But well and free, If thou so yield him, there is gold, and here Το Mess. First, madam, he's well. Cleo. Why, there's more gold. But, sirrah, mark; We use say, the dead are well: bring it to that, The gold I give thee, will I melt, and pour Down thy ill-uttering throat. Mess. Good madam, hear me. Cleo. Well, go to, I will; But there's no goodness in thy face: If Antony Be free, and healthful,-why so tart a favour To trumpet such good tidings? If not well, Thou should'st come like a fury crown'd with snakes, Not like a formal man.8 Mess. Will't please you hear me? Cleo. I have a mind to strike thee, ere thou speak'st: Yet, if thou say, Antony lives, is well, Or friends with Cæsar, or not captive to him, Rich pearls upon thee. Mess. Cleo. Madam, he's well. Well said. Thou'rt an honest man. Mess. And friends with Cæsar. Cleo. Mess. Cæsar and he are greater friends than ever. Cleo. Make thee a fortune from me. Mess. But yet, madam,— Cleo. I do not like but yet, it does allay Not like a formal man.] i. e. a man in form, i. e. shape. You should come in the form of a fury, and not in the form of a man. The good precedence; fye upon but yet: Some monstrous malefactor. Pr'ythee, friend, The good and bad together: He's friend with Cæsar; Cleo. I For what good turn? Mess. For the best turn i' the bed. I am pale, Charmian. Cleo. Cleo. The most infectious pestilence upon thee! Mess. Good madam, patience. Cleo. [Strikes him down. What say you?-Hence,' [Strikes him again. Horrible villain! or I'll spurn thine eyes Like balls before me; I'll unhair thy head; [She hales him up and down. Thou shalt be whipp'd with wire, and stew'd in brine, Smarting in ling'ring pickle. Mess. Gracious madam, I, that do bring the news, made not the match. Cleo. Say, 'tis not so, a province I will give thee, And make thy fortunes proud: the blow thou hadst Shall make thy peace, for moving me to rage; And I will boot thee with what gift beside Thy modesty can beg. Mess. Cleo. Rogue, thou hast liv'd too long. Mess. 9 it does allay He's married, madam. [Draws a dagger. Nay, then I'll run: The good precedence;] i. e. abates the good quality of what is already reported. What mean you, madam? I have made no fault. [Exit. Char. Good madam, keep yourself within yourself; The man is innocent. Cleo. Some innocents 'scape not the thunderbolt. Melt Egypt into Nile! and kindly creatures Cleo. I will not hurt him:These hands do lack nobility, that they strike A meaner than myself;1 since I myself Have given myself the cause.-Come hither, sir. Re-enter Messenger. Though it be honest, it is never good To bring bad news: Give to a gracious message Mess. Cleo. Is he married? I have done my duty. I cannot hate thee worser than I do, If thou again say, Yes. Mess. He is married, madam. Cleo. The gods confound thee! dost thou hold there still? Mess. Should I lie, madam? 1 These hands do lack nobility, that they strike A meaner than myself;] Perhaps here was intended an indirect censure of Queen Elizabeth, for her unprincely and unfeminine treatment of the amiable Earl of Essex. The play was probably not produced till after her death, when a stroke at her proud and passionate demeanour to her courtiers and maids of honour (for her majesty used to chastise them too) might be safely hazarded.· In a subsequent part of this scene there is (as Dr. Grey has observed) an evident allusion to Elizabeth's enquiries concerning the person of her rival, Mary, Queen of Scots. MALONE. O, I would, thou didst; Cleo. So half my Egypt were submerg'd,2 and made A cistern for scal'd snakes! Go, get thee hence; Hadst thou Narcissus in thy face, to me Thou would'st appear most ugly. He is married? Mess. I crave your highness' pardon. Cleo. He is married? Mess. Take no offence, that I would not offend you: To punish me for what you make me do, Seems much unequal: He is married to Octavia. Cleo. O, that his fault should make a knave of thee, That art not!-What? thou'rt sure of't?-Get thee hence: The merchandise which thou hast brought from Char. Rome, Are all too dear for me; Lie they upon thy hand, Cleo. Lead me from hence, I am paid for't now. I faint; O Iras, Charmian,-'Tis no matter:- Her inclination, let him not leave out The colour of her hair:-bring me word quickly. [Exit ALEXAS. Let him for ever go:-Let him not-Charinian, were submerg'd,] Submerg'd is whelmed under water. the feature of Octavia,] By feature seems to be meant, the cast and make of her face. Feature, however, anciently appears to have signified beauty in general. 4 Let him for ever go:] She is now talking in broken sentences, not of the Messenger, but Antony. JOHNSON. Though he be painted one way like a Gorgon, [To MARDIAN. Bring me word, how tall she is.-Pity me, Charmian, But do not speak to me.-Lead me to my chamber. [Exeunt. SCENE VI. Near Misenum. Enter POMPEY and MENAS, at one side, with Drum and Trumpet: at another, CESAR, LEPIDUS, ANTONY, ENOBARBUS, MECENAS, with Soldiers marching. Pom. Your hostages I have, so have you mine; And we shall talk before we fight. Cæs. Most meet, That first we come to words; and therefore have we Our written purposes before us sent; Which, if thou hast consider'd, let us know If 'twill tie up thy discontented sword; And carry back to Sicily much tall youth, Pom. There saw you labouring for him. What was it, VOL. VII. EE |