Give me some music—music, moody food
Of us that trade in love.
Give me some music—music, moody food Of us that trade in love.
Give me some music—music, moody food Of us that trade in love.
give me some music—music, moody food of us that trade in love.
The music, ho!
The music, ho!
The music, ho!
the music, ho!
Let it alone. Let’s to billiards. Come, Charmian.
Let it alone. Let’s to billiards. Come, Charmian.
Let it alone. Let’s to billiards. Come, Charmian.
let it alone. let’s to billiards. come, charmian.
My arm is sore. Best play with Mardian.
My arm is sore. Best play with Mardian.
My arm is sore. Best play with Mardian.
my arm is sore. best play with mardian.
As well a woman with an eunuch played
As with a woman. Come, you’ll play with me, sir?
As well a woman with an eunuch played As with a woman. Come, you’ll play with me, sir?
As well a woman with an eunuch played As with a woman. Come, you’ll play with me, sir?
as well a woman with an eunuch played as with a woman. come, you’ll play with me, sir?
As well as I can, madam.
As well as I can, madam.
As well as I can, madam.
as well as i can, madam.
And when good will is showed, though’t come too short,
The actor may plead pardon. I’ll none now.
Give me mine angle; we’ll to the river. There,
My music playing far off, I will betray
Tawny-finned fishes. My bended hook shall pierce
Their slimy jaws, and as I draw them up
I’ll think them every one an Antony,
And say “Ah, ha! You’re caught.”
And when good will is showed, though’t come too short, The actor may plead pardon. I’ll none now. Give me mine angle; we’ll to the river. There, My music playing far off, I will betray Tawny-finned fishes. My bended hook shall pierce Their slimy jaws, and as I draw them up I’ll think them every one ...
And when good will is showed, though’t come too short, The actor may plead pardon. I’ll none now. Give me mine angle; we’ll to the river. There, My music playing far off, I will betray Tawny-finned fishes. My bended hook shall pierce Their slimy jaws, and as I draw them up I’ll think them every one ...
and when good will is showed, though’t come too short, the actor may plead pardon. i’ll none now. give me mine angle; we’ll to the river. there, my mu
’Twas merry when
You wagered on your angling; when your diver
Did hang a salt fish on his hook, which he
With fervency drew up.
’Twas merry when You wagered on your angling; when your diver Did hang a salt fish on his hook, which he With fervency drew up.
’Twas merry when You wagered on your angling; when your diver Did hang a salt fish on his hook, which he With fervency drew up.
’twas merry when you wagered on your angling; when your diver did hang a salt fish on his hook, which he with fervency drew up.
That time?—O times!—
I laughed him out of patience; and that night
I laughed him into patience, and next morn,
Ere the ninth hour, I drunk him to his bed,
Then put my tires and mantles on him, whilst
I wore his sword Philippan.
That time?—O times!— I laughed him out of patience; and that night I laughed him into patience, and next morn, Ere the ninth hour, I drunk him to his bed, Then put my tires and mantles on him, whilst I wore his sword Philippan.
That time?—O times!— I laughed him out of patience; and that night I laughed him into patience, and next morn, Ere the ninth hour, I drunk him to his bed, Then put my tires and mantles on him, whilst I wore his sword Philippan.
that time?—o times!— i laughed him out of patience; and that night i laughed him into patience, and next morn, ere the ninth hour, i drunk him to his
Madam, madam—
Madam, madam—
Madam, madam—
madam, madam—
Antony’s dead! If thou say so, villain,
Thou kill’st thy mistress. But well and free,
If thou so yield him, there is gold, and here
My bluest veins to kiss, a hand that kings
Have lipped, and trembled kissing.
Antony’s dead! If thou say so, villain, Thou kill’st thy mistress. But well and free, If thou so yield him, there is gold, and here My bluest veins to kiss, a hand that kings Have lipped, and trembled kissing.
Antony’s dead! If thou say so, villain, Thou kill’st thy mistress. But well and free, If thou so yield him, there is gold, and here My bluest veins to kiss, a hand that kings Have lipped, and trembled kissing.
antony’s dead! if thou say so, villain, thou kill’st thy mistress. but well and free, if thou so yield him, there is gold, and here my bluest veins to
The unnamed Messenger in this scene is one of Shakespeare's most memorable minor figures — not because of his character, but because of his structural role. He is the lightning rod for Cleopatra's grief. He carries news he didn't make; he is punished for facts he didn't cause; he is threatened with death for telling the truth. His response — 'I have made no fault' — is the play's most understatedly reasonable line. The scene is partly comic precisely because of his predicament: every attempt to do his job correctly results in escalating violence. Shakespeare is making a point about the way power displaces pain: Cleopatra cannot hurt Antony, so she hurts the messenger. This is a pattern that repeats throughout the play.
First, madam, he’s well.
First, madam, he’s well.
First, madam, he’s well.
first, madam, he’s well.
Why, there’s more gold.
But sirrah, mark, we use
To say the dead are well. Bring it to that,
The gold I give thee will I melt and pour
Down thy ill-uttering throat.
Why, there’s more gold. But sirrah, mark, we use To say the dead are well. Bring it to that, The gold I give thee will I melt and pour Down thy ill-uttering throat.
Why, there’s more gold. But sirrah, mark, we use To say the dead are well. Bring it to that, The gold I give thee will I melt and pour Down thy ill-uttering throat.
why, there’s more gold. but sirrah, mark, we use to say the dead are well. bring it to that, the gold i give thee will i melt and pour down thy ill-ut
Good madam, hear me.
Good madam, hear me.
Good madam, hear me.
good madam, hear me.
Well, go to, I will.
But there’s no goodness in thy face if Antony
Be free and healthful. So tart a favour
To trumpet such good tidings! If not well,
Thou shouldst come like a Fury crowned with snakes,
Not like a formal man.
Well, go to, I will. But there’s no goodness in thy face if Antony Be free and healthful. So tart a favour To trumpet such good tidings! If not well, Thou shouldst come like a Fury crowned with snakes, Not like a formal man.
Well, go to, I will. But there’s no goodness in thy face if Antony Be free and healthful. So tart a favour To trumpet such good tidings! If not well, Thou shouldst come like a Fury crowned with snakes, Not like a formal man.
well, go to, i will. but there’s no goodness in thy face if antony be free and healthful. so tart a favour to trumpet such good tidings! if not well,
Will’t please you hear me?
Will’t please you hear me?
Will’t please you hear me?
will’t please you hear me?
I have a mind to strike thee ere thou speak’st.
Yet if thou say Antony lives, is well,
Or friends with Caesar, or not captive to him,
I’ll set thee in a shower of gold and hail
Rich pearls upon thee.
I have a mind to strike thee ere thou speak’st. Yet if thou say Antony lives, is well, Or friends with Caesar, or not captive to him, I’ll set thee in a shower of gold and hail Rich pearls upon thee.
I have a mind to strike thee ere thou speak’st. Yet if thou say Antony lives, is well, Or friends with Caesar, or not captive to him, I’ll set thee in a shower of gold and hail Rich pearls upon thee.
i have a mind to strike thee ere thou speak’st. yet if thou say antony lives, is well, or friends with caesar, or not captive to him, i’ll set thee in
Madam, he’s well.
Madam, he’s well.
Madam, he’s well.
madam, he’s well.
Well said.
Well said.
Well said.
well said.
And friends with Caesar.
And friends with Caesar.
And friends with Caesar.
and friends with caesar.
Th’ art an honest man.
Th’ art an honest man.
Th’ art an honest man.
th’ art an honest man.
Caesar and he are greater friends than ever.
Caesar and he are greater friends than ever.
Caesar and he are greater friends than ever.
caesar and he are greater friends than ever.
Make thee a fortune from me.
Make thee a fortune from me.
Make thee a fortune from me.
make thee a fortune from me.
But yet, madam—
But yet, madam—
But yet, madam—
but yet, madam—
I do not like “But yet”, it does allay
The good precedence. Fie upon “But yet”!
“But yet” is as a gaoler to bring forth
Some monstrous malefactor. Prithee, friend,
Pour out the pack of matter to mine ear,
The good and bad together: he’s friends with Caesar,
In state of health, thou say’st; and, thou say’st, free.
I do not like “But yet”, it does allay The good precedence. Fie upon “But yet”! “But yet” is as a gaoler to bring forth Some monstrous malefactor. Prithee, friend, Pour out the pack of matter to mine ear, The good and bad together: he’s friends with Caesar, In state of health, thou say’st; and, thou...
I do not like “But yet”, it does allay The good precedence. Fie upon “But yet”! “But yet” is as a gaoler to bring forth Some monstrous malefactor. Prithee, friend, Pour out the pack of matter to mine ear, The good and bad together: he’s friends with Caesar, In state of health, thou say’st; and, thou...
i do not like “but yet”, it does allay the good precedence. fie upon “but yet”! “but yet” is as a gaoler to bring forth some monstrous malefactor. pri
Free, madam? No. I made no such report.
He’s bound unto Octavia.
Free, madam? No. I made no such report. He’s bound unto Octavia.
Free, madam? No. I made no such report. He’s bound unto Octavia.
free, madam? no. i made no such report. he’s bound unto octavia.
For what good turn?
For what good turn?
For what good turn?
for what good turn?
For the best turn i’ th’ bed.
For the best turn i’ th’ bed.
For the best turn i’ th’ bed.
for the best turn i’ th’ bed.
The fishing speech at the start of the scene is carefully placed. Cleopatra is bored, restless, trying to fill the absence of Antony with substitutes — music, billiards, games. All of them fail. The fishing fantasy works for exactly one reason: it allows her to imagine mastering Antony. 'I'll think them every one an Antony, / And say: Ah, ha! You're caught.' The fantasy is explicitly about catching him — hooking him, pulling him up, having him. And Charmian's anecdote about the prank (the diver hanging a dead fish on the hook) shows us that this fantasy was once real play between them: physical, irreverent, intimate. The distance from that playfulness to the scene's violence is the emotional argument of the entire opening sequence.
I am pale, Charmian.
I am pale, Charmian.
I am pale, Charmian.
i am pale, charmian.
Madam, he’s married to Octavia.
Madam, he’s married to Octavia.
Madam, he’s married to Octavia.
madam, he’s married to octavia.
The most infectious pestilence upon thee!
The most infectious pestilence upon thee!
The most infectious pestilence upon thee!
the most infectious pestilence upon thee!
Good madam, patience.
Good madam, patience.
Good madam, patience.
good madam, patience.
What say you?
What say you?
What say you?
what say you?
Gracious madam,
I that do bring the news made not the match.
Gracious madam, I that do bring the news made not the match.
Gracious madam, I that do bring the news made not the match.
gracious madam, i that do bring the news made not the match.
Say ’tis not so, a province I will give thee,
And make thy fortunes proud. The blow thou hadst
Shall make thy peace for moving me to rage,
And I will boot thee with what gift beside
Thy modesty can beg.
Say ’tis not so, a province I will give thee, And make thy fortunes proud. The blow thou hadst Shall make thy peace for moving me to rage, And I will boot thee with what gift beside Thy modesty can beg.
Say ’tis not so, a province I will give thee, And make thy fortunes proud. The blow thou hadst Shall make thy peace for moving me to rage, And I will boot thee with what gift beside Thy modesty can beg.
say ’tis not so, a province i will give thee, and make thy fortunes proud. the blow thou hadst shall make thy peace for moving me to rage, and i will
He’s married, madam.
He’s married, madam.
He’s married, madam.
he’s married, madam.
Rogue, thou hast lived too long.
Rogue, thou hast lived too long.
Rogue, thou hast lived too long.
rogue, thou hast lived too long.
Cleopatra's memory of dressing Antony in her robes while wearing his sword is one of the play's central images — and it comes from Plutarch. In Roman ideology, the sword is the emblem of virtus, masculine military valor. Philippan specifically: the sword Antony carried at the Battle of Philippi, where he and Caesar together destroyed the assassins of Julius Caesar. For Cleopatra to wear it is a kind of symbolic usurpation; for Antony to be in her robes is exactly the 'feminine' submission that Roman moralists like Philo condemn. Shakespeare puts this memory in Cleopatra's mouth as a fond recollection, not a scandal. The play is asking: what is actually degrading here? The affection and play look like love. The Roman condemnation of it looks like fear.
Nay then I’ll run.
What mean you, madam? I have made no fault.
Nay then I’ll run. What mean you, madam? I have made no fault.
Nay then I’ll run. What mean you, madam? I have made no fault.
nay then i’ll run. what mean you, madam? i have made no fault.
Good madam, keep yourself within yourself.
The man is innocent.
Good madam, keep yourself within yourself. The man is innocent.
Good madam, keep yourself within yourself. The man is innocent.
good madam, keep yourself within yourself. the man is innocent.
Some innocents ’scape not the thunderbolt.
Melt Egypt into Nile, and kindly creatures
Turn all to serpents! Call the slave again.
Though I am mad, I will not bite him. Call!
Some innocents ’scape not the thunderbolt. Melt Egypt into Nile, and kindly creatures Turn all to serpents! Call the slave again. Though I am mad, I will not bite him. Call!
Some innocents ’scape not the thunderbolt. Melt Egypt into Nile, and kindly creatures Turn all to serpents! Call the slave again. Though I am mad, I will not bite him. Call!
some innocents ’scape not the thunderbolt. melt egypt into nile, and kindly creatures turn all to serpents! call the slave again. though i am mad, i w
He is afeard to come.
He is afeard to come.
He is afeard to come.
he is afeard to come.
I will not hurt him.
I will not hurt him.
I will not hurt him.
i will not hurt him.
I have done my duty.
I have done my duty.
I have done my duty.
i have done my duty.
Cleopatra's exit line is 'Pity me, Charmian, / But do not speak to me. Lead me to my chamber.' But before that, still in the same speech, she has already ordered surveillance on Octavia: her looks, her age, her inclinations, her hair color. This simultaneity — collapse and strategy, grief and intelligence — is the key to her character. She is not only feeling. She is always also thinking. This is what separates her from the women in Rome's narrative about her: they see pure passion. What Shakespeare shows us is a mind that uses passion as fuel while still running the calculations. She asks for Octavia's hair color because she will compare herself to Octavia. She already knows she will win that comparison. She just needs the data.
Is he married?
I cannot hate thee worser than I do
If thou again say “Yes.”
Is he married? I cannot hate thee worser than I do If thou again say “Yes.”
Is he married? I cannot hate thee worser than I do If thou again say “Yes.”
is he married? i cannot hate thee worser than i do if thou again say “yes.”
He’s married, madam.
He’s married, madam.
He’s married, madam.
he’s married, madam.
The gods confound thee! Dost thou hold there still!
The gods confound thee! Dost thou hold there still!
The gods confound thee! Dost thou hold there still!
the gods confound thee! dost thou hold there still!
Should I lie, madam?
Should I lie, madam?
Should I lie, madam?
should i lie, madam?
O, I would thou didst,
So half my Egypt were submerged and made
A cistern for scaled snakes! Go, get thee hence.
Hadst thou Narcissus in thy face, to me
Thou wouldst appear most ugly. He is married?
O, I would thou didst, So half my Egypt were submerged and made A cistern for scaled snakes! Go, get thee hence. Hadst thou Narcissus in thy face, to me Thou wouldst appear most ugly. He is married?
O, I would thou didst, So half my Egypt were submerged and made A cistern for scaled snakes! Go, get thee hence. Hadst thou Narcissus in thy face, to me Thou wouldst appear most ugly. He is married?
o, i would thou didst, so half my egypt were submerged and made a cistern for scaled snakes! go, get thee hence. hadst thou narcissus in thy face, to
I crave your highness’ pardon.
I crave your highness’ pardon.
I crave your highness’ pardon.
i crave your highness’ pardon.
He is married?
He is married?
He is married?
he is married?
Take no offence that I would not offend you.
To punish me for what you make me do
Seems much unequal. He’s married to Octavia.
Take no offence that I would not offend you. To punish me for what you make me do Seems much unequal. He’s married to Octavia.
Take no offence that I would not offend you. To punish me for what you make me do Seems much unequal. He’s married to Octavia.
take no offence that i would not offend you. to punish me for what you make me do seems much unequal. he’s married to octavia.
O, that his fault should make a knave of thee
That art not what thou’rt sure of! Get thee hence!
The merchandise which thou hast brought from Rome
Are all too dear for me. Lie they upon thy hand,
And be undone by ’em!
O, that his fault should make a knave of thee That art not what thou’rt sure of! Get thee hence! The merchandise which thou hast brought from Rome Are all too dear for me. Lie they upon thy hand, And be undone by ’em!
O, that his fault should make a knave of thee That art not what thou’rt sure of! Get thee hence! The merchandise which thou hast brought from Rome Are all too dear for me. Lie they upon thy hand, And be undone by ’em!
o, that his fault should make a knave of thee that art not what thou’rt sure of! get thee hence! the merchandise which thou hast brought from rome are
Good your highness, patience.
Good your highness, patience.
Good your highness, patience.
good your highness, patience.
In praising Antony I have dispraised Caesar.
In praising Antony I have dispraised Caesar.
In praising Antony I have dispraised Caesar.
in praising antony i have dispraised caesar.
Many times, madam.
Many times, madam.
Many times, madam.
many times, madam.
I am paid for’t now.
Lead me from hence;
I faint. O Iras, Charmian! ’Tis no matter.
Go to the fellow, good Alexas, bid him
Report the feature of Octavia, her years,
Her inclination; let him not leave out
The colour of her hair. Bring me word quickly.
I am paid for’t now. Lead me from hence; I faint. O Iras, Charmian! ’Tis no matter. Go to the fellow, good Alexas, bid him Report the feature of Octavia, her years, Her inclination; let him not leave out The colour of her hair. Bring me word quickly.
I am paid for’t now. Lead me from hence; I faint. O Iras, Charmian! ’Tis no matter. Go to the fellow, good Alexas, bid him Report the feature of Octavia, her years, Her inclination; let him not leave out The colour of her hair. Bring me word quickly.
i am paid for’t now. lead me from hence; i faint. o iras, charmian! ’tis no matter. go to the fellow, good alexas, bid him report the feature of octav
The Reckoning
This is the most theatrically explosive scene in Act Two — and one of the funniest, in a dark way. The Messenger is in an impossible position: every time he tries to deliver good news, Cleopatra escalates the stakes; when he finally delivers the bad news, she tries to kill him. The scene is not just comic. It's a portrait of a woman whose power has one blind spot: Antony. Everything else she controls; this one thing she cannot. Her self-recovery at the end — 'Lead me from hence. I faint.' followed immediately by 'Go to the fellow, good Alexas, bid him report the feature of Octavia' — shows exactly who she is. She collapses and she strategizes in the same breath.
If this happened today…
An executive gets a call from her assistant: her partner just announced at a press conference that he's made a major strategic pivot — one that involves someone else. She's blindsided. She screams at the assistant. She throws something. She briefly pulls herself together. Then she says: 'I need everything on her. Background, reputation, resume, photo. Get me that by end of day.'