a novel by a Roman | ||
| Valiantly vanquish'd. Now my spirit is going | Defeated bristingly. Now my mind goes | ||
| I can no more. | I can not anymore. | ||
| CLEOPATRA. Noblest of men, woo't die? | CLEOPATRA. The noblest men, woo not die? | ||
| Hast thou no care of me? Shall I abide | Didn't you take care of me? Should I adhere to | ||
| In this dull world, which in thy absence is | In this boring world that is in your absence | ||
| No better than a sty? O, see, my women, [Antony dies] | Not better than a sty? O, see, my women, [Antony dies] | ||
| The crown o' th' earth doth melt. My lord! | The crown of the earth melts. Sir! | ||
| O, wither'd is the garland of the war, | Oh, the garland is withered, | ||
| The soldier's pole is fall'n! Young boys and girls | The soldier's rod is autumn! Boys and girls | ||
| Are level now with men. The odds is gone, | Are now with men. The chances are gone | ||
| And there is nothing left remarkable | And nothing remains remarkable | ||
| Beneath the visiting moon. [Swoons] | Under the visiting moon. [Swoons] | ||
| CHARMIAN. O, quietness, lady! | Charmian. Oh, calm, lady! | ||
| IRAS. She's dead too, our sovereign. | Iras. It is also dead, our sovereign. | ||
| CHARMIAN. Lady! | Charmian. Dame! | ||
| IRAS. Madam! | iraas. Madam! | ||
| CHARMIAN. O madam, madam, madam! | Charmian. O Madam, Madam, Madam! | ||
| IRAS. Royal Egypt, Empress! | Iras. Royal Egypt, Kaiser! | ||
| CHARMIAN. Peace, peace, Iras! | Charmian. Peace, peace, Iras! | ||
| CLEOPATRA. No more but e'en a woman, and commanded | CLEOPATRA. No more than a woman and ordered | ||
| By such poor passion as the maid that milks | Through as bad passion as the maids, the Milks | ||
| And does the meanest chares. It were for me | And makes the Andelstest Chares. It was for me | ||
| To throw my sceptre at the injurious gods; | Throw my scepter on the harmful gods; | ||
| To tell them that this world did equal theirs | To tell them that this world corresponds to them | ||
| Till they had stol'n our jewel. All's but nought; | Until they had pushed our jewel. But everything is nothing; | ||
| Patience is sottish, and impatience does | Patience is sotktisch and impatience does it | ||
| Become a dog that's mad. Then is it sin | Become a dog that is crazy. Then it's sin | ||
| To rush into the secret house of death | Rush into the secret house of death | ||
| Ere death dare come to us? How do you, women? | Um death dare to us? How do you do women? | ||
| What, what! good cheer! Why, how now, Charmian! | What what! Good courage! Why, like now, Charmian! | ||
| My noble girls! Ah, women, women, look, | My noble girls! Ah, women, women, look, | ||
| Our lamp is spent, it's out! Good sirs, take heart. | Our lamp is output, it's out! Good gentlemen, take the heart. | ||
| We'll bury him; and then, what's brave, what's noble, | We will bury him; And then what is brave, what is noble,? | ||
| Let's do it after the high Roman fashion, | Let us do it after the high Roman fashion, | ||
| And make death proud to take us. Come, away; | And make death proud to take us. Come away; | ||
| This case of that huge spirit now is cold. | This case of this huge mind is now cold. | ||
| Ah, women, women! Come; we have no friend | Ah, women, women! Come; We don't have a friend | ||
| But resolution and the briefest end. | But the solution and the shortest end. | ||
| Exeunt; those above hearing off ANTONY'S body | Exeunt; The above listened to Antony's body | ||
| ACT_5|SC_1 | ACT_5 | SC_1 | ||
| ACT V. SCENE I. | Nude V. SENE I. | ||
| Alexandria. CAESAR'S camp | Alexandria. Caesars Lager | ||
| Enter CAESAR, AGRIPPA, DOLABELLA, MAECENAS, GALLUS, | Betreten Sie Caesar, Agrippa, Dolabella, Maecenas, Gallus, | ||
| PROCULEIUS, and others, his Council of War | Proculeius and others his war council | ||
| CAESAR. Go to him, Dolabella, bid him yield; | CAESAR. Go to him, Dolabella, offer him to return; | ||
| Being so frustrate, tell him he mocks | Tell him that he's mocked | ||
| The pauses that he makes. | The breaks he takes. | ||
| DOLABELLA. Caesar, I shall. Exit | Dolabella. Caesar, I will. Exit | ||
| Enter DERCETAS With the sword of ANTONY | Enter Dercetas with Antony's sword | ||
| CAESAR. Wherefore is that? And what art thou that dar'st | CAESAR. Why is this? And what kind of art you? | ||
| Appear thus to us? | So we appear like that? | ||
| DERCETAS. I am call'd Dercetas; | Dercetas. I am called Dercetas; | ||
| Mark Antony I serv'd, who best was worthy | Mark Antony, which I served, who was best worthy | ||
| Best to be serv'd. Whilst he stood up and spoke, | Best serve. While he got up and spoke, he spoke while he spoke | ||
| He was my master, and I wore my life | He was my master and I was wearing my life | ||
| To spend upon his haters. If thou please | Spend on his haters. If you please | ||
| To take me to thee, as I was to him | To bring me to you as I was for him | ||
| I'll be to Caesar; if thou pleasest not, | I will be Caesar; If you don't freed it | ||
| I yield thee up my life. | I give you my life. | ||
| CAESAR. What is't thou say'st? | CAESAR. What do you not say? | ||
| DERCETAS. I say, O Caesar, Antony is dead. | Dercetas. I say, O Caesar, Antony is dead. | ||
| CAESAR. The breaking of so great a thing should make | CAESAR. Breaking so big things should do | ||
| A greater crack. The round world | A bigger crack. The round world | ||
| Should have shook lions into civil streets, | Should have shaken Löwen on civil roads, | ||
| And citizens to their dens. The death of Antony | And citizens to their caves. The death of Antony | ||
| Is not a single doom; in the name lay | Is not a single downfall; In the name was | ||
| A moiety of the world. | A unity of the world. | ||
| DERCETAS. He is dead, Caesar, | Dercetas. He is dead, Caesar, | ||
| Not by a public minister of justice, | Not by a public minister of Justice, | ||
| Nor by a hired knife; but that self hand | Still through an hired knife; But this self -hand | ||
| Which writ his honour in the acts it did | Who wrote his honor in the deeds that did it | ||
| Hath, with the courage which the heart did lend it, | Has with the courage that the heart was lending, with the courage, | ||
| Splitted the heart. This is his sword; | Split the heart. This is his sword; | ||
| I robb'd his wound of it; behold it stain'd | I croaked his wound of it; See it colored | ||
| With his most noble blood. | With its finest blood. | ||
| CAESAR. Look you sad, friends? | CAESAR. Do you look sad, friends? | ||
| The gods rebuke me, but it is tidings | The gods blame me, but they are news | ||
| To wash the eyes of kings. | Wash the eyes of the kings. | ||
| AGRIPPA. And strange it is | Agrippa. And it's strange | ||
| That nature must compel us to lament | This nature must force us to complain | ||
| Our most persisted deeds. | Our most important acts. | ||
| MAECENAS. His taints and honours | Maecenas. His compression and honors | ||
| Wag'd equal with him. | Wagged him right away. | ||
| AGRIPPA. A rarer spirit never | Agrippa. Never a lesser spirit | ||
| Did steer humanity. But you gods will give us | Has controlled humanity. But you gods will give us | ||
| Some faults to make us men. Caesar is touch'd. | Some mistakes that make us men. Caesar is touched. | ||
| MAECENAS. When such a spacious mirror's set before him, | Maecenas. If such a spacious mirror puts in front of him, | ||
| He needs must see himself. | He has to see himself. | ||
| CAESAR. O Antony, | CAESAR. O Antony, | ||
| I have follow'd thee to this! But we do lance | I followed you! But we do Lance | ||
| Diseases in our bodies. I must perforce | Diseases in our body. I have to carry out | ||
| Have shown to thee such a declining day | Showed you such a decreasing day | ||
| Or look on thine; we could not stall together | Or look at her; We couldn't stand together | ||
| In the whole world. But yet let me lament, | In the whole world. But let me complain | ||
| With tears as sovereign as the blood of hearts, | With tears as confidently as the blood of the hearts, | ||
| That thou, my brother, my competitor | That you, my brother, my competitor | ||
| In top of all design, my mate in empire, | On all designs, my buddy in the empire, | ||
| Friend and companion in the front of war, | Friend and companion in the front of the war, | ||
| The arm of mine own body, and the heart | The arm of my own body and the heart | ||
| Where mine his thoughts did kindle- that our stars, | Where mine ignited his thoughts that our stars, | ||
| Unreconciliable, should divide | Involvious should share | ||
| Our equalness to this. Hear me, good friends- | Our equality for this. Listen to me, good friends | ||
| Enter an EGYPTIAN | Enter an Egyptian | ||
| But I will tell you at some meeter season. | But I'll tell you in a meeting season. | ||
| The business of this man looks out of him; | The business of this man looks out of him; | ||
| We'll hear him what he says. Whence are you? | We will hear him what he says. Where are you from? | ||
| EGYPTIAN. A poor Egyptian, yet the Queen, my mistress, | EGYPTIAN. A poor Egyptian, but the queen, my lover, | ||
| Confin'd in all she has, her monument, | In everything she has, her monument, | ||
| Of thy intents desires instruction, | Your intentions wishes instructions, | ||
| That she preparedly may frame herself | That she can prepare itself prepared | ||
| To th' way she's forc'd to. | In the way it is. | ||
| CAESAR. Bid her have good heart. | CAESAR. Offer that you have a good heart. | ||
| She soon shall know of us, by some of ours, | She will soon know us from some of us, from us, | ||
| How honourable and how kindly we | How honorable and how kindly we | ||
| Determine for her; for Caesar cannot learn | Determine for you; Because Caesar cannot learn | ||
| To be ungentle. | Be unrestricted. | ||
| EGYPTIAN. So the gods preserve thee! Exit | EGYPTIAN. So keep the gods! Exit | ||
| CAESAR. Come hither, Proculeius. Go and say | Caesar. Come here, procession. Go and Say | ||
| We purpose her no shame. Give her what comforts | We do not commit a shame. Give her what comfort | ||
| The quality of her passion shall require, | The quality of her passion will require | ||
| Lest, in her greatness, by some mortal stroke | So that in size, not through a mortal stroke | ||
| She do defeat us; for her life in Rome | She defeats us; For their life in Rome | ||
| Would be eternal in our triumph. Go, | Would be in our triumph forever. Walk, | ||
| And with your speediest bring us what she says, | And with your fastest, what she says will bring us | ||
| And how you find her. | And how you find them. | ||
| PROCULEIUS. Caesar, I shall. Exit | Proculeius. Caesar, 1 Soll. Ausgang | ||
| CAESAR. Gallus, go you along. Exit GALLUS | CAESAR. Gallus, go with you. Leave gallus | ||
| Where's Dolabella, to second Proculeius? | Where is Dolabella to get the second procurement? | ||
| ALL. Dolabella! | Alle. Dolabella! | ||
| CAESAR. Let him alone, for I remember now | CAESAR. Leave him alone because now I remember now | ||
| How he's employ'd; he shall in time be ready. | How he is employed; He should be ready in time. | ||
| Go with me to my tent, where you shall see | Go to my tent with me where to see | ||
| How hardly I was drawn into this war, | Like hardly, I was drawn into this war | ||
| How calm and gentle I proceeded still | How calm and gentle I went | ||
| In all my writings. Go with me, and see | In all my writings. Go with me and see | ||
| What I can show in this. Exeunt | What I can show in it. Exeunt | ||
| ACT_5|SC_2 | ACT_5 | SC_2 | ||
| SCENE II. | Scene II. | ||
| Alexandria. The monument | Alexandria. The monument | ||
| Enter CLEOPATRA, CHARMIAN, IRAS, and MARDIAN | Enter Cleopatra, Charmian, Ira and Mardian | ||
| CLEOPATRA. My desolation does begin to make | CLEOPATRA. My desolation begins to make | ||
| A better life. 'Tis paltry to be Caesar: | A better life. 'It's stupid to be Caesar: | ||
| Not being Fortune, he's but Fortune's knave, | Not being lucky, he's just Fortune's villain, | ||
| A minister of her will; and it is great | A minister of will; And it's great | ||
| To do that thing that ends all other deeds, | To do the thing that ends all other acts, | ||
| Which shackles accidents and bolts up change, | Which bondage accidents and screws change, change, | ||
| Which sleeps, and never palates more the dug, | What sleeps and never impoverished as a dug, | ||
| The beggar's nurse and Caesar's. | The nurse of the beggar and Caesar. | ||
| Enter, to the gates of the monument, PROCULEIUS, GALLUS, | Enter the gates of the monument, Proculeius, Gallus, | ||
| and soldiers | and soldiers | ||
| PROCULEIUS. Caesar sends greetings to the Queen of Egypt, | Proculeius. Caesar sends greetings to the Queen of Egypt, | ||
| And bids thee study on what fair demands | And offers you a degree in which fair requirements | ||
| Thou mean'st to have him grant thee. | You mean that he will grant you. | ||
| CLEOPATRA. What's thy name? | CLEOPATRA. What's your name? | ||
| PROCULEIUS. My name is Proculeius. | Proculeius. My name is processed. | ||
| CLEOPATRA. Antony | Cleopatra. Anthony | ||
| Did tell me of you, bade me trust you; but | Told me about you, asked me to trust you; but | ||
| I do not greatly care to be deceiv'd, | I am not very interested in being cheated | ||
| That have no use for trusting. If your master | This has no use for trust. If your master | ||
| Would have a queen his beggar, you must tell him | Would have a queen his beggar, you have to tell him | ||
| That majesty, to keep decorum, must | This majesty to adhere to decency must | ||
| No less beg than a kingdom. If he please | No less start than a kingdom. If he please | ||
| To give me conquer'd Egypt for my son, | To give me Egypt for my son, | ||
| He gives me so much of mine own as I | He gives me as much of me as me | ||
| Will kneel to him with thanks. | Will be thanks to him. | ||
| PROCULEIUS. Be of good cheer; | Proculeius. Sei von Garem Jubel; | ||
| Y'are fall'n into a princely hand; fear nothing. | They fall into a princely hand; Don't fear. | ||
| Make your full reference freely to my lord, | Make your full reference freely on my gentleman | ||
| Who is so full of grace that it flows over | Who is so full of grace that it is floating | ||
| On all that need. Let me report to him | With all these needs. Let me report | ||
| Your sweet dependency, and you shall find | Your sweet dependency and you will find | ||
| A conqueror that will pray in aid for kindness | A conqueror who benefits friendliness | ||
| Where he for grace is kneel'd to. | Where he kneels for grace. | ||
| CLEOPATRA. Pray you tell him | CLEOPATRA. Pray, you tell him | ||
| I am his fortune's vassal and I send him | I am the vassal of his fortune and I send him | ||
| The greatness he has got. I hourly learn | The size he has. I am learning every hour | ||
| A doctrine of obedience, and would gladly | A doctrine of obedience and would like to | ||
| Look him i' th' face. | Look at him, I 'face. | ||
| PROCULEIUS. This I'll report, dear lady. | Proculeius. I will report that, dear lady. | ||
| Have comfort, for I know your plight is pitied | Nevertheless comfort because I know that their emergency is averaged | ||
| Of him that caus'd it. | From him who causes it. | ||
| GALLUS. You see how easily she may be surpris'd. | Gallus. You see how easily she may be surprised. | ||
| Here PROCULEIUS and two of the guard ascend the | Here Proculeius and two the security guard increase | ||
| monument by a ladder placed against a window, | Monument by a ladder against a window, | ||
| and come behind CLEOPATRA. Some of the guard | And come behind Cleopatra. Part of the guard | ||
| unbar and open the gates | Relax the gates and open the gates | ||
| Guard her till Caesar come. Exit | Guard it until Caesar comes. Exit | ||
| IRAS. Royal Queen! | Iras. Royal Queen! | ||
| CHARMIAN. O Cleopatra! thou art taken, Queen! | Charmian. O Cleopatra! You are taken, queen! | ||
| CLEOPATRA. Quick, quick, good hands. [Drawing a dagger] | CLEOPATRA. Fast, fast, good hands. [Draw dagger] | ||
| PROCULEIUS. Hold, worthy lady, hold, [Disarms her] | Proculeius. Hold, worthy wife, hold, [disarmed her] | ||
| Do not yourself such wrong, who are in this | Don't do so wrong, who is there | ||
| Reliev'd, but not betray'd. | Reliev'd, but not betrayed. | ||
| CLEOPATRA. What, of death too, | CLEOPATRA. What also of death, too, | ||
| That rids our dogs of languish? | That frees our dogs from Schmelilen? | ||
| PROCULEIUS. Cleopatra, | Proculeius. Kleopatra | ||
| Do not abuse my master's bounty by | Do not abuse my master's bounty from | ||
| Th' undoing of yourself. Let the world see | The reversal from you. Let the world see | ||
| His nobleness well acted, which your death | His nastiness acted well, what your death | ||
| Will never let come forth. | I will never let out. | ||
| CLEOPATRA. Where art thou, death? | CLEOPATRA. Where are you, death? | ||
| Come hither, come! Come, come, and take a queen | Come here, come on! Come, come and take a queen | ||
| Worth many babes and beggars! | Many babes and beggars worth it! | ||
| PROCULEIUS. O, temperance, lady! | Proculeius. Oh, Temperance Lady! | ||
| CLEOPATRA. Sir, I will eat no meat; I'll not drink, sir; | CLEOPATRA. Sir, I won't eat meat; I won't drink, sir; | ||
| If idle talk will once be necessary, | If once | ||
| I'll not sleep neither. This mortal house I'll ruin, | I won't sleep either. I will ruin this mortal house, | ||
| Do Caesar what he can. Know, sir, that I | Make Caesar what he can. Knows that I am | ||
| Will not wait pinion'd at your master's court, | I will not expect to be a pinion in the court of her master, | ||
| Nor once be chastis'd with the sober eye | Again with the sober eye chaste | ||
| Of dull Octavia. Shall they hoist me up, | Of boring octavia. Should they lift me up | ||
| And show me to the shouting varletry | And show me the calling Varletry | ||
| Of censuring Rome? Rather a ditch in Egypt | Censor? Rather a ditch in Egypt | ||
| Be gentle grave unto me! Rather on Nilus' mud | Be gentle grave for me! Rather on Nilus' mud | ||
| Lay me stark-nak'd, and let the water-flies | Place me strongly and let the water fly | ||
| Blow me into abhorring! Rather make | Slope me down! Rather do | ||
| My country's high pyramides my gibbet, | The high pyramid of my country my gibbet | ||
| And hang me up in chains! | And hang me up in chains! | ||
| PROCULEIUS. You do extend | Proculeius. They extend | ||
| These thoughts of horror further than you shall | These thoughts of terror continue to | ||
| Find cause in Caesar. | Find the cause in Caesar. | ||
| Enter DOLABELLA | Enter Dolabella | ||
| DOLABELLA. Proculeius, | Dolabella. Procure | ||
| What thou hast done thy master Caesar knows, | What you did your master Caesar knows | ||
| And he hath sent for thee. For the Queen, | And he sent you. For the queen, | ||
| I'll take her to my guard. | I will bring her to my guard. | ||
| PROCULEIUS. So, Dolabella, | Proculeius. Also, Dolabella, | ||
| It shall content me best. Be gentle to her. | It will best be satisfied. Be gentle to her. | ||
| [To CLEOPATRA] To Caesar I will speak what you shall please, | [After Cleopatra] I will speak to Caesar what to please | ||
| If you'll employ me to him. | When they deal with me for him. | ||
| CLEOPATRA. Say I would die. | CLEOPATRA. Say I would die. | ||
| Exeunt PROCULEIUS and soldiers | Leave Proculeius and soldiers | ||
| DOLABELLA. Most noble Empress, you have heard of me? | Dolabella. The finest Empress, did you hear from me? | ||
| CLEOPATRA. I cannot tell. | CLEOPATRA. I can not say it. | ||
| DOLABELLA. Assuredly you know me. | Dolabella. Certainly you know me. | ||
| CLEOPATRA. No matter, sir, what I have heard or known. | CLEOPATRA. No matter what I heard or knew. | ||
| You laugh when boys or women tell their dreams; | They laugh when boys or women tell their dreams; | ||
| Is't not your trick? | Isn't your trick? | ||
| DOLABELLA. I understand not, madam. | Dolabella. I don't understand Madam. | ||
| CLEOPATRA. I dreamt there was an Emperor Antony- | CLEOPATRA. I dreamed there was an emperor Antony | ||
| O, such another sleep, that I might see | O Such a different sleep that I could see | ||
| But such another man! | But another man! | ||
| DOLABELLA. If it might please ye- | Dolabella. If you could like it, are you? | ||
| CLEOPATRA. His face was as the heav'ns, and therein stuck | CLEOPATRA. His face was like the heavy one, and in it stuck | ||
| A sun and moon, which kept their course and lighted | A sun and a moon that held its course and illuminated | ||
| The little O, the earth. | The little o, the earth. | ||
| DOLABELLA. Most sovereign creature- | Dolabella. Sovereign creature | ||
| CLEOPATRA. His legs bestrid the ocean; his rear'd arm | CLEOPATRA. His legs punish the ocean; His back arm | ||
| Crested the world. His voice was propertied | Crested the World. His voice was brought about | ||
| As all the tuned spheres, and that to friends; | As all coordinated balls and friends; | ||
| But when he meant to quail and shake the orb, | But when he watches and shakes the ball, he shakes, | ||
| He was as rattling thunder. For his bounty, | He was just as rattling thunder. For his bounty, | ||
| There was no winter in't; an autumn 'twas | There was no winter; An autumn that | ||
| That grew the more by reaping. His delights | That grew all the more through harvesting. His joys | ||
| Were dolphin-like: they show'd his back above | Were dolphin -like: they showed his back above | ||
| The element they liv'd in. In his livery | The element in which they lived. In his paint | ||
| Walk'd crowns and crownets; realms and islands were | Walk crowns and crowns; Areas and islands were | ||
| As plates dropp'd from his pocket. | Fall out of his pocket as a plate. | ||
| DOLABELLA. Cleopatra- | Dolabella. Cleopatra- | ||
| CLEOPATRA. Think you there was or might be such a man | CLEOPATRA. Think that they existed or could such a man | ||
| As this I dreamt of? | How did I dream? | ||
| DOLABELLA. Gentle madam, no. | Dolabella. Gentle Madam, no. | ||
| CLEOPATRA. You lie, up to the hearing of the gods. | CLEOPATRA. They lie until the gods heard. | ||
| But if there be nor ever were one such, | But if there was another one, | ||
| It's past the size of drearning. Nature wants stuff | It is beyond the size of the consolation. Nature wants things | ||
| To vie strange forms with fancy; yet t' imagine | To compete with imagination; But introduce you to you | ||
| An Antony were nature's piece 'gainst fancy, | An antony was the piece "Gainst Fancy" of nature, imagination, | ||
| Condemning shadows quite. | Shadow completely condemn. | ||
| DOLABELLA. Hear me, good madam. | Dolabella. Listen to me, well, woman. | ||
| Your loss is, as yourself, great; and you bear it | Your loss is like you; And you wear it | ||
| As answering to the weight. Would I might never | As answers to the weight. I might never | ||
| O'ertake pursu'd success, but I do feel, | O'ertake according to success, but I feel | ||
| By the rebound of yours, a grief that smites | Through your relaxation of you, a grief that beats | ||
| My very heart at root. | My heart at the root. | ||
| CLEOPATRA. I thank you, sir. | CLEOPATRA. Thank you, Sir. | ||
| Know you what Caesar means to do with me? | Do you know what Caesar should do with me? | ||
| DOLABELLA. I am loath to tell you what I would you knew. | Dolabella. I am averse to telling you what I knew. | ||
| CLEOPATRA. Nay, pray you, sir. | CLEOPATRA. No, you pray, sir. | ||
| DOLABELLA. Though he be honourable- | Dolabella. Although he is honest- | ||
| CLEOPATRA. He'll lead me, then, in triumph? | CLEOPATRA. Will he then lead me in triumph? | ||
| DOLABELLA. Madam, he will. I know't. [Flourish] | Dolabella. Madam, he will. I do not know. [Bloom] | ||
| [Within: 'Make way there-Caesar!'] | [Within: "Make yourself there Caesar!" | ||
| Enter CAESAR; GALLUS, PROCULEIUS, MAECENAS, SELEUCUS, | Geben Sie Caesar ein; Gallus, Procureius, Maecenas, Seleucus | ||
| and others of his train | and others of his train | ||
| CAESAR. Which is the Queen of Egypt? | CAESAR. What is the Queen of Egypt? | ||
| DOLABELLA. It is the Emperor, madam. [CLEOPATPA kneels] | Dolabella. It is the emperor, Madam. [Cleopatpa Kneals] | ||
| CAESAR. Arise, you shall not kneel. | CAESAR. Arise, you shouldn't kneel. | ||
| I pray you, rise; rise, Egypt. | I pray you, get up; Ascent, Egypt. | ||
| CLEOPATRA. Sir, the gods | CLEOPATRA. Sir, the gods | ||
| Will have it thus; my master and my lord | It will have; My master and my gentleman | ||
| I must obey. | I have to obey. | ||
| CAESAR. Take to you no hard thoughts. | CAESAR. Don't take hard thoughts to you. | ||
| The record of what injuries you did us, | The recording of what injuries you have made us, | ||
| Though written in our flesh, we shall remember | Although we are written in our meat, we will remember | ||
| As things but done by chance. | As things, but by chance. | ||
| CLEOPATRA. Sole sir o' th' world, | CLEOPATRA. Sole Sir O 'Th' world, | ||
| I cannot project mine own cause so well | I can't project my own thing so well | ||
| To make it clear, but do confess I have | To make it clear, but I confess that I have | ||
| Been laden with like frailties which before | Was loaded with similar weaknesses that were previously | ||
| Have often sham'd our sex. | We often looked at our sex. | ||
| CAESAR. Cleopatra, know | CAESAR. Cleopatra know | ||
| We will extenuate rather than enforce. | We will rather mitigate than enforce. | ||
| If you apply yourself to our intents- | If you apply for our intentions | ||
| Which towards you are most gentle- you shall find | What is the most gentle towards you- you will find | ||
| A benefit in this change; but if you seek | An advantage in this change; But if you are looking for | ||
| To lay on me a cruelty by taking | Take cruelty to me by taking | ||
| Antony's course, you shall bereave yourself | Antony's course, you should calm down | ||
| Of my good purposes, and put your children | From my good purposes and put your children | ||
| To that destruction which I'll guard them from, | To this destruction that I will guard you | ||
| If thereon you rely. I'll take my leave. | When you rely on it. I will say goodbye. | ||
| CLEOPATRA. And may, through all the world. 'Tis yours, and we, | CLEOPATRA. And May through the whole world. 'It is yours and we, | ||
| Your scutcheons and your signs of conquest, shall | Their scutchons and their signs of conquest | ||
| Hang in what place you please. Here, my good lord. | Stay where you want. Here, my good gentleman. | ||
| CAESAR. You shall advise me in all for Cleopatra. | CAESAR. You will advise me for Cleopatra in everyone. | ||
| CLEOPATRA. This is the brief of money, plate, and jewels, | CLEOPATRA. This is the letter of money, plates and jewels. | ||
| I am possess'd of. 'Tis exactly valued, | I have. It is exactly appreciated | ||
| Not petty things admitted. Where's Seleucus? | Not allowed small things. Where is Seleucus? | ||
| SELEUCUS. Here, madam. | Seleukus. Here, Madam. | ||
| CLEOPATRA. This is my treasurer; let him speak, my lord, | CLEOPATRA. This is my treasurer; Let him speak, my lord, | ||
| Upon his peril, that I have reserv'd | At his risk that I have a reserve | ||
| To myself nothing. Speak the truth, Seleucus. | Nothing for me. Talk to the truth, Seleucus. | ||
| SELEUCUS. Madam, | Seleukus. Madam, | ||
| I had rather seal my lips than to my peril | I preferred to have my lips than sealed at my danger | ||
| Speak that which is not. | Talk what is not. | ||
| CLEOPATRA. What have I kept back? | CLEOPATRA. What did I hold back? | ||
| SELEUCUS. Enough to purchase what you have made known. | Seleukus. Enough to buy what you have made known. | ||
| CAESAR. Nay, blush not, Cleopatra; I approve | CAESAR. No, don't blush, Cleopatra; I agree | ||
| Your wisdom in the deed. | Their wisdom indeed. | ||
| CLEOPATRA. See, Caesar! O, behold, | CLEOPATRA. See Caesar! O, see, | ||
| How pomp is followed! Mine will now be yours; | How Pomp follows! Mine will be yours now; | ||
| And, should we shift estates, yours would be mine. | And should we postpone the goods, theirs would be mine. | ||
| The ingratitude of this Seleucus does | The ingratability of this Seleucus does | ||
| Even make me wild. O slave, of no more trust | Even make me wild. O slave, no more trust | ||
| Than love that's hir'd! What, goest thou back? Thou shalt | As love, that's Hir'd! What, do you go back? You shall | ||
| Go back, I warrant thee; but I'll catch thine eyes | Go back, I guarantee you; But I'll catch your eyes | ||
| Though they had wings. Slave, soulless villain, dog! | Although they had wings. Slave, soulless villain, dog! | ||
| O rarely base! | O Rarely basis! | ||
| CAESAR. Good Queen, let us entreat you. | CAESAR. Good queen, let us ask you. | ||
| CLEOPATRA. O Caesar, what a wounding shame is this, | CLEOPATRA. O Caesar, what a wounded shame is that, | ||
| That thou vouchsafing here to visit me, | That you brush here to visit me | ||
| Doing the honour of thy lordliness | Do the honor of your glory | ||
| To one so meek, that mine own servant should | To a gentle that my own servant should | ||
| Parcel the sum of my disgraces by | Package through the sum of my shame | ||
| Addition of his envy! Say, good Caesar, | Addition of his envy! Say, good Caesar, | ||
| That I some lady trifles have reserv'd, | That I reserved some Lady cuts, | ||
| Immoment toys, things of such dignity | Immomomenal toys, things such dignity | ||
| As we greet modern friends withal; and say | When we have modern friends with the greetings; and say | ||
| Some nobler token I have kept apart | A more noble token that I kept apart | ||
| For Livia and Octavia, to induce | For Livia and Octavia to induce | ||
| Their mediation- must I be unfolded | I have to develop your mediation | ||
| With one that I have bred? The gods! It smites me | With one that I bred? The gods! It will see me | ||
| Beneath the fall I have. [To SELEUCUS] Prithee go hence; | I have under autumn. [To Seleucus] Prithee Go; | ||
| Or I shall show the cinders of my spirits | Or I will show the fields of my spirits | ||
| Through th' ashes of my chance. Wert thou a man, | Through the ashes of my chance. Here, you a man, | ||
| Thou wouldst have mercy on me. | You would be gracious to me. | ||
| CAESAR. Forbear, Seleucus. Exit SELEUCUS | CAESAR. Forbear, Seleucus. End seleucus | ||
| CLEOPATRA. Be it known that we, the greatest, are misthought | CLEOPATRA. It is known that we, the largest, are disapproved | ||
| For things that others do; and when we fall | For things that others do; And if we fall | ||
| We answer others' merits in our name, | We answer the merits of others in our name. | ||
| Are therefore to be pitied. | Are therefore to be struggled. | ||
| CAESAR. Cleopatra, | Caesar. Kleopatra, | ||
| Not what you have reserv'd, nor what acknowledg'd, | Not what you have reserved or what confirmed | ||
| Put we i' th' roll of conquest. Still be't yours, | Put We i 'the' Roll of conquer. Still not yours, | ||
| Bestow it at your pleasure; and believe | Give it to your pleasure; and faith | ||
| Caesar's no merchant, to make prize with you | Caesar is not a merchant to get a price with you | ||
| Of things that merchants sold. Therefore be cheer'd; | Of things that sold merchants. Therefore cheer; | ||
| Make not your thoughts your prisons. No, dear Queen; | Do not make your thoughts about your prisons. No, dear Queen; | ||
| For we intend so to dispose you as | Because we intend to dispose of them as | ||
| Yourself shall give us counsel. Feed and sleep. | You will give us advice. Feeding and sleep. | ||
| Our care and pity is so much upon you | Our care and pity are so much for you | ||
| That we remain your friend; and so, adieu. | That we stay your friend; And so, adieu. | ||
| CLEOPATRA. My master and my lord! | CLEOPATRA. My master and my Lord! | ||
| CAESAR. Not so. Adieu. | CAESAR. Not so. Adieu. | ||
| Flourish. Exeunt CAESAR and his train | Bloom. Leave Caesar and his train | ||
| CLEOPATRA. He words me, girls, he words me, that I should not | CLEOPATRA. He asks me, girl, he asks me that I shouldn't | ||
| Be noble to myself. But hark thee, Charmian! | Be noble for me. But Hark you, charmian! | ||
| [Whispers CHARMIAN] | [Charmian whisper] | ||
| IRAS. Finish, good lady; the bright day is done, | Iras. End, good lady; The bright day is ready | ||
| And we are for the dark. | And we are for the dark. | ||
| CLEOPATRA. Hie thee again. | CLEOPATRA. Hie again. | ||
| I have spoke already, and it is provided; | I've already spoken and it is made available; | ||
| Go put it to the haste. | Go in a hurry. | ||
| CHARMIAN. Madam, I will. | Charmian. Madam, I'll be. | ||
| Re-enter DOLABELLA | Step back in Dolabella | ||
| DOLABELLA. Where's the Queen? | Dolabella. Where is the queen? | ||
| CHARMIAN. Behold, sir. Exit | Charmian. See, sir. Exit | ||
| CLEOPATRA. Dolabella! | Cleopatra. Dolabella! | ||
| DOLABELLA. Madam, as thereto sworn by your command, | Dolabella. Madam, as sworn by your command, | ||
| Which my love makes religion to obey, | What my love religion does to obey, | ||
| I tell you this: Caesar through Syria | I'll tell you that: Caesar through Syria | ||
| Intends his journey, and within three days | Intends his journey and within three days | ||
| You with your children will he send before. | He will send them with their children beforehand. | ||
| Make your best use of this; I have perform'd | Use this best. I performed | ||
| Your pleasure and my promise. | Your pleasure and my promise. | ||
| CLEOPATRA. Dolabella, | Cleopatra. Dolabella, | ||
| I shall remain your debtor. | I will remain your debtor. | ||
| DOLABELLA. I your servant. | Dolabella. I your servant. | ||
| Adieu, good Queen; I must attend on Caesar. | Adieu, good queen; I have to take part in Caesar. | ||
| CLEOPATRA. Farewell, and thanks. Exit DOLABELLA | CLEOPATRA. Farewell and thanks. Leave Dolabella | ||
| Now, Iras, what think'st thou? | Well, Iras, what do you think? | ||
| Thou an Egyptian puppet shall be shown | You should be an Egyptian puppet | ||
| In Rome as well as I. Mechanic slaves, | In Rome and I. Mechanical slaves, | ||
| With greasy aprons, rules, and hammers, shall | With greasy aprons, rules and hammering, | ||
| Uplift us to the view; in their thick breaths, | Lift us for the view; In their thick breaths, | ||
| Rank of gross diet, shall we be enclouded, | Rank of a coarse diet, we should be closed, | ||
| And forc'd to drink their vapour. | And forc'd to drink your steam. | ||
| IRAS. The gods forbid! | Iras. Forbid the gods! | ||
| CLEOPATRA. Nay, 'tis most certain, Iras. Saucy lictors | CLEOPATRA. No, it is certainly Iras. Saucy Lictors | ||
| Will catch at us like strumpets, and scald rhymers | Will start us like strumpets and scalding Rhymer | ||
| Ballad us out o' tune; the quick comedians | Ballad us out of a melody; The quick comedians | ||
| Extemporally will stage us, and present | We will staged and present us with a pleasure | ||
| Our Alexandrian revels; Antony | Celebrate our Alexandrian; Antony | ||
| Shall be brought drunken forth, and I shall see | Should be brought drunk and I will see | ||
| Some squeaking Cleopatra boy my greatness | A few squeaky Cleopatra boys, my size | ||
| I' th' posture of a whore. | I 'the keeping of a whore. | ||
| IRAS. O the good gods! | Iras. O the good gods! | ||
| CLEOPATRA. Nay, that's certain. | CLEOPATRA. No, that's sure. | ||
| IRAS. I'll never see't, for I am sure mine nails | Iras. I will never see because I'm sure my nails | ||
| Are stronger than mine eyes. | Are stronger than my eyes. | ||
| CLEOPATRA. Why, that's the way | CLEOPATRA. Why, that's the way | ||
| To fool their preparation and to conquer | Desire your preparation and conquer | ||
| Their most absurd intents. | Their absurd intentions. | ||
| Enter CHARMIAN | Enter Charmian | ||
| Now, Charmian! | Nun, Charmian! | ||
| Show me, my women, like a queen. Go fetch | Show me, my women like a queen. Go to | ||
| My best attires. I am again for Cydnus, | My best clothes. I'm back for cydnus | ||
| To meet Mark Antony. Sirrah, Iras, go. | To meet Mark Antony. Sirrah, Iras, go. | ||
| Now, noble Charmian, we'll dispatch indeed; | Well, noble Charmian, we will indeed send; | ||
| And when thou hast done this chare, I'll give thee leave | And if you have made this chare, I'll be able to | ||
| To play till doomsday. Bring our crown and all. | Play until the day of the Doomsday. Bring our crown and everything. | ||
| Exit IRAS. A noise within | Leave Iras. A noise inside | ||
| Wherefore's this noise? | Why is this sound? | ||
| Enter a GUARDSMAN | Enter a security guard | ||
| GUARDSMAN. Here is a rural fellow | Gardist. Here is a rural guy | ||
| That will not be denied your Highness' presence. | This is not denied the presence of their sovereignty. | ||
| He brings you figs. | He brings you fig. | ||
| CLEOPATRA. Let him come in. Exit GUARDSMAN | CLEOPATRA. Let him come in. Exit Guardsman | ||
| What poor an instrument | What a bad instrument | ||
| May do a noble deed! He brings me liberty. | Can do a noble deed! He brings me freedom. | ||
| My resolution's plac'd, and I have nothing | My resolution is placed and I have nothing | ||
| Of woman in me. Now from head to foot | From woman in me. Now from head to toe | ||
| I am marble-constant; now the fleeting moon | I am constant of marble; Now the fleeting moon | ||
| No planet is of mine. | No planet is from me. | ||
| Re-enter GUARDSMAN and CLOWN, with a basket | Enter Guardsman and Clown back into a basket | ||
| GUARDSMAN. This is the man. | Gardist. This is the man. | ||
| CLEOPATRA. Avoid, and leave him. Exit GUARDSMAN | CLEOPATRA. Avoid and leave him. Exit Guardsman | ||
| Hast thou the pretty worm of Nilus there | Do you have the pretty worm from Nilus there | ||
| That kills and pains not? | Doesn't that kill and don't pain? | ||
| CLOWN. Truly, I have him. But I would not be the party that | CLOWN. Really, I have him. But I wouldn't be the party that | ||
| should | should | ||
| desire you to touch him, for his biting is immortal; those | Wish you to touch him, because his bite is immortal; this | ||
| that | the | ||
| do die of it do seldom or never recover. | Dies rarely or never recover. | ||
| CLEOPATRA. Remember'st thou any that have died on't? | CLEOPATRA. Do you remember that you have not yet died? | ||
| CLOWN. Very many, men and women too. I heard of one of them no | CLOWN. Very many, including men and women. I heard no from one of them | ||
| longer than yesterday: a very honest woman, but something | Longer than yesterday: a very honest woman, but something | ||
| given | given | ||
| to lie, as a woman should not do but in the way of honesty; | Lies like a woman should not do, but should do honesty; | ||
| how | how | ||
| she died of the biting of it, what pain she felt- truly she | She died of biting what pain she felt- really she | ||
| makes | power | ||
| a very good report o' th' worm. But he that will believe all | A very good report from the worm. But the one who will believe everyone | ||
| that | the | ||
| they say shall never be saved by half that they do. But this | They say they are never saved by half what they are doing. But this | ||
| is | is | ||
| most falliable, the worm's an odd worm. | The worm is the most falling. | ||
| CLEOPATRA. Get thee hence; farewell. | CLEOPATRA. Get yourself from now on; Taking leave. | ||
| CLOWN. I wish you all joy of the worm. | CLOWN. I wish you all joy in the worm. | ||
| [Sets down the basket] | [Sets the basket] | ||
| CLEOPATRA. Farewell. | CLEOPATRA. Taking leave. | ||
| CLOWN. You must think this, look you, that the worm will do his | CLOWN. You have to think that, see that the worm will do his | ||
| kind. | net. | ||
| CLEOPATRA. Ay, ay; farewell. | Cleopatra. Ay, is; Taking leave. | ||
| CLOWN. Look you, the worm is not to be trusted but in the | CLOWN. Look at yourself, the worm is not to be trusted, but in the | ||
| keeping | Keep | ||
| of wise people; for indeed there is no goodness in the worm. | of wise people; Because in fact there is no kindness in the worm. | ||
| CLEOPATRA. Take thou no care; it shall be heeded. | CLEOPATRA. Don't pay attention to it; It will be observed. | ||
| CLOWN. Very good. Give it nothing, I pray you, for it is not | CLOWN. Very good. There is nothing, I pray you because it is not | ||
| worth | value | ||
| the feeding. | the feeding. | ||
| CLEOPATRA. Will it eat me? | CLEOPATRA. Will it eat me? | ||
| CLOWN. You must not think I am so simple but I know the devil | CLOWN. You can't think I'm so easy, but I know the devil | ||
| himself will not eat a woman. I know that a woman is a dish | Even no woman will eat. I know that a woman is a dish | ||
| for | to the | ||
| the gods, if the devil dress her not. But truly, these same | The gods when the devil does not attract them. But really the same thing | ||
| whoreson devils do the gods great harm in their women, for in | Whoreson Devils do great damage to the gods to their women, because in | ||
| every ten that they make the devils mar five. | All ten that they do the devil March five. | ||
| CLEOPATRA. Well, get thee gone; farewell. | CLEOPATRA. Well, go away; Taking leave. | ||
| CLOWN. Yes, forsooth. I wish you joy o' th' worm. Exit | CLOWN. Yes, available. I wish you joy from the worm. Exit | ||
| Re-enter IRAS, with a robe, crown, &c. | Back in Iras, with a robe, a crown, etc. | ||
| CLEOPATRA. Give me my robe, put on my crown; I have | CLEOPATRA. Give me my robe, put on my crown; I have | ||
| Immortal longings in me. Now no more | Immortal longings in me. Not any longer longer | ||
| The juice of Egypt's grape shall moist this lip. | The juice of the Egyptian grape will moisture this lip. | ||
| Yare, yare, good Iras; quick. Methinks I hear | Yare, Yare, good Iras; quickly. I hear I hear | ||
| Antony call. I see him rouse himself | Antony Call. I see him wake it up myself | ||
| To praise my noble act. I hear him mock | Praise my noble action. I hear him mocking | ||
| The luck of Caesar, which the gods give men | The happiness of Caesar that the gods give people | ||
| To excuse their after wrath. Husband, I come. | To excuse your after anger. Husband, I'm coming. | ||
| Now to that name my courage prove my title! | Now to this name, my courage proves my title! | ||
| I am fire and air; my other elements | I am fire and air; My other elements | ||
| I give to baser life. So, have you done? | I give the basic life. Did you do it? | ||
| Come then, and take the last warmth of my lips. | Then come and take the last warmth of my lips. | ||
| Farewell, kind Charmian. Iras, long farewell. | Farewell, friendly charmian. Iras, long farewell. | ||
| [Kisses them. IRAS falls and dies] | [Kiss it. Iras falls and dies] | ||
| Have I the aspic in my lips? Dost fall? | Do I have the aspic in my lips? Dost autumn? | ||
| If thus thou and nature can so gently part, | If you and nature can separate so gently, | ||
| The stroke of death is as a lover's pinch, | The stroke of death is the pinch of a lover, | ||
| Which hurts and is desir'd. Dost thou lie still? | What hurts and wants to hurt. Dost you lie quietly? | ||
| If thou vanishest, thou tell'st the world | If you disappear, you say the world | ||
| It is not worth leave-taking. | It is not worth pouring yourself. | ||
| CHARMIAN. Dissolve, thick cloud, and rain, that I may say | Charmian. Loosen yourself, thick cloud and rain so that I can say | ||
| The gods themselves do weep. | Cry the gods themselves. | ||
| CLEOPATRA. This proves me base. | CLEOPATRA. That proves me the basis. | ||
| If she first meet the curled Antony, | When she meets the rolled -up Antony for the first time, | ||
| He'll make demand of her, and spend that kiss | He will ask you and spend this kiss | ||
| Which is my heaven to have. Come, thou mortal wretch, | Which is my sky. Come, you mortal misery, | ||
| [To an asp, which she applies to her breast] | [To a Asp that she uses on her chest] | ||
| With thy sharp teeth this knot intrinsicate | With your sharp teeth, this knot is intrinsic | ||
| Of life at once untie. Poor venomous fool, | Of life at the same time. Poor poisonous fool, | ||
| Be angry and dispatch. O couldst thou speak, | Be angry and sends. O could you speak | ||
| That I might hear thee call great Caesar ass | So that I might hear you call a big Caesar ass | ||
| Unpolicied! | Unpolished! | ||
| CHARMIAN. O Eastern star! | Charmian. O Eastern Star! | ||
| CLEOPATRA. Peace, peace! | CLEOPATRA. Peace peace! | ||
| Dost thou not see my baby at my breast | You don't see my baby on my chest? | ||
| That sucks the nurse asleep? | That sucks the nurse sleeping? | ||
| CHARMIAN. O, break! O, break! | Charmian. Oh, break! Oh, break! | ||
| CLEOPATRA. As sweet as balm, as soft as air, as gentle- | CLEOPATRA. As sweet as balm, as soft as air as gently | ||
| O Antony! Nay, I will take thee too: | O Antony! No, I'll take you too: | ||
| [Applying another asp to her arm] | [Apply another Asp to your arm] | ||
| What should I stay- [Dies] | What should I stay: [dies] | ||
| CHARMIAN. In this vile world? So, fare thee well. | Charmian. In this hideous world? So you are fine. | ||
| Now boast thee, death, in thy possession lies | Now boast you, death, in your property lie | ||
| A lass unparallel'd. Downy windows, close; | A girl for example. Downy Windows, close; | ||
| And golden Phoebus never be beheld | And Golden Phoebus are never seen | ||
| Of eyes again so royal! Your crown's awry; | So royal again! The crooked of their crown; | ||
| I'll mend it and then play- | I will repair it and then play it. | ||
| Enter the guard, rushing in | Enter the guard, plunge into it | ||
| FIRST GUARD. Where's the Queen? | First guard. Where is the queen? | ||
| CHARMIAN. Speak softly, wake her not. | Charmian. Say quietly, don't wake them up. | ||
| FIRST GUARD. Caesar hath sent- | First guard. Caesar has sent | ||
| CHARMIAN. Too slow a messenger. [Applies an asp] | Charmian. Too slow a messenger. [Apply a ASP] | ||
| O, come apace, dispatch. I partly feel thee. | O, come apace, send. I sometimes feel you. | ||
| FIRST GUARD. Approach, ho! All's not well: Caesar's beguil'd. | First guard. Approach, HO! Everything is not good: Caesars confused. | ||
| SECOND GUARD. There's Dolabella sent from Caesar; call him. | Second guard. Dolabella is sent from Caesar; Call him. | ||
| FIRST GUARD. What work is here! Charmian, is this well done? | First guard. What work is here! Charming, is that well done? | ||
| CHARMIAN. It is well done, and fitting for a princes | Charmian. It is well done and suitable for princes | ||
| Descended of so many royal kings. | From so many royal kings. | ||
| Ah, soldier! [CHARMIAN dies] | Ah, soldier! [Charmian dies] | ||
| Re-enter DOLABELLA | Step back in Dolabella | ||
| DOLABELLA. How goes it here? | Dolabella. How is this? | ||
| SECOND GUARD. All dead. | Second guard. All dead. | ||
| DOLABELLA. Caesar, thy thoughts | Dollabella. Caesar, inene of the | ||
| Touch their effects in this. Thyself art coming | Touch your effects in it. Your art comes | ||
| To see perform'd the dreaded act which thou | To see the dreaded action you | ||
| So sought'st to hinder. | So wanted to hinder. | ||
| [Within: 'A way there, a way for Caesar!'] | [Within: "A way there, a way for Caesar!" | ||
| Re-enter CAESAR and all his train | Visit Caesar and all his train again | ||
| DOLABELLA. O sir, you are too sure an augurer: | Dolabella. O Sir, you are sure of a Augurer: | ||
| That you did fear is done. | It's done that you are afraid. | ||
| CAESAR. Bravest at the last, | CAESAR. Bravely on the last, | ||
| She levell'd at our purposes, and being royal, | She led our purposes and was royal | ||
| Took her own way. The manner of their deaths? | Took your own way. The type of death? | ||
| I do not see them bleed. | I don't see her bleed. | ||
| DOLABELLA. Who was last with them? | Dolabella. Who was last with you? | ||
| FIRST GUARD. A simple countryman that brought her figs. | First guard. A simple compatriot who brought her figs. | ||
| This was his basket. | This was his basket. | ||
| CAESAR. Poison'd then. | CAESAR. Then poisonous. | ||
| FIRST GUARD. O Caesar, | Erste Wache. O Caesar, | ||
| This Charmian liv'd but now; she stood and spake. | This charmian now lived; She stood and spoke. | ||
| I found her trimming up the diadem | I found that she picks up the diadem | ||
| On her dead mistress. Tremblingly she stood, | On her dead mistress. Trembling she got up | ||
| And on the sudden dropp'd. | And on the sudden feces. | ||
| CAESAR. O noble weakness! | CAESAR. O noble weakness! | ||
| If they had swallow'd poison 'twould appear | If they had swallowed, poison would make twoll appear | ||
| By external swelling; but she looks like sleep, | By external swelling; But she looks like sleep | ||
| As she would catch another Antony | How she would catch an antony | ||
| In her strong toil of grace. | In their strong grace. | ||
| DOLABELLA. Here on her breast | Dolabella. Here on her chest | ||
| There is a vent of blood, and something blown; | There is a ventilation of blood and something blown; | ||
| The like is on her arm. | The same is on your arm. | ||
| FIRST GUARD. This is an aspic's trail; and these fig-leaves | First guard. This is an aspic path; and these fig leaves | ||
| Have slime upon them, such as th' aspic leaves | Have mucus on them, like the Aspic leaves | ||
| Upon the caves of Nile. | On the caves of the Nile. | ||
| CAESAR. Most probable | CAESAR. Most likely | ||
| That so she died; for her physician tells me | So she died; Because your doctor tells me | ||
| She hath pursu'd conclusions infinite | According to the conclusions, it has infinite | ||
| Of easy ways to die. Take up her bed, | To die from simple ways. Pick up your bed | ||
| And bear her women from the monument. | And wear their women from the monument. | ||
| She shall be buried by her Antony; | It is to be buried by her antonie; | ||
| No grave upon the earth shall clip in it | No grave on earth should exist in it | ||
| A pair so famous. High events as these | A couple that is so famous. High events like this | ||
| Strike those that make them; and their story is | Beat the ones you do; And their story is | ||
| No less in pity than his glory which | No less pity than his glory, the | ||
| Brought them to be lamented. Our army shall | Brought her to complain. Our army will | ||
| In solemn show attend this funeral, | In a solemn show, visit this funeral, | ||
| And then to Rome. Come, Dolabella, see | And then to Rome. Come on, Dolabella, see | ||
| High order in this great solemnity. Exeunt | High order in this great celebration. Exeunt | ||
| THE END | THE END |