Where is he?
Where is he?
Where is Antony?
where where is he
I did not see him since.
I haven't seen him since then.
I haven't seen him since earlier.
haven't seen him
See where he is, who’s with him, what he does.
I did not send you. If you find him sad,
Say I am dancing; if in mirth, report
That I am sudden sick. Quick, and return.
Find where he is, who is with him, what he does. I did not send you. If you find him sad, tell him I am dancing. If he is in good spirits, say I fell suddenly ill. Quick, return to me
Go find where he is, who he is with, what he is doing. I am not sending you officially. If he is sad, tell him I am dancing. If he is happy, tell him I got suddenly sick. Hurry back
find him who is with him what he does if sad say dancing if mirth suddenly sick
Madam, methinks, if you did love him dearly,
You do not hold the method to enforce
The like from him.
My lady, if you truly loved him, you would not be using these methods to win his love
My queen, if you really loved him, you would be doing something different to get his love
if love dearly don't hold method enforce like
What should I do I do not?
What else should I do beyond what I'm doing?
What more can I do to prove my love?
what more can i do
In each thing give him way; cross him in nothing.
Give him his way in everything. Never cross him in anything
Let him do what he wants. Do not argue with him
give him way cross him in nothing
Thou teachest like a fool: the way to lose him.
You teach like a fool. That is the way to lose him
You are giving me fool's advice. That is how you lose a man
teach like fool way to lose him
Tempt him not so too far; I wish, forbear.
In time we hate that which we often fear.
But here comes Antony.
Do not push him so far. I wish you would not. In time we come to hate what we often fear. But here comes Antony
Do not test him too much. I am worried about you. We end up hating what we fear. But here he comes
don't tempt wish forbear in time hate what fear
I am sick and sullen.
I'm feeling ill and in a foul mood.
I'm sick and upset right now.
i'm sick and moody
I am sorry to give breathing to my purpose—
I am sorry to give voice to my purpose
I hate that I have to say this
sorry to give breathing to purpose
Help me away, dear Charmian! I shall fall.
It cannot be thus long; the sides of nature
Will not sustain it.
Help me away, dear Charmian! I shall fall. It cannot be thus. My body will not sustain it
Charmian, help me! I am fainting. I cannot bear this. My body is breaking
help me away fail sides of nature will not sustain
This scene is a masterclass in the impossibility of separating Cleopatra's performances from her real feelings. She plans to fake illness ('say I am sudden sick'). Then she pivots to genuine accusation. Then she performs collapse ('cut my lace, Charmian'). Then she breaks into something that looks like real vulnerability — she can't finish her sentence, she's lost herself. Then she recovers into the magnificent blessing. The question Shakespeare refuses to answer: where does the performance end and the real Cleopatra begin? Enobarbus in Act 1 Scene 2 gave us the answer: 'her passions are made of nothing but the finest part of pure love.' The performance IS the love. Cleopatra doesn't perform instead of feeling — she performs because she feels, because feeling for her is always theatrical. This is not a flaw. It's her nature. Keep watching for it.
Now, my dearest queen—
Now, my most beloved queen—
Now, my darling—
my love
Pray you, stand farther from me.
I beg you, stand away from me.
Please step back from me.
get away from me
What’s the matter?
What is the matter?
What is it?
what's matter
I know by that same eye there’s some good news.
What, says the married woman you may go?
Would she had never given you leave to come!
Let her not say ’tis I that keep you here.
I have no power upon you; hers you are.
I see in that same eye some good news. What, does your married wife give you leave to depart? I wish she had never given you leave to come. Let her not say it is I that keep you. I have no power on you. Yours she is
I can see in your eyes you have good news. Does your wife say you can go? I wish she had never let you come here. Do not blame me for keeping you. You are hers, not mine
same eye good news married woman leave keep you no power hers
The gods best know—
Only the gods know—
The gods alone understand—
gods know
O, never was there queen
So mightily betrayed! Yet at the first
I saw the treasons planted.
Oh, never was a queen betrayed so completely! Yet from the very start I could see the betrayal being plotted.
Oh, I've never been betrayed so badly! But I saw it coming from the beginning.
never been betrayed like this. saw it coming.
Cleopatra—
Cleopatra
Cleopatra
cleopatra
Why should I think you can be mine and true,
Though you in swearing shake the throned gods,
Who have been false to Fulvia? Riotous madness,
To be entangled with those mouth-made vows
Which break themselves in swearing!
How can I believe you will be mine and faithful to me, when you swear oaths so powerfully you shake the throne of the gods themselves - you who were false to Fulvia? It's madness to be caught up in promises that are nothing but empty words, vows that destroy themselves the moment they are spoken.
How can I trust you to be faithful when you swear those big dramatic oaths - powerful enough to shake heaven - yet you were false to Fulvia? It's crazy to get caught up in empty promises, vows that fall apart the second you say them.
how can i trust u u swore 2 fulvia & cheated these r just empty words vows that break themselves
Most sweet queen—
Most sweet queen
My sweet queen
most sweet queen
Nay, pray you seek no colour for your going,
But bid farewell and go. When you sued staying,
Then was the time for words. No going then,
Eternity was in our lips and eyes,
Bliss in our brows’ bent; none our parts so poor
But was a race of heaven. They are so still,
Or thou, the greatest soldier of the world,
Art turned the greatest liar.
Don't make excuses for your leaving; just say goodbye and go. When you were begging me to let you stay, that was the time for words. Then there was no thought of going; eternity lived in our eyes and brows showed bliss; not even our poorest parts seemed common, but all seemed divine. They still do, or else you, the greatest soldier of the world, have become the greatest liar.
Stop looking for reasons to leave—just say goodbye and go. When you were pleading for me to keep you, that's when you should have talked. Back then leaving was unthinkable; everything about us felt eternal and perfect. We were like gods. But either we still are, or you—the greatest soldier alive—have become the worst liar.
stop making excuses. just go. when you wanted to stay forever we were gods. now you're a liar
How now, lady!
What is this, lady
What is this
how now lady
I would I had thy inches, thou shouldst know
There were a heart in Egypt.
I wish I had your size and strength; then you would know there is a passionate heart in Egypt.
I wish I were as powerful as you so you'd understand Egypt's heart burns for you.
wish i had your strength so you'd know i have a heart
Hear me, queen:
The strong necessity of time commands
Our services awhile, but my full heart
Remains in use with you. Our Italy
Shines o’er with civil swords; Sextus Pompeius
Makes his approaches to the port of Rome;
Equality of two domestic powers
Breed scrupulous faction; the hated, grown to strength,
Are newly grown to love; the condemned Pompey,
Rich in his father’s honour, creeps apace
Into the hearts of such as have not thrived
Upon the present state, whose numbers threaten;
And quietness, grown sick of rest, would purge
By any desperate change. My more particular,
And that which most with you should safe my going,
Is Fulvia’s death.
The urgent need of the moment requires my services for now, but my full heart remains devoted to you. Italy is tearing itself apart with civil war; Sextus Pompeius is advancing toward Rome's port; the rivalry between two powers is creating dangerous factions; those who were once despised have grown powerful; the disgraced Pompey, wealthy with his father's honor, is quietly winning over those who haven't prospered under the current rule, whose growing numbers pose a threat; and peace itself, tired of rest, desires any drastic change. What most justifies my going, and what should most ease your worries, is Fulvia's death.
The immediate situation requires me to be away from you for now, but my heart is completely yours. Italy is falling apart from civil war; Pompey is moving toward Rome; rival powers are creating dangerous conflict; enemies have become allies; even the disgraced Pompey is gaining followers from people unhappy with the government, and their numbers are growing and threatening everything; the whole country is so tired of peace it's ready for chaos. But what matters most is that Fulvia is dead.
duty calls but my heart's yours. italy's falling apart. pompey's taking power. everyone's fighting. fulvia's dead.
Though age from folly could not give me freedom,
It does from childishness. Can Fulvia die?
Age hasn't freed me from foolishness, but it has freed me from childishness. Can Fulvia really die?
Age made me stop acting childish, even if it didn't stop me from being foolish. Is Fulvia actually dead?
age freed me from being childish but not foolish did fulvia really die?
Notice how Cleopatra's language moves in this scene. Early on she speaks in verse — metrically regular, controlled, performing her illness in careful iambics. When she speaks her real fear ('in Fulvia's death how mine received shall be'), the verse wobbles slightly. And her moment of genuine speechlessness ('O, my oblivion is a very Antony') is the most irregular moment in the scene — the meter breaks down because the speech is breaking down. Then she recovers, and the final blessing ('upon your sword / sit laurel victory') is some of the most perfectly controlled verse in the play. Shakespeare is using meter as a psychological instrument: form breaks when feeling overwhelms, reforms when the will reasserts itself.
She’s dead, my queen.
Look here, and at thy sovereign leisure read
The garboils she awaked; at the last, best,
See when and where she died.
She's dead, my queen. Read this when you have time to see what troubles she caused; and most importantly, learn when and where she died.
She is dead, my queen. Look at this and read about the chaos she created; you'll see when and where she died.
she's dead. read about the chaos. see when and where.
O most false love!
Where be the sacred vials thou shouldst fill
With sorrowful water? Now I see, I see,
In Fulvia’s death how mine received shall be.
Oh, how false your love is! Where are the sacred vessels you should fill with mourning tears for me? Now I understand - by seeing how you reacted to Fulvia's death, I can see exactly how you will react to mine.
Oh, you're so unfaithful! Where are the sacred tears you should be shedding for me? Now I see it clearly - the way you didn't care about Fulvia's death is exactly how you won't care about mine.
ur so unfaithful where r ur tears 4 me? fulvia's death shows how u'll react 2 mine
Quarrel no more, but be prepared to know
The purposes I bear; which are, or cease,
As you shall give th’ advice. By the fire
That quickens Nilus’ slime, I go from hence
Thy soldier, servant, making peace or war
As thou affects.
Stop arguing, but understand my true intentions. They will continue or end as you direct me. By the sacred fire that brings life to the Nile, I leave you as your soldier and servant, ready to make peace or wage war as you choose.
Stop fighting with me, but listen to what I'm really about. My plans will go forward or stop, whatever you decide. By everything sacred, I'm leaving as your soldier and servant - I'll fight or make peace, whatever you want.
stop arguing w me my plans follow ur lead i'm ur soldier & servant i'll fight or make peace 4 u
Cut my lace, Charmian, come!
But let it be; I am quickly ill and well,
So Antony loves.
Loosen my lace, Charmian, come! But let it be; I change from sick to well so quickly, just as Antony loves so quickly.
Loosen my dress, Charmian, quick! Never mind—my moods swing back and forth all the time, exactly like the way Antony's love does.
loosen my dress i swing moods fast like antony's love
My precious queen, forbear,
And give true evidence to his love, which stands
An honourable trial.
My precious queen, please restrain yourself, and give sincere proof to his love, which stands as an honorable test.
My precious queen, hold back and trust in his love, which is being tested honorably.
stop. trust his love it's an honorable test
So Fulvia told me.
I prithee, turn aside and weep for her,
Then bid adieu to me, and say the tears
Belong to Egypt. Good now, play one scene
Of excellent dissembling, and let it look
Like perfect honour.
That's what Fulvia said too. Please, go aside and cry for her. Then return and say goodbye to me, and claim those tears belong to Egypt. Just act out one perfect scene of deception and make it look honorable.
Yeah, Fulvia said that to you too. Go on, cry for her. Then come back and say goodbye to me, and tell everyone those tears are for Egypt. Just pull off one perfect scene of acting and make it look noble.
fulvia said that 2 go cry 4 her then say bye & claim tears r 4 egypt play it perfectly
You’ll heat my blood. No more.
You're stirring up my anger. No more.
You're making me furious. That's enough.
you're making me angry. stop it.
You can do better yet, but this is meetly.
You're capable of better efforts, but this will suffice.
You could do better, but this will do.
u can do better but this works
Now, by my sword—
I swear upon this blade—
I swear by my sword—
by my sword
And target. Still he mends.
But this is not the best. Look, prithee, Charmian,
How this Herculean Roman does become
The carriage of his chafe.
And with a shield. He keeps getting better. But this is not the best he can do. Look, Charmian, how well this mighty Roman carries the display of his anger.
And a shield too. He's getting better and better. But he can still do more than this. Look, Charmian, how nicely this powerful Roman carries his rage.
add a shield he's improving not his best he looks good angry
I’ll leave you, lady.
I will leave you, lady
I am leaving you
leave you lady
Courteous lord, one word.
Sir, you and I must part, but that’s not it;
Sir, you and I have loved, but there’s not it;
That you know well. Something it is I would—
O, my oblivion is a very Antony,
And I am all forgotten.
Courteous lord, hear me. Sir, you and I must part, but that is not the trouble; Sir, you and I have loved, but that is not it either; you know that already. There's something I would say... Oh, my own forgetfulness is like another you, and I am completely forgotten.
Courteous lord, listen. We must part, but that's not what troubles me; we've loved, but that's not it either; you know. There's something more I want to say... Oh, I'm so forgetful—my forgetfulness is like another you, and you've completely forgotten me.
we must part but that's not it. we've loved but that's not it. i'm so forgotten like you forgot me
But that your royalty
Holds idleness your subject, I should take you
For idleness itself.
If your royal rank didn't command idleness in your servants, I would think idleness itself has taken your form.
If you couldn't order people around to be idle, I'd think you were idleness in person.
if you weren't queen i'd say you're just idle
’Tis sweating labour
To bear such idleness so near the heart
As Cleopatra this. But, sir, forgive me,
Since my becomings kill me when they do not
Eye well to you. Your honour calls you hence;
Therefore be deaf to my unpitied folly,
And all the gods go with you! Upon your sword
Sit laurel victory, and smooth success
Be strewed before your feet!
It's exhausting work to carry such emptiness in my heart. But forgive me, because I'm dying when my beauty doesn't capture your eye and approval. Your honor calls you away; so ignore my pitiful pleas, and may all the gods accompany you! May victory sit on your sword, and may success be spread before your path!
Carrying this emptiness inside is killing me. But forgive me, because I die when you don't look at me with love. Your duty calls you away, so don't listen to my desperate begging; may all the gods go with you! May victory crown your sword, and may success surround your every step!
i'm dying inside but forgive me. go. ignore me. may the gods go with you. may victory be yours
Let us go. Come.
Our separation so abides and flies
That thou, residing here, goes yet with me,
And I, hence fleeting, here remain with thee.
Away!
Let us go. Come. Our separation works so strangely that you, staying here, go with me still, and I, flying away, remain here with you. Away!
Let's go. Come on. Even as we separate, we stay together—you staying here but going with me, and me leaving but remaining with you. Now, let's go!
let's go. even apart we're together. away
The Reckoning
This is the scene where Cleopatra's emotional intelligence — and her emotional weaponry — are on full display. She starts with a performance, moves into real accusation, gets cut by the news of Fulvia's death (which she reads immediately as a sign of how she herself will one day be discarded), and ends by pulling herself together and giving Antony a soldier's farewell. The audience is left with a woman who is both more calculating and more genuinely wounded than the first scene suggested — and with Antony's beautiful final lines, which are also a goodbye.
If this happened today…
A woman finds out her long-distance partner, who has been with her in Paris for months, is going back to his home country. She already knows why — she's been watching the news, she read his texts, she knows his ex-wife died. She fakes being sick when he arrives. Then she pivots: challenges him, accuses him, demands proof of love, cries, gets angry, accuses him of lying about everything. He gives her a full political briefing. She takes it in, then says: the fact that your ex-wife is dead is exactly how I know I'll be treated the same way. Then she lets him go. It's the most brutal send-off, and also somehow the most loving.