Re-enter IRAS, with a Robe, Crown, &c. Cleo. Give me my robe, put on my crown; I have Immortal longings in me 34: Now no more The juice of Egypt's grape shall moist this lip:- To praise my noble act; I hear him mock I give to baser life 36.-So,-have you done? Char. Dissolve, thick cloud, and rain; that I may say, The gods themselves do weep! Cleo. This proves me base : If she first meet the curled Antony, 34 From hence probably Addison in Cato:This longing after immortality.' 35 i. e. be nimble, be ready. See Act iii. Sc. 5, note 6. 36 Thus in King Henry V.:- He is pure air and fire; and the dull elements of earth and water never appear in him.' Homer speaks as contemptuously of the grosser elements we spring from, Iliad vii. v. 99: ̓Αλλ ἐμεῖς μὲν πάντες ὕδωρ καὶ γαῖα γενοισθε. 37 Iras must be supposed to have applied an asp to her arm while her mistress was settling her dress, to account for her falling so soon. He'll make demand of her; and spend that kiss, Which is my heaven to have. Come, thou mortal wretch, [To the Asp, which she applies to her Breast. With thy sharp teeth this knot intrinsicate Of life at once untie; poor venomous fool, Be angry, and despatch. O, could'st thou speak! That I might hear thee call great Cæsar, ass Unpolicied 38! Char. Cleo. O eastern star! Peace, peace! O, break! O, break! Dost thou not see my baby at my breast, Char. Cleo. As sweet as balm, as soft as air, as gentle,— O Antony!-Nay, I will take thee too; [Applying another Asp to her Arm. Of eyes again so royal! Your crown's awry; Enter the Guard, rushing in. 1 Guard. Where is the queen? Char. Speak softly, wake her not. 38 i. e. an ass without more wit or policy than to leave the means of death within my reach, and thereby defeat his own purpose. 39 Charmian may be supposed to close Cleopatra's eyes, the first melancholy office performed after death. 40 Charmian remembers the words uttered to her by her beloved mistress just before : when thou hast done this chare, I'll give thee leave, To play till doomsday.' 1 Guard. Cæsar hath sent Char. 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 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. Touch their effects in this Thyself art coming Within. A way there, a way for Cæsar! Enter CESAR, and Attendants. Dol. O, sir, you are too sure an augurer; That you did fear, is done. Cæs. Bravest at the last: She levell❜d at our purposes, and, being royal, Took her own way.-The I do not see them bleed. Dol. manner of their deaths? Who was last with them? 1 Guard. A simple countryman, that brought her figs; This was his basket. This Charmian lived but now; she stood, and spake: On her dead mistress; tremblingly she stood, Cæs. O noble weakness!— If they had swallow'd poison, 'twould appear In her strong toil of Dol. grace. Here, on her breast, There is a vent of blood, and something blown 11 : The like is on her arm. 1 Guard. This is an aspick's trail: and these figleaves Have slime upon them, such as the aspick leaves Upon the caves of Nile. Cæs. Most probable, That so she died; for her physician tells me, She hath pursu'd conclusions 42 infinite Of easy ways to die.-Take up her bed; 41 i. e. swelled, puffed. See p. 487, note 2. 42 To pursue conclusions is to try experiments. So in Hamlet:like the famous ape To try conclusions.' Such an 6 easy way to die' was by the aspick's venom. Thus Lucan, lib. ix. l. 1815 :— 'At tibi Leve miser fixus præcordia pressit Niliaca serpente cruor; nulloque dolore Testatus morsus subita caligine mortem Accipis, et Stygias somno descendis ad umbras.' Strike those that make them: and their story is Brought them to be lamented. Our army shall, And then to Rome.-Come, Dolabella, see [Exeunt. 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. END OF VOL. VIII. C. and C. Whittingham, College House, Chiswick, |