As she would catch another Antony In her strong toil of grace. Dol. Here, on her breast, There is a vent of blood, and something blown:3 The like is on her arm. 1 Guard. This is an aspick's trail: and these fig-leaves Have slime upon them, such as the aspick leaves Upon the caves of Nile. Cas. Most probable, That so she died; for her physician tells me, Of easy ways to die. Take up her bed; No grave upon the earth shall clip in it Strike those that make them: and their story is 3 something blown:] The flesh is somewhat puffed or swoln. Johnson. So, in the ancient metrical romance of Syr Bevys of Hampton, bl. 1. no date: "That with venim upon him throwen, "The knight lay then to-blowen." Again, in the romance of Syr Isenbras, bl. 1. no date: "With adders all your bestes ben slaine, "With venyme are they blowe." Again, in Ben Jonson's Magnetick Lady: 66 What is blown, puft? speak English. "Tainted an' please you, some do call it, Steevens. She hath pursu'd conclusions infinite-] To pursue conclusions, is to try experiments. So, in Hamlet: 66 like the famous ape, "To try conclusions," &c. Again, in Cymbeline: "I did amplify my judgment in "Other conclusions." Steevens. 5 of easy ways to die.] Such was the death brought on by the aspick's venom. Thus Lucan, Lib. IX: "At tibi Leve miser fixus præcordia pressit Steevens. 6 shall clip] i. e. enfold. See p. 345, n. 3. Steevens Brought them to be lamented. Our army shall, And then to Rome.-Come, Dolabella, see 7 their story is [Exeunt.8 No less in pity, than his glory, &c.] i. e. the narrative of such events demands not less compassion for the sufferers, than glory on the part of him who brought on their sufferings. Steevens. 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 |