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To make this good ?
The power of Cæsar, and
May I never
[ANTONY takes it. A sister I bequeath you, whom no brother Did ever love so dearly: let her live To join our kingdoms, and our hearts; and never Fly off our loves again! Lep.
Time calls upon us :
Where lies he ?
What's his strength
Cæs. Great, and increasing; but by sea
So is the fame.
With most gladness;
Let us, Lepidus,
[Flourish. Exeunt CESAR, ANTONY, and LEPIDUS. Mec. Welcome from Egypt, sir.
Eno. Half the heart of Cæsar, worthy Mecænas !—my honourable friend, Agrippa !
Agr. Good Enobarbus !
Mec. We have cause to be glad, that matters are so well digested. You stay'd well by it in Egypt.
Eno. Ay, sir; we did sleep day out of countenance, and made the night light with drinking,
Mec. Eight wild boars roasted whole at a breakfast, and but twelve persons there; is this true ?
Eno. This was but as a fly by an eagle: we had much more monstrous matter of feast, which worthily deserved noting
Mec. She's a most triumphant lady, if report be square to her.
Eno. When she first met Mark Antony, she pursed up his heart, upon the river of Cydnus.
Agr. There she appeared indeed, or my reporter devised well for her. Eno. I will tell you.
For her own person,
Oh, rare for Antony !
- (cloth of gold, and tissue)] “ Cloth of gold of tissue," as it stands in the old copies, is nonsense : it could not be "cloth of gold” if it were “of tissue.” What was meant must have been that the "cloth of gold" of the pavilion was lined with “ tissue." The contraction for “and” was not unfrequently read of by old printers, and such, according to the corr. fo. 1632, seems to have been the case here.
1 To Glow the delicate cheeks] All the folios read, “ To glove,” &c., but ylove is “glow" in the corr. fo. 1632, and such has been the usual text.
And made their bends adornings?: at the helm
I saw her once
tended her l' THE EYES, And made their bends ADORNINGS :) Few passages in Shakespeare have excited more controversy than this, the effort of the commentators apparently having been, to render what was plain obscure, and to adopt almost any sense but that presented by the words of the poet : "tended her i’ the eyes " can mean nothing else but tended in her sight : in " Midsummer-Night's Dream have the expression “gambol in his eyes,” for “gambol in his sight:" " made their bends adornings” is probably to be understood, that they bowed with so much grace as to add to their beauty. Warburton would read adorings for “adornings”. with some plausibility ; but other conjectural emendations only display misapplied ingenuity. There is no change in the corr. fo. 1632.
the silken tackle Smell with the touches of those flower-soft hands,
That yarely frame the office.] “Smell” is swell in the old copies; but how was “the silken tackle" to swell ? The “ flower-soft hands” imparted a perfume to “the silken tackle," and we are told just afterwards that the “smell" reached even “the adjacent wharfs." “ Smell " is the emendation of the corr. fo. 1632. “Yarely” means dexterously: it has occurred as an adverb in “ The Tempest," A. i. sc. 1, and as an adjective we meet with it three times in this play, as well as in others : see " Twelfth Night,” A. iii. sc. 4, Vol. ii. p. 699, &c.
That she did make defect, perfection,
Mec. Now Antony must leave her utterly.
Eno. Never; he will not.
Mec. If beauty, wisdom, modesty, can settle
Humbly, sir, I thank you. [Exeunt.
Let us go.
The Same. A Room in CÆSAR's House.
Enter CÆSAR, ANTONY, OCTAVIA between them; Attendants.
Ant. The world, and my great office, will sometimes
All which time,
Good night, sir.—My Octavia,
Octa. Good night, siro.
[Exeunt CÆSAR and OCTAVIA.
shall bow my prayers] “ Bow with prayers” in the corr. fo. 1632; but if any change were desirable, it would rather be, “my prayers shall bow my knee."
-5 I have not kept my SQUARE,] The last part of the sentence explains the first, if explanation be needed. Respecting “square," or squire, see Vol. ii. p. 166 ; Vol. iii. pp. 81. 346.
. Good night, sir.] In the folio, 1632, these words are assigned to Octavia, while in the earlier edition they are made a continuation of the speech of Antony. The change is desirable : Octavia thus takes leave of Antony.
Enter a Soothsayer'.
Sooth. Would I had never come from thence, nor you thither! Ant. If you can, your
? Sooth. I see it in my motion', have it not in my tongue: but yet hie you to Egypt again.
Ant. Say to me, whose fortunes shall rise higher, Cæsar's, or mine?
Speak this no more.
Get thee gone :
? Enter a Soothsayer.] Every early impression makes the Soothsayer enter here : every modern edition introduces him, without any propriety, with Cæsar, Antony, and Octavia, at the opening of the scene.
& I see it in my motion,] Theobald altered “motion " to notion, doubtfully.
9 Becomes AFEARD,] In the old copies it is “thy angel becomes a fear," and we should not be disposed to disturb the text, if the emendation in the corr. fo. 1632 had not precisely agreed with that of Upton, approved by Johnson. The scene is taken from North's “ Plutarch:” “ For thy Demon, said he (that is to say, the good angell and spirit that kepeth thee), is affraied of his : and being coragious and bigh when he is alone, becometh fearfull and timerous when he com meth neare unto the other." Life of Antonius, p. 985, edit. 1579.
10 But, he awAY, 'tis noble.] Pope's emendation of “But he alway, 'tis noble” of the folio, 1623. Rowe printed from the folio, 1632, “But he alway is noble."