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ANT. Then must thou needs find out new heaven, new earth.7
Enter an Attendant.
Arr. News, my good lord, from Rome.
Grates me:-The fum.8
CLEO. Nay, hear them,
How, my love!
Call in the meffengers.-As I am Egypt's queen,
Then must thou needs find out new heaven, &c.] Thou muft fet the boundary of my love at a greater distance than the prefent vifible univerfe affords. JOHNSON.
The fum.] Be brief, fum thy business in a few words.
9 Nay, hear them,] i. e. the news. This word, in Shakfpeare's time, was confidered as plural. So, in Plutarch's Life of Antony: "Antonius hearing these newes," &c. MALONE.
Take in &c.] i. e. fubdue, conquer. See Vol. IX. p. 374, n. 9; and Vol. XVI. p. 27, n. 9. REED.
Where's Fulvia's procefs?] Procefs here means fummons. M. MASON. "The writings of our common lawyers fometimes call that the proceffe, by which a man is called into the court and no more." Minfheu's Dict. 1617, in v. Procele.- -"To ferve with proceffe. Vide to cite, to fummon." Ibid. MALONE.
Thou blufheft, Antony; and that blood of thine
ANT. Let Rome in Tyber melt! and the wide arch Of the rang'd empire fall! 3 Here is my space; Kingdoms are clay: our dungy earth alike Feeds beast as man: the nobleness of life Is, to do thus; when such a mutual pair,
And fuch a twain can do't, in which, I bind
Excellent falfhood! Why did he marry Fulvia, and not love her?
and the wide arch
Of the rang'd empire fall!] Taken from the Roman cuftom of raising triumphal arches to perpetuate their victories. Extremely noble. WARBURTON.
I am in doubt whether Shakspeare had any idea but of a fabrick ftanding on pillars. The later editions have all printed the raised empire, for the ranged empire, as it was firft given.
JOHNSON, The rang'd empire is certainly right. Shakspeare uses the fame expreffion in Coriolanus:
bury all which yet diftinctly ranges,
"In heaps and piles of ruin."
Again, in Much Ado about Nothing, A&t II. fc. ii: "Whatfoever comes athwart his affection, ranges evenly with mine." STEEVENS.
The term range seems to have been applied, in a peculiar fenfe, to mason-work, in our author's time. So, in Spenfer's Fairy Queen, B. II. c. ix:
"It was a vault y-built for great difpence,
"With many raunges rear'd along the wall." MALONE. What, in ancient mafons' or bricklayers' work, was denominated a range, is now called a courfe. STEEVENS.
to weet,] To know. POPE.
I'll feem the fool I am not; Antony
ANT. But ftirr❜d by Cleopatra.5Now, for the love of Love, and her foft hours,6 Let's not confound the time with conference harfh: There's not a minute of our lives fhould stretch Without fome pleasure now: What sport to-night?
CLEO. Hear the ambaffadors.
ANT. Fye, wrangling queen ! Whom every thing becomes, to chide, to laugh,
Will be himself.
But ftirr'd by Cleopatra.] But, in this paffage, feems to have the old Saxon fignification of without, unless, except. Antony, fays the queen, will recollect his thoughts. Unless kept, he replies, in commotion by Cleopatra.
What could Cleopatra mean by saying Antony will recollect his thoughts? What thoughts were they, for the recollection of which fhe was to applaud him? It was not for her purpose that he should think, or roufe himself from the lethargy in which she wished to keep him. By Antony will be himself, the means to fay, "that Antony will act like the joint fovereign of the world, and follow his own inclinations, without regard to the mandates of Cæfar, or the anger of Fulvia." To which he replies, If but ftirr'd by Cleopatra; that is, if moved to it in the flightest degree by her. M. MASON.
• Now, for the love of Love, and her foft hours,] For the love of Love, means, for the fake of the queen of love. So, in The Comedy of Errors :
"Let Love, being light, be drowned if she fink." Mr. Rowe substituted his for her, and this unjustifiable alteration was adopted by all the subsequent editors. MALONE.
7 Let's not confound the time-] i. e. let us not consume the time. So, in Coriolanus:
"How could'st thou in a mile confound an hour,
Whom every thing becomes,]
Quicquid enim dicit, feu facit, omne decet."
To weep; whofe every paffion fully strives1
9 Whom every thing becomes, to chide, to laugh, To weep;] So, in our author's 150th Sonnet:
"Whence haft thou this becoming of things ill,
"That in the very refuse of thy deeds
whofe every paffion fully ftrives-] The folio reads— who. It was corrected by Mr. Rowe; but " whofe every paffion" was not, I suspect, the phraseology of Shakspeare's time. The text however is undoubtedly corrupt. MALONE.
Whofe every, is an undoubted phrase of our author. So, in The Tempest:
"A fpace, whofe every cubit
See Vol. IV. p. 74. Again, in Cymbeline, A& I. sc. vii :
Whofe every touch" &c.
The fame expreffion occurs again in another play, but I have my reference to it. STEEVENS.
2 No meffenger; but thine and all alone, &c.] Cleopatra has faid, "Call in the meffengers ;" and afterwards, "Hear the ambaffadors." Talk not to me, fays Antony, of meffengers; I am now wholly thine, and you and I unattended will to-night wander through the ftreets. The subsequent words which he utters as he goes out, "Speak not to us," confirm this interpretation. MALONE.
3 To-night, we'll wander through the streets, &c.] So, in Sir Thomas North's tranflation of The Life of Antonius: "Sometime also when he would goe up and downe the citie difguifed like a flave in the night, and would peere into poore mens' windowes and their fhops, and scold and brawl with them within the house; Cleopatra would be also in a chamber maides array, and amble up and down the streets with him," &c.
The qualities of people. Come, my queen;
I'm full forry, That he approves the common liar, who Thus fpeaks of him at Rome: But I will hope Of better deeds to-morrow. Reft you happy!
The fame. Another Room.
Enter CHARMIAN, IRAS, ALEXAS, and a Soothfayer.5
CHAR. Lord Alexas, fweet Alexas, moft any thing Alexas, almoft moft abfolute Alexas, where's the
+ That he approves the common liar,] Fame. That he proves the common liar, fame, in his case to be a true reporter.
So, in Hamlet:
"He may approve our eyes, and speak to it."
5 Enter Charmian, Iras, Alexas, and a Soothsayer.] The old copy reads: "Enter Enobarbus, Lamprius, a Soothsayer, Rannius, Lucilius, Charmian, Iras, Mardian the Eunuch, and Alexas."
Plutarch mentions his grandfather Lamprias, as his author for fome of the ftories he relates of the profufeness and luxury of Antony's entertainments at Alexandria. Shakspeare appears to have been very anxious in this play to introduce every inci