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Act 1, Scene 2 — Alexandria. Another Room in Cleopatra’s palace.
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The argument Charmian and Iras consult a soothsayer who predicts dark futures; Antony, confronted by news of Fulvia's wars and her death, resolves to break from Egypt and return to Rome.
Enter Enobarbus, a Soothsayer, Charmian, Iras, Mardian and Alexas.
First appearance
CHARMIAN

Charmian is devoted and witty in equal measure — she will make a joke about anything, including her own death. Watch for the moments when her jokes land with unexpected weight.

CHARMIAN [Charmian joking, flirting, teasing — trying to get the fortune teller to say good things.]

Lord Alexas, sweet Alexas, most anything Alexas, almost most absolute

Alexas, where’s the soothsayer that you praised so to th’ queen? O,

that I knew this husband which you say must charge his horns with

garlands!

Lord Alexas—sweet Alexas—excellent Alexas—absolutely amazing Alexas—where is the soothsayer you praised so much to the queen? Oh, I wish I knew about this husband of mine that you say must decorate his cuckold's horns with flowers!

Alexas, Alexas, excellent Alexas—where's that soothsayer you were bragging about to Cleopatra? I want to know about this husband who's supposed to be so unfaithful that he decorates his shame like it's a party.

where's the fortune teller the one you praised i want to know about my future about my husband too much joking

"charge his horns with garlands" Cuckoldry — a man whose wife is unfaithful — was conventionally represented by invisible horns growing from his head. Charmian is wishing for a husband who is cheated on, so thoroughly that he happily garlanded the proof. A dark wish dressed as a joke.
First appearance
ALEXAS

Alexas is Cleopatra's functionary — useful, present, slightly rakish. He gets the joke.

ALEXAS [A summons.]

Soothsayer!

The soothsayer.

Here's the fortune teller.

soothsayer here listen

SOOTHSAYER [Ready to serve.]

Your will?

What do you want?

What do you need?

what do you want what's your wish

CHARMIAN [Teasing, probing.]

Is this the man? Is’t you, sir, that know things?

Are you the one? Are you, sir, the one who knows things?

Is this the guy? Are you the one who knows the future?

are you the one who knows things who can read fate

SOOTHSAYER ≋ verse [Mystical, carefully hedged.]

In nature’s infinite book of secrecy

A little I can read.

In the infinite book of nature's secrets I can read only a little.

Nature has secrets written in a book, and I can only read a tiny bit of it.

i can read a little from nature's secret book

ALEXAS [Directing the ritual.]

Show him your hand.

Show him your palm.

Show your hand.

show your palm let him read it

First appearance
ENOBARBUS

Enobarbus speaks in sardonic prose when others speak in verse — he's the play's great deflator. His humor is his armor, and his armor is always on. Watch for how he uses jokes to say true things that can't be said directly.

ENOBARBUS ≋ verse [Enobarbus cutting through ceremony with practicality.]

Bring in the banquet quickly; wine enough

Cleopatra’s health to drink.

Bring in the feast quickly; we need enough wine to toast Cleopatra's health.

Get the banquet in here quickly; we need plenty of wine to drink to Cleopatra's health.

get the banquet. wine to toast cleopatra

CHARMIAN [Charmian requesting good fortune.]

Good, sir, give me good fortune.

Good sir, tell me my fortune.

Tell me something good.

good fortune please tell me

SOOTHSAYER [The soothsayer declining the pretense.]

I make not, but foresee.

I don't make fortunes, I only foresee them.

I don't make luck, I predict it.

i don't make fortune i see it there's a difference

CHARMIAN [Charmian pressing him.]

Pray, then, foresee me one.

Then predict one for me.

Then foresee mine.

foresee me one my future

SOOTHSAYER [The soothsayer offering ambiguous good news.]

You shall be yet far fairer than you are.

You will be far more beautiful than you are now.

You'll be even more beautiful than you are.

you'll be more beautiful fare more lovely

CHARMIAN [Charmian interpreting darkly.]

He means in flesh.

He means I'll get fat.

He means I'll get bigger.

he means fat flesh

First appearance
IRAS

Iras is Charmian's lighter shadow — quicker to laugh, less sharp. She agrees and amplifies rather than leading.

IRAS [Iras making a joke at Charmian's expense.]

No, you shall paint when you are old.

No, you'll need makeup when you're old.

No, you'll need paint when you're older.

when you're old you'll paint wear makeup

CHARMIAN [Charmian rejecting the idea of wrinkles.]

Wrinkles forbid!

God forbid wrinkles!

No wrinkles, please!

wrinkles forbid no no aging

ALEXAS [Alexas telling Charmian to respect the soothsayer.]

Vex not his prescience. Be attentive.

Don't mock his prophecy. Pay attention.

Don't mess with him. Listen.

don't mock pay attention respect him

CHARMIAN [Charmian quieting down.]

Hush!

Hush.

Quiet.

quiet hush listen

SOOTHSAYER [The soothsayer delivering a dark prophecy masked as hope.]

You shall be more beloving than beloved.

You will love more than you are loved.

You'll give more love than you get back.

more beloving than beloved unequal unrequited

Why it matters A quiet prophecy that hits harder on a second read — Cleopatra will outlove Antony not in feeling but in survival, and her devotion at the end will exceed anything he gave her while living.
CHARMIAN [Charmian rejecting this fate with humor.]

I had rather heat my liver with drinking.

I'd rather heat my liver with drinking.

I'd rather get drunk.

heat my liver with wine with drinking better than that

ALEXAS [Alexas insisting she listen.]

Nay, hear him.

No, hear him.

Listen to him.

hear him listen

CHARMIAN [Charmian asking for wild fortunes.]

Good now, some excellent fortune! Let me be married to three kings in a

forenoon and widow them all. Let me have a child at fifty, to whom

Herod of Jewry may do homage. Find me to marry me with Octavius Caesar,

and companion me with my mistress.

Give me some excellent fortune! Let me marry three kings in one morning and widow them all. Let me have a child at fifty, to whom King Herod might bow. Arrange me to marry Caesar, and have my queen as my companion.

Give me something wild! Let me marry three kings in one morning and become widow to all of them. Let me have a baby at fifty that even King Herod would serve. Make me marry Caesar and stay with my mistress.

marry three kings widow them have a child at fifty herod does homage marry caesar companion me wild fortunes

"Herod of Jewry may do homage" Herod the Great was notorious for infanticide (the massacre of the innocents) and cruelty. For him to bow to Charmian's child is both funny and dark — the most vicious king imaginable humbled before her.
SOOTHSAYER [The soothsayer predicting Cleopatra's death.]

You shall outlive the lady whom you serve.

You will outlive the lady whom you serve.

You will live longer than your queen.

outlive the lady you serve cleopatra goes first

Why it matters A genuine prophecy that will not come true — Charmian dies with Cleopatra. Or rather: she outlives her by seconds, choosing not to.
CHARMIAN [Charmian's reaction—she loves this prediction.]

O, excellent! I love long life better than figs.

Oh, wonderful! I love a long life much better than figs.

Oh excellent! I'd rather live a long life than have figs.

i love living long more than figs

"better than figs" Figs were associated with sensual pleasure and fertility in the ancient world. Charmian is saying she values long life over pleasure. Ironic given how the play ends — figs smuggle in the asps that kill Cleopatra.
SOOTHSAYER ≋ verse [A darker shadow falling.]

You have seen and proved a fairer former fortune

Than that which is to approach.

You have seen and enjoyed a better fortune than what is coming.

You've had better days ahead of you than what's coming.

seen better proved fairer fortune coming worse

CHARMIAN [Charmian trying to laugh it off.]

Then belike my children shall have no names. Prithee, how many boys and

wenches must I have?

Then my children will have no names. Tell me—how many boys and girls must I have?

Then I won't even name my kids. How many boys and girls will I have?

no names how many boys and girls children

SOOTHSAYER ≋ verse [The soothsayer replying with dark humor.]

If every of your wishes had a womb,

And fertile every wish, a million.

If every one of your wishes had a womb and each wish could bear fruit, you'd have a million.

If every wish you have could get pregnant and give birth, you'd have a million.

if every wish a womb fertile million children

CHARMIAN [Charmian calling him out.]

Out, fool! I forgive thee for a witch.

Out, fool! I forgive you because you're a witch.

Get out! You're a witch and I'm forgiving you for it.

out fool i forgive you witch

ALEXAS [Alexas making a joke.]

You think none but your sheets are privy to your wishes.

You think only your bed knows about your wishes.

You think only your sheets know what you want.

your sheets privy to your wishes only in bed

CHARMIAN [Charmian redirecting.]

Nay, come, tell Iras hers.

Come, now read Iras's fortune too.

Go on, tell Iras hers.

iras tell hers her fortune

ALEXAS [Alexas enthusiastically.]

We’ll know all our fortunes.

We want to know all our fortunes.

We all want to hear ours.

all our fortunes know them

ENOBARBUS [Enobarbus wryly.]

Mine, and most of our fortunes tonight, shall be drunk to bed.

Mine, and most everyone's fortunes tonight, will be drunk to bed.

My fortune and everyone else's will be drunk tonight.

fortunes tonight drunk to bed wine sleep

IRAS [Iras reading her palm carefully.]

There’s a palm presages chastity, if nothing else.

There's a line in her palm that means chastity—if nothing else.

Her palm shows a sign of chastity—that's something.

palm chastity line if nothing else

CHARMIAN [Charmian making a cruel joke.]

E’en as the o’erflowing Nilus presageth famine.

Like the overflowing Nile means famine.

Like when the Nile floods it means starvation.

nile overflowing famine opposite reversal

"the o'erflowing Nilus presageth famine" Paradoxically, extreme Nile flooding destroyed crops — too much water rotted the grain. Charmian is saying Iras's apparent chastity predicts the opposite: a woman who floods the field destroys the harvest.
IRAS [Iras defending herself.]

Go, you wild bedfellow, you cannot soothsay.

Go on, you wild girl. You can't read fortunes.

Get out of here. You can't read fortunes.

wild bedfellow can't soothsay go

CHARMIAN [Charmian making a coarse joke.]

Nay, if an oily palm be not a fruitful prognostication, I cannot

scratch mine ear. Prithee, tell her but workaday fortune.

If a oily palm doesn't mean fertility, I can't even scratch my ear. Come on, just tell her an ordinary fortune.

If an oily palm doesn't mean good luck, I give up. Just tell her something simple.

oily palm fruitful scratch mine ear workaday fortune

SOOTHSAYER [The soothsayer saying they're equal.]

Your fortunes are alike.

Your fortunes are the same.

You both have the same fortune.

fortunes alike same equal

IRAS [Iras wanting more detail.]

But how, but how? give me particulars.

But how? Give me specifics.

How? Tell me more.

how particulars specifics

SOOTHSAYER [The soothsayer refusing to elaborate.]

I have said.

I have said what I will say.

That's all I have.

i have said no more finished

IRAS [Iras pushing back.]

Am I not an inch of fortune better than she?

Am I even an inch of fortune better than she is?

Am I any better off than she is?

inch of fortune better than she

CHARMIAN [Charmian with a bawdy joke.]

Well, if you were but an inch of fortune better than I, where would you

choose it?

Well, if you were even an inch of fortune better than me, where on your body would you want it?

If you had even one inch better luck than me, where would you put it?

inch where would you choose better than

IRAS [Iras with a quick retort.]

Not in my husband’s nose.

Not where my husband's involved.

Not in my husband's business.

not his business

CHARMIAN [Charmian launching into an elaborate curse.]

Our worser thoughts heavens mend! Alexas—come, his fortune! his

fortune! O, let him marry a woman that cannot go, sweet Isis, I beseech

thee, and let her die too, and give him a worse, and let worse follow

worse, till the worst of all follow him laughing to his grave,

fiftyfold a cuckold! Good Isis, hear me this prayer, though thou deny

me a matter of more weight; good Isis, I beseech thee!

May heavens fix our worse thoughts! Alexas, come read his fortune! Oh, let him marry a woman who can't walk, sweet goddess Isis, I beg. Let her die, give him a worse one, and keep it getting worse until the worst follows him laughing to his grave—five times over a cuckold! Goddess, hear my prayer, though you deny me things that matter more.

Heaven fix our bad thoughts! Alexas, his fortune! Oh goddess Isis, let him marry a woman who can't move, I'm begging. Let her die, give him worse ones, worse and worse until the worst one follows him laughing to his grave as a total cuckold! Goddess, listen to this prayer even if you won't grant me bigger things.

heavens mend let him marry woman who cannot go let her die worser follow worse to his grave fiftyfold cuckold good isis hear me

IRAS [Iras amplifying Charmian's prayer.]

Amen. Dear goddess, hear that prayer of the people! For, as it is a

heartbreaking to see a handsome man loose-wived, so it is a deadly

sorrow to behold a foul knave uncuckolded. Therefore, dear Isis, keep

decorum and fortune him accordingly!

Amen. Goddess, hear this prayer from your people! It's heartbreaking to see a handsome man cheated on, and it's deadly sad to see an ugly man not cuckolded. So goddess, keep the proper order and give him what he deserves!

Amen. Goddess, listen to what we're praying! It breaks the heart to see a good-looking man cheated on, and it's terrible to see an ugly guy who doesn't get what's coming to him. So goddess, keep things balanced and let him get what he deserves!

amen heartbreaking handsome man loose-wived foul knave uncuckolded keep decorum

CHARMIAN [Charmian echoing.]

Amen.

Amen.

Amen.

amen

ALEXAS [Alexas laughing at the women.]

Lo now, if it lay in their hands to make me a cuckold, they would make

themselves whores but they’d do’t!

Look, if it were in their power to make me a cuckold, they'd turn themselves into whores to do it!

If it was up to them, they'd become prostitutes just to make me a cuckold!

if in their hands make me cuckold whores do it

Enter Cleopatra.
ENOBARBUS [Enobarbus announcing someone.]

Hush, Here comes Antony.

Quiet, Antony's coming.

Quiet, here comes Antony.

quiet antony coming

CHARMIAN [Charmian correcting him.]

Not he, the queen.

Not him—the queen.

No, it's the queen.

the queen actually

CLEOPATRA [Cleopatra asking after Antony.]

Saw you my lord?

Have you seen my lord?

Have you seen Antony?

my lord seen him antony

ENOBARBUS [Enobarbus answering.]

No, lady.

No, my lady.

No, lady.

no lady

CLEOPATRA [Cleopatra pressing.]

Was he not here?

Hasn't he been here?

Didn't he come by?

he wasn't here?

CHARMIAN [Charmian confirming.]

No, madam.

No, madam.

No, my queen.

no madam

CLEOPATRA ≋ verse [Cleopatra explaining the change.]

He was disposed to mirth; but on the sudden

A Roman thought hath struck him. Enobarbus!

He was ready to be happy, but suddenly a Roman thought struck him. Enobarbus!

He was in a good mood, but then something Roman hit him. Enobarbus!

disposed to mirth suddenly roman thought struck him

"A Roman thought hath struck him" A 'Roman thought' — seriousness, duty, honor — is the opposite of the Egyptian mood. Cleopatra uses it as a diagnosis: Antony's pleasure has been interrupted by the pull of Rome. She says it without contempt, but it's her way of naming the enemy.
ENOBARBUS [Enobarbus responding.]

Madam?

What, my lady?

Yes, my queen?

yes what my lady

CLEOPATRA [Cleopatra worried.]

Seek him and bring him hither. Where’s Alexas?

Find him and bring him here to me. Where is Alexas?

Go find him and bring him back here. Where's Alexas?

find him & bring him where's alexas?

ALEXAS [Alexas reassuring, announcing Antony's approach]

Here, at your service. My lord approaches.

Here, at your service. My lord is approaching.

I'm here, ready to help. He's on his way.

i'm here he's coming

Enter Antony with a Messenger.
CLEOPATRA [Cleopatra exiting.]

We will not look upon him. Go with us.

We will not look at him. Come with us.

We're not going to look at him. Come with me.

we're not looking at him come w us

[_Exeunt Cleopatra, Enobarbus, Charmian, Iras, Alexas and
Soothsayer._]
MESSENGER [First bad news arrives.]

Fulvia thy wife first came into the field.

Your wife Fulvia first entered the battle.

Your wife Fulvia was the first to enter the field.

fulvia your wife went in first

ANTONY [Antony asking for clarification.]

Against my brother Lucius.

Against your brother Lucius.

She opposed your brother Lucius.

vs your brother lucius

MESSENGER ≋ verse [The messenger explaining the political tangle.]

Ay.

But soon that war had end, and the time’s state

Made friends of them, jointing their force ’gainst Caesar,

Whose better issue in the war from Italy

Upon the first encounter drave them.

Yes, but that war ended quickly. The times changed, they made peace, and both of them together turned their forces against Caesar. Caesar defeated them in their first battle and drove them back from Italy.

Yeah, but then that war ended fast. Things changed, they made peace, and together they fought Caesar. Caesar beat them immediately and drove them out of Italy.

war ended they made peace joined forces against caesar he beat them drove them out

ANTONY [Antony wants the worst of it.]

Well, what worst?

Well, what's worse?

What else happened?

what's worse tell me the rest

MESSENGER [The messenger hesitating—a classic moment.]

The nature of bad news infects the teller.

Bad news corrupts the one who brings it.

Bad news makes the messenger look bad.

bad news taints the messenger infects him

ANTONY ≋ verse [Antony dismissing caution—he wants truth.]

When it concerns the fool or coward. On.

Things that are past are done with me. ’Tis thus:

Who tells me true, though in his tale lie death,

I hear him as he flattered.

Only if the news concerns a fool or coward. Speak on. What is past is done with me. Here's my rule: whoever tells me truth, even if death lies in his tale, I hear him as if he were flattering me.

Only if it's about a fool or coward. Keep going. What's done is done. Whoever tells me the truth, even if it's terrible, I'll listen like it's a compliment.

speak freely truth even death i'll hear it like flattery

MESSENGER ≋ verse [The messenger delivering the worst political news.]

Labienus—

This is stiff news—hath with his Parthian force

Extended Asia from Euphrates

His conquering banner shook from Syria

To Lydia and to Ionia,

Whilst—

Labienus—this is serious—has taken the Parthian forces and conquered all of Asia from the Euphrates, shaken his banners of victory from Syria to Lydia and Ionia, while—

Labienus—this is bad—took the Parthians and conquered all of Asia from the Euphrates, flew his banner from Syria to Lydia and Ionia, and meanwhile—

labienus with parthians conquered asia all of it from euphrates to syria to lydia

ANTONY [Antony finishing the thought bitterly.]

“Antony”, thou wouldst say—

'Antony', you were about to say—

'Antony', right? While Antony—

'antony' while antony what was i doing

MESSENGER [The messenger apologizing.]

O, my lord!

Oh, my lord!

My lord!

my lord forgive me

ANTONY ≋ verse [Antony demanding the full truth without mercy.]

Speak to me home; mince not the general tongue.

Name Cleopatra as she is called in Rome;

Rail thou in Fulvia’s phrase, and taunt my faults

With such full licence as both truth and malice

Have power to utter. O, then we bring forth weeds

When our quick minds lie still, and our ills told us

Is as our earing. Fare thee well awhile.

Speak directly to me. Don't mince words. Name Cleopatra exactly as she is called in Rome. Curse me in Fulvia's language. Taunt my faults with the full freedom of both truth and malice. Oh, we grow weeds when our busy minds are idle, and when we're told our crimes, it's like plowing. Goodbye for now.

Tell me straight. Don't soften it. Call Cleopatra exactly what Rome calls her. Curse me like Fulvia would. Tell me my faults without holding back. We grow weeds when we're lazy, and when someone tells us about them, it's like harvesting. Leave me.

speak plain call cleopatra by her name rail at me with fulvia's curse tell my faults the truth and the malice i've grown weeds while idle

Why it matters This is Antony at his best — the soldier who faces truth directly. He knows he's been asleep, and says so.
MESSENGER [The messenger withdrawing.]

At your noble pleasure.

At your pleasure, my lord.

As you wish, my lord.

as you wish i'll go

[_Exit Messenger._]
Enter another Messenger.
ANTONY [Antony calling out quickly.]

From Sicyon, ho, the news? Speak there!

From Sicyon—what is the news? Speak!

News from Sicyon? Tell me!

from sicyon what speak

SECOND MESSENGER [The second messenger hesitating.]

The man from Sicyon—

The messenger from Sicyon has arrived—

There's a man here from Sicyon—

guy from sicyon's here

ANTONY [Antony impatient.]

Is there such a one?

Does such a man exist?

Is there such a person?

anyone like that?

SECOND MESSENGER [The second messenger clarifying.]

He stays upon your will.

He waits for your permission.

He's waiting for you.

he waits for your word

ANTONY [Antony summoning him forward]

Let him appear.

Let him come.

Send him in.

let him come approach

[_Exit second Messenger._]
ANTONY ≋ verse [resolving to break free of Cleopatra]

These strong Egyptian fetters I must break,

Or lose myself in dotage.

I must break these strong Egyptian chains, Or I'll lose myself to obsession.

I've got to break free from this Egyptian hold, Or I'm going to completely lose myself.

i gotta break these egyptian chains or i'm gonna lose myself

Enter another Messenger with a letter.
ANTONY [bracing for more bad news]

What are you?

Who are you?

Who are you?

who are u?

THIRD MESSENGER [The blow falls.]

Fulvia thy wife is dead.

Your wife Fulvia has died.

Your wife Fulvia is dead.

fulvia's gone

ANTONY [numb, pressing for details]

Where died she?

Where did she die?

Where did she die?

where where did she die sicyon

THIRD MESSENGER ≋ verse [The details of her end.]

In Sicyon:

Her length of sickness, with what else more serious

Importeth thee to know, this bears.

In Sicyon. Her long illness, and everything else you need to know about what matters to you—this letter has it all.

In Sicyon. Her illness—how long it lasted—and everything else you should know. It's all in this letter.

sicyon her sickness long illness what matters to you

[_Gives a letter._]
ANTONY [Antony dismissing him—he needs to be alone.]

Forbear me.

Leave me.

Go. Leave me.

leave me go i need to be alone

[_Exit third Messenger._]
ANTONY ≋ verse [torn between guilt and relief]

There’s a great spirit gone! Thus did I desire it.

What our contempts doth often hurl from us,

We wish it ours again. The present pleasure,

By revolution lowering, does become

The opposite of itself. She’s good, being gone.

The hand could pluck her back that shoved her on.

I must from this enchanting queen break off.

Ten thousand harms, more than the ills I know,

My idleness doth hatch. How now, Enobarbus!

A great spirit has gone! This is what I wanted. What we often throw away, We wish for again. The pleasure of today, Declining and changing, becomes Its opposite. She's good, now that she's gone. The hand that pushed her away could pull her back. I must break free from this enchanting queen. Ten thousand harms, more than the ones I know of, My laziness breeds. How are you, Enobarbus!

A great woman is gone! And I wanted this. You know how it works—we throw things away and then want them back. What felt good today feels like its opposite tomorrow. She seems good now that she's dead. The hand that pushed her away would pull her back. I have to get away from this captivating queen. My idleness is breeding thousands of problems I haven't even realized yet. How are you doing, Enobarbus?

a great woman gone. we throw things away then want them back. pleasure becomes the opposite. she's good now that she's gone. gotta leave cleopatra. my laziness is breeding disaster

Enter Enobarbus.
ENOBARBUS [Enobarbus greeting him.]

What’s your pleasure, sir?

What do you want, sir?

What do you need, sir?

what's your pleasure what do you want

ANTONY [Antony stating his intention.]

I must with haste from hence.

I must leave quickly.

I have to go right away.

must go haste from hence

ENOBARBUS [Enobarbus raising the stakes with dark humor.]

Why then we kill all our women. We see how mortal an unkindness is to

them. If they suffer our departure, death’s the word.

Then we're killing our women. We see how deadly an unkindness this is to them. If they tolerate our departure, it's death to them.

So we might as well kill our women. We know how lethal it is for them when we leave. If they survive our departure, that's still death.

we kill women by leaving unkindness is deadly departure = death

ANTONY [Antony firm in his resolve.]

I must be gone.

I must go.

I have to leave.

must be gone

ENOBARBUS [dryly mocking her theatrics]

Under a compelling occasion, let women die. It were pity to cast them

away for nothing, though, between them and a great cause they should be

esteemed nothing. Cleopatra, catching but the least noise of this, dies

instantly. I have seen her die twenty times upon far poorer moment. I

do think there is mettle in death which commits some loving act upon

her, she hath such a celerity in dying.

For a serious reason, let women die. It would be shameful to abandon them for nothing, though a great cause might be worth their loss. But Cleopatra—she dies at the slightest hint of this. I've seen her die twenty times for much smaller reasons. There's something noble in her death, some loving act in it. She dies so fast.

For a real reason, sure, women can die. It's a shame to throw them away for nothing, though big things might be worth it. But Cleopatra? She dies the second she hears about this. I've seen her fake-die twenty times for nothing. There's something beautiful in her dying—some loving thing. She does it so fast.

great cause women die cleopatra dying twenty times poorer moment mettle in death loving act celerity in dying

ANTONY [wary of her calculated cunning]

She is cunning past man’s thought.

She's more clever than any man could be.

She's smarter than anyone.

cunning past man's thought

ENOBARBUS [Enobarbus correcting him—defending Cleopatra.]

Alack, sir, no; her passions are made of nothing but the finest part of

pure love. We cannot call her winds and waters sighs and tears; they

are greater storms and tempests than almanacs can report. This cannot

be cunning in her; if it be, she makes a shower of rain as well as

Jove.

No, sir. Her passions are made of pure love. We can't call her winds and tears mere sighs and weeping—they're greater storms than any almanac records. This isn't cunning in her. If it is, she makes storms as well as Jupiter does.

No, sir. Her feelings are pure love. We can't call her winds and tears just sighs and cries—they're bigger storms than any calendar records. This isn't her being clever. If it is, she controls storms like Jupiter.

passions pure love not cunning winds and waters storms and tempests greater than almanacs jove

ANTONY [Antony wishing he'd never met her.]

Would I had never seen her!

I wish I had never laid eyes on her!

I wish I'd never seen her!

wish i never saw her

ENOBARBUS [Enobarbus with the ultimate compliment.]

O, sir, you had then left unseen a wonderful piece of work, which not

to have been blest withal would have discredited your travel.

O sir, you would have missed seeing a wonderful person, and not to have been blessed with meeting her would have wasted your travels.

Sir, you would have missed seeing an amazing person, and your journey wouldn't have been worth making if you hadn't been fortunate enough to meet her.

u would've missed her she's incredible meeting her made ur trip worth it

ANTONY [The pivot—Antony delivering the news that changes everything.]

Fulvia is dead.

Fulvia is dead.

Fulvia is dead.

fulvia is dead

ENOBARBUS [Enobarbus shocked.]

Sir?

Sir?

What?

sir

ANTONY [Antony repeating it, as if to convince himself.]

Fulvia is dead.

Fulvia is dead.

Fulvia is dead.

fulvia is dead again

ENOBARBUS [Enobarbus seeking confirmation.]

Fulvia?

Fulvia?

Fulvia?

fulvia

ANTONY [The final fact.]

Dead.

Dead.

Dead.

dead

ENOBARBUS [Enobarbus with crude consolation—mocking both death and marriage.]

Why, sir, give the gods a thankful sacrifice. When it pleaseth their

deities to take the wife of a man from him, it shows to man the tailors

of the earth; comforting therein that when old robes are worn out,

there are members to make new. If there were no more women but Fulvia,

then had you indeed a cut, and the case to be lamented. This grief is

crowned with consolation; your old smock brings forth a new petticoat:

and indeed the tears live in an onion that should water this sorrow.

Then give the gods thanks for a sacrifice. When the gods take a man's wife, they show us that we can replace old cloth with new. If there were no more women but Fulvia, you'd have a real loss. But this grief comes with comfort—old clothes wear out, new petticoats come forth. Your tears should be for an onion, not for this sorrow.

Then thank the gods for that. When they take your wife, they show you that you can get new clothes when the old ones wear out. If Fulvia was the only woman left, that'd be a real loss. But this comes with a silver lining—when old clothes die, new ones are born. These tears should be for an onion, not this.

give gods thanks wife taken tailors of earth worn out new petticoat old smock grief crowned with consolation consolation

ANTONY ≋ verse [Antony with the political reason to leave.]

The business she hath broached in the state

Cannot endure my absence.

The matters she has started in the state cannot continue without my presence.

The business she's started in the government can't go on without me.

her state business can't go on without me

ENOBARBUS [Enobarbus pointing out the irony.]

And the business you have broached here cannot be without you,

especially that of Cleopatra’s, which wholly depends on your abode.

And the business you've started here can't continue without you—especially Cleopatra's, which completely depends on your being here.

And the mess you've started here needs you here—especially with Cleopatra, who completely depends on you staying.

business broached here cannot be without you cleopatra's wholly depends your abode

ANTONY ≋ verse [Antony dismissing joking and ordering action.]

No more light answers. Let our officers

Have notice what we purpose. I shall break

The cause of our expedience to the Queen,

And get her leave to part. For not alone

The death of Fulvia, with more urgent touches,

Do strongly speak to us, but the letters too

Of many our contriving friends in Rome

Petition us at home. Sextus Pompeius

Hath given the dare to Caesar, and commands

The empire of the sea. Our slippery people,

Whose love is never linked to the deserver

Till his deserts are past, begin to throw

Pompey the Great and all his dignities

Upon his son, who, high in name and power,

Higher than both in blood and life, stands up

For the main soldier; whose quality, going on,

The sides o’ th’ world may danger. Much is breeding

Which, like the courser’s hair, hath yet but life

And not a serpent’s poison. Say our pleasure

To such whose place is under us, requires

Our quick remove from hence.

No more trivial answers. Let our officers know our purpose. I will explain the urgency to the Queen and get her permission to depart. Not only Fulvia's death, but more urgent letters from many friends in Rome call me home. Sextus Pompeius has challenged Caesar and commands the sea. Our fickle people, whose love is never tied to the deserving until their deeds are past, are throwing support to Pompey's son, who stands high in name and power, higher still in family and life—a formidable soldier whose growing strength threatens the world. Much danger is brewing, like poison forming in a horsehair, alive but not yet a serpent's venom. Tell those under our command that we require immediate departure from here.

Stop with the clever remarks. Make sure the officers know what we're planning. I'll tell the Queen how urgent this is and get her permission to leave. It's not just Fulvia dying—letters from all my friends in Rome are pushing me to come back. Sextus Pompeius is fighting Caesar for control of the seas. Our people are fickle; they don't stick with anyone until it's too late. Now they're switching their support to Pompey's son, who's got power, family, and influence. He's shaping up to be a major military threat to the world. There's serious danger brewing. I need to leave right now.

stop joking tell officers we're leaving fulvia's dead rome needs me now pompeius challenges caesar people are switching sides danger's building must go immediately

Why it matters This is the first time in the play Antony sounds fully like a Roman general. The political clarity is real — and it comes immediately after Fulvia's death, which functions as both a conscience-shock and a convenient exit.
🎭 Dramatic irony Antony says he will 'break the cause of our expedience to the Queen, and get her leave to part' — as if Cleopatra will accept this reasonably. The audience already suspects, from Scene 1, that the parting scene will be the opposite of reasonable.
ENOBARBUS [Enobarbus accepting the order.]

I shall do’t.

I will do it.

I'll do it.

i shall do't

[_Exeunt._]

The Reckoning

The scene opens in holiday mood — Cleopatra's women teasing the soothsayer about husbands and luck. Then something shifts: the soothsayer's predictions turn genuinely dark, Cleopatra arrives and quickly departs, and Antony is left alone with news that his wife has made war in his name and then died. The comedy doesn't protect us from what follows — Antony confessing to Enobarbus that he wants free of Egypt, feeling both grief and guilt that he doesn't grieve enough. The audience is left with the uncomfortable sense that Antony has made his choice, and is already a little relieved by the excuse to leave.

If this happened today…

A group of friends at a company retreat are doing a tarot reading for fun. The tarot reader keeps saying something that isn't quite a joke. One friend leaves early. Then the star executive, who everyone knows has been living it up at this offsite instead of managing the actual crisis at headquarters, gets a series of increasingly urgent texts — first that his estranged partner started something, then that she's dead. He tells his friend: I need to go back. His friend cracks jokes. He goes quiet. He's already calculating the exit.

Continue to 1.3 →