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O, break! O, break!
[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 unparallel'd.-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
beguil'd, 2 Guard. There's Dolabella sent from Cæsar;
call himn. 1 Guard. What work is here?-Charmian, is this
well done? Char. It is well done, and fitting for a princess Descended of so many royal kings. Ah, soldier!
(Dies. 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 perform'd the dreaded act, which thou So sought'st to hinder. Within.
A way there, way for Cæsar!
Enter Cæsar, and Attendants.
Bravest at the last :
Who was last with them? 1 Guard. A simple countryman, that brought her
figs; This was his basket. Cæs.
Poison'd then. • 1 Guard.
o Cæsar, This Charmian lived but now; she stood, and spake : I found her trimming up the diadem On her dead mistress; tremblingly she stood, And on the sudden dropp'd. Cæs.
O noble weakness If they had swallow'd poison, 'twould appear By external swelling: but she looks like sleep, As she would catch another Antony Ip her strong toil of grace. Dol.
Here, ou her breast,
. Graceful appearance.
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 cha. racter 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 bis 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.