OBSERVATIONS

ON

THE FABLE AND COMPOSITION

OF

ANTONY AND CLEOPATRA.

IT appears from the books of the Stationers' company that the tragedy of Cleopatra was entered Oct. 19, 1593, by Symon Waterson. It is probable that this was a tragedy of Daniels' and not our author's. There is also an entry May 2, 1608, by Edward Blount, of a Booke called Anthony and Cleopatra.

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 connexion, or care of disposition. JOHNSON.

Antony and Cleopatra was written, I imagine, in the year 1608.

VOL. VI.

b

MALONE.

ANTONY AND CLEOPATRA.

ACT I. SCENE I.

ALEXANDRIA. A ROOM IN CLEOPATRA'S PALACE.

Enter Demetrius and Philo.

Phi. Nay, but this dotage of our general's, O'erflows the measure: those his goodly eyes, That o'er the files and musters of the war Have glow'd like plated Mars, now bend, now turn, The office and devotion of their view

Upon a tawny front: his captain's heart,

Which in the scuffles of great fights hath burst
The buckles on his breast, reneges all temper;
And is become the bellows, and the fan,
To cool a gipsy's lust. Look, where they come!

Flourish. Enter Antony and Cleopatra, with their trains; Eunuchs fanning her.

Take but good note, and you shall see in him
The triple pillar of the world transform'd
Into a strumpet's fool: behold and see.

Cleo. If it be love indeed, tell me how much. Ant. There's beggary in the love that can be reckon❜d.

B

Cleo. I'll set a bourn how far to be belov'd.

Ant. Then must thou needs find out new hea

ven, new earth.

Enter an Attendant.

Att. News, my good lord, from Rome.

Ant.

'Grates me:-The sum.

Cleo. Nay, hear them, Antony:

Fulvia, perchance, is angry; Or, who knows
If the scarce-bearded Cæsar have not sent
His powerful mandate to you, Do this, or this;
Take in that kingdom, and enfranchise that;
Perform't, or else we damn thee.

Ant.

How, my love!

Cleo. Perchance,-nay, and most like, You must not stay here longer, your dismission Is come from Cæsar; therefore hear it, Antony.Where's Fulvia's process? Cæsar's, I would say?

Both?

Call in the messengers.-As I am Egypt's queen,
Thou blushest, Antony; and that blood of thine
Is Cæsar's homager: else so thy cheek pays shame,
When shrill-tongu'd Fulvia scolds.-The messen-
gers.

Ant. Let Rome in Tiber melt! and the wide

arch

Of the rang'd empire fall! Here is my space;
Kingdoms are clay: our dungy earth alike
Feeds beast as man: the nobleness of life
Is, to do thus; when such a mutual pair,

[embracing.

And such a twain can do't, in which, I bind