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party that should desire you to touch him, for his biting is immortal; those that do die of it, do seldom or
Cleo. Remember'st thou any that have died on't ?
Clown. Very many, men and women too. I heard of one of them no longer than yesterday; a very honest woman, but something given to lie; as a woman should not do, but in the way of honesty; how she died of the biting of it, what pain she felt.—Truly, she makes a very good report oʻthe worm; but he that will believe all that they say, shall never be saved by half that they do. But this is most fallible, the worm's an odd worm.
Cleo. Get thee hence; farewell.
Clown. You must think this, look you, that the worm will do his kind.1
Cleo. Ay, ay; farewell.
Clown. Look you, the worm is not to be trusted, but in the keeping of wise people ; for, indeed, there is no goodness in the worm.
Cleo. Take thou no care ; it shall be heeded.
Clown. Very good. Give it nothing, I pray you, for it is not worth the feeding.
Cleo. Will it eat me ?
Clown. You must not think I am so simple, but I know the devil himself will not eat a woman; I know that a woman is a dish for the gods, if the devil dress
But, truly, these same .whoreson devils do the gods great harm in their women; for in every ten that they make, the devils mar five. Cleo. Well, get thee gone; farewell
. Clown. Yes, forsooth; I wish you joy of the worm.
[Exit. Re-enter Iras, with a robe, crown, &c. Cleo. Give me my robe, put on my crown; I have Immortal longings in me. Now no more
1 i. e. act according to his nature.
The juice of Egypt's grape shall moist this lip.-
This proves me base.
[To the asp, which she applies to her breast.
Char. O Eastern star !
1 i. e. be nimble, be ready. See Act iii. Sc. 5. 2 Iras must be supposed to have applied an asp to her arm while her mistress was settling her dress, to account for her falling so soon.
3 i. e. an ass without more wit or policy than to leave the means of death within my reach, and thereby defeat his own purpose. VOL. VI.
O break! O break! Cleo. As sweet as balm, as soft as air, as gentle,O Antony !-Nay, I will take thee too ;
[Applying another asp to her arm. What should I stay
[Falls on a bed and dies. Char. In this wild world?—So, fare thee well.Now boast thee, death! in thy possession lies A lass unparalleled.—Downy windows, close; And golden Phæbus never be beheld Of eyes again so royal! Your crown's awry; I'll mend it, and then play.
Enter the Guard, rushing in. 1 Guard. Where is the queen ? Char.
Speak softly, wake her not. 1 Guard. Cæsar hath sentChar.
Too slow a messenger.
[Applies the asp. O, come; apace, despatch ; I partly feel thee. 1 Guard. Approach, ho! All's not well; Cæsar's
beguiled. 2 Guard. There's Dolabella sent from Cæsar ;-call
him. 1 Guard. What work is here ?-Charmian, is this
Enter DOLABELLA. Dol. How goes it here? 2 Guard.
All dead. Dol.
Cæsar, thy thoughts Touch their effects in this. Thyself art coming To see performed the dreaded act, which thou So sought'st to hinder. Within.
A way there! a way for Cæsar!
Enter CÆSAR and Attendants.
Dol. O sir, you are too sure an augurer;
Bravest at the last.
Who was last with them? 1 Guard. A simple countryman, that brought her
figs; This was his basket. Ces.
Poisoned, then. 1 Guard.
O noble weakness !
Here, on her breast,
1 i. e. swelled, puffed. 2 To pursue conclusions is to try experiments.
A pair so famous. High events as these
This play keeps curiosity always busy, and the passions always interested. The continual hurry of the action, the variety of incidents, and the quick succession of one personage to another, call the mind forward without intermission from the first act to the last. But the power of delighting is derived principally from the frequent changes of the scene; for, except the feminine arts, some of which are too low, which distinguish Cleopatra, no character is very strongly discriminated. Upton, who did not easily miss what he desired to find, has discovered that the language of Antony is, with great skill and learning, made pompous and superb, according to his real practice. But I think his diction not distinguishable from that of others. The most tumid speech in the play is that which Cæsar makes to Octavia.
The events, of which the principal are described according to history, are produced without any art of connection or care of disposition.