Hop forty paces through the publick street: And breathless power breathe forth. Mec. Now Antony must leave her utterly. Eng. Never; he will not: Age cannot wither her, nor custom tale Her infinite variety: other women cloy The appetites they feed; but fhe makes hungry, Where moft the fatisfies. For vileft things Become themselves in her, that the holy priests Mec. If beauty, wisdom, modefty, can settle A bleffed lottery to him. Agr. Let us go. Good Enobarbus, make yourself my gueft, Whilft you abide here. Eno. Humbly, fir, I thank you. SCENE III. [Exeunt. Enter Antony, Cæfar, Octavia between them; attendants, and a footbfayer. Ant. The world, and my great office, will fometimes Divide me from your bosom. Ola. All which time, Before the Gods my knee fhall bow in prayers Ant. Good night, Sir.-My Octavia, Read not my blemishes in the world's report, Caf Caf. Good night, [Exeunt Cæfar and Octavia. Ant. Now, firrah! you do with yourself in Ægypt? Stoth. 'Would I had never come from thence, nor Thither! Ant. If you can, your reafon. Scoth. 5 I fee it in My motion, have it not in my tongue: but yet Ant. Say to me [you Whose fortunes fhall rife higher, Cæfar's, or mine? Sooth. Cæfar's. Therefore, oh Antony, ftay not by his fide: Thy Dæmon, that thy fpirit which keeps thee, is Noble, courageous, high, unmatchable, Where Cæfar's is not: but near him, thy angel 'Becomes a Fear, as being o'erpower'd; therefore What motion? I can trace no fenfe in this word here, unless the author were alluding to that agitation of the divinity, which diviners pretend to when the fit of foretelling is upon them; but then, I think verily, he would have wrote, emotion. I am perfuaded, Shakespeare meant that the foothfayer fhould fay, he faw a reafon in his thought or opinion, though he gave that thought or opinion no utterance. THEOBALD. I fee it in my motion,-] i. e. the divinitory agitation. WARB. Becomes a Fear,- i. e. a fearful thing. The abftract for the concrete. Mr. Upton reads, Becomes afear'd, The common reading is more poetical. WARBURTON. JOHNSON. A Fear is a perfonage in fome of the old moralities. Fletcher alludes to it in the Maid's Tragedy, where Afpafia is inftructing her maids how to defcribe her fituation in needle-work. The whole thought is borrowed from fir T. North's tranflation of Plutarch. "For thy dæmon (faid he) that is to fay, the good angel and spirit that keepeth thee, is afraid of his and being "courageous and high when he is alone, becometh fearful and "timorous, when he cometh pear unto the other." STEEVENS. Make Make space enough between you. Ant. Speak this no more. Sooth. To none but thee; no more, but when to thee. If thou doft play with him at any game, Thou art fure to lofe; and, of that natural luck, Is all afraid to govern thee near him; Ant. Get thee gone. Say to Ventidius, I would speak with him. [Exit Soothsayer, He fhall to Parthia.-Be it art, or hap, He hath spoke true. The very dice obey him; And, in our fports, my better cunning faints Under his chance: if we draw lots, he speeds: His cocks do win the battle ftill of mine, 8 When it is all to nought; and his quails ever Beat mine, inhoop'd, at odds. I will to Ægypt: And though I make this marriage for my peace, Enter Ventidius. I' the east my pleasure lies.-Oh, come, Ventidius. You must to Parthia: your commiffion's ready: Follow me, and receive it. [Exeunt. his quails-] The ancients ufed to match quails as we match cocks. JOHNSON. Lucian fays that quail-fighting was exhibited among the public fhews at Athens. STEEVENS. 8-inboop'd, at odds.] Thus the old copy. Inboop'd is inclofed, confined, that they may fight. The modern editions read, Beat mine, in whoop'd-at odds. JOHNSON. SCENE SCENE IV. Enter Lepidus, Mecenas, and Agrippa. Lep. Trouble yourselves no farther. Pray you, haften Your generals after. Agr. Sir, Mark Antony Will e'en but kifs Octavia, and we'll follow. Mec. We fhall, As I conceive the journey, be at the mount Lep. Your way is shorter, My purposes do draw me much about; You'll win two days upon me. Both. Sir, good fuccefs! [Exeunt. SCENE V. The Palace in Alexandria. Enter Cleopatra, Charmian, Iras, and Alexas. 9 Cleo. Give me fome mufick; mufick, moody food Of us that trade in love. Omnes. The mufick, ho! Enter Mardian. Cleo. Let it alone; let us to billiards: come, Charmian. Char. My arm is fore, beft play with Mardian. ?-mufick, moody food] The mood is the mind, or mental dif pofition. Van Haaren's panegyrick on the English begins, Grootmoedig Volk, great-minded nation.] Perhaps here is a poor jeft intended between mood the mind and moods of mufick. JOHNSON. Cleo. Cleo. As well a woman with an eunuch play'd,' As with a woman :-Come, you'll play with me, fir? Mar. As well as I can, madam. Cleo. And when good-will is fhew'd, tho' it come too fhort, The actor may plead pardon. I'll none now :Give me mine angle, we'll to the river: there, My mufick playing far off, I will betray Tawny-finn'd fifh: my bended hook fhall pierce Their flimy jaws; and, as I draw them up, I'll think them every one an Antony, And fay, ab, ba! you're caught. Char. 'Twas merry, when You wager'd on your angling; when your diver Cleo. That time!-oh times! I laugh'd him out of patience; and that night • Tawny-finn'd fish ;-] The firft copy reads, Enter JOHNSON. We are not to fuppofe, nor is there any warrant from history, that Antony had any particular fword fo called. The dignifying weapons, in this fort, is a custom of much more recent date. This therefore seems a compliment à pofteriori. We find Antony, afterwards, in this play, boafting of his own prowess at Philippi. Ant. Yes, my lord, yes; be at Philippi kept That was the greatest action of Antony's life; and therefore this feems a fine piece of flattery, intimating, that his fword ought to be |