Alexandria. A Room in the Palace.

[Enter CLEOPATRA, CHARMIAN, IRAS, ALEXAS, and Attendants.]

CLEOPATRA.
Give me some music,--music, moody food
Of us that trade in love.

ALL.
The music, ho!

[Enter MARDIAN.]

CLEOPATRA.
Let it alone; let's to billiards:
Come, Charmian.

CHARMIAN.
My arm is sore; best play with Mardian.

CLEOPATRA.
As well a woman with an eunuch play'd
As with a woman.--Come, you'll play with me, sir?

MARDIAN.
As well as I can, madam.

CLEOPATRA.
And when good will is show'd, 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-finn'd 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.'

CHARMIAN.
'Twas merry when
You wager'd on your angling; when your diver
Did hang a salt fish on his hook, which he
With fervency drew up.

CLEOPATRA.
That time?--O times!--
I laughed him out of patience; and that night
I laugh'd 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.

[Enter a MESSENGER.]

O! from Italy!--
Ram thou thy fruitful tidings in mine ears,
That long time have been barren.

MESSENGER.
Madam, madam,--

CLEOPATRA.
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 lipp'd, and trembled kissing.

MESSENGER.
First, madam, he's well.

CLEOPATRA.
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.

MESSENGER.
Good madam, hear me.

CLEOPATRA.
Well, go to, I will;
But there's no goodness in thy face: if Antony
Be free and healthful,--why so tart a favour
To trumpet such good tidings! If not well,
Thou shouldst come like a fury crown'd with snakes,
Not like a formal man.

MESSENGER.
Will't please you hear me?

CLEOPATRA.
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.

MESSENGER.
Madam, he's well.

CLEOPATRA.
Well said.

MESSENGER.
And friends with Caesar.

CLEOPATRA.
Th'art an honest man.

MESSENGER.
Caesar and he are greater friends than ever.

CLEOPATRA.
Make thee a fortune from me.

MESSENGER.
But yet, madam,--

CLEOPATRA.
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. Pr'ythee, 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.

MESSENGER.
Free, madam! no; I made no such report:
He's bound unto Octavia.

CLEOPATRA.
For what good turn?

MESSENGER.
For the best turn i' the bed.

CLEOPATRA.
I am pale, Charmian.

MESSENGER.
Madam, he's married to Octavia.

CLEOPATRA.
The most infectious pestilence upon thee!

[Strikes him down.]

MESSENGER.
Good madam, patience.

CLEOPATRA.
What say you?--Hence,

[Strikes him again.]

Horrible villain! or I'll spurn thine eyes
Like balls before me; I'll unhair thy head:

[She hales him up and down.]

Thou shalt be whipp'd with wire and stew'd in brine,
Smarting in ling'ring pickle.

MESSENGER.
Gracious madam,
I that do bring the news made not the match.

CLEOPATRA.
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.

MESSENGER.
He's married, madam.

CLEOPATRA.
Rogue, thou hast liv'd too long.

[Draws a dagger.]

MESSENGER.
Nay, then I'll run.--
What mean you, madam? I have made no fault.

[Exit.]

CHARMIAN.
Good madam, keep yourself within yourself:
The man is innocent.

CLEOPATRA.
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!

CHARMIAN.
He is afear'd to come.

CLEOPATRA.
I will not hurt him.

[Exit CHARMIAN.]

These hands do lack nobility, that they strike
A meaner than myself; since I myself
Have given myself the cause.

[Re-enter CHARMIAN and Messenger.]

Come hither, sir.
Though it be honest, it is never good
To bring bad news: give to a gracious message
An host of tongues; but let ill tidings tell
Themselves when they be felt.

MESSENGER.
I have done my duty.

CLEOPATRA.
Is he married?
I cannot hate thee worser than I do
If thou again say 'Yes.'

MESSENGER.
He's married, madam.

CLEOPATRA.
The gods confound thee! dost thou hold there still!

MESSENGER.
Should I lie, madam?

CLEOPATRA.
O, I would thou didst,
So half my Egypt were submerg'd, and made
A cistern for scal'd snakes! Go, get thee hence:
Hadst thou Narcissus in thy face, to me
Thou wouldst appear most ugly. He is married?

MESSENGER.
I crave your highness' pardon.

CLEOPATRA.
He is married?

MESSENGER.
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.

CLEOPATRA.
O, that his fault should make a knave of thee
That art not what tho'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!

[Exit Messenger.]

CHARMIAN.
Good your highness, patience.

CLEOPATRA.
In praising Antony I have disprais'd Caesar.

CHARMIAN.
Many times, madam.

CLEOPATRA.
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.

[Exit ALEXAS.]

Let him for ever go:--let him not, Charmian--
Though he be painted one way like a Gorgon,
T'other way he's a Mars.--[To MARDIAN] Bid you Alexas
Bring me word how tall she is.--Pity me, Charmian,
But do not speak to me.--Lead me to my chamber.

[Exeunt.]

Alexandria. Cleopatra's palace. Attended by Mardian the Eunuch, Alexas, Charmian, and Iras, Cleopatra reminisces about a fishing trip she took with Antony. A messenger arrives from Rome. Cleopatra toys with the poor man as a cat with a mouse, promising rich reward for good news and punishment for bad news. When the messenger tells him that Antony has married Octavia, Cleopatra beats him. The Queen grows more enraged, threatening the poor messenger with a knife. When she regains control of herself, she calls him back to confirm the news. She dismisses him. Devastated, faint, Cleopatra has her ladies lead her off. As she goes, she bids Alexas and Mardian ask the messenger about Octavia's appearance and charms.

Pompey's discussion with his men gives interesting information about the triumvirate. Pompey does not fear Octavius and Lepidus. Antony is the only member of the triumvirate who worries him, Antony's skills as a military leader being "twice the other twain". Pompey also understands the future. If not for Pompey, "T'were pregnant they should square between themselves". If and when Pompey is defeated, Antony and Octavius will inevitably turn against one another. The theme of fate or historical necessity is touched on here. Necessity has already seemed to dictate what course events must take. Apparently a pious man, Pompey also invokes the gods constantly. But his belief that "If the great gods be just, they shall assist the deeds of justest men" does not match the events that unfold in the play. The triumph of good men is not the story of Antony and Cleopatra. Historical necessity, or fate, operates by a set of rules different from those described by Pompey's pious statement. Inevitability comes up again in the next scene , when Enobarbus inappropriately tells Antony and Octavius that they'll have time to fight each other after Pompey is beaten. Octavius needs Antony. Pompey assessed correctly in the last scene that without Antony, Octavius and Lepidus are afraid to face him. And yet Octavius baits Antony throughout this whole scene, aggressively criticizing Antony's recent behavior and actions. Even though the two men are forced to work together, differences in character and destiny divide them. After the triumvirs have exited, Enobarbus regales Caesar's comrades with colorful tales of Egypt and the East. The first four scenes of Act Two take place in the Western parts of the Empire, but Shakespeare makes sure that in both of the poles of the play, the other pole is invoked. There are references to Egypt and Antony's colorful life there in 2. 1, but Enobarbus' tales make a wonderful piece of writing that conjures up Cleopatra's world as well as any of the scenes actually set in Alexandria. Enobarbus is sensitive to the charms of the East, and to the charms of Cleopatra. He predicts, correctly that Antony will never leave Cleopatra. The soothsayer's warning is taken from Plutarch. The good Protestants of Shakespeare's audience were not supposed to believe in soothsayers, but Shakespeare often uses elements good Protestants are supposed to disdain to great effect. Though part of a Christian civilization, Shakespeare adored the richness and vividness of the pagan world and pre-Protestant beliefs. Plutarch's soothsayer makes good theatre, and so Shakespeare retains him. The use of the soothsayer underscores the theme of destiny, which in a play based on historical events can be viewed in different ways. To us, the defeat of Antony is inevitable, fated, because it has already happened. The soothsayer's presence adds a sinister inevitability to a historical event playing out before us. Historical forces become conflated with less rational conceptions of destiny and fate. Because of the soothsayer's presence, history itself takes on a supernatural element, being beyond the control or explanation of men. Ironically, Antony plays into fate's hands the moment he hears the soothsayer's warning. He resolves to return to Cleopatra, despite his vows to Octavia. He is fleeing Octavius Caesar, whose fortune always will overcome his in contest, but by returning to his decadent life in Egypt he will give Octavius pretext for war

Cleopatra is bored and pensive as this scene opens in Alexandria. She turns to her servants and asks them to amuse her. She wants Charmian to play billiards with her, but Charmian begs off and suggests that Cleopatra play billiards instead with Mardian, the eunuch. The idea of thrusting balls into pockets with a long billiard stick gives Cleopatra plenty of opportunity to tease the eunuch about his physical disability; the many double entendres of the dialogue in this scene no doubt amused Shakespeare's audience and provided a short and rather bawdy comic interlude. As Charmian and her mistress talk together, Cleopatra reminisces about the things which she and Antony did together; she recalls their going fishing together and how she tricked Antony into catching an old salt fish. She also tells about another time, when they pretended to be Hercules and Omphale, who enslaved Hercules with her charms and made him wear her clothes as a joke, while she strutted around wearing his sword. A messenger enters then with news of Antony, and Cleopatra is so excited that she hardly gives him a chance to speak. She interrupts him, she rambles, she threatens him with punishment if the news is bad, and then she promises him wealth if the news is good. The messenger is understandably anxious. He rightly suspects that his queen will not be pleased to learn that Antony has made friends with Caesar and that he has married Octavia. Upon hearing the news, Cleopatra strikes the messenger and threatens to stab him. She later regrets her impulsiveness, however, for she realizes that it is ignoble for one in power to hit someone who has done no wrong and who is powerless to defend himself. She asks that the messenger be brought back to her, and she asks him to tell her more about what has happened. Again she hears the incredible news, and again she orders the messenger from her sight. Cleopatra is grief-stricken; she can think of nothing but her need to get away and hide. She wants to be alone with her distress, but she wants to know more. Since the messenger is too frightened to speak further in her presence, she sends her servant Alexas alter him. She wants Alexas to find out what he can and to report back to her what Octavia is like. Although Cleopatra is deeply hurt, she has not been defeated yet. If she can find out what kind of woman Octavia is, she can make plans to win Antony back.

This scene illustrates yet another facet of the complex personality of Cleopatra. Although at times she can be giddy and superficial, the depth of her feeling for Antony is not shallow. In this scene, for example, we also see evidence of her emotional fury. The cause is clear: the most terrible thing she could imagine in her relationship with Antony has happened: Antony is involved with another woman, and not only is he involved with her, but he has married her. Yet Cleopatra recovers sufficiently to take some tentative steps to find out if she can regain Antony's love. This in itself is proof of her inner strength and resourcefulness. Cleopatra is a person of extremes -- that is, she is dramatic and emotional, to excess, but she is also a warm and vulnerable woman, and she is mature enough to be rightly suspicious of Antony. In fact, her passion for Antony frightens her; we see evidence of this when she realizes that she was wrong when she blamed the messenger for telling her that Antony had married Octavia. Even though she is an absolute ruler, she does not have the right to punish a messenger by threatening him with a knife for the content of a distressing message.

In Egypt, Cleopatra amuses herself with her servants Charmian and Mardian, a eunuch. As she reminisces about Antony, likening him to a fish that she has caught, a messenger arrives from Italy. Noting his unhappy expression, Cleopatra fears that Antony is dead and threatens the messenger should he deliver such unwelcome news. The messenger assures the queen that her lover is alive and well, but admits that Antony has married Octavia. Cleopatra strikes the messenger furiously, but he insists that he must tell her the truth. Cleopatra admits that it is beneath her station to treat a menial servant so viciously, but she cannot help upbraiding the man as she forces him to repeat that Antony belongs to another. She finally dismisses the messenger, then sends him orders to go and see Octavia so that he may report her features--how old she is, how she acts, even the color of her hair


Near Misenum.

[Flourish. Enter POMPEY and MENAS at one side, with drum and
trumpet; at  the other, CAESAR, ANTONY, LEPIDUS, ENOBARBUS,
MAECENAS, with Soldiers marching.]

POMPEY.
Your hostages I have, so have you mine;
And we shall talk before we fight.

CAESAR.
Most meet
That first we come to words; and therefore have we
Our written purposes before us sent;
Which, if thou hast consider'd, let us know
If 'twill tie up thy discontented sword,
And carry back to Sicily much tall youth
That else must perish here.

POMPEY.
To you all three,
The senators alone of this great world,
Chief factors for the gods,--I do not know
Wherefore my father should revengers want,
Having a son and friends; since Julius Caesar,
Who at Philippi the good Brutus ghosted,
There saw you labouring for him. What was't
That mov'd pale Cassius to conspire; and what
Made the all-honour'd, honest Roman, Brutus,
With the arm'd rest, courtiers of beauteous freedom,
To drench the Capitol, but that they would
Have one man but a man? And that is it
Hath made me rig my navy; at whose burden
The anger'd ocean foams; with which I meant
To scourge the ingratitude that despiteful Rome
Cast on my noble father.

CAESAR.
Take your time.

ANTONY.
Thou canst not fear us, Pompey, with thy sails;
We'll speak with thee at sea: at land thou know'st
How much we do o'er-count thee.

POMPEY.
At land, indeed,
Thou dost o'er-count me of my father's house:
But, since the cuckoo builds not for himself,
Remain in't as thou mayst.

LEPIDUS.
Be pleas'd to tell us,--
For this is from the present,--how you take
The offers we have sent you.

CAESAR.
There's the point.

ANTONY.
Which do not be entreated to, but weigh
What it is worth embrac'd.

CAESAR.
And what may follow,
To try a larger fortune.

POMPEY.
You have made me offer
Of Sicily, Sardinia; and I must
Rid all the sea of pirates; then to send
Measures of wheat to Rome; this 'greed upon,
To part with unhack'd edges and bear back
Our targes undinted.

CAESAR, ANTONY, and LEPIDUS.
That's our offer.

POMPEY.
Know, then,
I came before you here a man prepar'd
To take this offer: but Mark Antony
Put me to some impatience:--though I lose
The praise of it by telling, you must know,
When Caesar and your brother were at blows,
Your mother came to Sicily, and did find
Her welcome friendly.

ANTONY.
I have heard it, Pompey,
And am well studied for a liberal thanks
Which I do owe you.

POMPEY.
Let me have your hand:
I did not think, sir, to have met you here.

ANTONY.
The beds i' the East are soft; and, thanks to you,
That call'd me, timelier than my purpose, hither;
For I have gained by it.

CAESAR.
Since I saw you last
There is a change upon you.

POMPEY.
Well, I know not
What counts harsh fortune casts upon my face;
But in my bosom shall she never come
To make my heart her vassal.

LEPIDUS.
Well met here.

POMPEY.
I hope so, Lepidus.--Thus we are agreed:
I crave our composition may be written,
And seal'd between us.

CAESAR.
That's the next to do.

POMPEY.
We'll feast each other ere we part; and let's
Draw lots who shall begin.

ANTONY.
That will I, Pompey.

POMPEY.
No, Antony, take the lot: but, first
Or last, your fine Egyptian cookery
Shall have the fame. I have heard that Julius Caesar
Grew fat with feasting there.

ANTONY.
You have heard much.

POMPEY.
I have fair meanings, sir.

ANTONY.
And fair words to them.

POMPEY.
Then so much have I heard;
And I have heard Apollodorus carried,--

ENOBARBUS.
No more of that:--he did so.

POMPEY.
What, I pray you?

ENOBARBUS.
A certain queen to Caesar in a mattress.

POMPEY.
I know thee now: how far'st thou, soldier?

ENOBARBUS.
Well;
And well am like to do; for I perceive
Four feasts are toward.

POMPEY.
Let me shake thy hand;
I never hated thee: I have seen thee fight,
When I have envied thy behaviour.

ENOBARBUS.
Sir,
I never lov'd you much; but I ha' prais'd ye
When you have well deserv'd ten times as much
As I have said you did.

POMPEY.
Enjoy thy plainness;
It nothing ill becomes thee.--
Aboard my galley I invite you all:
Will you lead, lords?

CAESAR, ANTONY, and LEPIDUS.
Show's the way, sir.

POMPEY.
Come.

[Exeunt all but ENOBARBUS and MENAS.]

MENAS.
[Aside.] Thy father, Pompey, would ne'er have made this treaty.--
You and I have known, sir.

ENOBARBUS.
At sea, I think.

MENAS.
We have, sir.

ENOBARBUS.
You have done well by water.

MENAS.
And you by land.

ENOBARBUS.
I will praise any man that will praise me; though it cannot be
denied what I have done by land.

MENAS.
Nor what I have done by water.

ENOBARBUS.
Yes, something you can deny for your own safety: you have been a
great thief by sea.

MENAS.
And you by land.

ENOBARBUS.
There I deny my land service. But give me your hand, Menas: if
our eyes had authority, here they might take two thieves kissing.

MENAS.
All men's faces are true, whatsome'er their hands are.

ENOBARBUS.
But there is never a fair woman has a true face.

MENAS.
No slander; they steal hearts.

ENOBARBUS.
We came hither to fight with you.

MENAS.
For my part, I am sorry it is turn'd to a drinking. Pompey doth
this day laugh away his fortune.

ENOBARBUS.
If he do, sure he cannot weep it back again.

MENAS.
You have said, sir. We look'd not for Mark Antony here: pray you,
is he married to Cleopatra?

ENOBARBUS.
Caesar's sister is called Octavia.

MENAS.
True, sir; she was the wife of Caius Marcellus.

ENOBARBUS.
But she is now the wife of Marcus Antonius.

MENAS.
Pray you, sir?

ENOBARBUS.
'Tis true.

MENAS.
Then is Caesar and he for ever knit together.

ENOBARBUS.
If I were bound to divine of this unity, I would not prophesy so.

MENAS.
I think the policy of that purpose made more in the marriage than
the love of the parties.

ENOBARBUS.
I think so too. But you shall find the band that seems to tie
their friendship together will be the very strangler of their
amity:  Octavia is of a holy, cold, and still conversation.

MENAS.
Who would not have his wife so?

ENOBARBUS.
Not he that himself is not so; which is Mark Antony. He will to
his Egyptian dish again: then shall the sighs of Octavia blow the
fire up in Caesar; and, as I said before, that which is the
strength of their amity shall prove the immediate author of their
variance. Antony will use his affection where it is: he married
but his occasion here.

MENAS.
And thus it may be. Come, sir, will you aboard? I have a health
for you.

ENOBARBUS.
I shall take it, sir: we have used our throats in Egypt.

MENAS.
Come, let's away.

[Exeunt.]

Near Misenum. The triumvirate meets with Pompey. He tells them he wants to avenge his father against Rome. Antony points out that while at sea Pompey is powerful, by land the triumvirate is supreme. The triumvirate has made Pompey an offer: he can retain rule of Sicily and Sardinia, but he must rid the sea of pirates and send tribute to Rome. Pompey says that he would accept, if not for the ingratitude Antony has shown him. When Octavius and Antony's brother were at war, Antony's mother fled to Sicily and was generously received by Pompey. Antony thanks him, the two men shake, and Pompey accepts the triumvirate's offer. The tension is eased, and the men turn to talk of feasting together. Enobarbus pipes up, blunt as always, and Pompey recognizes him from past battles. Pompey and Enobarbus exchange compliments. All exit except Menas and Enobarbus. They exchange compliments, mixed with a bit of boasting. Menas confesses displeasure at Pompey's decision. Enobarbus, when asked about Cleopatra, informs Menas of Antony's marriage to Octavia. He predicts that Antony will return to Cleopatra, and that Antony and Caesar must eventually face off. They go to drink together

The focus of this scene, set near Misenum, centers on the meeting of Caesar, Antony, Lepidus, and Pompey; earlier, the triumvirs sent a letter to Pompey: in it, they said that they were prepared to allow Pompey to rule Sicily and Sardinia if he would agree to "rid all the sea of pirates" and send an annual tribute of wheat to Rome. Pompey is prepared to accept the offer, but he says that Mark Antony has put him to "some impatience." Pompey reminds Antony of past debts; for example, Lucius, Antony's brother, and Fulvia, Antony's late wife, joined with Caesar and attacked Pompey. Antony acknowledges this fact. Antony and Pompey then exchange pleasantries about the good life in the East, while Caesar remains silent; negotiations are concluded for the time being. Pompey then invites them all to celebrate the treaty by dining aboard his galley. Pompey comments on the fine cuisine of Egypt, and he also mentions how Caesar enjoyed life there, relating how "a certain queen" was smuggled in to Caesar. He presses for more details, and Enobarbus explains that the queen was carried secretly to Caesar "in a mattress." Pompey suddenly recognizes Enobarbus; he remembers him as being a good soldier. Honest as always, Enobarbus returns the greeting by admitting that although he has never much cared for Pompey, he has always admired Pompey's skill and ability as a general. All exit then, except Enobarbus and Pompey's officer, the pirate Menas. The two men discuss the treaty that has just been made. Menas claims that Pompey placated too easily; Pompey's father, Pompey the Great, would never have settled on terms so favorable to the Romans. Enobarbus agrees; he says that Pompey may have seriously reduced his chance of becoming a powerful force in the empire. Menas then asks why Antony has come to Rome; it was thought by many, he says, that Antony had married Cleopatra and ruled in Egypt. Enobarbus tells him, however, that Antony is now married to Octavia, an arrangement which they both realize was a political match. Enobarbus cynically predicts that Antony will betray Octavia by returning to Cleopatra. Caesar, they know, will be enraged.

At this point, it seems as if the threat to the Triumvirate from without -- that is, from Pompey -- will be defused, and the struggle will again focus on the real issue at stake: the conflict between Caesar and Antony.

Before waging a war, Pompey and the triumvirs hold a meeting. Pompey tells Caesar, Lepidus, and Antony that he is fighting to avenge his father, whose defeat by Julius Caesar led him into Egypt, where he was killed. Antony informs Pompey that despite the latter's strength at sea, the triumvirs' army will prevail. The three offer Pompey rule over Sicily and Sardinia should he agree to rid the sea of pirates and to send payments of wheat to Rome as a tax. Pompey admits that he was ready to accept this offer until Antony offended him by refusing to acknowledge the hospitality he showed Antony's mother on her recent visit to Sicily. Antony assures Pompey that he intended to offer a gracious thanks, at which the men shake hands and make peace. Pompey invites the Romans aboard his ship for dinner, and the triumvirs join him. Enobarbus and Menas stay behind discussing their military careers, the current political situation, and Antony's marriage to Octavia. Enobarbus repeats that he is sure Antony will inevitably return to Egypt. After the talk, the two go to dinner

Act II, scenes iii-vi Although the contradictory impressions we are given of the major characters may be confusing, they allow us to gain a more complex understanding of each character by seeing him or her from a variety of viewpoints. For example, in the opening scenes of the play, Demetrius and Philo complain that their general has sacrificed his better self for the sake of a gypsy's lust. Three scenes later, Caesar describes Antony's incomparable prowess in battle, confirming the audience's impression of the general's military might. When Antony appears in Act II, scene iii, however, he seems less interested in maintaining this heroic reputation than in pursuing his own pleasure. We may find it difficult to decide whether the Antony we see is the celebrated war hero or a man corrupted by his desires for fame and romance. The play does not offer simple answers to such questions, because it declines to privilege one point of view over another. Throughout, we must balance Caesar's impressions with Enobarbus's in order to reconcile Cleopatra's understanding of Antony with Antony's understanding of himself. Antony, like each character in the play, is the product of three distinct elements: what other characters think of him, what he thinks of himself, and what he does. Although in other plays Shakespeare often limits the number of lenses through which the audience views his characters, he refrains from doing so in Antony and Cleopatra. Antony is not simply a hero, nor is he simply a fool who has thrown away reason and duty for love. An accurate picture of his character must incorporate both of these traits. Similarly, Cleopatra is both the regal, incomparably beautiful seductress of Enobarbus's speech and the spoiled, petty tyrant who beats her servant for delivering unwelcome news. More than any other character in the play--and perhaps in all of Shakespeare--Cleopatra assumes each of these contradictory roles with unmatched passion and flair. She is, above all else, a consummate actress, a woman whose grief over Antony's marriage to Octavia can be soothed only by the theatrics of drawing a knife on her innocent messenger. Cleopatra's over-the-top behavior may cause us to doubt the authenticity of her emotions and question whether her grief is more performance than actual feeling. But to entertain such doubts about her may be to look at the play too much from the Roman point of view. We should remember that Cleopatra is more than the harlot the Romans see when they look at her. As Enobarbus says in Act II, scene ii, Cleopatra is a woman of "infinite variety": there is room in her for both theatrical emotions and genuine love, for both stately grandeur and for girlish insecurity . The Roman characters repeatedly remark that Cleopatra's beauty is sufficient to undo otherwise indestructible men. In general, Antony and Cleopatra exhibits a great deal of anxiety about the power of women over men. The Romans constantly chastise Cleopatra for her ability to topple Antony's sense of reason and duty, while they expect Octavia to quell the animosity between Antony and Caesar by serving to "knit  hearts / With an unslipping knot" . Notably, both the blame for men's downfalls and the hope for their recovery are burdens placed on women.


On board POMPEY'S Galley, lying near Misenum.

[Music. Enter two or three SERVANTS with a banquet.]

FIRST SERVANT.
Here they'll be, man. Some o' their plants are ill-rooted
already; the least wind i' the world will blow them down.

SECOND SERVANT.
Lepidus is high-coloured.

FIRST SERVANT.
They have made him drink alms-drink.

SECOND SERVANT.
As they pinch one another by the disposition, he cries out 'no
more'; reconciles them to his entreaty and himself to the drink.

FIRST SERVANT.
But it raises the greater war between him and his discretion.

SECOND SERVANT.
Why, this it is to have a name in great men's fellowship: I had
as lief have a reed that will do me no service as a partizan I
could not heave.

FIRST SERVANT.
To be called into a huge sphere, and not to be seen to move in't,
are the holes where eyes should be, which pitifully disaster the
cheeks.

[A sennet sounded. Enter CAESAR, ANTONY, LEPIDUS, POMPEY,
AGRIPPA, MAECENAS, ENOBARBUS, MENAS, with other Captains.]

ANTONY.
[To CAESAR.] Thus do they, sir: they take the flow o' the Nile
By certain scales i' the pyramid; they know
By the height, the lowness, or the mean, if dearth
Or foison follow: the higher Nilus swells
The more it promises; as it ebbs, the seedsman
Upon the slime and ooze scatters his grain,
And shortly comes to harvest.

LEPIDUS.
You've strange serpents there.

ANTONY.
Ay, Lepidus.

LEPIDUS.
Your serpent of Egypt is bred now of your mud by the operation of
your sun: so is your crocodile.

ANTONY.
They are so.

POMPEY.
Sit --and some wine!--A health to Lepidus!

LEPIDUS.
I am not so well as I should be, but I'll ne'er out.

ENOBARBUS.
Not till you have slept; I fear me you'll be in till then.

LEPIDUS.
Nay, certainly, I have heard the Ptolemies' pyramises are very
goodly things; without contradiction I have heard that.

MENAS.
[Aside to POMPEY.] Pompey, a word.

POMPEY.
[Aside to MENAS.] Say in mine ear: what is't?

MENAS.
[Aside to POMPEY.] Forsake thy seat, I do beseech thee, captain,
And hear me speak a word.

POMPEY.
[Aside to MENAS.] Forbear me till ano.n--
This wine for Lepidus!

LEPIDUS.
What manner o' thing is your crocodile?

ANTONY.
It is shaped, sir, like itself; and it is as broad as it hath
breadth: it is just so high as it is, and moves with it own
organs: it lives by that which nourisheth it, and the elements
once out of it, it transmigrates.

LEPIDUS.
What colour is it of?

ANTONY.
Of its own colour too.

LEPIDUS.
'Tis a strange serpent.

ANTONY.
'Tis so. And the tears of it are wet.

CAESAR.
Will this description satisfy him?

ANTONY.
With the health that Pompey gives him, else he is a very epicure.

POMPEY.
[Aside to MENAS.] Go, hang, sir, hang! Tell me of that! away!
Do as I bid you.--Where's this cup I call'd for?

MENAS.
[Aside to POMPEY.] If for the sake of merit thou wilt hear me,
Rise from thy stool.

POMPEY.
[Aside to MENAS.] I think thou'rt mad.

[Rises and walks aside.]

The matter?

MENAS.
I have ever held my cap off to thy fortunes.

POMPEY.
Thou hast serv'd me with much faith.
What's else to say?--
Be jolly, lords.

ANTONY.
These quicksands, Lepidus,
Keep off them, for you sink.

MENAS.
Wilt thou be lord of all the world?

POMPEY.
What say'st thou?

MENAS.
Wilt thou be lord of the whole world?
That's twice.

POMPEY.
How should that be?

MENAS.
But entertain it,
And though you think me poor, I am the man
Will give thee all the world.

POMPEY.
Hast thou drunk well?

MENAS.
No, Pompey, I have kept me from the cup.
Thou art, if thou dar'st be, the earthly Jove:
Whate'er the ocean pales or sky inclips
Is thine, if thou wilt have't.

POMPEY.
Show me which way.

MENAS.
These three world-sharers, these competitors,
Are in thy vessel: let me cut the cable;
And when we are put off, fall to their throats:
All then is thine.

POMPEY.
Ah, this thou shouldst have done,
And not have spoke on't! In me 'tis villainy:
In thee't had been good service. Thou must know
'Tis not my profit that does lead mine honour:
Mine honour it. Repent that e'er thy tongue
Hath so betray'd thine act: being done unknown,
I should have found it afterwards well done;
But must condemn it now. Desist, and drink.

MENAS.
[Aside.] For this,
I'll never follow thy pall'd fortunes more.
Who seeks, and will not take when once 'tis offer'd,
Shall never find it more.

POMPEY.
This health to Lepidus!

ANTONY.
Bear him ashore. I'll pledge it for him, Pompey.

ENOBARBUS.
Here's to thee, Menas!

MENAS.
Enobarbus, welcome!

POMPEY.
Fill till the cup be hid.

ENOBARBUS.
There's a strong fellow, Menas.

[Pointing to the servant who carries off LEPIDUS.]

MENAS.
Why?

ENOBARBUS.
'A bears the third part of the world, man; see'st not?

MENAS.
The third part, then, is drunk; would it were all,
That it might go on wheels!

ENOBARBUS.
Drink thou; increase the reels.

MENAS.
Come.

POMPEY.
This is not yet an Alexandrian feast.

ANTONY.
It ripens towards it.--Strike the vessels, ho!--
Here is to Caesar!

CAESAR.
I could well forbear't.
It's monstrous labour when I wash my brain
And it grows fouler.

ANTONY.
Be a child o' the time.

CAESAR.
Possess it, I'll make answer:
But I had rather fast from all four days
Than drink so much in one.

ENOBARBUS.
[To ANTONY.] Ha, my brave emperor!
Shall we dance now the Egyptian Bacchanals
And celebrate our drink?

POMPEY.
Let's ha't, good soldier.

ANTONY.
Come, let's all take hands,
Till that the conquering wine hath steep'd our sense
In soft and delicate Lethe.

ENOBARBUS.
All take hands.--
Make battery to our ears with the loud music:--
The while I'll place you: then the boy shall sing;
The holding every man shall bear as loud
As his strong sides can volley.

[Music plays. ENOBARBUS places them hand in hand.]

       SONG.
  Come, thou monarch of the vine,
  Plumpy Bacchus with pink eyne!
  In thy fats our cares be drown'd,
  With thy grapes our hairs be crown'd:
  Cup us, till the world go round,
  Cup us, till the world go round!

CAESAR.
What would you more?--Pompey, good night. Good brother,
Let me request you off: our graver business
Frowns at this levity.--Gentle lords, let's part;
You see we have burnt our cheeks: strong Enobarb
Is weaker than the wine; and mine own tongue
Splits what it speaks: the wild disguise hath almost
Antick'd us all. What needs more words. Good night.--
Good Antony, your hand.

POMPEY.
I'll try you on the shore.

ANTONY.
And shall, sir: give's your hand.

POMPEY.
O Antony,
You have my father's house,--but, what? we are friends.
Come, down into the boat.

ENOBARBUS.
Take heed you fall not.

[Exeunt POMPEY, CAESAR, ANTONY, and Attendants.]

Menas, I'll not on shore.

MENAS.
No, to my cabin.--
These drums!--these trumpets, flutes! what!--
Let Neptune hear we bid a loud farewell
To these great fellows: sound and be hang'd, sound out!

[A flourish of trumpets, with drums.]

ENOBARBUS.
Hoo! says 'a.--There's my cap.

MENAS.
Hoo!--noble captain, come.

[Exeunt.]

On board Pompey's galley, off Misenum. Two servants bring on a banquet. They mock Lepidus, saying he is already drunk, and the lame duck of the triumvirate. Amidst trumpet sounds, the triumvirs, Pompey, Enobarbus, Menas, Agrippa, and Maecenas enter with other captains. Encouraged by Lepidus, Antony tells stories of Egypt's natural and historical wonders. Meanwhile, Menas offers to do Pompey a service: the triumvirs are all here, under their power, and murdering them all would be easy. Pompey tells Menas that if he'd done it without telling him, it would have been a good thing. But Pompey, for his honor, cannot knowingly condone the action. Lepidus is carried off drunk. Octavius resists requests to drink more. The men sing a song, and Octavius, a bit sour, decides to leave and takes his cohorts with him.

With Antony back in the West, Pompey cannot withstand the power of the triumvirate. He demands thanks from Antony before agreeing to their terms, but this point is mainly one of pride. This development shows the strength of Antony's military reputation. He is here at the height of his power. Enobarbus speaks in verse when addressing Pompey, rising to the occasion of speaking with the big players, but when only he and Menas are left the two men speak in prose. The two soldiers are speaking plainly with one another. Menas is an ambitious man, disillusioned with his master for bowing to the triumvirate's demands. The theme of historical necessity or inevitability is touched on again, as Enobarbus repeats his predictions that Antony will return to Cleopatra and Caesar will make war on him. He predicts accurately that Octavia will be cause for war, as a man like Antony can never love so simple and docile a woman, and Octavius shall be furious at his sister's spurning

As the scene opens on Pompey's galley, the servants are getting ready for the feast; and they gossip among themselves, joking that the three Romans are already well on the way to becoming drunk. They have been taking turns pouring part of their wine into Lepidus's glass, and he is getting even more intoxicated than the others, and he doesn't even realize that they are amusing themselves with jokes at his expense. Caesar and Antony lose no opportunity to taunt each other, a situation which the drunken Lepidus ineptly tries to reconcile. Here again, the servants comment shrewdly that it is a sorry fact that although Lepidus is one of the triumvirs , he is really only a figurehead. The other two triumvirs have no respect for his opinions nor for his ability as a leader; rather, they see his role as no more than that of a bit player in a major drama; he balances their power, and he serves as a buffer to prevent the worst effects of their rivalry.

Act II ends on a rather light note, but once again the theme of excess is repeated. It might also be noted that excess and indulgence are not inherent vices of the Egyptians, as the Romans would like to think. They are states of mind, attitudes, and choices that can exist anywhere, as the party aboard Pompey's barge illustrates.

Most noble Antony,Let not the piece of virtue which is setBetwixt us as the cement of our loveTo keep it builded, be the ram to batterThe fortress of it

Act II, scene vii; Act III, scenes i-iii Both Ventidius's speech after the victory over Parthia and the events of the party challenge and complicate our understanding of honor. Ventidius's contemplation of his performance in battle in Act II, scene i offers a definition of honor based on prowess in battle. Ventidius explains that it would not be honorable to conquer too extensively, since eclipsing his captain's fame would reflect poorly on himself. Whereas Pompey's definition of honor has to do with appearance, Ventidius's has to do with ambition. Ultimately, it is clear that Ventidius contemplates his honorable leading of the army as a way of achieving greater status; he ends his speech describing the perils of overachievement with the words, "I could do more to do Antonius good, / But 'twould offend him, and in his offence / Should my performance perish" . Ventidius seems to care at least as much about Antony's opinion of his performance in war as about his sense of honor. Pompey's sense of honor, however, is based on surface appearances. His desire that the triumvirate be deposed might easily be seen as dishonorable, since he appears to be making peace with them. However, he believes that he retains his honor by not acting on his dishonorable feelings. When Menas suggests that he be allowed to assassinate the triumvirs in order to deliver world power into Pompey's hands, Pompey's reasoning for condemning Menas's plan shows that it is not the act itself that would challenge Pompey's public honor, but rather its appearance: Ah, this thou shouldst have doneAnd not have spoke on't. In me 'tis villainy,In thee 't had been good service. Thou must know'Tis not my profit that does lead mine honour;Mine honour it. Repent that e'er thy tongueHath so betrayed thine act. Being done unknown,I should have found it afterwards well done, But must condemn it now.           Pompey does not condemn the assassination of his unsuspecting--indeed, helplessly drunken--guests as treacherous or morally irresponsible. Instead, he complains that Menas shared the plan with him, a divulgence that, if discovered, would affect the way that the world sees him. Pompey would no longer be looked upon as an honorable man if he murdered his guests. In a play that invests so much in surface, even qualities such as honor and nobility have more to do with spectacle than with deeper human emotions. Lepidus's drunkenness symbolizes his physical and political weakness: indeed, he makes only one more appearance before being eliminated by Caesar, fulfilling the servants' prophesy that even world leaders can be easily overthrown. That Caesar proves the wind that blows Lepidus  down should not come as any surprise, given his behavior aboard Pompey's ship. Caesar alone manages to elevate duty above pleasure; he alone interrupts the night's carousing to remind Antony that their more serious business conflicts with the extended revelry. Perhaps the most telling phrase Antony utters in this scene comes as he tries to persuade Caesar to forget duty for the night. While urging his men to drink until "the conquering wine hath steeped our sense / In soft and delicate Lethe," he bids Caesar to "e a child o'th' time"--to live, in other words, strictly for the moment, for the pleasure of the present . Antony's propensity to live according to the moment, with little regard for the future or the consequences of his actions, is one of the greatest factors in his demise.


A plain in Syria.

[Enter VENTIDIUS, in triumph, with SILIUS and other Romans,
Officers and Soldiers; the dead body of PACORUS borne in front.]

VENTIDIUS.
Now, darting Parthia, art thou struck; and now
Pleas'd fortune does of Marcus Crassus' death
Make me revenger.--Bear the king's son's body
Before our army.--Thy Pacorus, Orodes,
Pays this for Marcus Crassus.

SILIUS.
Noble Ventidius,
Whilst yet with Parthian blood thy sword is warm
The fugitive Parthians follow; spur through Media,
Mesopotamia, and the shelters whither
The routed fly: so thy grand captain Antony
Shall set thee on triumphant chariots, and
Put garlands on thy head.

VENTIDIUS.
O Silius, Silius,
I have done enough: a lower place, note well,
May make too great an act; for learn this, Silius,--
Better to leave undone, than by our deed
Acquire too high a fame when him we serve's away.
Caesar and Antony have ever won
More in their officer, than person: Sossius,
One of my place in Syria, his lieutenant,
For quick accumulation of renown,
Which he achiev'd by the minute, lost his favour.
Who does i' the wars more than his captain can
Becomes his captain's captain; and ambition,
The soldier's virtue, rather makes choice of loss
Than gain which darkens him.
I could do more to do Antonius good,
But 'twould offend him; and in his offence
Should my performance perish.

SILIUS.
Thou hast, Ventidius, that
Without the which a soldier and his sword
Grants scarce distinction. Thou wilt write to Antony?

VENTIDIUS.
I'll humbly signify what in his name,
That magical word of war, we have effected;
How, with his banners, and his well-paid ranks,
The ne'er-yet-beaten horse of Parthia
We have jaded out o' the field.

SILIUS.
Where is he now?

VENTIDIUS.
He purposeth to Athens: whither, with what haste
The weight we must convey with's will permit,
We shall appear before him.--On, there; pass along!

[Exeunt.]

A plain in Syria. Ventidius, with Silius and other Roman soldiers, surveys the field. Ventidius has beaten the Parthians, a great feat. When Silius encourages him to pursue the Parthians, and heap up more victories for himself, Ventidius declines. A subordinate should not be too successful, lest he rouse the envy of his superior. Ventidius will meet Antony in Athens

The act opens on a plain in Syria. Ventidius, a Roman officer, was sent to fight the Parthians by Antony at the end of Act II, Scene 3. It is not clear how much time has passed, but in this scene, Ventidius has returned to Rome, and he describes his victory over the Parthians to Silius, one of his officers. Ventidius relates how he killed Pacorus, the Parthian king's son in revenge for the death of Marcus Crassus, a noble Roman, killed by the Parthians in another battle in which Crassus's entire force was annihilated. Sillus encourages Ventidius to make the most of his victory by returning home in triumph, but Ventidius refuses, noting that it is better not to appear too successful, lest he shame his commander, Antony, by comparison. He tells about another officer of Antony's, Sossius, who served well in Syria, but fell out of favor; it is implied that his great success as a warrior may have had something to do with it. Silius praises Ventidius's discretion, and Ventidius says that he will write to tell Antony about the victory, although he will be careful not to boast.

The subject matter of the entirety of Act III is war, and this chapter serves to introduce this facet of the play to the audience while also continuing the theme of the on-going foreign battles, a theme that has been woven into the plot by events in earlier scenes, such as Antony's command to Ventidius in Act II. This scene focuses primarily on the relationship between war and power. Not only are the rival generals, Caesar and Antony, vying against each other for ultimate power, but the lesser officers are also continually seeking their own advancement. Ventidius is wise here to avoid seeking excessive military glory. He does not want Antony to think he is trying to rival him in military achievements. The language used by Shakespeare in this brief scene suggests the power, the action, and the cruelty of war. The Parthians, a fierce nation of horsemen, are described as being "darting" Parthians. It has been suggested by several critics that this word was meant to refer to the Parthian practice of turning around to shoot arrows at their enemy while riding away from them. Whatever their military strategy, however, they have been defeated. Perhaps it should be noted that Shakespeare was paralleling history when he made Ventidius cautious about boasting too much of his success. Ventidius is wary of Antony's thinking that he might perhaps be trying to become "his captain's captain"; a soldier should not be so successful that he overshadows his commander. This concern with ambition and the consequences of seeming too ambitious are understandable when we consider the means used at that time to acquire power. Soldier-emperors like Antony or Caesar would inevitably be suspicious of any officer who might remind them too much of themselves during their earlier careers when they were filled with bravery and unbridled ambition. Silius praises Ventidius for having that "distinction"  without which a skilled soldier grants no "distinction"  at all. This play on words suggests the dual qualities which are the key ingredients for the best officers: valor and the discretion to know when to act and when not to. There is some irony in the contrast between the cautious and soldierly Ventidius and the more impulsive Antony. As we shall see later in this act, Antony actually lacks that very discretion talked about here when he plans his battles. Tragically, it leads to his own destruction.

A group of servants discusses Pompey's dinner party, commenting on Lepidus's drunkenness in particular. Pompey enters with his guests as Antony discusses the Nile River. Lepidus babbles on about crocodiles, which, according to popular belief, formed spontaneously out of the river mud. Lepidus asks Antony to describe the crocodile, and Antony responds with a humorously circular and meaningless definition: "It is shaped, sir, like itself, and is as broad as it hath breadth". Menas pulls Pompey aside to suggest that they set sail and kill the three triumvirs while they are still drunk and onboard the boat, thus delivering control of the Western world into Pompey's hands. Pompey rails against Menas for sharing this plan with him. Were the deed done without his knowledge, Pompey says, he would have praised it, but now that he knows, it would violate his honor. In an angry aside, Menas expresses his disappointment with Pompey and swears that he will leave his master's service. Meanwhile, the triumvirs and their host continue their drunken revelry, eventually joining hands, dancing, and singing before they leave the ship and stumble off to bed


Rome. An Ante-chamber in CAESAR'S house.

[Enter AGRIPPA and ENOBARBUS, meeting.]

AGRIPPA.
What, are the brothers parted?

ENOBARBUS.
They have despatch'd with Pompey; he is gone;
The other three are sealing. Octavia weeps
To part from Rome: Caesar is sad; and Lepidus,
Since Pompey's feast, as Menas says, is troubled
With the green sickness.

AGRIPPA.
'Tis a noble Lepidus.

ENOBARBUS.
A very fine one: O, how he loves Caesar!

AGRIPPA.
Nay, but how dearly he adores Mark Antony!

ENOBARBUS.
Caesar? Why he's the Jupiter of men.

AGRIPPA.
What's Antony? The god of Jupiter.

ENOBARBUS.
Spake you of Caesar? How! the nonpareil!

AGRIPPA.
O, Antony! O thou Arabian bird!

ENOBARBUS.
Would you praise Caesar, say 'Caesar'--go no further.

AGRIPPA.
Indeed, he plied them both with excellent praises.

ENOBARBUS.
But he loves Caesar best;--yet he loves Antony:
Hoo! hearts, tongues, figures, scribes, bards, poets, cannot
Think, speak, cast, write, sing, number--hoo!--
His love to Antony. But as for Caesar,
Kneel down, kneel down, and wonder.

AGRIPPA.
Both he loves.

ENOBARBUS.
They are his shards, and he their beetle.

[Trumpets within.]

So,--
This is to horse.--Adieu, noble Agrippa.

AGRIPPA.
Good fortune, worthy soldier; and farewell.

[Enter CAESAR, ANTONY, LEPIDUS, and OCTAVIA.]

ANTONY.
No further, sir.

CAESAR.
You take from me a great part of myself;
Use me well in't.--Sister, prove such a wife
As my thoughts make thee, and as my furthest band
Shall pass on thy approof.--Most noble Antony,
Let not the piece of virtue which is set
Betwixt us as the cement of our love,
To keep it builded, be the ram to batter
The fortress of it; for better might we
Have lov'd without this mean if on both parts
This be not cherish'd.

ANTONY.
Make me not offended
In your distrust.

CAESAR.
I have said.

ANTONY.
You shall not find,
Though you be therein curious, the least cause
For what you seem to fear: so, the gods keep you,
And make the hearts of Romans serve your ends!
We will here part.

CAESAR.
Farewell, my dearest sister, fare thee well:
The elements be kind to thee, and make
Thy spirits all of comfort! Fare thee well.

OCTAVIA.
My noble brother!--

ANTONY.
The April's in her eyes: it is love's spring,
And these the showers to bring it on.--Be cheerful.

OCTAVIA.
Sir, look well to my husband's house; and--

CAESAR.
What,
Octavia?

OCTAVIA.
I'll tell you in your ear.

ANTONY.
Her tongue will not obey her heart, nor can
Her heart inform her tongue,--the swan's down feather,
That stands upon the swell at the full of tide,
And neither way inclines.

ENOBARBUS.
[Aside to AGRIPPA.] Will Caesar weep?

AGRIPPA.
[Aside to ENOBARBUS.] He has a cloud in's face.

ENOBARBUS.
[Aside to AGRIPPA.] He were the worse for that, were he a horse;
So is he, being a man.

AGRIPPA.
[Aside to ENOBARBUS.] Why, Enobarbus,
When Antony found Julius Caesar dead,
He cried almost to roaring; and he wept
When at Philippi he found Brutus slain.

ENOBARBUS.
[Aside to AGRIPPA.] That year, indeed, he was troubled with a
rheum;
What willingly he did confound he wail'd:
Believe't till I weep too.

CAESAR.
No, sweet Octavia,
You shall hear from me still; the time shall not
Out-go my thinking on you.

ANTONY.
Come, sir, come;
I'll wrestle with you in my strength of love:
Look, here I have you; thus I let you go,
And give you to the gods.

CAESAR.
Adieu; be happy!

LEPIDUS.
Let all the number of the stars give light
To thy fair way!

CAESAR.
Farewell, farewell!

[Kisses OCTAVIA.]

ANTONY.
Farewell!

[Trumpets sound within. Exeunt.]

Rome. Caesar's house. Enobarbus and Agrippa enter from different sides. Enobarbus informs Agrippa that Pompey has departed, and the triumvirs are making final arrangements before leaving. Caesar seems sad, Octavia is weeping, and Lepidus has been ill since the feasting. Both men mock Lepidus' weak position in the triumvirate. Enobarbus and Agrippa part. Octavia and the triumvirs enter. Octavius and his sister are extremely emotional as they part. Quietly, Enobarbus asks Agrippa if Caesar will weep, mocking the idea of a man who cries. When Agrippa points out that Antony wept openly after Julius Caesar's and Brutus' deaths, Enobarbus mockingly says Antony had a cold. He wept that year for things he'd tried to destroy

As this scene opens, in Rome, Agrippa and Enobarbus enter and discuss recent events. Octavia is to leave Rome with her new husband, Antony. Caesar is sad to see her go, and, for the moment, Lepidus is the butt of everyone's joking. For example, they discuss Lepidus's excessive devotion to both Caesar and Antony and his futile attempts to act as a mediator between them. This is a fittingly ironic, foreshadowing what is soon to happen, for Caesar, Antony, Lepidus, and Octavia enter, and they begin to discuss Octavia's imminent departure with Antony. Like Lepidus, she too is a mediator who loves both her brother and her husband, but she senses a conflict that she feels is somehow tragic. Caesar admonishes Antony to take good care of his sister, and Antony says he must not seek fault where none exists. He promises that Caesar will find no "cause . . . for what to fear"; Antony will be kind to Octavia. Enobarbus and Agrippa, meanwhile, make asides concerning Caesar, comparing his appearance to that of an ill-tempered horse. They wonder if Caesar will cry , yet even Antony has wept before, they note, and he is certainly no less masculine for having done so. The two men make their farewells, and Antony and Caesar embrace briefly.

The gossipy tone in the first part of the scene, where Agrippa and Enobarbus make fun of the futile efforts of Lepidus to be loyal to both Antony and Caesar, foreshadows the fact that Octavia's role as a mediator will also prove ultimately unsuccessful. Yet, for now, the key focus is on Lepidus; he is described by Enobarbus as suffering from the "green-sickness" ever since Pompey's feast, described earlier. "Green-sickness" was an ailment supposedly suffered by adolescent girls when they fell in love; they became wan and weak from worry about their lovers. In this context, it probably refers to the painful hangover that Lepidus probably suffered the day after he was encouraged to drink too much at the banquet. Lepidus is said to love both Caesar and Antony, and to be totally devoted to both men. Of course, this is impossible. The two men are rivals. Yet it is true that Lepidus is very much like a young girl -- that is, he is unable to decide to whom he should give his loyalty. And in comparison to both Antony and Caesar, Lepidus has so little power that all he can do is fret and worry. Agrippa says bluntly, "both he loves," to which Enobarbus retorts, "They are his shards, and he their beetle." This figure of speech refers to the shiny wing-cases of beetles which were called "shards" because of their resemblance to fragments of shiny pottery or glass. Figuratively, Lepidus is like a beetle in that he is helpless without his bright wings -- Antony and Caesar. In addition, Lepidus can be compared to the dull-colored insect whose bright wings are far more noticeable than the small little body to which the wings are attached. Agrippa and Enobarbus leave then, as the others enter, and Caesar tells Antony: Let not the piece of virtue which is setBetwixt us as the cement of our love,To keep it builded, be the ram to batterThe fortress of it; for better might weHave loved without this mean, if on both partsThis be not cherish'd  The image here that Caesar evokes is of a building, and the love of the two men for the virtuous Octavia is the cement. . But were Octavia to be ill-treated, or if she were to be considered as a hostage, she would be the battering ram that would cause the whole structure of their precarious alliance to crumble. Thus, Caesar says that he would hate Antony more if Octavia were to be misused than he would hate Antony if Octavia had never been given to him to "cement" their peace. Antony warns Caesar not to pursue this mistrust any further, lest he  take offense at it. Caesar then says goodbye to Octavia, who is weeping; her tears, Antony gallantly describes as being like "April's  in her eyes; it is love's spring." He suggests that like the spring rains that water the ground, her tears commemorate the beginning of the growth of their love for one another. When Octavia says that she wishes to whisper in Caesar's ear, perhaps to give some private message or ask that he not forget her, he is touched by her grief. Antony too is affected, and again he tries to be gallant. He suggests that she is too filled with emotion to speak clearly, and like "the swan's down-feather / That stands upon the swell at full of tide," she cannot clearly express her loyalty and love to either Caesar or Antony -- that she is torn by her devotion to both, and thus she turns first one way and then another, like a feather fluttering on the water. This image aptly sums up her helplessness as an object who will be used later by both men in their competing for power. Enobarbus and Agrippa observe Caesar and Antony, and they comment that Caesar "has a cloud in his face," meaning that he is either frowning or attempting to suppress tears. Agrippa notes that Antony, in contrast, was not too proud to weep when Julius Caesar was killed, nor later when Brutus was slain; in neither case was he considered less manly for having wept. Enobarbus quips that Antony did indeed have a lot of "rheumy colds" that year, meaning that he wept a lot, and he suggests that Antony perhaps wept because of what he had destroyed -- meaning Brutus. The soldiers' comments are not very complimentary to either of the triumvirs. It is hinted that Caesar refrains from crying because he is too insecure to permit himself to show any weakness, while Antony almost too willingly expresses emotions that perhaps he doesn't actually feel. Thus, his gallantry towards Octavia may rest on a questionable basis -- that is, his devotion to her is likely to be short-lived.

Ventidius, fighting for Antony, defeats the Parthians, killing their king's son. One of Ventidius's soldiers urges him to push on into Parthia and win more glory, but Ventidius says he should not. If he were too successful in war, he explains, he would fall out of Antony's favor and not be able to advance as a member of Antony's forces. Instead, Ventidius halts his army and writes to Antony, informing him of his victory


Alexandria. A Room in the Palace.

[Enter CLEOPATRA, CHARMIAN, IRAS, and ALEXAS.]

CLEOPATRA.
Where is the fellow?

ALEXAS.
Half afear'd to come.

CLEOPATRA.
Go to, go to.

[Enter a Messenger.]

Come hither, sir.

ALEXAS.
Good majesty,
Herod of Jewry dare not look upon you
But when you are well pleas'd.

CLEOPATRA.
That Herod's head
I'll have: but how? when Antony is gone,
Through whom I might command it?--Come thou near.

MESSENGER.
Most gracious majesty,--

CLEOPATRA.
Didst thou behold Octavia?

MESSENGER.
Ay, dread queen.

CLEOPATRA.
Where?

MESSENGER.
Madam, in Rome
I look'd her in the face, and saw her led
Between her brother and Mark Antony.

CLEOPATRA.
Is she as tall as me?

MESSENGER.
She is not, madam.

CLEOPATRA.
Didst hear her speak? is she shrill-tongu'd or low?

MESSENGER.
Madam, I heard her speak:  she is low-voic'd.

CLEOPATRA.
That's not so good:--he cannot like her long.

CHARMIAN.
Like her! O Isis! 'tis impossible.

CLEOPATRA.
I think so, Charmian: dull of tongue and dwarfish!--
What majesty is in her gait? Remember,
If e'er thou look'dst on majesty.

MESSENGER.
She creeps,--
Her motion and her station are as one;
She shows a body rather than a life,
A statue than a breather.

CLEOPATRA.
Is this certain?

MESSENGER.
Or I have no observance.

CHARMIAN.
Three in Egypt
Cannot make better note.

CLEOPATRA.
He's very knowing;
I do perceive't:--there's nothing in her yet:--
The fellow has good judgment.

CHARMIAN.
Excellent.

CLEOPATRA.
Guess at her years, I pr'ythee.

MESSENGER.
Madam,
She was a widow.

CLEOPATRA.
Widow!--Charmian, hark!

MESSENGER.
And I do think she's thirty.

CLEOPATRA.
Bear'st thou her face in mind? is't long or round?

MESSENGER.
Round even to faultiness.

CLEOPATRA.
For the most part, too, they are foolish that are so.--
Her hair, what colour?

MESSENGER.
Brown, madam: and her forehead
As low as she would wish it.

CLEOPATRA.
There's gold for thee.
Thou must not take my former sharpness ill:--
I will employ thee back again; I find thee
Most fit for business:--go make thee ready;
Our letters are prepar'd.

[Exit Messenger.]

CHARMIAN.
A proper man.

CLEOPATRA.
Indeed, he is so: I repent me much
That so I harried him. Why, methinks, by him,
This creature's no such thing.

CHARMIAN.
Nothing, madam.

CLEOPATRA.
The man hath seen some majesty, and should know.

CHARMIAN.
Hath he seen majesty? Isis else defend,
And serving you so long!

CLEOPATRA.
I have one thing more to ask him yet, good Charmian:
But 'tis no matter; thou shalt bring him to me
Where I will write. All may be well enough.

CHARMIAN.
I warrant you, madam.

[Exeunt.]

Alexandria. Cleopatra's palace. Attended by Charmian and Iras, Cleopatra bids Alexas fetch the fearful Messenger. When the terrified man arrives, she questions him about Octavia's looks. The Messenger has learned his lesson, and describes Octavia in comically unflattering terms. She dismisses him, saying she'll need him again when she sends off her letters

This scene returns us to Alexandria and provides us with some light comic relief as Cleopatra questions a messenger about Octavia. This is the same messenger whom she terrorized earlier when he told her about Antony's marriage. Now she is pleasant and ingratiating as she tries to find out what her new rival is like. After she questions the messenger about Octavia's manner and appearance, she is satisfied with the answers he gives her, and she pays him well for the good news.

Because of Cleopatra's earlier fury, it is quite understandable that this messenger would be wary of arousing the queen's ire. He is very careful to describe Octavia in such vague and neutral terms that Cleopatra can infer what she likes from them. And this she does: Cleopatra wants to be reassured, and so she interprets the messenger's words to suit herself. He says that Octavia is not tall; accordingly, Cleopatra assumes that Octavia is dwarfish, or dumpy. The messenger says that Octavia is "low-voiced," and Cleopatra interprets this as meaning that she is "dull of tongue." She then asks the messenger if there is "majesty in her gait," and he replies, "She creeps." Cleopatra is pleased by this description, and she compliments his "good judgment."

Agrippa and Enobarbus discuss the current state of affairs: Pompey has gone, Octavia and Caesar are saddened by their nearing separation, and Lepidus is still sick from his night of heavy drinking. Agrippa and Enobarbus mock Lepidus, the weakest of the three triumvirs, who trips over himself in order to stay on good terms with both Antony and Caesar. A trumpet blares, and Lepidus, Antony, and Caesar enter. Caesar bids farewell to Antony and his sister, urging his new brother-in-law never to mistreat Octavia and thereby drive a wedge between himself and Antony. Antony implores Caesar not to offend him, making assurances that he will not justify Caesar's fears. Antony and Octavia depart, leaving Lepidus and Caesar in Rome


Athens. A Room in ANTONY'S House.

[Enter ANTONY and OCTAVIA.]

ANTONY.
Nay, nay, Octavia, not only that,--
That were excusable, that and thousands more
Of semblable import--but he hath wag'd
New wars 'gainst Pompey; made his will, and read it
To public ear:
Spoke scandy of me: when perforce he could not
But pay me terms of honour, cold and sickly
He vented them:most narrow measure lent me;
When the best hint was given him, he not took't,
Or did it from his teeth.

OCTAVIA.
O my good lord,
Believe not all; or if you must believe,
Stomach not all. A more unhappy lady,
If this division chance, ne'er stood between,
Praying for both parts:
Sure the good gods will mock me presently
When I shall pray 'O, bless my lord and husband!'
Undo that prayer by crying out as loud
'O, bless my brother!' Husband win, win brother,
Prays and destroys the prayer; no mid-way
'Twixt these extremes at all.

ANTONY.
Gentle Octavia,
Let your best love draw to that point which seeks
Best to preserve it: if I lose mine honour,
I lose myself: better I were not yours
Than yours so branchless. But, as you requested,
Yourself shall go between's: the meantime, lady,
I'll raise the preparation of a war
Shall stain your brother: make your soonest haste;
So your desires are yours.

OCTAVIA.
Thanks to my lord.
The Jove of power make me, most weak, most weak,
Your reconciler! Wars 'twixt you twain would be
As if the world should cleave, and that slain men
Should solder up the rift.

ANTONY.
When it appears to you where this begins,
Turn your displeasure that way; for our faults
Can never be so equal that your love
Can equally move with them. Provide your going;
Choose your own company, and command what cost
Your heart has mind to.

[Exeunt.]

Athens. Antony's house. Antony tells Octavia that her brother has been slandering him. Octavius makes new wars against Pompey, unapproved, and drums up public support by proclaiming a will where his wealth is left to the people of Rome. Octavia is distraught, torn between brother and husband. Antony suggests she act as emissary, and she agrees. He authorizes her to go in his name, with whatever company and at any expense she chooses

The scene opens in Athens, in the middle of a conversation between Antony and Octavia. Apparently they have been discussing the recent activities of Caesar, and Octavia defends Caesar; she urges Antony not to take offense at what Caesar might have said about him. Caesar is preparing for war, and Antony tells Octavia that he too must prepare, and that his preparations will overshadow those of her brother. He encourages his wife to return to Rome, presumably to act as a mediator and reduce the growing hostility between Caesar and Antony.

This brief scene highlights the fact that Octavia is trying to be a peacemaker between her brother and Antony. She will not succeed, and the urgency with which Antony insists that she should go to Rome makes one question his motives. It is almost certain that he is anxious to rendezvous in Alexandria with Cleopatra.

Antony complains to Octavia that since departing Rome, Caesar has not only waged war against Pompey but has also belittled Antony in public. Octavia urges Antony not to believe everything he hears, and she pleads with him to keep the peace with her brother. Were Antony and Caesar to fight, Octavia laments, she would not know whether to support her brother or her husband. Antony tells her that he must do what needs to be done to preserve his honor, without which he would be nothing. Nevertheless, he sends her to Rome to make peace again between Caesar and himself. Meanwhile, he prepares for war against Pompey

Act III, scenes iv-vii Caesar's description of Antony and Cleopatra in Act III, scene vi shows the play's preoccupation with the sexualized East. The scene recalls an earlier speech by Enobarbus in which he states that the Egyptian queen floats down the Nile on a glittering throne. Just as Cleopatra and her barge are a vision of decadent beauty in the earlier speech, so is the image of the queen and her lover in the marketplace of Alexandria. Caesar's exchange with Maecenas underscores the spectacular nature of Antony and Cleopatra's appearance:  CAESAR: Contemning Rome, he has done all this and more       In Alexandria. Here's the manner of't:    I' th' market place on a tribunal silvered,  Cleopatra and himself in chairs of gold  Were publicly enthroned. . . . MAECENAs: This in the public eye? CAESAR: I' th' common showplace, where they exercise.  . . .     She  In th'habiliments of the goddess Isis  That day appeared, and oft before gave audience            Antony and Cleopatra draws distinctions between the West and the East by illustrating the West as sober, military, and masculine, and the East as exotic, pleasure-loving, and sexual. In this scene, it is not only the public appearance of Antony with a woman not his wife that shocks Maecenas, Caesar, and Agrippa, but also the decadence with which they appear. While the military men confer in the West regarding the machinations of war, Antony's life in the East is represented as focused on sensual pleasures, both with Cleopatra and within the wealth and splendor of her kingdom. This passage also confirms Cleopatra's theatricality and the world's preoccupation with spectacle. Spectacle is of supreme importance throughout the play, as Caesar again makes clear when he complains to Octavia about her lack of it. Bent on keeping the peace between her husband and brother, Octavia arrives in Rome without any of the fanfare or trappings that would indicate her station. Caesar insists that the   wife of AntonyShould have an army for an usher, andThe neighs of horse to tell of her approachLong ere she did appear.           Caesar likens Octavia's appearance to that of a common maid going to market. Caesar links spectacle with power: the greater the display, the more substantial and genuine the power behind it. Caesar returns to this line of thinking at the play's end when he plans to display Cleopatra on the streets of Rome as a testament to the indomitable strength of his empire. Here we see the equation between spectacle and power in reverse: Octavia's unheralded arrival in Rome betrays what Caesar knows too well--his sister has little, if any, power over a husband whose heart visibly belongs to Egypt. The romance between Antony and Cleopatra is different from the romance between some of Shakespeare's other major characters because it focuses on how the two mesh with larger historical and social dramas. Whereas Romeo and Juliet, for instance, largely chronicles the private moments of its teenaged protagonists, following the couple as they steal moments together at a crowded party or on a moonlit balcony, Antony and Cleopatra's concerns are public rather than private. Antony's return to and reconciliation with Cleopatra take place offstage, as do all of the more private moments of their relationship. What earns stage time in this play are not the muted whispers of discreet lovers but the grand performances of lovers who live in, and play for, the public eye. Love, in Antony and Cleopatra, seems less a product of the bedroom than of political alliance, for we are always aware of the public consequences of the couple's affair. When Caesar laments that Antony has given up his empire for a whore, we understand the enormous impact--both civic and geographic--that the lovers' affair will have on the world. Kingdoms stand to be built on the foundation of Antony and Cleopatra's love or crumble under its weight.


Athens. Another Room in ANTONY'S House.

[Enter ENOBARBUS and EROS, meeting.]

ENOBARBUS.
How now, friend Eros!

EROS.
There's strange news come, sir.

ENOBARBUS.
What, man?

EROS.
Caesar and Lepidus have made wars upon Pompey.

ENOBARBUS.
This is old: what is the success?

EROS.
Caesar, having made use of him in the wars 'gainst Pompey,
presently denied him rivality; would not let him partake in the
glory of the action: and not resting here, accuses him of letters
he had formerly wrote to Pompey; upon his own appeal, seizes him:
so the poor third is up, till death enlarge his confine.

ENOBARBUS.
Then, world, thou hast a pair of chaps, no more;
And throw between them all the food thou hast,
They'll grind the one the other. Where's Antony?

EROS.
He's walking in the garden--thus; and spurns
The rush that lies before him; cries 'Fool Lepidus!'
And threats the throat of that his officer
That murder'd Pompey.

ENOBARBUS.
Our great navy's rigg'd.

EROS.
For Italy and Caesar. More, Domitius;
My lord desires you presently: my news
I might have told hereafter.

ENOBARBUS.
'Twill be naught;
But let it be.--Bring me to Antony.

EROS.
Come, sir.

[Exeunt.]

Athens. Antony's house. Eros brings news from Rome to Enobarbus. Though Caesar and Lepidus warred together against Pompey, Caesar has now imprisoned Lepidus, claiming that Lepidus conspired with Pompey. Eros reports that Antony is incredibly upset. He is furious with the officer who assassinated Pompey. Eros brings Enobarbus to meet with Antony

While Antony and Octavia, in Athens, discuss matters in one part of the house, Enobarbus and Eros talk about recent events. Eros tells Enobarbus that as soon as Caesar and Lepidus defeated Pompey, Caesar turned on Lepidus and accused him of treachery. Lepidus now awaits death in a prison cell. Enobarbus asks where Antony is, and Eros replies that he is in the garden and that he is angry about what has happened. Antony cries out in vain that Lepidus was a fool for submitting to Caesar; in addition, he mutters threats to kill the officer who murdered Pompey. At this point, Enobarbus is summoned by Antony, and the two men exit.

Basically, this scene gives us an important piece of information about Lepidus, and, equally important, it shows us Antony's reaction to Lepidus's imprisonment. We are almost certain that the recent bond between Antony and Caesar has begun to crack. Clearly, Antony will not allow himself to be manipulated as easily by Caesar as Lepidus was. In addition, it seems as if Caesar is rapidly trying to consolidate his power. The outcome of the rivalry between these two fiery, ambitious triumvirs will ultimately depend on whether or not Antony can counter Caesar's strategies. It seems unlikely that he can; as we shall see, he does not. The singleness of purpose that is characteristic of Caesar  is not a trait that Antony shares. Torn by his desire to spend his time with Cleopatra and his equally potent desire for power in Rome, Antony unfortunately hesitates too frequently and too long about what he will do. The two lieutenants comment that Caesar and Antony are a couple of "chaps"  who will grind up men like food, themselves included. The truth of this observation will soon be revealed as Caesar, Antony, and Cleopatra become increasingly embroiled in their individual wars and intrigues.

Enobarbus converses with Eros, another friend of Antony. The two discuss Caesar's defeat of Pompey's army and the murder of Pompey. Eros reports that Caesar made use of Lepidus's forces, but then, after their victory, denied Lepidus his share of the spoils. In fact, Caesar has accused the triumvir of plotting against him and has thrown him into prison. Enobarbus reports that Antony's navy is ready to sail for Italy and Caesar


 Rome. A Room in CAESAR'S House.

[Enter CAESAR, AGRIPPA, and MAECENAS.]

CAESAR.
Contemning Rome, he has done all this, and more,
In Alexandria. Here's the manner of't:--
I' the market-place, on a tribunal silver'd,
Cleopatra and himself in chairs of gold
Were publicly enthron'd: at the feet sat
Caesarion, whom they call my father's son,
And all the unlawful issue that their lust
Since then hath made between them. Unto her
He gave the 'stablishment of Egypt; made her
Of lower Syria, Cyprus, Lydia,
Absolute queen.

MAECENAS.
This in the public eye?

CAESAR.
I' the common show-place, where they exercise.
His sons he there proclaim'd the kings of kings:
Great Media, Parthia, and Armenia,
He gave to Alexander; to Ptolemy he assign'd
Syria, Cilicia, and Phoenicia: she
In the habiliments of the goddess Isis
That day appear'd; and oft before gave audience,
As 'tis reported, so.

MAECENAS.
Let Rome be thus
Inform'd.

AGRIPPA.
Who, queasy with his insolence
Already, will their good thoughts call from him.

CAESAR.
The people knows it: and have now receiv'd
His accusations.

AGRIPPA.
Who does he accuse?

CAESAR.
Caesar: and that, having in Sicily
Sextus Pompeius spoil'd, we had not rated him
His part o' the isle: then does he say he lent me
Some shipping, unrestor'd: lastly, he frets
That Lepidus of the triumvirate
Should be depos'd; and, being, that we detain
All his revenue.

AGRIPPA.
Sir, this should be answer'd.

CAESAR.
'Tis done already, and messenger gone.
I have told him Lepidus was grown too cruel;
That he his high authority abus'd,
And did deserve his change: for what I have conquer'd
I grant him part; but then, in his Armenia
And other of his conquer'd kingdoms, I
Demand the like.

MAECENAS.
He'll never yield to that.

CAESAR.
Nor must not then be yielded to in this.

[Enter OCTAVIA, with her train.]

OCTAVIA.
Hail, Caesar, and my lord! hail, most dear Caesar!

CAESAR.
That ever I should call thee castaway!

OCTAVIA.
You have not call'd me so, nor have you cause.

CAESAR.
Why have you stol'n upon us thus? You come not
Like Caesar's sister: the wife of Antony
Should have an army for an usher, and
The neighs of horse to tell of her approach
Long ere she did appear; the trees by the way
Should have borne men; and expectation fainted,
Longing for what it had not; nay, the dust
Should have ascended to the roof of heaven,
Rais'd by your populous troops: but you are come
A market-maid to Rome; and have prevented
The ostentation of our love, which left unshown
Is often left unlov'd; we should have met you
By sea and land; supplying every stage
With an augmented greeting.

OCTAVIA.
Good my lord,
To come thus was I not constrain'd, but did it
On my free will. My lord, Mark Antony,
Hearing that you prepar'd for war, acquainted
My grieved ear withal: whereon I begg'd
His pardon for return.

CAESAR.
Which soon he granted,
Being an obstruct 'tween his lust and him.

OCTAVIA.
Do not say so, my lord.

CAESAR.
I have eyes upon him,
And his affairs come to me on the wind.
Where is he now?

OCTAVIA.
My lord, in Athens.

CAESAR.
No, my most wronged sister; Cleopatra
Hath nodded him to her. He hath given his empire
Up to a whore; who now are levying
The kings o' theearth for war: he hath assembled
Bocchus, the king of Libya; Archelaus
Of Cappadocia; Philadelphos, king
Of Paphlagonia; the Thracian king, Adallas;
King Manchus of Arabia; King of Pont;
Herod of Jewry; Mithridates, king
Of Comagene; Polemon and Amyntas,
The kings of Mede and Lycaonia, with
More larger list of sceptres.

OCTAVIA.
Ay me, most wretched,
That have my heart parted betwixt two friends,
That do afflict each other!

CAESAR.
Welcome hither:
Your letters did withhold our breaking forth,
Till we perceiv'd both how you were wrong led
And we in negligent danger. Cheer your heart:
Be you not troubled with the time, which drives
O'er your content these strong necessities;
But let determin'd things to destiny
Hold unbewail'd their way. Welcome to Rome;
Nothing more dear to me. You are abus'd
Beyond the mark of thought: and the high gods,
To do you justice, make their ministers
Of us and those that love you. Best of comfort;
And ever welcome to us.

AGRIPPA.
Welcome, lady.

MAECENAS.
Welcome, dear madam.
Each heart in Rome does love and pity you:
Only theadulterous Antony, most large
In his abominations, turns you off,
And gives his potent regiment to a trull
That noises it against us.

OCTAVIA.
Is it so, sir?

CAESAR.
Most certain. Sister, welcome: pray you
Be ever known to patience: my dear'st sister!

[Exeunt.]

Rome. Caesar's house. Caesar confers with Maecenas and Agrippa. He tells them that Antony is back in Alexandria, and he has in public acknowledged his relationship with Cleopatra. They made a public appearance in the marketplace on thrones of gold, with Cleopatra dressed like the Egyptian goddess Isis. Antony has divided the Eastern territories of Rome between Cleopatra and their sons together. He has made various accusations of wrongdoing against Caesar, which Caesar has sharply answered. Caesar has made all this known to the public. Octavia enters with her Train. Caesar criticizes the paltriness of her train, implying that Antony treats her lightly, and informs her of Antony's return to Egypt. Antony is preparing for war, and Octavius must prepare to fight him. He lovingly welcomes his sister back to Rome, pitying her suffering and condemning her husband. War is about to begin.

Ventidius' scene , like 2. 4, is a scene that gives little insight into the main characters' personalities and does nothing to develop the plot. But Ventidius' remarks about the dangers of too much success speak volumes about the Roman world. We are fresh from 2. 7, in which the triumvirate might have lost their lives to a treacherous and ruthless assassination. Here Ventidius shows us another ugly side to the Roman world of duty and valor. A subordinate who does too well can be perceived as a threat, and to be perceived as a threat is dangerous. Duty and ambition have a strained and complex relationship. Does Caesar give his sister to Antony in order to have pretext for war. Octavius seems to love his sister deeply, but using her as a political tool and loving her are not mutually exclusive. Enobarbus sees the whole situation plainly in 2. 6, when he predicts that Antony's shoddy treatment of Octavia is inevitable, and his return to Cleopatra will give Octavius reason to go to war. Probably, Octavius sees it just as clearly from the start. Although we cannot know his motivations with certainty, an Octavius who uses his sister for political ends is not inconsistent with the man we see elsewhere. His tears at the parting show his human side, but they don't rule out a deeper political motivation for allowing the marriage. The different needs of human emotion and political ambition are commented on by Enobarbus, even as he watches Octavius weeping. Antony wept at Brutus' death, even though he was hunting Brutus down for Julius Caesar's assassination. Enobarbus comments that when he did so, "What willingly he did confound he wailed". Although Enobarbus is talking about Antony, Shakespeare has placed these comments strategically. Although we can't know if Enobarbus is consciously implying that Octavius is weeping for a sister whom he knowingly is putting in harm's way for political ends, certainly the audience can notice the parallel. Cleopatra's second scene with the messenger is comic in effect. Cleopatra is not that interested in the truth; she is interested in play. The messenger is turned into a bit of fun, and Cleopatra is able to comfort herself, even if that comfort doesn't come from truth and is sadistic. These scenes condense an incredible amount of time, and they are not necessarily chronological. 2. 5 was the last time we saw Cleopatra with the messenger, at the end of which she demanded that Alexas bring the messenger to her so she could question him about Octavia's looks. Here in 3. 3, we have the interrogation scene, which should follow, chronologically, the events of 2. 5. But between 2. 5 and 3. 3, the triumvirate moves to Misenum, deals with Pompey, and makes the final arrangements before parting. Also, the time it would take for a message to go from Rome to Alexandria is considerable. Shakespeare is arranging the scenes for the purpose of juxtaposition, and not for chronological fidelity. The following scenes condense great amounts of time, and effect leaps in space. In Athens, Antony informs Octavia that her brother is on the move, warring against Pompey. In the next scene, the war is apparently over. In two scenes, the balance of power has changed radically, and the action has all been Octavius'. By 3. 5, Lepidus is imprisoned for life, his wealth confiscated by Octavius. The charges against Lepidus are patently bogus: as proof of Lepidus' treachery, Octavius has used letters to Pompey that Octavius himself urged him to write. In 3. 6, Caesar himself states other supposed reasons for imprisoning Lepidus: "I have told him Lepidus was grown too cruel / That he his high authority abused / And did deserve his change". This description of Lepidus is totally inconsistent to the Lepidus we have seen. Lepidus is mild, conciliatory, a bit foolish. Nothing about him suggests tyrant. Octavius has ruthlessly disposed of Lepidus in order to take his wealth and territories. His ambition is far greater than any personal bond he might feel for Lepidus. Antony has made several tactical miscalculations. Though not stated explicitly, Eros implies that before Lepidus' removal, Antony ordered the assassination of Pompey. Antony hoped to do his allies a good turn, but now that he sees that Octavius is most certainly preparing to come after him next, he realizes that Pompey would have made a useful ally. Antony severely underestimated Octavius' ambition, and overestimated Lepidus' value as a balance to Octavius' power. He also overestimated Octavius' sense of loyalty. Octavius' description of Antony's inappropriate proclamations is yet another wonderful Roman description of Egyptian decadence. Note that in the play, the best descriptions of Eastern luxury are made by Romans; without traveling widely himself, Shakespeare realized that natives of a place take its wonders for granted, while outsiders are endlessly amazed by what is foreign and exotic to them. Again, we are being hit over the head with the thematic issues represented by Rome versus Egypt. The Roman world is one of duty, dominated by men. Cleopatra's court is a place of pleasure, play, and decadence. She is the central figure of the court, even when Antony is there, and the most important attendants are women. She has a few male attendants, but they are nothing like Roman men, and one of them is a eunuch. When Octavius describes Antony's scandalous actions, the luxury is one of the shocking parts: "I'th' marketplace on a tribunal silvered / Cleopatra and himself in chairs of gold / Were publicly enthroned". The expense shocks them, but there's no mistaking the fascination. Octavius description of the scandal begins with that material detail. Octavius' distaste for the pleasures of normal men becomes a condemning prudery, when he says that around them sat "all the unlawful issue that their lust / Since then hath made between them". The idea of Octavius having illegitimate children is laughable, at least from the way Shakespeare depicts him; Shakespeare's Octavius would only procreate according to plan. He can only speak of the children of Antony's love with words that drip with contempt. Octavia is greeted with pity by Octavius and his men. She is depicted sympathetically, but Shakespeare does not develop her character. He is far more interested in the rivalry between her husband and brother, and too much Octavia might hamper his purposes. She works better as a tool, a somewhat naive woman who cannot understand her husband's longing for the East or her brother's political machinations. Octavius' comfort returns to the theme of fate: ". Be you not troubled with the time, which drives / O'er your content these strong necessities; / But let determined things to destiny / Hold unbewailed their sway". He sees her unhappiness partly as the fault of Antony, but partly the product of destiny. She is a casualty of fate. Is Octavius strategically cleansing himself of any responsibility for the marriage. Does Octavius see the destiny of one unified empire as the only thing that matters, with the needs of all, including himself, being subordinate to that goal. Or is he merely avoiding blame for using Octavia as a political tool. We know now that Octavius values loyalty less than other virtues, but is his dream of a unified empire motivated by ambition, a sense of duty, or both. Octavius is fascinating because one feels certain that his motivations must be crystal clear to himself; only from the outside, where the audience sits, is there the appearance of ambiguity

The scene opens in Rome. Antony has now returned to Egypt, and Caesar tells two of his officers, Maecenas and Agrippa, about Antony's recent activities there. Antony has formally appointed Cleopatra to be Queen of Egypt, lower Syria, Cyprus, and Lydia, and he has also made his two small sons titular kings of various lands which he has conquered. Caesar interprets Antony's actions as being political ploys to usurp the authority of Rome; thus, they are an insult to both the empire and to Caesar personally. As a further insult to himself, Caesar says, Antony has accused Caesar of not giving him his due portion of Pompey's realm in Sicily and that he has also suggested that Caesar's detention of Lepidus was solely for the purpose of acquiring his property. Caesar says that he has sent a messenger to explain why Lepidus was arrested. He also agrees to grant Antony part of the kingdom that he, Caesar, has conquered, but only if Antony reciprocates by granting him land from his own conquests. He suspects, however, that Antony will never agree to this. Octavia arrives with her attendants, and Caesar chides her for giving him no warning that she was coming; he had no time to welcome her with proper ceremony. She tells him that she heard that Caesar was making preparations for war, and when she begged to return, Antony allowed her to do so. Caesar tells his sister that Antony's real reason for permitting her to return to Rome was for one reason only: so that Antony could return to Cleopatra. Octavia is agonized that her brother, Caesar, and her new husband, Antony, "do afflict each other."

Here we see Caesar finally deciding to take overt action against Antony. He would not have dared to do so earlier, but because of Antony's return to Egypt, because of Antony's assertion of military and political authority there, and because of Antony's adulterous insults to Octavia, Caesar now has sufficient reasons to do what he has wanted to do all the time -- that is, he can now attack Antony, defeat him, and become sole ruler of the world. If Antony were more farsighted and if he had realized what an ambitious foe Caesar was, perhaps he would have been more careful in giving Caesar an excuse to attack him. But one suspects that even if Antony had not given Caesar sufficient reasons to provoke him, Caesar would have created them. Very simply, Caesar is overly ambitious and pathologically power-hungry. When we hear Caesar say that he explained to Antony in a letter that Lepidus was deposed because he was "too cruel; / That he his high authority abus'd," one should not miss the irony here. Of all people, the ineffectual and powerless Lepidus is most unlikely to have abused his authority. It is Caesar himself who would be most likely to abuse "high authority." But such duplicity is as typical of Caesar in achieving his goals as it is of Antony and Cleopatra. Caesar deceives himself; he rationalizes acts that further his ambition, and Antony likewise deceives himself when he believes that what he is doing will have no consequences; naively, Antony sees no danger in spending time with Cleopatra. As another example of self-deception, we have just witnessed how Cleopatra deceives herself; she interpreted the messenger's description of Octavia as being wholly negative in order to satisfy her need to believe that it is she alone whom Antony really cares for. Caesar's duplicity here is evident even in the way he scolds Octavia for not giving him a chance to welcome her properly. In fact, he is really less concerned about her than he is about his last opportunity to show the world how badly Antony has treated his sister. This motive is unstated, but it is clearly consistent with the self-serving way in which he has explained other events -- for example, Lepidus's fall from favor.

Back in Rome, Caesar rails against Antony. He tells Agrippa and Maecenas that Antony has gone to Egypt to sit alongside Cleopatra as her king. He has given her rule over much of the Middle East, making her absolute queen of lower Syria, Cyprus, and Lydia. Caesar reports that Antony is displeased that he has not yet been allotted a fair portion of the lands that Caesar wrested from Pompey and Lepidus. He will divide his lot, he says, if Antony responds in kind and grants him part of Armenia and other kingdoms that Antony conquered. No sooner does Maecenas predict that Antony will never concede to those terms than Octavia enters. Caesar laments that the woman travels so plainly, without the fanfare that should attend the wife of Antony. Caesar reveals to her that Antony has joined Cleopatra in Egypt, where he has assembled a large alliance to fight Rome. Octavia is heartbroken, and Maecenas assures her that she has the sympathy of every Roman citizen