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i Guard. Woe are we, sir, you may not live to
your true followers out. All.
Most heavy day!
Enter above, CLEOPATRA, CHARMIAN, and IRAS.
No, I will not:
As that which makes it. How now? is he dead?
Dio. His death's upon him, but not dead. Look out o'the other side your monument, His guard have brought him thither.
Enter Antony, borne by the Guard,
O thou sun,
Burn the great sphere thou mov'st in!—darklingo
Cleo. So it should be, that none but Antony
Ant. I am dying, Egypt, dying; on
I dare not, dear,
O, quick, or I am gone. Cleo. Here's sport, indeed !-How heavy weighs
darkling - ) i. e. without light. | Be brooch'd with me;] Be brooch'd, i. e. adorn'd. A brooch was an ornament formerly worn in the hat.
still conclusion,j Sedate determination; silent coolness of resolution.
Here's sport, indeed!] Cleopatra, perhaps, by this affected levity, this phrase which has no determined signification, only wishes to inspire Antony with cheerfulness, and encourage those who are engaged in the melancholy task of drawing him up into the monument.
Our strength is all gone into heaviness,
[They draw ANTONY up.
A heavy sight!
Cleo. No, let me speak; and let me rail so high,
One word, sweet queen: Of Cæsar seek your honour, with your safety.-0!
Cleo. They do not go together.
Gentle, hear me: None about Cæsar trust, but Proculeius.
Cleo. My resolution, and my hands, I'll trust; None about Cæsar.
Ant. The miserable change now at my end, Lament nor sorrow at: but please your thoughts, In feeding them with those my former fortunes Wherein I liv'd, the greatest prince o'the world, The noblest: and do now not basely die, Nor cowardly; put off my helmet to My countryman, a Roman, by a Roman Valiantly vanquish'd. Now, my spirit is going; I can no more.
Noblest of men, woo't die?
Sinto heaviness,] Heaviness is here used equivocally for sorrow and weight.
• Quicken with kissing ;] That is, Revice by my kiss.
No better than a stye?-0, see, my women,
[She faints. Char.
O, quietness, lady!
Royal Egypt! Empress!
Char. Peace, peace, Iras.
mian? My noble girls!—Ah, women, women! look, Our lamp is spent, it's out:-Good sirs, take heart:
[To the Guard below. We'll bury him: and then, what's brave, what's noble, Let's do it after the high Roman fashion,
The soldier's pole- ) He at whom the soldiers pointed, as at a pageant held high for observation.
the meanest chares.] i. e. task-work. Hence our term chare-woman.
And make death proud to take us. Come, away:
[Exeunt; those above bearing off Antony's Body.
SCENE I. Cæsar's Camp before Alexandria.
Enter CÆSAR, AGRIPPA, DOLABELLA, MECÆNAS,
GALLUS, PROCULeius, and Others. Cæs. Go to him, Dolabella, bid him yield; Being so frustrate, tell him, he mocks us by The pauses that he makes.
Dol. Cæsar, I shall. [Exit DOLABELLA.
Enter Dercetas, with the Sword of ANTONY. Cæs. Wherefore is that? and what art thou, that
dar'st Appear thus to us ? Der.
I am callid Dercetas;
What is't thou say’st?
7 Being so frustrate,-) Frustrate, for frustrated, was the language of Shakspeare's time.
thus to us?] i, e. with a drawn and bloody sword in thy hand,