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Come then, and take the last warmth of my lips.
[kifles them. Iras falls and dies,
Char. Diffolve, thick cloud, and rain; that I may say,
Cleo. This proves me base:
[to the alp, which she applies to her breaft.
Char. O eastern star!
Cleo. Peace, peace!
Char. O, break! O, break!
Cleo, As sweet as balm, as soft as air, as gentle,-
[applying another asp to her arm.
• Have I she aspick in my lips ? ] Are my lips poison'd by the aspick, that my kiss has destroyed thee? MALONE.
Dof fall? ] Iras must be supposed to have applied an asp to her arm while her mistress was settling her dress, or I know not why she Thould fall ro soon. STEEVENS.
9 He'll make demand of ber ;] He will enquire of her concerning me, and kiss her for giving him intelligence, JOHNSON.
afs Unpolicy'd!] i.e. an ass witbout more policy than to leave the means of death within my reach, and thereby deprive his triumph of its noblet decoration, STEEVINS.
What What should I stay
[ falls on a bed, and diese
Enter the Guard, rushing in.
Char. Too flow a melenger. (applies the ap. O, come; apace, dispatch : I partly feel thee. 1. Guard. Approach, ho! All's not well: Cæsar's be
guil'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 2 In this wild world?] Thus the old copy. I suppose the means by this wild world, this world which by the death of Antony is become a defert to her. A wild is a desert. Our author, however, might have written vild (i. e. vile according to ancient spelling) for worthless.
STIEVENS. - Downy windows, close ;] So, in Venus and Adonis :
“ Her two blue windows faintly the upheaveth.” MALONE. 4 - Your crown's awry;] This is well amended by the editors. The old editions had Your crown's away. JOHNSON.
The correction was made by Mr. Pope. The authour has here as nfual followed the old translation of Plutarch.“ _They found Cleopatra ftarke dead layed upon a bed of gold, attired and arrayed in her royal robes, and one of her two women, which was called Iras, dead at her feete; and her other woman called Charmian half dead, and crembling, trimming the diadem which Cleopatra wore upon her head.” MALONE. So, in Daniel's Tragedy of Cleopatra, 1594:
And senseless, in her linking down, she wryes
" For Eras now was dead." STEEVENS.
[diese Enter DOLABELLA. Dol. How goes it here? 2. Guard. All dead.
Dol. Cæfar, thy thoughts
Enter CÆSAR, and Attendants,
did fear, is done.
Dol. Who was last with them?
1. Guard. A simple countryman, that brought her figs; This was his basket.
Caf. Poison’d then.
1. Guard. O Cæsar,
Cas. O noble weakness! -
Dol, Here, on her breast,
the same subject. The former book is not uncommon, and therefore it would be impertinent to crowd the page with every circumitance which Shakspeare has borrowed from the same original. STEEVENS.
6 - Sometbing blown :] The flesh is somewhat puffed or fevoln. Johns.
So, in the ancient metrical romance of Syr Bewys of Hampron, bl. 1, no date :
" That with venim upon him throwen,
The like is on her arm.
1. Guard. This is an aspick's trail: and these fig-leaves Have flime upon them, such as the aspick leaves Upon the caves of Nile.
Cas. Most probable,
So before >
" — and let the water-flies
“ Blow me into abhorring." MALONE. ? Sbebab pursued conclusions infinite-) i. e. numberless experiments, So, in the Spanish Gypsey, by Middleton and Rowley, 1653 :
“ - and to try that conclusion,
“ They'll throw down gold in musles." MALONI. 8 This play keeps curiosity always busy, and the paffions always in. terested. The continual hurry of the action, the variety of incidents, and the quick succession of one personage to another, call the mind forward without intermiffion from the first act to the laft. 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 diftinguishable 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 connexion or care of difpofition,
THE END OF THE SEVENTH VOLUME.