Cleo. Avoid, and leave him. [Exit Guard. Hast thou the pretty worm2 of Nilus there, That kills and pains not? Clown. Truly I have him: but I would not be the party that should desire you to touch him, for his biting is immortal; those, that do die of it, do seldom or never recover. Cleo. Remember'st thou any that have died on't? Clown. Very many, men and women too. I heard of one of them no longer than yesterday: a very honest woman, but something given to lie; as a woman should not do, but in the way of honesty: how she died of the biting of it, what pain she felt, -Truly, she makes a very good report o'the worm: But he that will believe all that they say, shall never be saved by half that they do: But this is most fallible, the worm's an odd worm. Cleo. Get thee hence; farewell. Clown. I wish you all joy of the worm. Cleo. Farewell. [Clown sets down the basket. Clown. You must think this, look you, that the worm will do his kind.3 Cleo. Ay, ay; farewell. Clown. Look you, the worm is not to be trusted, but in the keeping of wise people; for, indeed, there is no goodness in the worm. Cleo. Take thou no care; it shall be heeded. Clown. Very good give it nothing, I pray you, for it is not worth the feeding. Cleo. Will it eat me? Re-enter Iras, with a robe, crown, &c. Cleo. Give me my robe, put on my crown; I have Immortal longings in me: Now no more The juice of Egypt's grape shall moist this lip:Yare, yare, good Iras; quick.-Methinks, I hear Antony call; I see him rouse himself To praise my noble act; I hear him mock The luck of Cæsar, which the gods give men [Kisses them. Iras falls and dies. Have I the aspic in my lips? Dost fall? If thus thou vanishest, thou tell'st the world It is not worth leave-taking. (1) Inconstant. (2) Serpent. (3) Act according to his nature. This proves me base: If she first meet the curled Antony, [To the asp, which she applies to her breast. With thy sharp teeth this knot intrinsicate O eastern star! O, break! O, break! Cleo. As sweet as balm, as soft as air, as gentle, O Antony!-Nay, I will take thee too :- 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: Cæ sar's beguil'd. 2 Guard. There's Dolabella sent from Cæsar;call him. 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. Dol. All dead. 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. Dol. O, sir, you are too sure an augurer; Bravest at the last: 1 Guard. A simple This was his basket. 1 Guard. Who was last with them? countryman, that brought her Poison'd then. O Cæsar, This Charmian liv'd but now; she stood, and spake: I found her trianming up the diadem (4) Make haste. (5) Unpolitic, to leave me to myself. : Have slime upon them, such as the aspic leaves Upon the caves of Nile. Cas. Most probable, Of easy ways to die. -Take up her bed; She shall be buried by her Antony: No grave upon the earth shall clip3 in it Brought them to be lamented. Our army shall, (1) Graceful appearance. (2) Tried experiments. (3) Enfold. 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 character 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 his 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. JOHNSON. 1 Gent. I do extend him, sir, within himself; Crush him together, rather than unfold (1) Inclination, natural disposition. (2) i. e. You praise him extensively. (3) My praise, however extensive, is within his merit. VOL, II His measure duly.3 2 Gent. What's his name, and birth? 1 Gent. I cannot delve him to the root: His father Was call'd Sicilius, who did join his honour, (Then old and fond of issue,) took such sorrow, What kind of man he is. 2 Gent. Even out of your report. I honour him Is she sole child to the king? 1 Gent. His only child. He had two sons (if this be worth your hearing, Mark it,) the eldest of them at three years old, I'the swathing clothes the other, from their nursery Werestolen: and to this hour, no guess in knowledge Which way they went. 2 Gent. How long is this ago? 1 Gent. Some twenty years. (4) The father of Cymbeline. (5) Formed their manners. 3C Cym. Thou basest thing, avoid! hence, from my Thou art poison to my blood. The gods protect you! That should'st repair my youth: thou heapest I beseech you, sir, Past grace? obedience? Imo. Past hope, and in despair; that way, past grace. Cym. That might'st have had the soles son of my queen! Imo. O bless'd, that I might not! I chose an eagle, And did avoid a puttock.6 Cym. Thou took'st a beggar; would'st have made It is your fault that I have lov'd Posthumus: You bred him as my playfellow; and he is A man, worth any woman; overbuys me What!art thou mad! A neat-herd's daughter! and my Leonatus Thou foolish thing! [To the Queen. (1) Close up. (2) Sensation. (4) A more exquisite feeling. (5) Only. (8) Consideration. |