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The same. A Street.
hasten Your generals after. Agr.
Sir, Mark Antony Will e'en but kiss Octavia, and we'll follow.
Lep. Till I shall see you in your soldier's dress, Which will become you both, farewell. Mec.
Your way is shorter,
Sir, good success!
SCENE V. Alexandria. A Room in the Palace. Enter CLEOPATRA, CHARMIAN, Iras, and Alexas.
Cleo. Give me some musick; musick, moody food Of us that trade in love. Attend.
The musick, ho!
s at mount-] i. e. Mount Misenum.
6 — musick, moody food—] Moody, in this instance, means melancholy. Cotgrave explains moody, by the French words, morne and triste.
Char. My arm is sore, best play with Mardiari.
Cleo. As well a woman with an eunuch play'd, As with a woman;-Come, you'll play with me, sir? Mar. As well as I can, madam. Cleo. And when good will is show'd, though it
come too short, The actor may plead pardon. I'll none now:Give me mine angle,–We'll to the river: there, My musick playing far off, I will betray Tawny-finn'd fishes; my bended hook shall pierce Their slimy jaws; and, as I draw thein up, I'll think them every one an Antony, And say, Ah, ha! you're caught. Char.
'Twas merry, when You wager'd on your angling; when your diver Did hang a salt-fish on his hook, which he With fervency drew up.
. That time!-0 times!I laugh'd him out of patience; and that night I laugh'd him into patience: and next morn, Ere the ninth hour, I drunk him to his bed; Then put my tires and mantles on him, whilst I wore his sword Philippan. O! from Italy;
Enter a Messenger.
7 let us to billiards :] This is one of the numerous anachronisms that are found in these plays.
But well and free,
First, madam, he's well.
Mess. Good madam, hear me.
Well, go to, I will;
Will't please you hear me?
Madam, he's well.
Thou’rt an honest man.
But yet, madam,-
• 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:
Mess. Free, madam! no; I made no such report:
For what good turn?
I am pale, Charmian.
Strikes him down. Mess. Good madam, patience. Cleo.
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.
He's married, madam. Cleo. Rogue, thou hast liv'd too long.
[Draws a dagger. Mess.
Nay, then I'll run:
9- it does allay
The good precedence;] i. e. abates the good quality of what is already reported.
What mean you, madam? I have made no fault.
Char. He is afeard to come.
I will not hurt him:-
I have done my duty.
He is married, madam.. Cleo. The gods confound thee! dost thou hold
there still? Mess. Should I lie, madam?
These hands do lack nobility, that they strike
A meaner than myself; 1 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,