His voice dissolves like the clouds he describes: 'Here I am Antony, / Yet cannot hold this visible shape.' Rage at Cleopatra ('She hath betrayed me') collapses into weary tenderness ('The long day's task is done, / And we must sleep'), then rises into erotic grandeur, dying 'a bridegroom' running 'as to a lover's bed.' Even bleeding, he comforts his guards with generous courtesy.
Eros, thou yet behold’st me?
Eros, can you still see me?
Eros, am I still here in your sight?
eros can u see me
Speaks in short, obedient replies ('Ay, noble lord,' 'It does, my lord') that show a servant who cannot contradict his master. When ordered to kill, his language turns to worship: 'that noble countenance / Wherein the worship of the whole world lies.' His farewell is formal and loving, and his last line turns the sword on himself to 'escape the sorrow / Of Antony's death.'
Ay, noble lord.
Yes, noble lord.
I'm still here with you, my lord.
always here
Sometime we see a cloud that’s dragonish,
A vapour sometime like a bear or lion,
A towered citadel, a pendant rock,
A forked mountain, or blue promontory
With trees upon’t, that nod unto the world
And mock our eyes with air. Thou hast seen these signs.
They are black vesper’s pageants.
Sometimes we see clouds shaped like dragons, sometimes like bears or lions, sometimes like walled cities, or hanging rocks, or forked mountains, or blue headlands with trees on them that seem to nod at the world and trick our eyes with nothing but air. You've seen these shapes. They are the dark pageants of evening.
You know how sometimes you look at clouds and they look like dragons, or bears, or lions, or castles, or rocky cliffs, or mountains split in half, or these blue cliffs with trees that seem to wave at the world—and they're just messing with your eyes? They're just air. You've seen this. It's how darkness plays with us.
clouds look like dragons bears lions castles rocks mountains they fool our eyes its just air
Ay, my lord.
Yes, my lord.
I have indeed seen them, my lord.
yeah seen those
That which is now a horse, even with a thought
The rack dislimns and makes it indistinct
As water is in water.
What looks like a horse right now—in just a moment—the clouds scatter it and make it indistinct as water dissolving into water.
A cloud that looks like a horse? In a second, the wind breaks it apart and it becomes as unclear as water in water.
cloud shaped like horse vaporizes instantly like water in water
It does, my lord.
Yes, my lord.
It is true, my lord.
yeah
My good knave Eros, now thy captain is
Even such a body. Here I am Antony,
Yet cannot hold this visible shape, my knave.
I made these wars for Egypt, and the Queen,
Whose heart I thought I had, for she had mine,
Which, whilst it was mine, had annexed unto’t
A million more, now lost—she, Eros, has
Packed cards with Caesar, and false-played my glory
Unto an enemy’s triumph.
Nay, weep not, gentle Eros. There is left us
Ourselves to end ourselves.
My good loyal Eros, your captain has now become just like that dissolving cloud. I am Antony, yet I cannot hold onto this visible shape, my faithful servant. I waged all these wars for Egypt and for the Queen, whose heart I believed I had—for she had mine, and while she had my heart, it had grown to include a million more besides, now all lost. She, Eros, has made a deal with Caesar and handed my glory over as a prize to our enemy. No, don't weep, gentle Eros. We still have ourselves—that's all that's left us, and with that we can end ourselves.
Eros, I'm your captain, but I'm like that cloud now—dissolving, losing my shape. I'm still Antony, but I can't hold this body together anymore. I fought all these wars for Egypt and for her, the Queen. I thought I had her heart, and she had mine—and when she had mine, it grew bigger and bigger, holding a million more feelings, all gone now. She made a deal with Caesar, Eros, and threw my glory to him as a victory prize. Don't cry for me, gentle Eros. We still have one thing left—ourselves—and we can use that to end this ourselves.
im like that cloud dissolving i cant hold my shape anymore i made these wars for egypt & her but shes betrayed me to caesar we still have ourselves we can end this
O, thy vile lady!
She has robbed me of my sword.
Oh, that disgusting woman of yours! She has taken away my sword.
That vile woman! She's stolen my sword.
that awful woman stole my sword
Calm and composed against Antony's insults ('Hence, saucy eunuch!'). His report of Cleopatra's death is a carefully crafted piece of pathos: her last word 'Antony' broken by 'a tearing groan' and 'divided / Between her heart and lips.' The polish of the speech hints that it is a performance scripted by his mistress.
No, Antony,
My mistress loved thee and her fortunes mingled
With thine entirely.
No, Antony, my mistress truly loved you and she completely joined her fortunes with yours.
No, Antony, my mistress loved you and she tied her entire future to yours.
no she loved u she was all in
Hence, saucy eunuch! Peace!
She hath betrayed me and shall die the death.
Get out, you disrespectful eunuch! Be silent! She has betrayed me and she will die for it.
Get away from me, you mouthy eunuch! Shut up! She betrayed me and she's going to die for that.
get out eunuch she betrayed me she dies for it
Death of one person can be paid but once,
And that she has discharged. What thou wouldst do
Is done unto thy hand. The last she spake
Was “Antony! Most noble Antony!”
Then in the midst a tearing groan did break
The name of Antony; it was divided
Between her heart and lips. She rendered life,
Thy name so buried in her.
One person can only die once, and she has already paid that price. What you're trying to do has already been done. The last thing she spoke was 'Antony! Most noble Antony!'—and then in the middle of saying it, a tearing groan broke through, splitting your name between her heart and her lips. She died with your name buried deep inside her.
A person dies only once, and she's already done that. What you're trying to do to yourself has already happened to her. Her last words were 'Antony! Most noble Antony!'—and then a horrible groan came out right in the middle, breaking his name apart between what her heart felt and what her lips spoke. She died with your name still inside her.
she already died she cant die again her last words were ur name antony she died w ur name in her
Dead, then?
Dead, then?
Dead, then?
dead, then?
Dead.
Dead.
Dead.
dead.
Unarm, Eros. The long day’s task is done,
And we must sleep.—That thou depart’st hence safe
Does pay thy labour richly. Go.
Take off my armor, Eros. The long day's work is done, and we must sleep. The fact that you leave here safely will be full payment for all your labor. Go.
Take off my armor, Eros. The long day's work is finished and we need to rest. Your safe escape from here will be all the reward you need. Go.
take off my armor days work is done we need sleep go safe & thats ur reward
Off, pluck off!
The sevenfold shield of Ajax cannot keep
The battery from my heart. O, cleave, my sides!
Heart, once be stronger than thy continent;
Crack thy frail case! Apace, Eros, apace!
No more a soldier. Bruised pieces, go;
You have been nobly borne. From me awhile.
Take it off, remove it! Even Ajax's seven-fold shield cannot protect my heart from this assault. Oh, split my ribs open! Heart, be stronger than your container; crack your fragile case! Quickly, Eros, quickly! I am no longer a soldier. Broken pieces of armor, go; you have been nobly worn. Leave me for now.
Get it off me! Even the legendary Ajax's shield couldn't protect my heart from this pain. Break apart, my ribs! Heart, break out of your cage! Do it fast, Eros! I'm not a soldier anymore. Scarred pieces of armor, you can go; you've served me honorably. Leave me alone now.
get it off! ajax's shield can't protect this pain. break my heart out! quick eros! no more soldier
I will o’ertake thee, Cleopatra, and
Weep for my pardon. So it must be, for now
All length is torture. Since the torch is out,
Lie down, and stray no farther. Now all labour
Mars what it does; yea, very force entangles
Itself with strength. Seal then, and all is done.
Eros!—I come, my queen.—Eros!—Stay for me.
Where souls do couch on flowers, we’ll hand in hand,
And with our sprightly port make the ghosts gaze.
Dido and her Aeneas shall want troops,
And all the haunt be ours.—Come, Eros, Eros!
I will catch up with you, Cleopatra, and beg your forgiveness. It must be so, for now every moment is torture. The light is gone, so lie down and wander no more. Now any effort ruins things; force itself becomes tangled. End it then, and all is finished. Eros! I come, my queen. Eros! Wait for me. Where souls rest on flowers, we'll walk hand in hand, and with our lively spirits make the ghosts amazed. Dido and her Aeneas will lack followers, and all that realm will be ours. Come, Eros, Eros!
I'll catch up with you, Cleopatra, and ask you to forgive me. It has to be this way - every moment now is just pain. The light's gone out, so I'll lie down and stop struggling. Anything I do just makes it worse. End it all now. Eros! I'm coming, my queen. Eros! Wait for me. Where souls rest in flower fields, we'll hold hands and walk together, and the ghosts will be amazed at how alive we look. Dido and Aeneas will be nobody compared to us. Come, Eros, Eros!
i'm coming cleopatra forgive me. light's gone every moment hurts. end it. eros wait for me. we'll walk hand in hand together. ghosts will gaze. come eros!
What would my lord?
What does my lord need?
What do you need?
what do u need
Since Cleopatra died,
I have lived in such dishonour that the gods
Detest my baseness. I, that with my sword
Quartered the world, and o’er green Neptune’s back
With ships made cities, condemn myself to lack
The courage of a woman; less noble mind
Than she which, by her death, our Caesar tells
“I am conqueror of myself.” Thou art sworn, Eros,
That when the exigent should come, which now
Is come indeed, when I should see behind me
Th’ inevitable prosecution of
Disgrace and horror, that on my command
Thou then wouldst kill me. Do’t. The time is come.
Thou strik’st not me; ’tis Caesar thou defeat’st.
Put colour in thy cheek.
Since Cleopatra died, I have lived in such disgrace that the gods despise my baseness. I, who conquered the world with my sword and built cities across the ocean itself, have less courage than a woman—a less noble spirit than she had, for she, by her death, proves to Caesar 'I have conquered myself.' You swore to me, Eros, that when this moment came—and it is here now—when I should see nothing but inevitable disgrace and horror ahead, you would kill me at my word. Do it now. The time has arrived. You are not striking me; you are defeating Caesar. Steel yourself.
Since Cleopatra died, I've been living in so much shame that the gods hate me. I, who conquered the entire world with my sword and built cities across the sea, am less brave than a woman—less noble than she was. When she died, she proved to Caesar that she won against herself. You promised me, Eros, that when this moment came—and it's here now—when I faced nothing but disgrace and horror ahead with no escape, you'd kill me. Do it. Now. This is it. You're not striking me down; you're defeating Caesar. Show courage.
since cleopatra died i live in shame im less brave than she was u swore youd kill me its time do it youre defeating caesar
The gods withhold me!
Shall I do that which all the Parthian darts,
Though enemy, lost aim and could not?
The gods forbid me! Can I do what all the Parthian arrows, though fired by our enemies, failed to accomplish?
The gods won't let me! How can I do what all those enemy arrows couldn't—kill you?
gods r stopping me enemy arrows couldnt kill u i cant either
This scene is remarkably long and dramatic for a suicide, but that's the point. Antony isn't just ending his life; he's performing his own death as a final act of command. He speaks in metaphors, invokes gods, stages himself. The guards, Eros, Diomedes—they're all audience. But the performance doesn't matter because no one can hear him. The tragedy is that Antony's death-speech is beautiful and pointless. Cleopatra will never know what he was thinking in these final minutes.
Eros,
Wouldst thou be windowed in great Rome and see
Thy master thus with pleached arms, bending down
His corrigible neck, his face subdued
To penetrative shame, whilst the wheeled seat
Of fortunate Caesar, drawn before him, branded
His baseness that ensued?
Eros, would you want to be locked in Rome and watch your master standing like this—arms folded, head bowed, his neck bent in submission, his face covered in deep shame—while fortunate Caesar rides past in his chariot, and that display brands your master's humiliation for all to see?
Eros, would you want to be stuck in Rome watching your master like this—arms wrapped around himself, head bent down, his face drowning in shame—while Caesar rides past in his fancy chariot, making your master's defeat even more obvious?
would u want to watch me humiliated arms folded head bowed caesar riding by in triumph making it worse
I would not see’t.
I would not want to see that.
I couldn't bear to see that.
i couldnt watch that
Come, then, for with a wound I must be cured.
Draw that thy honest sword, which thou hast worn
Most useful for thy country.
Come then, for I must be cured by a wound. Draw that honest sword you've carried, the one you've used so well for your country.
Then come on. The only cure for me is a wound. Draw that sword of yours—the one you've served your country with so well.
come on i need a wound to heal draw ur sword the one u used for country
O, sir, pardon me!
Master, I beg your pardon!
I beg you, forgive me!
im sorry i cant do it
When I did make thee free, swor’st thou not then
To do this when I bade thee? Do it at once,
Or thy precedent services are all
But accidents unpurposed. Draw, and come.
When I set you free, didn't you swear then to do this when I commanded it? Do it now, or all your previous loyal service means nothing—it was all just accidental and purposeless. Draw your sword and come on.
When I freed you, didn't you promise to do this when I ordered you to? Do it now, or everything you've ever done for me was just meaningless luck. Draw and come on.
u swore to do this when i command do it now or all ur loyalty means nothing draw ur sword
Turn from me then that noble countenance
Wherein the worship of the whole world lies.
Then turn away from me with that noble face of yours, the face that holds the world's entire admiration.
Then don't look at me with that noble face—the face that everyone in the world worships.
dont look at me w that face that everyone worships
Lo thee!
There you are!
Look!
look
My sword is drawn.
The blade is ready.
I've drawn it.
sword drawn
Then let it do at once
The thing why thou hast drawn it.
Then let it do right now what you drew it for—end me.
Do it then—that's what you drew it for.
do it now
My dear master,
My captain and my emperor, let me say,
Before I strike this bloody stroke, farewell.
O great master and lord and emperor, let me speak one last time before this final act.
Master, captain, emperor—let me say goodbye before I do this.
master goodbye before i do this
’Tis said, man, and farewell.
Farewell to you too.
Goodbye to you.
see u on the other side
Farewell, great chief. Shall I strike now?
Farewell, great chief. Should I do it now?
Goodbye, great chief. Now?
goodbye chief now
Now, Eros.
Now, Eros.
Now, Eros.
now, eros.
Why, there then! [_kills himself_]
Thus do I escape the sorrow
Of Antony’s death.
There it is! In this way I escape the agony of witnessing your death.
There it is! This way I escape having to watch you die.
there this way i escape watching u die
Thrice nobler than myself!
Thou teachest me, O valiant Eros, what
I should and thou couldst not. My queen and Eros
Have by their brave instruction got upon me
A nobleness in record. But I will be
A bridegroom in my death and run into’t
As to a lover’s bed. Come then, and, Eros,
Thy master dies thy scholar. To do thus
More noble than me by far! You teach me, brave Eros, what I should have done but lacked the courage for. My queen and Eros have shown me through their bold deaths a nobility beyond my own. But I will go to death like a bridegroom to his marriage bed and run into it gladly. Come then, Eros—your master dies as your student, following your example.
You're far more noble than I am! You show me, brave Eros, what I should have been able to do but couldn't. My queen and Eros have both taught me true nobility through their deaths. But I'll go to death like a groom going to his bride, running into it eagerly. Come on, Eros—I'm your student now. Your master dies learning from you.
ur so much nobler than me u taught me what i couldnt do my queen showed me nobility im gonna go to death like a groom student of ur courage
I learned of thee. How? Not dead? Not dead?
The guard, ho! O, dispatch me!
I learned that from you. What? Are you not dead? Are you not dead? Guards! Oh, finish me!
I learned from you. Wait, you're not dead? Not dead? Guards! Finish me!
learned from you. not dead? guards finish me!
What’s the noise?
What’s the noise?
What’s the noise?
what’s the noise?
I have done my work ill, friends. O, make an end
Of what I have begun.
I've done this poorly, friends. Please complete what I've begun.
I messed this up, friends. Finish it for me.
i messed up finish it
The star is fallen.
The great star has fallen.
Our star has fallen.
the star fell
And time is at his period.
And his time has reached its end.
His time is up.
his time is done
Eros's suicide is more graceful than Antony's. He does it immediately, without hesitation, once he understands what honor requires. Watching Eros die 'nobly,' Antony is taught what he already knows—that death is a kind of loyalty. But Antony can't execute it smoothly. He falls on his sword and half-dies. The contrast is devastating: the young slave dies better than the old general. At the end, even Antony admits it: 'Thrice nobler than myself.' Loyalty has defeated power.
Alas, and woe!
Alas, and woe!
Alas, and woe!
alas, and woe!
Let him that loves me strike me dead.
If anyone here loves me, strike me down.
Whoever loves me, finish me.
if u love me end me
Not I.
Not I.
Not I.
not i.
Nor I.
Nor I.
Nor I.
nor i.
Nor anyone.
Nor anyone.
Nor anyone.
nor anyone.
Brief, cold and practical. While the guards grieve, he coolly calculates: 'This sword but shown to Caesar with this tidings, / Shall enter me with him.' His curt 'There, Diomed, there' before slipping away shows a man who has already switched sides, treating Antony's body as a ticket to advancement.
Thy death and fortunes bid thy followers fly.
This sword but shown to Caesar with this tidings,
Shall enter me with him.
Your death and fallen fortunes scatter your followers. This sword, shown to Caesar along with word of your end, will make Caesar receive me into his favor.
Your death and destroyed fortunes are driving your followers away. I take this sword to Caesar with the news, and he'll reward me for it.
ur death scattered ur army im taking this sword to caesar hell reward me for it
Anxious, urgent and respectful: 'Lives he? Wilt thou not answer, man?' He addresses Antony as 'Most absolute lord' and delivers the truth about Cleopatra's feigned death in a rush of explanation that ends on the devastating understatement 'I dread, too late.' His frantic calls for the guard show real loyalty.
Where’s Antony?
Where’s Antony?
Where’s Antony?
where’s antony?
There, Diomed, there.
There, Diomed, there.
There, Diomed, there.
there, diomed, there.
Lives he? Wilt thou not answer, man?
Is he still alive? Won't you speak?
Is he still breathing? Answer me!
is he alive answer me
Art thou there, Diomed? Draw thy sword and give me
Sufficing strokes for death.
Is that you, Diomed? Draw your sword and strike me enough times to end my life.
Diomed, is that you? Draw your sword and kill me.
diomed is that u sword me to death
Most absolute lord,
My mistress Cleopatra sent me to thee.
Most powerful lord, your mistress Cleopatra sent me to you.
My lord, your mistress Cleopatra sent me here.
cleopatra sent me to u
When did she send thee?
When did she send you?
How long ago did she send you?
when
Now, my lord.
Now, my lord.
Now, my lord.
now, my lord.
Where is she?
Where is she?
Where is she?
where is she?
Locked in her monument. She had a prophesying fear
Of what hath come to pass. For when she saw—
Which never shall be found—you did suspect
She had disposed with Caesar, and that your rage
Would not be purged, she sent you word she was dead;
But fearing since how it might work, hath sent
Me to proclaim the truth, and I am come,
I dread, too late.
She is locked in her monument. She had a fear of what was going to happen. When she saw you had come to suspect she'd made a deal with Caesar, and that your anger couldn't be calmed, she sent word that she had killed herself. But then, fearing what this might do to you, she sent me to tell you the truth. I've come, but I fear I'm too late.
She's locked herself in the monument. She sensed something bad was coming. When she realized you'd start to think she betrayed you to Caesar and your anger wouldn't stop, she sent a message saying she was dead. But then she got worried about how you'd take it, so she sent me to tell you the truth. I'm here now, but I'm afraid it's too late.
shes in monument she feared this she told u she was dead but got worried sent me to tell truth im prob too late
Too late, good Diomed. Call my guard, I prithee.
Too late, good Diomed. Call my guard for me.
Too late, Diomed. Get my guards.
too late call guards
What, ho! The emperor’s guard! The guard, what ho!
Come, your lord calls!
Guards! The emperor's guard! Come! Your lord is calling!
Guards! Hey! The emperor's guard! Your master is calling!
guards hes calling
Bear me, good friends, where Cleopatra bides.
’Tis the last service that I shall command you.
Carry me, my good friends, to where Cleopatra waits. This is the last order I will ever give you.
Take me to Cleopatra. This is the last thing I'll ever ask you to do.
carry me to cleopatra last order ill give
Woe, woe are we, sir, you may not live to wear
All your true followers out.
We are in despair, sir, for you may not live long enough to see all of us loyal followers die before you.
We grieve, sir—you won't live long enough to outlast all of us who serve you faithfully.
we grieve ulle not outlive us
Most heavy day!
Most heavy day!
Most heavy day!
most heavy day!
Nay, good my fellows, do not please sharp fate
To grace it with your sorrows. Bid that welcome
Which comes to punish us, and we punish it,
Seeming to bear it lightly. Take me up.
I have led you oft; carry me now, good friends,
And have my thanks for all.
No, good friends, don't give cruel fate the pleasure of your tears. Welcome what comes to punish us, and we will defeat it by appearing to bear it calmly. Pick me up. I have led you many times; carry me now, my friends, and accept my thanks for all you've done.
No, my friends, don't give fate the satisfaction of your tears. Welcome what comes to hurt us, and we'll win by showing it doesn't break us. Pick me up. I've led you before; carry me now, friends, and take my thanks for everything.
dont give fate ur tears welcome what comes show it doesnt break us carry me thanks for everything
The Reckoning
The suicide scene—long, intricate, and tragic. Antony can't live as a conquered man. His only escape is death. He begs Eros, his most loyal friend, to do it. Eros refuses and kills himself instead—choosing Antony's honor over obedience. Watching Eros die nobly, Antony finally acts. He falls on his sword but botches it. He's still alive, in agony, when Diomedes brings the truth: Cleopatra is alive. Too late. Antony will die in her arms, learning that his suicide was unnecessary.
If this happened today…
A man hears his wife is dead. He can't imagine living. He asks his oldest friend to help him end it. The friend refuses, can't do it, kills himself instead. The man, watching his friend die with honor, finally acts. He cuts his wrists. An ambulance comes. They find him alive but dying. His wife calls from the hospital: 'Baby, I'm fine, I'm in the ER, I'm alive.' He's already bleeding out. 'Too late,' he whispers.