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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 courThe triple pillar of the world transformed
age do change their first mind and purpose. And tberefore it was a Into a strumpet's fool." — Act I., Scene 1.
wonderful example to the soldiers to see Antonius, that was brought
up in all fineness and superfluity, so easily to drink puddle-water, Triple is here used for third, or one of three; meaning one of the
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. -PLUTARCI. “ 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
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 some 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., Scene 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."
“ His cocks do win the battle still of mine
When it is all to nought; and his quais ever Antony professed to trace his descent from Anton, a son of Her
Beat mine, inhooped, at odds." — Act II., Scene 3. cules.
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 he whose quail was Wast beaten from Modena (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
ing, which represents some ladies engaged at this amusement, where estimation in the city, he stirred up all men against Antonius; 80
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 Cæsar sergeants to carry axes before
to fight. him, and such other signs as were incident to the dignity of a consul or prætor; and morcovor sent Hirtius and Pansa, then consuls, to drive Antonius out of Italy. These two consuls, together with
“ They are his shards, and he their beelle." - 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 Octhe 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" shard-borne beetle." once; but the chiefest want of all other, and that which pinched him most, was famine. Howbeit he was of such a strong nature,
“Eno. Will Crear weep? that by patience he would overcome any adversity; and the heavier
AGR. He has a cloud in's face. fortune lay upon him, the more constant shewed he himself.
Eno. 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 horge is said to have a cloud in his face when he has a black or with extremity, and be sore oppressed, few hare the hearts to fcHow dark-colored spot in his forehead between his eyes. This gives him a that which they praise and commend, and much less to avoid that sour 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.
—“ 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 custom in Shakspeare's time.
just like the mouldering schemes of human greatness. - Hazlitt. - 'T was I
“ The miserable 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-leaf
come not cowardly, but valiantly; a Roman by another Roman.
PLUTARCH. 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 dar'st corruption.
Appear thus to us ? ” — Act V., Scene 1.
him into the tombs and monuments of Cleopatra, one of his guard, “1st Sol. Peace, I say. What should this mean!
called Dercetæus, 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 leaves him." - Act IV., Scene 3.
the first news of his death, and showed 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 J the city was quict. 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 bim 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 shewed 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 ene
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 cominanded 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.-- PLUTARCH.
take Cleopatra, and bring her alive to Rome, she would marvelously - "How wouldst thou have paid
beautify and set out his triumph.-PLUTARCH. My belter service, when my turpitude
“ Alexandria. A room in the Monument." - Act V., Scene 2. Thou dost so crown with gold! 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 here used in the sense of “gwells." As in the
tists were unable to cope with a difficulty of this kind by the aid of last scene of this play:
the inner or secondary stage, which was also used in “ HAMLET," - "On her breast
“ OTHELLO," &c., and was a constant accompaniment to the principal There is a vent of blood, and something blown.”
one. And in “ KING LEAR:"“No blown ambition doth our arms excite."
- "Realms and islands were
As plates dropped from his pocket." - Act V., Scene 2. “ To this great fairy, I'U commend thy acts ; 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.
pross, and were probably of fluctuating value. - “0, 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 The beauty both of the expression and the allusion is lost, unless AND CLEOPATRA" is not, in all exhibitions of a giant power, in its we recollect the frequency and the nature of these shows in Shak- strength and vigor of maturity, a formidable rival of " MACBETH,”
| “LEAR,” “ HAMLET” and “ OTHELLO." - COLERIDGE. speare's age. — WARTOX.