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Take but good note, and you shall see in him

! their accustomed easy life, and through faint heart and lack of cour. The triple pillar of the world transformed

age do change their first mind and purpose. And tberefore it was & Into a strumpet's fool.” — Act I., Scene 1.

wonderful example to the soldiers to see Antonius, that was brought Triple is here used for third, or one of three; meaning one of the

up in all fineness and superfluity, so casily to drink puddlewater,

and to eat wild fruits and roots: and moreover it is reported that triumvirs, or masters of the world. The word is used in the same

even, as they passed the Alps, they did eat the barks of trees, and sense in “ ALL’s WELL THAT ENDS WELL :” –

such beasts as never man tasted of their flesh before. – PLUTARCH. “Which, as the dearest issue of his practice, He bade me store up as a triple eye."

" Let us rear To-night we'll wander through the streets, and note

The higher our opinion, that our stirring
The qualities of people.". - Act I., Scene 1.

Can from the lap of Egypt's widow pluck

The ne'er lust-wearied Antony." — Act II, Scene 1. Sometime also, when he would go up and down the city disguised like a slave in the night, and would peer into poor men's windows Cleopatra is styled “ Egypt's widow," because Julius Cæsar had and their shops, and scold and brawl with them within the house, married her to young Ptolemy, who was afterwards drowned. Cleopatra would be also in a chambermaid's array, and amble up and down the streets with him.- PLUTARCH (North's Translation).

-“ Near him, thy angel

Becomes a Fear, as being o'erpowered." - Act II., Scene 3. “I'm full sorry

A Fear was a personage in somo of the old Moralities. Fletcher That he approves the common liar, who

alludes to such an imaginary being in the “Maid's TRAGEDY," where Thus speaks of him at Rome."- Act I., Sceno 1.

Aspasia is instructing her servants how, in needlework, to describe Meaning, that he proves the common liar, Fame, to be a true re

her situation : portor in his case.

“And then a Fear:

Do that Fear bravely, wench."
-“Look, pry thee, Charmian,
How this Herculcan Roman does become

His cocks do win the battle still of mine
The carriage of his chase.” -- Act I., Scene 3.

When it is all to nought; and his quails ever

Beat mine, inhooped, at odds." — Act II., Scene 3. Antony professed to trace his descent from Anton, a son of Hercules.

Shakspeare derived this from Plutarch. The ancients used to

match quails as we match cocks. Julius Pollox relates that a circle " When thou once

was made in which the birds were placed, and be whose quail vas West beaten from Molena (where thou slew'st

first driven out of the circle lost the stake. We are told by Mr. Hirtius and Pansa, consuls), at thy heel

Marsden that the Sumatrans practice these quail combats. The Did famine follow." - Act I, Scene 4.

Chinese have always been extremely fond of quail fighting. Mr.

Douce has given a print, from an elegant Chinese miniature paintCicero, on the other side, being the chiefest man of authority and estimation in the city, he stirred up all men against Antonius; 80

ing, which represents some ladies engaged at this amusement, where

the quails are actually inhooped. - SINGER. that in the end he made the senato pronounce him an enemy to his

Inhooped, means inclosed or confined, that they may be compelled country, and appointed young Cresar sergeants to carry axes before

to fight. him, and such other signs as were incident to the dignity of a consul or prætor; and moreover sent Ilirtius and Pausa, then consuls, to drive Antonius out of Italy. These two consuls, together with

They are his shards, and he their beetle." — Act III., Scene 2. Cæsar, who also had an army, went against Antonius, that besieged the city of Modena, and there overthrow him in battle; but both This is spoken of Lepidus. The meaning is that Antony and Oc the consuls were slain there.

tavius are the wings that raise this heavy lumpish insect from the Antonius, flying upon this overthrow, fell into great misery all at ground. In “ MACBETH ” we find mention of the sharl-borne beetle." once; but the chiefest want of all other, and that which pinched him most, was famine. How beit he was of such a strong nature,

“ ENO. Will Corsar weep?

AGR. that by patience he would overcome any adversity; and the heavier

He has a cloud in's face. fortune lay upon him, the more constant shewed he himself.

Exo. He were the worse for that were he a horse." — Every man that feeleth want or adversity, knoweth by virtue and

Act III., Scene 2 discretion what he should do: but when indeed they are overlaid A horse is said to have a cloud in his face when he has a black or with extremity, and be sore oppressed, few have the hearts to follow dark-colored spot in his forehead between his cyes. This gives him a that which they praise and commend, and much less to avoid that Rour look, and, being supposed to indicate an ill temper, is of course they reprove and mislike; but rather to the contrary, they yield to , regarded as a blemish. - STEEVENS.

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-" He at Philippi kept

This is without doubt one of the finest pieces of poetry in ShaksHis sword even like a dancer.” — Act III., Scone 9.

peare. The splendor of the imagery, the semblance of reality, the That is, he kept his weapon in the scabbard, like one who dances lofty range of picturesque objects hanging over the world, their with a sword, which appears from various passages to have been the

evanescent nature, the total uncertainty of what is left behind, -- are

just like the mouldering schemes of human greatness. — Ilazlitt. custom in Shakspeare's time. 6'T was I

" The miscrable change now at my end That the mad Brutus ended.— Act III., Scene 9.

Lament nor sorrow at.-- Act IV., Scene 13. Nothing can be more in character, than for an infamous debauch

As for himself, she should not lament nor sorrow for the miserable ed tyrant to call the heroic love of one's country and public liberty, change of his fortune at the end of his days; but rather that she

should think him the more fortunate for the former triumphs and “madness." -- WARBURTON.

honors he had received; considering that while he lived he was the I was of late as petty to his ends

noblest and greatest prince of the world, and that now he was overAs is the morn-dew on the myrtle-lcaf

come not cowardly, but valiantly; a Roman by another Roman.

PLUTARCI. To his grand sea." - Act III., Scene 10. The term “his grand sea has been supposed by Steevens to be the sca from which the dew-drop was thought to be exhaled. -" The grand sea" and "this grand sea" have both been plausibly proposed as substitutes for the received text, in which there is probably some

Wherefore is that? and what art thou that darst corruption.

Appear thus to us?” - Act V., Scene 1.
After Antonius had thrust his sword into himself, as they carried

him into the tombs and monuments of Cleopatra, one of his guard, “1st Sol. Peace, I say. What should this mean!

called Dercetaus, took his sword with which he had stricken himself, 2nd Sol. 'Tis the god Hercules, whom Antony loved,

and hid it: then he secretly stole away, and brought Octavius Caesar Now leares him." - Act IV., Scene 3.

the first news of his death, and shewed him his sword that was

blooded. Furthermore, the self-same night, within a little of midnight, when

Cæsar, hearing these news, straight withdrew himself into a secret all the city was quiet, full of fear and sorrow, thinking what would place of his tent, and there burst out with tears, lamenting his hard be the end and issue of this war, it is said that suddenly they heard and miserable fortune that had been his friend and brother-in-law, a marvelous sweet harmony of sundry sorts of instruments of music, his equal in the empire, and companion with him in sundry great with the cry of a multitude of people, as they had been dancing, and exploits and battles. Then he called for all his friends, and showed had sung as they had been used in Bacchus' feasts, with movings and

them the letters Antonius had written to him, and his answers also turnings, after the manner of the satyrs: and it seemed that this

sent him again, during the quarrel and strife, and how fiercely and dance went through the city unto the gate that opened to the eno

proudly the other answered him, to all just and reasonable matters mies, and that all the troop that made this noise they heard went

he wrote unto him. out of the city at that gate. Now, such as in reason sought the depth

After this, he sent Proculeius, and commanded him to do what he of the interpretation of this wonder, thought that it was the god unto

could possible to get Cleopatra alive, fearing lest otherwise all the whom Antonius bear singular devotion, to counterfeit and resemble

treasure would be lost: and furthermore, he thought that if he could him, that did forsake them.- PLUTARCI.

take Cleopatra, and bring her alive to Romo, she would marvelously

beautify and set out his triumph. — PLUTARCII.
How wouldst thou hare paid
My better service, when my turpilule

“ Alexandria. A room in the Monument.” – Act V., Scene 2. Thou dost so crown with goll! This blows my heart."

Act IV., Scene 6. In this scene, as in one of "KING HENRY VIII.," the outside and

inside of a building are exhibited at the same time. The old dramaThe word “blows" is hero used in the sense of “ swells." As in the last scene of this play:

tists were unable to copo with a difficulty of this kind by the aid of

the inner or secondary stage, which was also used in " IIAMLET," “On her breast

“ OTHELLO," &c., and was a constant accompaniment to the principal There is a vent of blood, and something blown." And in "KING LEAR:"

Realms and islands were “No blown ambition doth our arms excite."

As plates dr ped from his pocket.” - Act V., Scene 2. “ To this great fairy, I'U commend thy ads ; Make her thanks bless thee." — Act IV., Scene 8.

The term “plates " was applied to some kind of silver money. As

in Marlowe's "JEW OF MALTA:" The term fairy in former times was applied not only to imaginary

“Ratest thou this Moor but at two hundred plates." diminutive beings, but also occasionally to witches and enchanters; in which last sense it is used in the text.

They are supposed to have been round pieces without stamp or im

press, and were probably of fluctuating value. “ O, he is more mad

Than Telamon for his shield." - Act IV., Scene 11. That is, than Ajax Telamon for the armor of Achilles, the most valuable part of which was the shield.

of all Shakspeare's historical plays, “ ANTONY AND CLEOPATRA” is

by far the most wonderful. - The highest praise, or rather form of Thou hast seen these signs ?

praise, of this play, which I can offer in my own mind, is the doubt They are black vesper's pageants.” — Act IV., Scene 12.

which the perusal always occasions in me, whether the “ ANTONY

AND CLEOPATRA" is not, in all exhibitions of a giant power, in its The beauty both of the expression and the allusion is lost, unlegs we recollect the frequency and the nature of these shows in Shak- strength and vigor of maturity, u formidable rival of " MACBETI,"

“LEAR,” “ HAMLET" and " OTHELLO." - COLERIDGE. speare's age. -- WARTON.



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