Cleopatra, Queen of Egypt. Octavia, Sifter to Cæsar, and Wife to Antony. Charmian, Iras, Ladies waiting on Cleopatra. Ambaffadors from Antony to Cæfar, Captains, Soldiers, Mellengers, and other Attendants. The SCENE is difperfed in feveral Parts of the Roman Empire. Of this Tragedy there is no ancient edition but that of the Folio 1623. N'erflows the measure; thofe his goodly eyes, AY, but this dotage of our General, That o'er the files and mufters of the war Upon a tawny front. His Captain's heart, (1)reneges -] Renounces. (2) And is become the bellows, and the fan, POPE. To cool a Gypfy's luft.-] In this paffage fomething feems to be wanting. The bellows and fan being commonly used for contrary purposes, were probably oppofed by the authour, who might perhaps have written, is become the bellows, and the fan, To kindle and to cool a Gypfy's luft. VOL. IX. To To cool a (3) Gypfy's luft. Look, where they come! Flourish. Enter Antony, and Cleopatra, her Ladies in the train, Eunuchs fanning her. Take but good note, and you fhall fee in him (4) The triple pillar of the world transform'd Into a Strumpet's fool. Behold, and fee. Cleo. If it be love, indeed, tell me, how much? Ant. There's beggary in the love that can be reckon❜d. Cleo. I'll fet a (5) bourn how far to be belov'd. Ant. (6) Then must thou needs find out new heav'n, new earth. Enter a Meffenger. Mef. News, my good Lord, from Rome. Cleo. Nay, hear it, Antony. Fulvia, perchance, is angry; or who knows, (3)-Gypfy's luft.] Gyply is here used, both in the original meaning for an Egyptian, and in its accidental fenfe, for a bad woman. (4) The triple pillar-] Triple is here ufed improperly for third, or one of three. One of the Triumvirs, one of the three mafters of the world. The triple pillar of the world transform'd Into a Strumpet's FOOL." The metaphor is here miferably mangled. We should read, Into a Strumpet's STOOL. The pillar of the world, fays he, is transformed into a ftrumpet's Stool. Alluding to the cuftom of ftrumpets fitting in the lap of their lovers. So Ajax in Troilus and Creffida, calls, Therfites, Thou STOOL for a witch. Shakespeare too, in the use of pillar and fool, had regard perhaps to the etymology of the latter word, which comes from ETUA columna, WARB. This emendation is ingenious, but being not neceffary, I have left it in the note. (5)-bourn Bound or limit. РОРЕ. (6) Then must thou needs find out new heav'n, &c.] Thou must fet the boundary of my love at a greater diftance than the prefent vifible univerfe affords. (7)- The fum.] Be brief, fum thy bufinefs in a few words. His powerful Mandate to you," Do this, or this; Ant. How, my love? Cleo. Perchance, nay and moft like, You must not stay here longer, your difmiffion Antony. Is to do thus, when fuch a mutual Pair, [Embracing. Cleo. [Afide.] Excellent falfhood! Why did he marry Fulvia, and not love her? (8)-and the wide arch Of the rang'd Empire fall!-]. Taken from the Roman custom of raifing triumphal arches to perpetuate their victories. Extremely noble. WARBURTON. I am in doubt whether Shakespeare had any idea but of a fabrick ftanding on pillars. The latter editions have all printed, the raised empire, for the ranged empire, as it was firft given. It is not eafy to guefs how Dr. Warburton miffed this opportu nity of inferting a French word, by reading, and the wide arch Of derang'd empire fall! Which, if deranged were an English word, would be preferable both to raised and ranged. (9) (1) -to weet,] To know. -Antony Will be bimfelf. Ant. But firr'd by Cleopatra.] But, in this paffage, feems to have the old Saxon fignification of without, unless, except. Antony, fays the Queen, will recollect his thoughts, unless kept, he replies, in commotion by Cleopatra. |