Act 1, Scene 5 — Antony and Cleopatra

The argument In Alexandria without Antony, Cleopatra fantasizes about him at length, receives his messenger Alexas with a pearl, and resolves to send Antony daily letters.

Enter Cleopatra, Charmian, Iras and Mardian.

CLEOPATRA [restless, summoning Charmian]

Charmian!

charmian!

CHARMIAN [attentive to her call]

Madam?

madam?

CLEOPATRA ≋ verse [craving oblivion, half-laughing]

Ha, ha!

Give me to drink mandragora.

Ha, ha! Bring me mandragora to drink.

Ha, ha! Get me some mandragora.

haha get me mandragora

CHARMIAN [puzzled by the request]

Why, madam?

why, madam?

CLEOPATRA ≋ verse [aching through his absence]

That I might sleep out this great gap of time

My Antony is away.

So I can sleep through this long stretch of time when my Antony is away.

I just want to sleep through all this time while Antony's gone.

let me sleep til he gets back

CHARMIAN [gently chiding her fixation]

You think of him too much.

You think about him too much.

You're thinking about him way too much.

stop obsessing over him

CLEOPATRA [feigning mock outrage]

O, ’tis treason!

That's betrayal!

How could you say such a thing!

that's wrong

CHARMIAN [placating her mistress]

Madam, I trust not so.

I don't trust that, madam.

I don't believe that, madam.

i don't think so

CLEOPATRA [imperiously summoning Mardian]

Thou, eunuch Mardian!

You there, eunuch Mardian!

Mardian, you eunuch!

mardian!

First appearance

MARDIAN

Mardian the eunuch is Cleopatra's court attendant — he speaks rarely, absorbs insults gracefully, and has a quiet dignity. Watch for how he asserts a form of inner life ('Yet have I fierce affections') that Cleopatra doesn't expect.

MARDIAN [dutifully awaiting orders]

What’s your highness’ pleasure?

What is your highness' pleasure?

What can I do for you?

what do you want?

CLEOPATRA ≋ verse [teasing him cruelly]

Not now to hear thee sing. I take no pleasure

In aught an eunuch has. ’Tis well for thee

That, being unseminared, thy freer thoughts

May not fly forth of Egypt. Hast thou affections?

I don't want to hear you sing now. I take no pleasure in anything a eunuch has. It's good for you that, being without that capacity, your freer thoughts can't leave Egypt. Do you have feelings?

I don't want to hear you sing right now. Honestly, I don't enjoy anything a eunuch can offer. But it works out for you—at least your mind can't wander beyond Egypt. Do you have any real feelings?

not now. eunuchs have nothing i want. but you can't leave egypt with your thoughts. do you even have feelings?

MARDIAN [answering with quiet dignity]

Yes, gracious madam.

yes, gracious madam.

CLEOPATRA [provoking him further]

Indeed?

indeed?

MARDIAN ≋ verse [wistfully asserting his desire]

Not in deed, madam, for I can do nothing

But what indeed is honest to be done.

Yet have I fierce affections, and think

What Venus did with Mars.

Not in action, madam—I can do nothing but what is honest to be done. Yet I have fierce feelings, and I think about what Venus and Mars did together.

Not really, madam—all I can do is what's honest and right. But I do have strong feelings inside, and I think about how lovers come together, like Mars and Venus.

i can't act on anything. just being honest. but i feel things deep down. think about lovers and passion

"What Venus did with Mars" Venus (goddess of love) and Mars (god of war) were famous lovers in mythology — their affair was a divine scandal. Mardian is saying: I imagine the most passionate union possible, even though I cannot act on it.

CLEOPATRA ≋ verse [fantasizing about distant Antony]

O, Charmian,

Where think’st thou he is now? Stands he, or sits he?

Or does he walk? Or is he on his horse?

O happy horse, to bear the weight of Antony!

Do bravely, horse, for wot’st thou whom thou mov’st?

The demi-Atlas of this earth, the arm

And burgonet of men. He’s speaking now,

Or murmuring “Where’s my serpent of old Nile?”

For so he calls me. Now I feed myself

With most delicious poison. Think on me

That am with Phœbus’ amorous pinches black,

And wrinkled deep in time? Broad-fronted Caesar,

When thou wast here above the ground, I was

A morsel for a monarch. And great Pompey

Would stand and make his eyes grow in my brow;

There would he anchor his aspect, and die

With looking on his life.

Charmian, where do you think he is now? Is he standing or sitting? Or walking? Or on his horse? Oh lucky horse, to carry Antony's weight! Gallop well, horse—do you know who you're carrying? The half-Atlas of this earth, the strength and protector of men. He's speaking now, or murmuring 'Where's my serpent of the Nile?' That's what he calls me. Now I nourish myself with the most delicious poison. Think of me, I who am darkened by the sun's passionate touch, and deeply lined by time. Broad-browed Caesar, when you were alive and above ground, I was a delicacy for a king. And great Pompey would stand and let his eyes grow large in my face; there he would fix his gaze, and as if dying just from looking at my life.

Charmian, I wonder where he is right now. Is he standing, sitting? Walking around? Riding his horse? That lucky horse, getting to carry Antony! Run well, horse—do you realize who's on your back? The pillar of the world, the strength and shield of all men. He's probably saying something, or whispering 'Where's my Nile serpent?' That's his pet name for me. I keep myself alive on this beautiful, poisonous hope. Picture me— I'm dark from the sun's burning touch, wrinkled and aged by time. That Roman dictator Caesar, when he was alive, saw me as a prize to possess. And Pompey too— he'd stare at me until his eyes seemed to grow; he'd lock onto my face and act like he'd die from just watching me live.

where is he? on a horse? he's thinking of me my poison, my beautiful hope i'm dark and wrinkled now but caesar and pompey both wanted me they stared like they'd die from looking at me

"serpent of old Nile" The asp was Egypt's sacred animal, associated with royalty and death. Antony's nickname for her captures both her seduction and her danger — and prefigures her death method. She knows what she is.

"Broad-fronted Caesar" Julius Caesar — 'broad-fronted' likely refers to a high, wide forehead, associated with intelligence. Cleopatra had a relationship with Julius Caesar before Antony; she had his son, Caesarion.

Why it matters The 'O happy horse' speech is the scene's center — Cleopatra at her most unguarded, alone with her longing, not performing for Antony but for herself. It's also full of dark irony: 'serpent of old Nile' is her pet name, and the asp will be her death.

🎭 Dramatic irony Cleopatra calls herself 'serpent of old Nile' as Antony's loving nickname for her. The serpent of the Nile — the asp — will be the instrument of her death in Act 5, completing the image she found beautiful.

Enter Alexas.

ALEXAS [formally announcing himself]

Sovereign of Egypt, hail!

Greetings, Sovereign of Egypt!

Egypt's queen, greetings to you!

hail egypt

CLEOPATRA ≋ verse [eager for news of Antony]

How much unlike art thou Mark Antony!

Yet, coming from him, that great medicine hath

With his tinct gilded thee.

How goes it with my brave Mark Antony?

How unlike Mark Antony you are! Yet coming from him, that great medicine has gilded you with his touch. How is my brave Mark Antony?

You're so different from Mark Antony! But since you've come from him, you carry his greatness. How is my brave Mark Antony?

you're nothing like him but you carry his essence how is he?

ALEXAS ≋ verse [moved by Antony's parting gift]

Last thing he did, dear queen,

He kissed—the last of many doubled kisses—

This orient pearl. His speech sticks in my heart.

The last thing he did, dear queen, was kiss—the final kiss of all those paired kisses— this lustrous pearl. His words stay in my heart.

The last thing he did, my queen, was kiss—one final kiss of all those paired kisses— this precious pearl. His words are stuck in my heart.

he kissed me. one last kiss. of so many kisses his words stay in my heart

CLEOPATRA [hungrily prompting more]

Mine ear must pluck it thence.

I must take those words from your mouth with my ear.

I need to hear what he said.

tell me everything

ALEXAS ≋ verse [relaying Antony's lavish promise]

“Good friend,” quoth he,

“Say, the firm Roman to great Egypt sends

This treasure of an oyster; at whose foot,

To mend the petty present, I will piece

Her opulent throne with kingdoms. All the east,

Say thou, shall call her mistress.” So he nodded

And soberly did mount an arm-gaunt steed,

Who neighed so high that what I would have spoke

Was beastly dumbed by him.

'My good friend,' he said, 'Tell them the strong Roman from Rome sends this treasure to great Egypt. To improve this small gift, I will add kingdoms to her throne. All the east, tell them, will call her ruler.' Then he nodded and solemnly mounted a thin-flanked horse, which neighed so loudly that what I would have said was drowned out by it.

'My good friend,' he said, 'Tell them the powerful Roman is sending this treasure to Egypt. To make up for this small gift, I'll give her kingdoms for her throne. Tell them all the east will call her queen.' Then he nodded and seriously got on a thin horse, which neighed so loud that my voice was completely drowned out.

the roman sends treasure to egypt he'll add kingdoms to her throne all the east calls her mistress the horse neighed so loud i couldn't speak

CLEOPATRA [anxiously probing his mood]

What, was he sad or merry?

Was he sad or happy?

Was he sad or cheerful?

sad or happy?

ALEXAS ≋ verse [offering a diplomatic answer]

Like to the time o’ th’ year between the extremes

Of hot and cold, he was nor sad nor merry.

Like the time of year between the extremes of heat and cold, he was neither sad nor merry.

Like spring or fall, when it's between hot and cold, he was neither sad nor happy.

he was like spring— not hot, not cold not sad, not happy

CLEOPATRA ≋ verse [delighting in his balance]

O well-divided disposition!—Note him,

Note him, good Charmian, ’tis the man; but note him:

He was not sad, for he would shine on those

That make their looks by his; he was not merry,

Which seemed to tell them his remembrance lay

In Egypt with his joy; but between both.

O heavenly mingle!—Be’st thou sad or merry,

The violence of either thee becomes,

So does it no man else.—Met’st thou my posts?

Oh, perfectly balanced nature!—Notice him, Notice him, good Charmian, that's the man—really notice him: He was not sad because he would shine so brightly that those around him would model their faces on his; he was not merry either, which seemed to tell them his joy rested in Egypt with him; yet between both states. Oh, divine balance!—Whether you're sad or merry, the intensity of either emotion suits you, and it suits no other man like that.—Did you meet my messengers?

Oh, what a perfectly balanced personality!—Look at him, Look closely, Charmian, there's the man—really look: He wasn't sad because his brightness made others light up too; he wasn't cheerful either, which showed that his real joy was back in Egypt with me; but perfectly in between both. Oh, what divine balance!—Whether you're sad or happy, both emotions make you look better, and they don't look that good on anyone else.—Did you meet my messengers?

that's the man. perfectly balanced. not sad—he'd make others smile not happy—his joy is in egypt beautifully between both sad or happy, it all looks good on him nobody else like him

ALEXAS ≋ verse [lightly questioning her urgency]

Ay, madam, twenty several messengers.

Why do you send so thick?

Yes, madam, twenty different messengers. Why do you send so many?

Yeah, twenty of them showed up. What's with all these messengers?

yeah, twenty messengers why so many?

CLEOPATRA ≋ verse [vowing devotion, then testing Charmian]

Who’s born that day

When I forget to send to Antony

Shall die a beggar.—Ink and paper, Charmian.—

Welcome, my good Alexas.—Did I, Charmian,

Ever love Caesar so?

Whoever is born on the day when I forget to send to Antony will die a beggar.—Bring me ink and paper, Charmian.— Welcome, my good Alexas.—Did I ever, Charmian, love Caesar as much as this?

If I ever forget to send to Antony, may whoever is born that day live in poverty.—Get me ink and paper, Charmian.— Welcome, Alexas.—Charmian, did I ever love Caesar the way I love Antony?

i'll never stop writing to him or curse my name get ink and paper was caesar ever like this?

CHARMIAN [mischievously baiting her]

O that brave Caesar!

Oh, that brave Caesar!

Oh, the brave Caesar!

caesar!

CLEOPATRA ≋ verse [sharply correcting her, jealous]

Be choked with such another emphasis!

Say “the brave Antony.”

May you choke praising anyone else with such force! Say 'the brave Antony.'

Don't you ever praise anyone else like that again! Say 'the brave Antony.'

stop praising caesar say antony instead

CHARMIAN [pressing the tease further]

The valiant Caesar!

the valiant caesar!

CLEOPATRA ≋ verse [mock-threatening violence]

By Isis, I will give thee bloody teeth

If thou with Caesar paragon again

My man of men.

By Isis, I'll knock your teeth out if you compare Caesar again to my supreme man.

By Isis, I swear I'll hit you so hard you'll bleed if you ever compare Caesar to my greatest man again.

i'll beat you if you compare caesar to antony again

CHARMIAN ≋ verse [slyly backpedaling]

By your most gracious pardon,

I sing but after you.

With your most gracious forgiveness, I only echo what you say.

With all respect, I'm just repeating what you said.

i'm just echoing you

CLEOPATRA ≋ verse [reflecting, then turning brisk]

My salad days,

When I was green in judgment, cold in blood,

To say as I said then. But come, away,

Get me ink and paper.

He shall have every day a several greeting,

Or I’ll unpeople Egypt.

My youthful days, when I was naive and without passion, that's what I used to say. But come on, get me ink and paper. He will receive a different greeting from me every day, Or I will empty Egypt of all its people for him.

Those young, foolish days of mine, when I was naive and didn't feel much— that's what I used to say. But enough about that, get me something to write with. He'll get a new message from me every single day, or I'll send all of Egypt to him if needed.

i was young and dumb back then not like now bring me pen and paper he gets a message every day or i send all of egypt

Why it matters Cleopatra coins 'salad days' here — one of the few phrases from this play that passed into everyday English.

[_Exeunt._]

The Reckoning

The Egypt scenes without Antony show us a Cleopatra in withdrawal — restless, seeking distraction, unable to concentrate on anything but him. Her great speech imagining where Antony is right now ('O happy horse, to bear the weight of Antony!') is funny and erotic and genuinely besotted. Then Alexas arrives with Antony's gift and his message, and something shifts: Cleopatra stops fantasizing and starts acting, resolving to flood Antony with letters. The audience is left with the image of love as a kind of productive obsession — painful but also fueling.

If this happened today…

Someone's long-distance partner has just gone back to New York after months together in Paris. The person left behind is checking their phone every thirty seconds, trying to distract themselves, asking friends 'what do you think he's doing right now?' — and ends up narrating an entire fantasy about their partner's daily routine. When a mutual friend arrives with a personal note and a gift, they immediately start planning how to fill the inbox. Twenty messages a day minimum. 'He shall have every day a several greeting, or I'll unpeople Egypt.'

Continue to 2.1 →