Antony and Cleopatra Companion
(William Shakespeare’s)

Act I

ACT I, Scene 1

The setting is Cleopatra’s palace in Alexandria, Egypt, during the transition period between the end of the Roman Republic and the founding of the Roman Empire by Augustus Caesar, also known as Octavius or Octavian. Mark Antony, Lepidus, and Octavius are the triumvirs, or three chief rulers, of the Roman world.

The scene opens on Philo and Demetrius, two of Antony’s friends, as Philo laments that their esteemed general, Antony, has turned from his military duties to lavish his attention on his lover, Cleopatra. Their conversation is interrupted by musical fanfare as Antony and Cleopatra enter, followed by the queen’s attendants.

At this point, Antony and Cleopatra’s conversation about their love for each other takes center stage as Philo and Demetrius blend into the background. A messenger arrives with news from Rome, but Antony, annoyed and unwilling to be distracted, tells the messenger to be brief. Cleopatra, who seems to be less smitten by love than Antony, insists that he listen more thoroughly. She is concerned that the message may be from Antony’s wife Fulvia, or perhaps from Caesar himself, with military orders for Antony. In true lover’s fashion, Antony ignores her, desiring to talk of nothing but love. In an aside to herself, though, it’s clear that Cleopatra does not believe him. She does not understand why he married Fulvia if he does not love her, but she decides to play the part of a foolish lover, leaving Antony to act out the real thing. Still, when Antony asks her about the evening’s entertainment, she repeats her suggestion to listen to the messenger from Rome. Again, he objects, calling her a quarrelsome queen and returning the conversation to the subject of love. He decides that they will spend the evening outside in the streets people watching, and he reminds her that that was what she wanted to do the night before. As they exit the palace with their attendants, he tells the messenger to be gone.

Once everyone has left, Demetrius wonders that Antony is so disrespectful to the young Octavius Caesar. Philo responds that Antony seems to have lost sight of his dignity. The scene ends with Demetrius expressing remorse that Antony’s behavior confirms what the lying gossips are saying in Rome, but he hopes that the next day will bring better things as he bids Philo good night.

ACT I, Scene 2

Still in Cleopatra’s palace, the scene opens on Cleopatra’s attendants, Charmian, Iras, Alexas, and the eunuch Mardian, who are joined by a soothsayer (or fortune teller), several background characters, and Enobarbus, one of Antony’s most important supporters and companions.

Charmian, one of the queen’s close female attendants, is in a playful, flippant mood as she asks the soothsayer to tell her fortune. There is continuous bantering back and forth between the attendants and Enobarbus, who orders the dessert (fruit and wine, among other things) to be served. Through it all, the soothsayer (an older form of “truth sayer”) quietly tells the truth about their fortunes, without revealing the tragic nature of what is to come. He informs Charmian that she will outlive her mistress and that she has already seen better days than those that await her. She and the rest of the group are not in a serious mood, though, nor do they appear to actually believe the soothsayer’s reports.

Next, Cleopatra enters briefly, asking for Antony. As she sends Enobarbus to fetch him, she is aware that he is in a more somber mood than the previous night. She herself appears to be in a fickle, manipulative mood, for just after Enobarbus leaves, Alexas informs her that Antony is on his way. However, as he enters the room, Cleopatra decides that she doesn’t want to see him after all and leaves, her attendants and all others following.

Antony is now alone with a messenger, who tells him the latest news from abroad—that Fulvia, his wife, at first fought against his brother, Lucius, but that they were reconciled and joined forces against Caesar (Octavius), who immediately drove them out of Italy. Antony then urges the reluctant messenger to tell him the even worse news that his enemy, Labienus, who joined with the Parthians against Rome, has been busy making military conquests in the Near East while—and here the messenger breaks off. Antony quickly recognizes the error of his own ways and that he needs to change them at once, and he urges the messenger to be straightforward with him. With that, the messenger leaves and is followed by two more, the last of whom gives Antony a letter and the news that his wife Fulvia is dead.

Antony, now alone, laments the death of Fulvia, whom he calls a “great spirit” and “good,” and he reaffirms his need to break Cleopatra’s destructive hold on him. At this point, Enobarbus enters, and Antony informs him that he (Antony) needs to leave immediately. Enobarbus, who appears to not take Antony seriously, comments on how women suffer from the absence of their men. Referring to Cleopatra, he notes how often and easily she has “died” on losing a lover. His lighthearted speeches extol her virtues while Antony protests that she is cunning and that he wishes he had never seen her. Finally, he interrupts Enobarbus to tell him that Fulvia is dead, to which Enobarbus—still lightly—replies that that would only be a tragedy if there were no other women in the world but that another “petticoat” stands ready to take her place. Antony finally drums home the seriousness of the situation, which embraces potentially dangerous political changes: Fulvia’s exploits prior to her death now require Antony’s involvement; Sextus Pompeius, son of Pompey the Great, has taken to piracy and challenged Octavius; and Antony’s friends and allies in Rome have requested his presence. The scene ends as he instructs Enobarbus to inform the officers of their approaching departure, while he takes it upon himself to speak to Cleopatra.

ACT I, Scene 3

As Scene 3 opens, we find Cleopatra with her attendants Charmian and Alexas.

Cleopatra is wondering where Antony has gone and is devising ways to manipulate his emotions. Finally, she sends Alexas to look for him and bring him back quickly. Once alone, Charmian expresses her doubts about how the queen is dealing with her lover. Charmian advises her to be agreeable, but Cleopatra calls her a fool and says that her method is a sure way to lose a man.

When Antony enters the room, the queen begins to manipulate him by pretending to be faint and ill. Unaware of Fulvia’s death, she plays on Antony’s emotions by pretending to feel jealous, betrayed, and powerless to control him. How can she possibly trust him, she wonders, if he is unfaithful to Fulvia? Antony keeps trying to speak, but Cleopatra continually interrupts him. She then tells him to just go and not to bother speaking, saying that the time for that should have been when he was professing his eternal love but that now, he—the world’s greatest soldier—had become the world’s greatest liar.

After several attempts, Antony finally breaks through Cleopatra’s drama to inform her of the latest developments overseas and to assure her that, though he needs to leave, his heart will still be with her. He tells her how Pompeius is nearing the port of Rome, how he is gaining power with the current government’s detractors, and how political unrest could lead to desperate moves. Finally, he informs her of Fulvia’s death. At first, Cleopatra is unsure whether to believe him; but when Antony assures her that it’s true and gives her the letter, she becomes indignant, calling him false and claiming to see now how he will react when she dies.

Antony finally tries to convince Cleopatra by swearing on the sun that his actions will be in accordance with her orders. Cleopatra does not believe him (her statement that she is well again because Antony loves her is tongue in cheek). He insists, however, that he is a faithful and honorable lover. She replies, again sarcastically, that Fulvia said the same thing about him, and then she mockingly asks him to turn and weep for Fulvia and to pretend as he says goodbye that his tears are for her. When she accuses him of putting on a false appearance of honor, Antony starts to become angry; but Cleopatra continues egg him on, so he decides to leave.

In their final exchange, Cleopatra gropes around for a last word, and her statement about “her oblivion” has been interpreted as either forgetfulness or her fear of being forgotten by Antony. Antony’s answer that she is the epitome of “idleness” (a term with multiple meanings) implies that she is toying with him. Her answer, which indicates that she is softening, is that to be “idle” in this way is hard work. She then says that she realizes that his honor calls him and that her folly is no reason to stay, and she sends him away with her blessings. As Antony departs, he pledges that though they are apart, they will be with each other in spirit.

ACT I, Scene 4

Scene 4 takes place in Rome, and it opens upon Lepidus, Caesar (Octavius), and their attendants, who all enter the room together. Octavius is reading a letter.

Caesar begins the conversation by saying that it is not natural for him to hate Antony, whose greatness he acknowledges; but Antony’s recent drunken and wasteful behavior is so shameful and unmanly that Caesar views him as the epitome of vice. Lepidus defends him by saying that he cannot believe that he is so bad that his goodness is no longer obvious, and he guesses that Antony’s faults are inherited, so that he cannot help himself. Caesar’s answer is tongue in cheek at first as he essentially says: “Of course, it’s all right to give up the kingdom for a love affair, to drink with a slave, to stagger drunken through the streets in broad daylight and trade blows with sweaty scoundrels …” But he adds that Antony’s behavior is endangering both them and himself and that he should know better.

At this point, a messenger enters with news, in accordance with Caesar’s request for hourly reports on the latest events. He tells them that Pompey’s naval forces are strong and that he has gained favor among the discontented among the current regime’s people. Caesar replies that he is not surprised by the fickleness of the people, since leaders are often loved until they gain power and that afterwards the people change their minds. Another messenger enters to announce that two infamous pirates, Menecrates and Menas, have taken control of the sea and are attacking and frightening Italy’s coasts. Between them and Pompey, much damage is being done.

The news prompts Caesar to plead rhetorically with Antony (since Antony isn’t actually present) to stop his drunken behavior. He then recalls Antony’s former greatness: how, after killing the consuls Hirsius and Pansa in battle following Julius Caesar’s assassination, they lost the battle anyway, and Antony was forced to leave Italy; how he endured difficulties and sufferings that would have vanquished other men—drinking urine, eating wild berries and flesh that others could not stand to look at. Yet he bore it all like the noble soldier that he was and never lost his health.

When Lepidus responds by saying what a shame it is that Antony’s behavior has declined so much, Octavius replies that Antony’s shame should impel him to return to Rome. He is eager to summon the council so that they can return to the battlefield, since Pompey grows stronger through their inaction. Lepidus and Caesar part with promises to keep each other informed of any news, either on land or at sea.

ACT I, Scene 5

Back in Alexandria, we find Cleopatra in her quarters with her attendants, Charmian, Iras, and Mardian, the eunuch. Unlike in previous scenes, where she seemed more aloof, this scene begins to reveal Cleopatra’s real feelings about Antony.

As the scene opens, Cleopatra is asking Charmian to bring her mandragora, a sleeping potion. When Charmian asks why, the queen tells her that it is so that she can sleep away the time that Antony is gone, to which Charmian replies that Cleopatra thinks about him too much.

Cleopatra then calls over the eunuch Mardian, and in a bantering exchange that includes witty remarks about the advantages and disadvantages of being castrated, she asks him whether he has any desires. He answers that, yes, he has strong desires and often thinks about making love but can do nothing (other than honest, upright labor).

Easily distracted, Cleopatra turns again to Charmian as she launches into a daydreaming monologue about Antony. Where is he now, the queen wonders—and what is he doing? We see in this speech how smitten Cleopatra is—yet not entirely because she also reminisces about her former affairs with Julius Caesar and Sextus Pompeius’ older brother, also named Pompey; and the overall impression is that she is in love with power as much as with love.

Alexas now enters the room and greets Cleopatra, having just come from Antony before his departure from Egypt. He presents her with a pearl (which he says Antony kissed many times) and a memorized speech from Antony, in which he promises to conquer many kingdoms in Cleopatra’s name.

Cleopatra asks Alexas about Antony’s mood as he was leaving, and he answers that he was neither happy nor sad. Again, Cleopatra launches into a monologue about Antony’s excellent sense of balance: she notes that he is careful to not seem too sad, knowing that others emulate him; yet at the same time, he is not too happy, which suggests that he misses Cleopatra. But, she says, if he were to express either extreme, there would still be no one who could match his appearance.

Cleopatra then turns to Alexas and asks whether he happened to meet any of her messengers. He answers, yes, that he saw more than twenty and wonders why she sent so many. The queen replies emphatically that there will not be one day when she forgets to write to Antony. She then orders Charmian to bring her ink and paper, asking her opinion about whether she ever loved Caesar as much as Antony. Charmian, playful and flippant as ever, exclaims how delightful Caesar was, as Cleopatra threatens to choke and bloody her; to which Charmian replies that she is just imitating Cleopatra. Cleopatra explains that she was young and naïve at the time, then demands ink and paper again, with the determination to write to Antony daily.

Act II

ACT II, Scene 1

Act II, Scene 1 opens in Messina, Sicily, with Sextus Pompeius, also known as Pompey, discussing political and military affairs with his friends Menecrates and Menas. Their manner is described as being “warlike,” and it is clear that they mean business.

The conversation begins with a discussion of whether or not the gods are on their side. Pompey then assesses the situation from a practical, human point of view. He is convinced that he will do well; he is popular with the people, he is the dominant power at sea, and his strength is constantly growing. He also believes that Mark Antony is still whiling away the time in Egypt, with no interest in war. Octavius Caesar seems to be losing favor with the people, while Lepidus appears to have no great love for either Caesar or Antony, though he flatters both of them; nor do they seem, in Pompey’s judgment, to like Lepidus overly much.

Menas informs him that Caesar and Lepidus have gone to the battlefield with considerable forces. Pompey demands to know where he got this information, claiming that it’s false. Menas replies that Silvius told him, to which Pompey answers that he is dreaming. He is convinced that Caesar and Lepidus are in Rome waiting for Antony, who still remains bewitched by Cleopatra’s spell of lust, wine, food, and sleep.

Varrius, another of Pompey’s friends, now enters and delivers the news that Mark Antony is expected to arrive in Rome at any time. This, of course, is not what Pompey wants to hear, and he is surprised that Antony, whom he considers twice as good a soldier as the other two triumvirs, has roused himself from his stupor for such a minor battle; but he also realizes that this latest move by Antony indicates that he understands their growing strength. Menas does not believe that Antony and Caesar will get along, especially since Antony’s brother and his now dead wife, Fulvia, went to war against Caesar. But Pompey recognizes that, though Caesar and Antony have reason to quarrel among themselves, Pompey and his forces represent a greater threat and may be cause enough for them to patch up their differences. Right before departing with his friends, Pompey again invokes the will of the gods and at the same time confirms the need to use all their own strength against their foe.

ACT II, Scene 2

In the second scene of Act II, we find ourselves back in Rome.

As the scene opens, Lepidus is requesting that Enobarbus convince Antony to approach Caesar in a civil manner. There is evidently still some bad feelings between Caesar and Antony because Enobarbus is not particularly cooperative, saying that he will encourage Antony to speak as he would anyway and that if he (Enobarbus) were Antony, he would not even bother shaving for Caesar. Lepidus reminds him that this is not a time for bitterness and that small matters should give way to larger ones, but Enobarbus insists that sometimes small (personal) matters come first.

As Antony enters with Ventidius, another of his supporters, Lepidus asks Enobarbus to avoid stirring up trouble. Enobarbus points out that Caesar and two of his group, Maecenas and Agrippa, have also just arrived from a different direction. Both Antony and Caesar are conversing with their friends when Lepidus greets them.

Lepidus now repeats to them what he was saying earlier to Enobarbus: that they have come together to take care of weighty matters and that smaller matters should, therefore, be handled in a courteous and diplomatic manner. Antony and Caesar both agree. There is a musical fanfare, and Caesar welcomes Antony to Rome. After exchanging courtesies, they both sit.

Antony begins the discussion by mentioning hearsay that Caesar has a poor opinion of him in things that either are not true or not his concern. Caesar answers that the idea is laughable and that he did not speak ill of Antony and had no interest in talking about him. Antony asks him how he felt about his being in Egypt, to which Caesar replies that it meant no more to him than his being in Rome means to Antony, unless Antony’s presence in Egypt meant that he was plotting against him. When Antony asks him to explain what he means, Caesar brings up the issue of Antony’s brother and wife having gone to war against him in Antony’s name. Antony replies that the information is untrue and that his brother’s warring was as much against him as against Caesar. He adds that Caesar will have to do better than that if he wants to choose something to fight over and that he (Antony) also did not approve of his brother’s war. Referring to his wife, he further adds that Caesar could manage his empire (a third of the world) more easily than he could handle such an unmanageable wife.

Caesar then asks Antony why he neglected to read his letters and why he mistreated his messenger. Antony replies that he had been feasting with company (which implies that he had also done a lot of drinking) and was not himself, but he states that he tried to ask the messenger’s pardon the following day and that, again, this issue was not worth quarreling over.

Next Caesar asks Antony why he broke his oath. When Lepidus begins to intervene to keep things civil, Antony says to let Caesar speak because of the importance of the subject. Caesar continues with the assertion that Antony denied him military support when he needed it. Antony replies that it was more a case of neglect—that he was in a poisonous state in which he barely knew himself. He is willing to ask for forgiveness, but he will not deny his inherent honor or greatness. He then explains that the real reason for the war started by his brother and wife was Fulvia’s jealousy and that that was her way of getting Antony to leave Egypt. Again, he humbles himself and asks for pardon.

Lepidus, always the diplomat, periodically voices his encouragement of anything that will help to establish rationality and peace between the triumvirs. Maecenas then speaks up and reminds Antony and Caesar that they have more serious things to take care of than their mutual quarrels. Enobarbus adds in agreement that there will be time enough for their quarrels when they have nothing better to do and that they can take them up again once they have dealt with Pompey. Antony notices his flippant tone and instructs him to be quiet since he’s just a soldier. Enobarbus makes a few more quips, prompting Antony to inform him that his behavior is inappropriate in the presence of the current company (meaning Caesar). Caesar says that he is not bothered so much by what Enobarbus says but by how he says it. He is further concerned that he and Antony will not be able to sustain their friendship when their characters are so different as their actions show. But he adds that if there were a way to bind them together, he would travel the world to find it.

Agrippa then asks Caesar for permission to speak. He mentions that Caesar has a sister, Octavia, and that Antony is now a widower. Caesar protests that Cleopatra would not appreciate that statement, but Antony affirms that he is not married and asks to hear what Agrippa has to say. Agrippa’s point, which he considered for a long time before speaking, is that if Antony were to marry Octavia, then her love would bind him and Caesar together in brotherly love and thus seal their alliance. Both Antony and Caesar wholeheartedly agree to the plan and clasp their hands in a profession of permanent friendship.

The conversation next turns to war. Pompey, their enemy, has shown surprising courtesy toward Antony lately, putting him in somewhat of a diplomatic bind. Antony’s plan is, therefore, to thank Pompey first and attack him afterwards. Caesar reminds them of the urgency of the situation—that if they don’t seek him out soon, he will certainly seek them out. They discuss his whereabouts near Mount Misena and the fact that his land forces are large and keep growing stronger and that he is unsurpassed at sea. But they decide that they need to complete the marriage arrangements before dealing with Pompey, and with that, the triumvirs make their exit, leaving their followers behind to talk among themselves.

Maecenas now takes a moment to welcome Enobarbus, who also greets him and Agrippa in turn. They ask him whether the stories they have heard about Egypt are true, and he confirms them, describing their lifestyle of carousing and feasting. But most of all, he describes Cleopatra and her barge in great detail—its gold and purple colors, the perfumed sails and silver oars, the flute music, and Cleopatra herself, dressed in gold and surrounded by boy attendants with fans of various colors. He goes on to describe Antony and Cleopatra’s first meeting, Cleopatra’s hold on Julius Caesar, her magnetic beauty and ability to arouse when other women grow tiresome. Maecenas hopes that Octavia’s more modest beauty and wisdom can satisfy Antony and bring him good fortune. Finally, Agrippa invites Enobarbus to stay as his guest while in Rome.

ACT II, Scene 3

Act II, Scene 3 takes place in the home of Octavius Caesar. As the scene opens, Caesar, Antony, and Octavia enter, with Octavia in the middle.

The conversation begins with Antony telling Octavia that his duties will take him away from her for while. She responds by saying that she will spend the time praying for him. Antony then asks her to not judge him by what she hears of him. He admits that he has not led an entirely upright life, but he now promises to mend his ways. Caesar and Octavia bid Antony good night and leave the room.

The soothsayer enters the room, and Antony calls him over, asking him whether he would rather be in Egypt. The soothsayer says that he wishes that neither he nor Antony had ever left. Antony asks him his reason for saying so, and the soothsayer replies that he senses that Antony will return to Egypt. Antony then asks him whose fortunes will be greater—his or Caesar’s. Without hesitating, the soothsayer answers: Caesar’s; and he urges Antony to stay away from him. He says that his daemon is brave, strong, and noble when Caesar is not around but that it becomes weak and afraid in his presence. He continues that if Antony competes with Caesar in anything, he will certainly lose. Caesar’s natural luck will even let him win against the odds. As he finishes his premonition, he warns Antony again to stay away from Caesar. Antony tells the soothsayer to be gone but also to tell Ventidius that he would like to speak to him.

The soothsayer leaves, and Antony, now alone, first mentions that he will be sending Ventidius to Parthia. Speaking of the soothsayer, he then adds that, whether by skill or by luck, he has spoken the truth. He then muses about Caesar’s extraordinary luck, how even Antony’s greater skill is no match for it. Whatever they do together, whether they are drawing lots or cockfighting, if they compete, Caesar will always win. Even when all the odds are against Caesar, for example, when his quails are fenced in, they still beat Antony’s. He decides to return to Egypt, for though he intends to marry Octavia to keep the peace, his passion lies in Egypt (what he calls “th’ East”).

Ventidius enters at this point, and Antony informs him that he (Ventidius) needs to go to Parthia and that his commission is ready. He tells him to follow him, and they both leave.

ACT II, Scene 4

Act II, Scene 4 takes place at Lepidus’ house, where Lepidus, Maecenas, and Agrippa have met as they prepare to go to war.

The scene begins with Lepidus dismissing Agrippa and Maecenas as he tells them to quickly follow their generals, Caesar and Antony. Agrippa assures him that all Antony has to do is kiss Octavia goodbye, and they will follow. Lepidus bids them farewell and looks forward to seeing them in soldiers’ attire, which he says will suit both of them well. Maecenas guesses that they will reach Mount Mesina before Lepidus, and Lepidus confirms this, saying that their way is shorter and that he has things to do that will take him off course. He believes that they will gain two days on him. Maecenus and Agrippa both wish Lepidus success as Lepidus bids them a final farewell.

ACT II, Scene 5

Act II, Scene 5 takes us back to Alexandria, where we find Cleopatra with her attendants, Charmian, Iras, and Alexas.

Cleopatra is in one of her fickle moods again. She calls for music, so her attendants shout for the musician. When Mardian the eunuch appears, she suddenly changes her mind and decides that she wants to play billiards instead. Charmian complains that her arm is sore and recommends that Cleopatra play with Mardian, to which Cleopatra replies that she might as well, since for a woman, playing with a eunuch is just as good as playing with a woman. She asks Mardian if he’ll play with her, and he answers that he’ll do his best. At that point, Cleopatra changes her mind again and decides that she’d rather go fishing. She fantasizes about catching slimy fish and pretending that they’re Antony. Charmian and Cleopatra reminisce about the time she played a joke on Antony, when her diver attached a fish to his hook—how much she laughed, how they drank the night away, and then, how she dressed him in her clothes while she wore his sword.

At this point, a messenger enters from Italy. Cleopatra is eager for good news, but then senses from his manner that something is amiss. She becomes dramatic, jumping to the conclusion that the messenger will tell her that Antony is dead but then resolves to hear the actual message. The messenger begins to tell her that Antony is well, when she interrupts in her dramatic manner, interjecting both threats and promises of wealth. The messenger keeps trying to get her to listen, and she keeps interrupting until she finally begins to settle down and he is able to deliver his message bit by bit.

He informs her (again) that Antony is well and that he is committed friends with Caesar, but yet … At this point, Cleopatra abruptly informs him that she does not like the sound of “But yet.” After she rants a bit, he finally tells her that Antony is now married to Octavia. Cleopatra goes momentarily pale and then reacts by cursing and hitting him. The messenger protests that he didn’t make the match. Cleopatra promises him lands and riches if he will deny the truth. Instead, being an honest messenger, he repeats it. When she pulls a knife on him, he decides to run for his life. Charmian pleads with her mistress to contain herself—that the man is innocent. Cleopatra asserts that some innocents don’t escape the wrath of heaven. She then instructs Charmian to call the messenger back. When Charmian says that he is afraid, Cleopatra promises to not hit him.

When the messenger comes back in, Cleopatra informs him that bad news is never welcome even when it’s honest. The messenger replies that he has done duty. Cleopatra then repeatedly asks him, as though looking for a different answer, to tell her whether Antony is married. The messenger answers honestly each time, between her threats, insults, curses, and rantings. Cleopatra finally tells him to leave, throwing curses at him as he goes.

Charmian again pleads with her to be patient. Cleopatra feels that she has insulted Caesar by praising Antony and that she is now paying for it. Feeling faint, she asks to be led away. But first she tells Alexas to pursue the messenger in order to ask for all relevant details about Octavia—her age, temperament, hair color, and so on. After Alexas leaves, she continues a bit with her delirious rantings and then asks Charmian to lead her to her room.

ACT II, Scene 6

Act II, Scene 6 takes place in the port of Misenum, west of Naples. There is a musical fanfare as Pompey enters with Menas on one side and the triumvirs with their followers and lesser soldiers on the other. They are all in military mode.

The triumvirs have offered Pompey written terms of a possible truce, and they are now meeting to hear his judgment and hopefully avoid having to go to battle with each other. Pompey, though himself powerful at sea, acknowledges them as the new Roman power, now that the previous triumvirate of the Roman Republic has come to an end with the death of Julius Caesar. Pompey’s father, Pompey the Great, was originally Caesar’s ally but later opposed him. Pompey seems to be saying that Caesar’s excessive ambition and Rome’s cruelty toward his father led him to amass a navy in order to take revenge. Caesar tells Pompey to take his time, apparently referring to Pompey’s response to the written message they sent him. Antony then informs Pompey that though they may be equal at sea, he is no match for them on land.

At this point, Lepidus prompts Pompey to inform them of his opinion regarding the terms they have offered. Pompey agrees to the offer, which gives him the islands of Sicily and Sardinia and also requires that he clear the sea of pirates and send bushels of wheat to Rome. Pompey informs them that he came prepared to take their offer, but he also clarifies to Antony that he welcomed his mother when she came to Sicily during the war between Mark Antony’s brother and Octavius Caesar. Antony tells him that he is aware of his hospitality and thanks him for it. They clasp hands in friendship as Pompey tells Antony that he had not expected to see him there. Antony replies that although Egpyt’s beds are soft (and therefore enticing), he left earlier than originally planned because matters abroad had become urgent.

Caesar mentions how Pompey has changed since they last met. Pompey replies that he does not know how his face has changed but that his heart will never be the slave of fortune. Lepidus says that their meeting has been good, to which Pompey replies that he hopes so, as well. He adds that he is eager to have their agreement formalized, and Caesar agrees that that will be the next step.

The conversation turns to lighter matters as Pompey suggests that they feast each other before they part ways. He recommends that they draw lots to see who will go first. Antony volunteers, but Pompey insists on drawing lots, even though he is sure that Antony’s Egyptian cooking will outdo the rest. He adds that he even heard that Julius Caesar grew fat on Egypt’s delicious food. He starts to say that he also heard that Apollodorus carried—but at this point, Enobarbus interrupts him to confirm the story that Cleopatra was carried in to Caesar wrapped up in a mattress.

Recognizing Enobarbus, Pompey asks him how he is doing. Enobarbus replies that he is fine, especially with four feasts coming up. Pompey offers to shake his hand, claiming that he never hated him and that he admires what he has seen of his fighting. In his usual blunt manner, Enobarbus replies that he never loved Pompey and that his praises of him have deserved ten times the credit that Enobarbus gave him. Pompey responds graciously by telling Enobarbus not to worry—that his bluntness suits him. Pompey then invites everyone aboard his ship and exits with the triumvirs, leaving only Menas and Enobarbus behind.

Menas mumbles to himself in an aside that Pompey’s father would never have made such a treaty. He then turns to Enobarbus to say that he believes they have met before. Enobarbus thinks it was at sea. They exchange a few compliments, then—somewhat jokingly—mutually accuse each other of thievery. Enobarbus then offers to shake Menas’ hand in friendship.

After exchanging a few more jokes about thievery and trustworthiness, Enobarbus says that they originally came there to fight with them. Convinced that Pompey has made a bad move, Menas replies that he regrets that they will be drinking instead. He mentions that they had not expected to see Mark Antony and wonders whether he is married to Cleopatra. Enobarbus replies that he is married to Caesar’s sister, Octavia. Surprised at first, Menas then concludes that the marriage should seal a permanent bond between Caesar and Antony. Enobarbus replies that he sees things turning out differently, and Menas guesses that the marriage was made for political reasons and not for love, to which Enobarbus agrees. He then expresses his belief that Octavia’s saintly, cool, and quiet temperament will be the undoing of Caesar and Antony’s friendship. Menas wonders whether all men would not want that sort of temperament in their wives, and Enobarbus answers not those who do not share the same sort of character. He adds that Antony will return to his Egyptian love and that Octavia’s sighs will ignite Caesar’s anger toward him, so that what was meant to strengthen their relationship will be its undoing. He adds that Antony may be married, but his heart is in Egypt.

As the conversation comes to an end, Menas invites Enobarbus to board the ship with him and offers to drink a toast to him. Enobarbus accepts, and they go on board.

ACT II, Scene 7

Act II, Scene 7 takes place on board Pompey’s ship in the port of Misenum. There is music playing as we see several servants carrying in the wine.

The party is well under way, and we find out from the servants’ conversation that the guests have been drinking so much that they can hardly stand and that Lepidus, who has been tricked into drinking too much, is in the worst shape. The servants speak of him as the weakest of the triumvirs, a man who bears the name without the power; and they compare him to a planet that does not move or a face with sunken cheeks and no eyes.

A trumpet announces the arrival of the group as Pompey and the triumvirs enter, followed by their friends, additional captains, and a boy. Antony is explaining to Lepidus the ebbing and flooding patterns of the Nile River and how it feeds the harvest. Lepidus is asking Antony about Egypt’s serpents and crocodiles when Pompey offers him a toast. As Lepidus rambles on about the pyramids, Menas draws Pompey aside to speak to him in private. While this is going on, Lepidus continues rambling on about Egypt’s serpents and crocodiles, with Antony giving him tongue-in-cheek answers that are actually no answers at all, a fact that Caesar picks up on.

In the meantime, Pompey appears shocked by what Menas has been whispering in his ear and tells him to get away from him, but Menas is undaunted. Pompey tells him that he is insane, but Menas answers by insisting that he has served Pompey faithfully. He then asks Pompey whether he wants to be the ruler of the whole world. Pompey again reacts with shock, so Menas repeats the question and asserts that he (Menas) is the one who will make it possible for him. When Pompey asks him if he is drunk, Menas denies it and then proceeds to tell him of his plot to assassinate the triumvirs while they have them conveniently on board the ship. Pompey tells him that it might have been a good idea if he had just done it, and Pompey had found out later, but Pompey himself is bound to honor first and profit second and cannot now approve such an act. Disgruntled, Menas says in an aside to himself that he no longer cares to follow Pompey now that he has declined his offer even though (in Menas’ belief) it was what Pompey wanted.

With the conversation now over, Pompey and Menas return to the party. Pompey raises a toast to Lepidus, who is so drunk that he needs to be carried off the ship. Pompey mentions to Antony that the feast still does not match the Egyptian parties, but Antony replies that it’s getting close. Antony proposes a toast to Caesar, who says he would rather refrain since he doesn’t like the effects of too much drinking. Enobarbus calls for them all to join hands as they drink and dance to loud music, and Antony seconds the motion, suggesting that they drink themselves into a state of forgetfulness. A young boy musician sings a song to Bacchus, the god of drinking, music, and wild revelings.

Caesar decides that they have all had enough and bids Pompey good night. Turning to Antony, he suggests that it is time for them to go. He notices that Enobarbus, who is strong, is overcome by drink and that he himself is slurring his words. Besides, they have serious business to attend to that is more important than feasting.

Caesar, Antony, and Pompey exit to go down into the ship’s rowboat, leaving only Menas and Enobarbus, who has decided to stay behind. Menas offers to let Enobarbus stay in his cabin for the night and then orders music to send off the rulers.

Act III

ACT III, Scene 1

Act III opens on a battlefield in Syria. Ventidius, one of Antony’s followers, marches in a triumphal procession that bears the dead body of the vanquished Pacorus, son of the Parthian king, Orodes. Ventidius is accompanied by Silius, another of Antony’s followers, as well as other Romans.

Ventidius opens the scene with a rhetorical speech directed at Orodes (who is not present), telling him how the death of his son, Pacorus, has paid for his killing of Marcus Crassus, one the triumvirs of the Roman Republic along with Julius Caesar and Pompey the Great. Silius warns him that while his sword is still warm with blood from the death of Pacorus, the rest of the Parthians are fleeing. He urges him to follow after them quickly through Media and Mesopotamia, so that Antony may crown him with triumphal victories. Ventidius replies that he has already done enough and that to do too much in Antony’s absence would be to risk outdoing and thus offending his captain. Silius compliments Ventidius for his discretion, a necessary quality for a soldier who wants to gain distinction. He then asks Ventidius if he plans to write to Antony. Ventidius replies that he will humbly relate what they have done in Antony’s name—how under his banner they chased Parthia’s cavalry, which had never before been beaten, off the field. Silius asks where Antony is now. Ventidius answers that Antony is planning to go to Athens, where they, too, must meet him, and that they, therefore, must rush there as quickly as their load permits. The scene ends with Ventidius urging the troops onward.

ACT III, Scene 2

Scene 2 of Act III takes place back at Caesar’s house in Rome. Enobarbus and Agrippa enter the room from different doors.

Agrippa, referring to Caesar and Antony as brothers (brothers-in-law), asks Enobarbus if they have left. Enobarbus tells him that they have completed their business with Pompey, who has left, and that the triumvirs are now finalizing the agreement. He adds that Octavia is crying over having to leave Rome, that Caesar has grown serious and that Lepidus is suffering from anemia after his drinking bout. Agrippa then praises Lepidus’ noble nature, and Enobarbus and Agrippa get into a spirited debate over whether Lepidus loves Caesar or Antony more since he praises both of them exceedingly. The scene gives the impression that they are somewhat jokingly imitating Lepidus’ praises. Agrippa exalts Antony while Enobarbus votes for Caesar as the greatest of men (presumably in Lepidus’ eyes). In the end, they conclude that no one can match Lepidus’ love for Antony but that his love for Caesar is practically equal to religious devotion.

A trumpet sounds, alerting Enobarbus that the time has come to mount his horse for their departure. Enobarbus bids Agrippa goodbye, and Agrippa in turn wishes him good luck.

Next, Caesar, Antony, Lepidus, and Octavia enter. They are in the process of saying goodbye. Caesar encourages Antony to take good care of his beloved sister, and he urges Octavia to be a good wife to Antony, as he is convinced she will be. Turning again to Antony, he exhorts him to not let this chance at sealing their brotherhood be ruined; for if that happens, if Octavia is not loved equally by both of them, their friendship would stand a better chance if they didn’t use her as an intermediary. Antony assures Caesar that there is no reason for his lack of trust, and he wishes the blessings of the gods upon Caesar as he tells him that it is time for them to depart.

Caesar and Octavia then bid each other farewell as Caesar wishes his sister a good and comfortable voyage. Antony likens the tears in her eyes to April showers, which bring the spring. Octavia then whispers something in Caesar’s ear. Observing a change on his face, Enobarbus wonders to Agrippa whether Caesar is going to cry. Agrippa also notices the change, and Enobarbus expresses his opinion that this is not a good thing. Agrippa, however, reminds him how Antony wailed loudly at both Julius Caesar’s and Brutus’ deaths, but Enobarbus makes the excuse that Antony was suffering from a cold that year.

Caesar assures Octavia that she will hear from him and that he will be thinking of her. Antony likewise assures Caesar that his love is strong, and after embracing him, bids him goodbye again. They all say goodbye to each other a few more times, with Lepidus calling on the stars to give them light along the way. As the trumpets sound, they finally exit.

ACT III, Scene 3

The scene takes place in Alexandria. Cleopatra enters with her attendants, Charmian, Iras, and Alexas.

The scene begins with Cleopatra asking Charmian where the messenger is. He is the same messenger that Cleopatra harassed earlier in the play, which explains Charmian’s response that he is half afraid to enter the room. Cleopatra responds with the equivalent of “Come on!” and when the messenger enters the room, she tells him to approach. He does so reluctantly, saying that King Herod would not even dare to come near her unless she was in a good mood. In her usual manner, she responds that she would have Herod’s head, though she quickly adds that she wonders how as long as Antony is away. Again, she tells the messenger to come nearer. He does so, and we see that since his last visit to the Egyptian court, he has learned speak in a more cautious and flattering manner to Cleopatra, which he does throughout the scene.

Cleopatra finally gets to the point: Did he see Octavia? Yes. Where? In Rome, with Caesar and Antony on each side. Is Octavia as tall as Cleopatra? No. Is her voice shrill or soft? The messenger replies that she speaks softly, which Cleopatra guesses cannot please Antony for long. Charmian exclaims that Antony cannot possibly like her, to which Cleopatra, of course, agrees as she lists Octavia’s supposed faults. Next she wants to know whether her bearing is majestic. How does she walk? The messenger says that she is more like a statue than a living, breathing person. When Cleopatra asks whether this is certain, the messenger places his observational powers on the line. This elicits a round of praises from Charmian and Cleopatra for his keen ability to observe. Next the queen asks how old Octavia is. The messenger first says that she is a widow, which gets Cleopatra’s attention, and then he guesses that she is thirty. Cleopatra then asks whether her face is long or round. The messenger answers that it is round to a fault, to which Cleopatra adds that people with round faces are usually foolish. Then she asks about her hair color. Brown, he says, and then adds that her forehead is low. Cleopatra gives him some gold and tells him that he shouldn’t feel too bad about her previous mean behavior toward him. She tells him that she will hire him again and that she finds him highly suitable for business. She then orders him to prepare to go, as the letters are ready.

After the messenger leaves, Charmian and Cleopatra praise his qualities, and Cleopatra expresses her remorse for having abused him the last time. She is content that his description of Octavia indicates that she is no match for her own majesty. Cleopatra then remembers that she has something else to ask him but seems to imply that there is no rush, that Charmian will bring him to her where she (Cleopatra) can write and that everything should turn out well enough. The scene ends with Charmian’s assurance of cooperation.

ACT III, Scene 4

Scene 4, which takes place in Athens, is a conversation between Antony and Octavia.

As the scene opens, we find Antony informing Octavia of what appears to be treacherous behavior on Caesar’s part. The first line is vague, but it seems to be saying that Caesar has either said or done a number of inexcusable things. On top of that, he has started a war against Pompey; he has read his will in public (another unclear phrase, but in general, it appears to mean that he is informing his people of the benefits they will receive from him); and he has spoken ill of Antony. Antony adds that when Caesar has had the chance to speak well of him, he has not taken it; and in those instances when he did honor him because he had to, his praise was artificial and forced.

Octavia urges Antony to not believe everything he hears, or if he believes it, to not resent it. She is deeply unhappy that she is caught in the middle, praying for both her husband and her brother. She is convinced that the gods will laugh at her as she first prays for her husband and then cancels out that prayer by beseeching them to bless her brother. She says that one prayer will destroy the other and that there is no middle ground between the two extremes.

Antony urges Octavia to let her love guide her to the person who will most seek to preserve it. He says that if he loses his honor, he loses himself and that it would be better to not belong to her than to be hers “so branchless,” which seems to mean that he would be shorn of his fruitfulness. But he agrees to her request to act as a mediator between him and Caesar. In the meantime, Antony will make preparations for a war that he says will eclipse Caesar. Then he adds that she should move quickly so that she can fulfill her desires.

Octavia thanks him, exclaiming moreover how the god of power has made her, the weakest of all, their reconciler. She says that war between them both would be as though the world should split in two and the rift be patched up with the bodies of slain men.

Antony tells her that once she has determined how this thing started, she should demonstrate her disapproval in that direction. He seems to be saying that his own and Caesar’s faults cannot be so equal to each other that she could choose to love each equally, and he adds that she should choose between them according to the dictates of her heart and the price it (her heart) is willing to pay.

ACT III, Scene 5

Scene 5 is still in Athens, where Enobarbus and Eros, Antony’s attendant, discuss the state of events.

The scene begins with Eros telling Enobarbus that Caesar and Lepidus have made war against Pompey. Enobarbus replies that this is old news and asks about the outcome. Eros tells him that Caesar, having used Lepidus to his advantage in the war, denied him both equal partnership and a share in the triumph. He then accused him of writing letters to Pompey at an earlier point, and following that, he seized him and put him in jail, where Lepidus now sadly waits till death releases him from his imprisonment.

Enobarbus gives a rhetorical reply, as though speaking to the world in general. He tells it that it no longer possesses a set of jaws (apparently referring to the triumvirs), adding that even if the world threw all the food it had between them (the jaws), they (the triumvirs) would grind one another, presumably to death. Enobarbus then asks where Antony is.

Eros replies that he is walking in the garden, and as he speaks, he imitates Antony walking angrily. He adds that Antony kicks the reed mat before him, crying “Fool Lepidus!” And he threatens to cut the throat of the officer who killed Pompey.

Enobarbus mentions that their immense navy is prepared to depart. Eros adds that it will be bound for Italy and Caesar. He then informs Enobarbus that Antony wants to see him immediately, adding that he could have, in fact, told him the news later. Enobarbus says that it probably doesn’t matter, and they both exit as he brings him to Antony.

ACT III, Scene 6

Back at Caesar’s house in Rome, Caesar, Agrippa, and Maecenas are discussing Antony’s latest activities in Egypt. Caesar’s tone is shocked and angered as he speaks to Maecenas and Agrippa of Antony and Cleopatra’s public coronation in Alexandria. He starts by saying that Antony has scorned Rome as he establishes himself in Alexandria. He continues to describe their coronation, which took place on a silver-covered platform in the marketplace, with Antony and Cleopatra sitting on golden chairs. At their feet were their children, including Caesarion, whom Cleopatra bore to Julius Caesar—a thought that disgusts Octavius (Caesar), since he is Julius Caesar’s adopted son. Caesar also expresses his disdain for the rest of Antony and Cleopatra’s children, since they are illegitimate. He continues, saying that Antony has given Cleopatra the absolute rule of Egypt, the Near Eastern area of lower Syria, Lydia (in what is now Turkey), and the island of Cyprus.

Amazed apparently to the point of disbelief, Maecenas asks if this was all done in public. Caesar replies that it was in the public arena (where the people participate in various shows and games). He continues to say that Antony crowned his sons, Alexander and Ptolemy, kings of various Eastern areas while Cleopatra appeared dressed as the goddess Isis.

Maecenas says that Rome should be informed of this, and Agrippa adds that Antony will now thoroughly lose the goodwill of the Roman people, who are already sickened by his disrespect toward their city. Caesar tells them that the people already know about it and that they have heard Antony’s accusations. Agrippa asks Caesar whom Antony accuses, to which he replies that Antony accuses Caesar himself who, after spoiling Pompey, neglected to give Antony his share of Sicily. Antony also has complained that Caesar has not returned some ships that he loaned him. Finally, he is vexed that Lepidus has been deposed and that Caesar has retained all his income.

Agrippa states that these accusations should be addressed, to which Caesar answers that it has been done and that the messenger has already left. Caesar says that he told Antony that Lepidus had become too cruel, that he had abused his high standing and that he deserved what happened to him. Caesar adds that he is willing to divide with Antony the lands he has conquered but that in return he, too, wants a part of the kingdoms Antony has conquered. Maecenas says that Antony will never agree to that, and Caesar replies that, in that case, Antony will also receive nothing.

At this point, Octavia, who is newly arrived in Rome, enters with her attendants. She greets Caesar formally but enthusiastically. Caesar, in turn, laments that he should have to receive her as one who has been rejected. Octavia replies that he has no cause to call her so. Caesar then demands to know why she has come so stealthily. He adds that, as Caesar’s sister, she should have been accompanied by an army and horses long before she herself arrived. Instead, he says, she came to Rome like a market maid—meaning, without pomp or fanfare, but simply and unnoticed. He regrets that, not knowing of her journey, he was unable to demonstrate his love for her by meeting her at every stage of the voyage, by land and sea, with bigger and better greetings.

Octavia replies that she came in this manner of her own free will; that on hearing from Mark Antony that Caesar was preparing for war, she begged permission from him to return to Rome. Caesar replies that the reason Antony granted it so promptly was that her presence drew him away from the object of his lust. Octavia protests, saying that Caesar should not speak that way, but he tells her that he is watching Antony and that news of his doings comes to him “on the wind” (with great speed).

He then asks Octavia where Antony is now. She replies that he is in Athens. Caesar corrects her, informing her that Antony has joined Cleopatra—that he has sacrificed his empire, in Caesar’s words, for a whore. He adds that Antony and Cleopatra are gathering the kings of the earth together to prepare for war, and he then cites a long list of countries from the Middle East, Arabia, and North Africa.

Octavia laments her fate as the mediator between two warring friends. Caesar tells her that her letters to him delayed any action on his part until he realized that she had been misled and that further negligence from him would be dangerous. He then encourages her to take comfort and to not allow the events of the times trouble her, though they threaten to disrupt her happiness. Instead, she should allow destiny to unfold without mourning over it. He then welcomes her to Rome, saying that nothing is more dear to him; and he comforts her with the thought that the gods have seen the injustice of the poor treatment she has received and that they have assigned Caesar and those who love her to care for her.

Following that, Caesar, Agrippa, and Maecenas all welcome Octavia again, with Maecenas assuring her that all hearts in Rome are with her. He adds that the only one who rejects her is Antony, an adulterer who has given his rule to a harlot who cries out against Rome. Octavia asks (apparently in disbelief, since she has asked before) whether this is so, to which Caesar replies that it certainly is. He then welcomes her again, encouraging her to remain calm. The scene ends as he expresses his love for her.

ACT III, Scene 7

The scene takes place at Mark Antony’s camp near Actium, which is northwest of Athens and the site of the fateful Battle of Actium between Caesar on one side and Mark Antony and Cleopatra on the other. As Cleopatra and Enobarbus enter, it is clear that they are in the middle of a heated discussion.

Enobarbus opposes Cleopatra’s presence at the wars, saying that it is not appropriate. Cleopatra demands to know why she should not be there. Enobarbus replies (possibly in an aside to either himself or the audience) that when mares and horses mix, the horse becomes utterly lost. He then explains to Cleopatra that her presence will bewilder Antony, drawing away his time and concentration when he most needs them. He adds that Antony has already been maligned for being frivolous and that the Romans say that the eunuch Photinus and Cleopatra’s female attendants run the war. In her usual spirited way, Cleopatra curses Rome and all who speak against her. She insists that she bears a responsibility in the war and that, as the ruler of her kingdom, she will take the place of a man. She tells Enobarbus to not oppose her—that she refuses to stay behind.

Antony enters with Canidius, his lieutenant general. Antony is wondering whether Canidius finds it strange that Caesar was able to cross the Ionian Sea so quickly from Tarentum and Brundisium (in the southernmost part of Italy) to conquer Toryne (on the western coast of Greece). Turning to Cleopatra, he asks her whether she has heard about it. She answers (apparently somewhat sarcastically) that speed seems most astonishing to the negligent, indicating that they need to get moving. Antony graciously accepts the rebuke and, turning to Canidius, says that they will do battle at sea. Cleopatra agrees, but Canidius questions Antony’s motive. Antony replies that Caesar has dared him to do it. Enobarbus points out that Antony has likewise dared Caesar to participate in single combat, and Canidius adds to that Antony’s dare to fight at Pharsalia; yet Caesar, knowing that these situations were not to his advantage, declined—and Canidius adds that Antony should do the same.

Enobarbus joins Canidius in trying to dissuade Antony. He reminds him that while Caesar’s forces are experienced in naval warfare, Antony’s naval personnel are draftees—muleteers and farmhands. Moreover, the ships on Caesar’s side are easy to maneuver; Antony’s are heavy. He concludes that there would be no shame in Antony’s refusal to fight by sea, especially since he is so well prepared for land combat.

Woefully stubborn, Antony insists that they will fight by sea. Enobarbus tries again to dissuade him, citing the fact that by choosing to do battle at sea, he is throwing away his unmatched mastery on land. Enobarbus argues that if Antony divides his army of experienced infantrymen; if he ignores his considerable military knowledge; and if he avoids the way that would guarantee the greatest success, he might as well give up a sure thing in favor of sheer luck.

Deaf to his friends’ pleas for reason, Antony insists on fighting by sea. Cleopatra supports him with an offer of sixty ships. Antony plans to burn whatever ships are not needed and to beat Caesar at Actium with the rest of his ships fully manned. He decides that if they fail, they can do battle on land.

A messenger enters, confirming the news that Caesar has taken Toryne and has been spotted there in person. Antony is amazed at Caesar’s speed of movement. He gives instructions to Canidius to hold nineteen of their legions (between 57,000 and 114,000 soldiers) on land, along with 12,000 cavalry. In the meantime, Antony will board the ship. As he leaves, he calls on the sea goddess, Thetis, mother of the great warrior, Achilles.

On his way out, Antony is intercepted by a soldier who also tries to dissuade him from fighting at sea. After greeting Antony with deep respect, he urges him to trust the words of one whose sword and wounds attest to his experience in battle. Leave the sea battles to the Egyptians and Phoenicians, he says, and do not trust your fate to the rotting planks of ships. He reminds Antony that their forces are used to fighting on foot and conquering on land. But Antony is not interested and leaves with Cleopatra and Enobarbus.

Alone with Canidius, the soldier expresses his certainty that he is right. Canidius agrees, lamenting over the fact that Antony’s entire battle plan has ignored his main strength and that they and their leader are being directed by women. They discuss some points of strategy as well as their amazement at Caesar’s speed of movement and his dexterity at evading spies by sending forth his army in different divisions. A messenger calls for Canidius on behalf of the emperor (Antony) as Canidius is asking the soldier about Caesar’s lieutenant, a man named Taurus, whom Canidius knows well. As he is leaving, Canidius notes how urgent times like these beget constant news.

ACT III, Scene 8

Scene 8 takes place on a battlefield near Actium. Caesar, Taurus (his lieutenant), and the Roman Army enter marching.

Caesar orders Taurus to keep the army intact and to avoid striking by land until their business at sea is done. Handing him a scroll, he commands him to not digress from the rule laid down in it. He tells him that their fate depends on the success of this venture. Following that, they all exit.

ACT III, Scene 9

Scene 9 takes place on the same battlefield. Antony and Enobarbus enter.

Antony informs Enobarbus that they are to set up their squadrons on the side of the hill in order to clearly view Caesar’s naval forces and then adjust their plan accordingly. They both exit.

ACT III, Scene 10

Scene 10 continues on the same battlefield. Canidius first enters with his land troops as they march in one direction, while Taurus and his troops march in the other direction. Following this, the noise of a sea battle is heard. An alarm sounds as Enobarbus enters.

Enobarbus laments that the Egyptians are ruined and says that he cannot watch the battle any longer. The Egyptian flagship, the Antoniad, has fled the battle scene, followed by the other sixty ships, leaving Enobarbus in dismay.

Scarus, another of Antony’s followers, enters, invoking the whole pantheon of gods and goddesses. Enobarbus asks him what’s wrong. Scarus bemoans the fact that whole kingdoms—in fact, most of the world—have been lost through foolishness. Enobarbus asks him how the battle is going. Scarus replies that their side resembles the last stages of the plague, which end in certain death. He then rails on Cleopatra, calling her the obscene nag of Egypt and cursing her with leprosy because she fled in the midst of the battle, just as the advantage appeared equal on both sides—maybe even a little better on the Egyptian side. Enobarbus answers that he saw that and that the sight of it made him so sick that he was unable to continue watching. Scarus continues that once Cleopatra’s ships had caught a good wind, Antony—now destroyed by the magic hold she had on him—followed like a lovesick mallard, also leaving at the height of the battle. Scarus is appalled, saying that he has never witnessed such a shameful action, that never before had anyone ever violated his own experience, honor, and manhood like that.

Canidius enters as Enobarbus responds to Scarus’ news with a woeful exclamation. Canidius, too, laments that their luck at sea has run out and that their fortunes are sinking. He adds that if Antony, their general, had only acted within the bounds of reason and self-knowledge, things would have gone well for them. Instead, his own cowardly behavior in fleeing has set an example for his followers. Enobarbus understands by this that Canidius intends to desert Antony, and he asks him if this is so. Canidius says that the troops have fled toward Peloponnesus. Scarus says that getting there is easy and that he, too, will go there to await further developments. Canidius says that he will surrender himself and his army to Caesar and that six of the kings who fought with them have already done so. Enobarbus, on the other hand, chooses to follow Antony’s desperate chances, even though his reason advises him against it.

ACT III, Scene 11

Scene 11 takes place back in Alexandria. Antony enters with his attendants.

Antony is so ashamed of his recent actions that he projects his feelings onto the land, saying that it is ashamed to let him walk upon it. Turning to his followers, he bids them approach. He tells them that he feels like someone who, traveling late at night, has forever lost his way in the dark. He further informs them that he has a ship full of gold, which they should take, and afterwards, that they should flee and make peace with Caesar.

His followers are surprised that Antony would even suggest such a thing, and they all protest, refusing to flee. Antony answers that he himself has fled and ordered cowards to turn their backs and run. But now he tells his friends to leave. He has decided on a course of action that will not require their help. Again, he urges them to take his treasure, the ship full of gold, which is in the harbor, and be gone. He laments that he followed what he is now ashamed to look upon (Cleopatra). Even the hairs on his head quarrel with each other: the white hairs scold the brown hairs for being reckless while the brown hairs reproach the white hairs for being fearful and foolish. Once again, he tells his friends to leave, promising to write letters to help them gain admittance to Caesar. He then asks them to not look sad or to hesitate but to take the opportunity that he is offering them in his moment of despair. He urges them to leave behind what has deserted itself (apparently referring to himself) since he feels that he has lost his ability to command.

As Antony sits, Cleopatra enters with Eros, one of Antony’s followers, and her attendants. Eros, Iras, and Charmian urge Cleopatra to go to Antony and comfort him. Antony, meanwhile, seems lost in reminiscences of past acts of bravery as he tries to deal with his mistake. Eros, Charmian, and Iras again encourage her to approach him, and they finally get Antony’s attention. Distraught, he asks her where she has led him. He tells her that to hide his shame from her, his only recourse is to look back to what has been destroyed—his past honor and courage. Moved by his sorrow, Cleopatra begs him to forgive her, adding that it hadn’t occurred to her that he would follow her lead. He replies that she knew full well how much power she had over him and that he would surely follow her. Again, Cleopatra begs for pardon. Antony continues, saying that he, who once commanded the world as he pleased, now has to humble himself before Caesar, who is much younger. And again he turns to Cleopatra to tell her that she knew the extent of her power over him and how his sword, weak with love, would obey that power under all circumstances.

As she begs for pardon again, he tells her that one of her tears or kisses will repay everything that has been lost and won. He seems distracted as he calls for the schoolmaster, whom he sent as a messenger to Caesar; and his line about being full of lead shows the intense heaviness of this heart.

The scene ends as he orders the servants to bring wine and food. The final rhyming couplet, which speaks of scorning fate most when times are worst, suggests that Antony is looking to cover his sorrows with temporary merriment.

ACT III, Scene 12

Scene 12 takes place at Caesar’s camp in Egypt. Caesar appears with his supporters, Agrippa, Dolabella, Thidias, and others. Antony has sent the Egyptian schoolmaster as a messenger to Caesar, who is in the process of receiving him.

Caesar instructs Dolabella to allow Antony’s messenger to come forward, at the same time asking Dolabella whether he knows him. Dolabella says that he recognizes him as Antony’s schoolmaster and interprets Antony’s choice of messenger as a sign that things are not going well for him since not too long ago he had even kings at his beck and call.

The messenger enters and, on Caesar’s prompting, humbly introduces himself. Caesar instructs him to deliver his message. The messenger now pleads on Antony’s behalf, requesting that Caesar allow Antony to stay in Egypt; and if not, to live in Athens as a private citizen. He then transmits a message from Cleopatra, who submits herself to Caesar’s power and begs of him the Egyptian crown for her heirs, who are now at his mercy.

Unmoved, Caesar answers that he denies Antony’s request. Cleopatra will receive both an audience with him and her wishes if she either banishes or kills Antony. Having finished, Caesar sends the messenger on his way, ordering his men to escort him through the troops.

Next, he decides to put Thidias to the test by sending him to woo Cleopatra away from Antony with promises of whatever she asks for. He is to use his imagination while counting on the fickleness of women. In return for his efforts, Caesar will give Thidias whatever he wants. As Thidias is leaving, Caesar tells him to carefully observe Antony’s behavior and what it reveals about his state of mind. Thidias promises to do so and leaves.

ACT III, Scene 13

Scene 13 takes place in Alexandria at Cleopatra’s palace. The queen enters, followed by Enobarbus and her attendants, Charmian and Iras.

Cleopatra asks Enobarbus whether he thinks that Antony’s recent actions in battle are her fault or his own. Enobarbus answers that they are fully Antony’s fault, since he should not have allowed his will and passion to govern his reason. As an experienced captain, he should have known better than to follow Cleopatra as she fled.

Cleopatra silences Enobarbus as Antony enters with the schoolmaster, his emissary. Antony finds out from him that Caesar will give Cleopatra what she wants if she delivers Antony’s head to him. Angered, Antony decides to send the envoy back to Caesar with the message that were it, not for Caesar’s youth and the trappings of power, people would not mistake him for a hero. His ministers would do as well under the command of a child. Antony, therefore, will dare Caesar to lay aside his trappings and fight him in single combat. He and the emissary leave to write the letter.

Speaking in an aside to himself, Enobarbus is skeptical of Antony’s plan. The idea that Caesar would lay aside his considerable military power to fight hand to hand in a gladiatorial duel is ridiculous. He sees that a person’s judgment and his fate are tightly bound and that outward events draw out inner qualities so that all of the person’s different aspects suffer to the same extent. He concludes that Antony is delusive and that Caesar has even conquered his judgment.

A servant enters to inform Cleopatra that an envoy from Caesar has arrived. Surprised at the lack of formality from Caesar, she realizes that she has gone down in his estimate. She compares herself to a rose, now in full bloom, that no longer receives the honor that was given the rosebud.

Enobarbus, again in an aside to himself, begins to doubt the value of remaining loyal, though he realizes that the person who persists in his faithfulness to a defeated lord gains merit in the eyes of the conqueror.

Thidias enters, prompting Cleopatra to ask about Caesar’s demands. Thidias asks to speak to her in private, but she insists that he speak openly, since privacy is reserved for friends. He begins by telling Cleopatra that he understands that her relationship with Antony was born of fear, not love, and that, therefore, whatever has stained her honor is undeserved and demands pity. Cleopatra, agreeing with Thidias, says that Caesar is a god who knows most what is right.

In an aside to himself, Enobarbus likens Antony to a sinking ship whose nearest and dearest even desert him. He then leaves the room.

Thidias informs Cleopatra that Caesar wants to know her desires, and he hopes that, in her need, she will be willing to receive the benefit of the good fortune he is willing to bestow upon her. However, he adds, it would please Caesar a fantastic deal if she left Antony.

Cleopatra asks Thidias his name. She then tells him to relate to Caesar that she acknowledges him as the conqueror and that she lays her crown and her empire at his feet. Thidias approves of her decision and asks to kiss her hand, which she allows. Cleopatra then reminisces about how Julius Caesar used to kiss her hand many times when he would think about conquering new kingdoms.

At this point, Antony enters with Enobarbus. Enraged at the sight of Cleopatra having her hand kissed, he demands to know who Thidias is. Thidias replies that he is but the servant of the great Caesar, who is worthy to be obeyed. Enobarbus murmurs to himself that Thidias will be whipped. Antony immediately confirms his saying when he orders Thidias to be taken out and beaten. He is offended that Thidias would dare to kiss Cleopatra’s hand. No matter how much he himself has sunk in the world’s esteem, and no matter how much power Caesar wields, he is appalled at this lack of decorum and respect.

Once Thidias and the servants are gone, Antony turns to Cleopatra. He is angry that he should have missed his chance to beget legitimate children with one of the age’s most valued and respected women (Octavia); that instead he is the recipient of Cleopatra’s fickleness, which stoops so low that she even caters to servants. He accuses Cleopatra of having always been untrustworthy, and he doubts that she has ever experienced the meaning of self-restraint. He knows that she was Julius Caesar’s lover and thinks that she may have had relations with Pompey—and who knows what other hidden affairs she has had.

Cleopatra, who has tried to interrupt his jealous tirade several times, finally asks him what this is all about, and in reply, Antony spills his fury over finding her in the midst of having her hand kissed by a servant. He feels that he has been cuckolded (sexually betrayed by his wife), and he wants to join the roaring bulls (horns being the symbol of a cuckold) on the hill of Bashan.

As he is venting his fury, a servant enters with Thidias. Antony asks if Thidias has been whipped, and the servant answers yes. Antony launches into another long, passionate speech, this time directed at Thidias, saying that from now on he should regret following Caesar and that he should tremble and feel feverish at the sight of a lady’s hand. Antony tells Thidias to get himself back to Caesar and tell him what kind of reception he has been given. He adds that Thidias should tell Caesar that his pride and disdain toward Antony have made him angry—angry that he treats Antony according to what he has become without consideration for what he was. And if Caesar doesn’t like what he is hearing or what has happened, he can take out his displeasure on Hipparchus, one of Antony’s former loved servants, who deserted to Caesar. With that, he sends Thidias away.

Cleopatra asks Antony if he has finished yet. Distracted, he says that the eclipse of the earth’s moon foretells his downfall. Then, still fixated on her flirtation with Thidias, he asks again in disbelief how she could trade glances with a servant, even if the motive was to gain Caesar’s approval. She asks him how it is that he still doesn’t know her. He interprets this as being coldhearted, but Cleopatra denies it with a passionate response, calling down the fury of heaven upon herself if his accusation is indeed true.

Finally convinced of her fidelity, Antony changes the subject to his plans for a renewed war against Caesar. He says that their land forces are still intact and that their sea forces have come together again to be a power to be reckoned with. His courage and hope returning, he tells Cleopatra that if he returns again to her, it will be covered in blood, his sword having earned them their place in history’s chronicles.

Cleopatra, recognizing her former brave Antony, encourages him. Recalling his days when men would willingly risk their lives for him, and knowing that things have changed, Antony nevertheless vows to fight with all he has. His spirit returning, he suggests to Cleopatra that they have one more extravagant night to defy the sense of sadness and defeat. Cleopatra says that it is her birthday and that, though she had not expected to celebrate, now that Antony is himself again, she will be Cleopatra. Heartened, Antony believes that they will recover. As they go to gather the captains together for the celebration, Antony vows that the next time he fights, he will wield his power against death itself.

Alone in the room, Enobarbus has grown particularly skeptical. Somewhat mockingly, he says that Antony now plans to outstare the lightning. He notes that when fury chases away fear, the dove will attack the hawk. In Enobarbus view, Antony’s growth in courage results from the loss of his reason, and when that happens, it is the path to self-destruction. The scene ends with Enobarbus deciding to find a way to leave Antony.

Act IV

ACT IV, Scene 1

The scene takes place at Octavius’ camp. Caesar, Agrippa, and Maecenas are gathered together as Caesar reads Antony’s letter.

Caesar is irked that Antony calls him “boy” and acts as though he has the strength to vanquish him at war. Furthermore, he has beaten his messenger and challenged him to single combat. Caesar thinks this laughable, calling Antony an “old ruffian” and clearly not at all impressed with his threats.

Like Enobarbus, Maecenas sees Antony’s fury as foretelling his doom. He advises Caesar to take advantage of Antony’s state of mind, saying that anger never functioned as a good mode for self-protection—meaning that Antony was likely to slip because he wasn’t guarding himself.

Caesar orders them to inform their best leaders that they will be fighting the final battle of the war the following day. He says that their ranks contain a number of recent deserters from Antony’s army, so that capturing him should not be a problem. He adds that the army should eat well tonight. They have enough extra food to afford it, and the men deserve it. As they leave, Caesar exclaims, “Poor Antony!”

ACT IV, Scene 2

The scene takes place back at Cleopatra’s palace. Antony, Cleopatra, and Enobarbus enter with Cleopatra's various attendants.

Antony begins by confirming with some surprise that Caesar has refused his challenge to single combat. When Antony questions Enobarbus about his refusal, he tells Antony that Caesar sees the odds as being twenty to one because of his superior luck. Antony repeats his will to fight again the next day, so that he may either to live or, fighting, die with honor.

Antony then calls his servants. Taking their hands, he tells each of them in turn that they have been honorable and served him well and that they have been the equals of kings. Cleopatra is somewhat mystified by Antony’s behavior and asks Enobarbus what it means. He replies that it is one of the tricks that sorrow plays on the mind.

Antony bids his servants to wait on him tonight—to be generous with the wine and to serve as they did when his empire was under his command. Cleopatra is still mystified and wonders what he intends by this. Enobarbus says that he is trying to make his followers cry.

Antony continues, saying that they may not see him again, or if they do, perhaps he will be nothing more than an unrecognizable ghost. Maybe, he says, by tomorrow they will be serving another master. He is approaching them as someone who is saying goodbye, but he does not want them to think that he is sending them away and says that he is faithful until death. Again, he asks them to wait on him and blesses them for it.

Enobarbus now asks point blank why Antony is making his servants so uncomfortable with his speeches. He points out that they are weeping and that he, too, who is more hard-nosed (he calls himself “an ass”) is teary-eyed. He says that Antony should be ashamed of himself to turn them into women.

Surprised, Antony responds that he did not mean it in such a mournful way and that his aim was to comfort them. His hope is that the next day’s battle will turn out well and that he desires to lead them to life and victory instead of to an honorable death. Having made himself clear, he invites them all to supper and to drink away serious thoughts.

ACT IV, Scene 3

One of the play’s more mysterious scenes, this one takes place in Alexandria, where a company of Antony’s soldiers stands guard during the night.

The scene opens on what appears to be the changing of Antony’s guard. Two soldiers are talking between themselves about their expectations for the next day’s battle as they bid each other good night. Before leaving for their respective stations, one of them asks if the other had heard of anything strange that night, and when the other soldier says no, he guesses that it might have just been a rumor. When two more soldiers enter, he tells them to watchful carefully; they wish him the same, and they say good night to each other and go to their different posts.

The fourth soldier expresses his confidence that if their navy does well, their infantry will also have an outstanding chance. The third soldier agrees that it is an excellent and determined army.

All of sudden, the music of hautboys, a shawm-like woodwind instrument (like the modern oboe), is heard from below ground. The soldiers listen attentively, wondering what it means. The soldier who spoke earlier of strange rumors says that it is the sign that Hercules, Antony’s beloved god and protector, is leaving him. Encountering other watchmen, they discover that they, too, can hear the strange music. They decide to follow it as far as they can to see if and where it will end.

ACT IV, Scene 4

Back at Cleopatra’s palace, Antony has risen early to make himself ready for battle.

As Antony calls to Eros to bring his armor, Cleopatra urges him to sleep a little more, but he declines, pushing Eros to move faster. He says that if luck is not on their side today, it is because they defy her (luck).

Cleopatra decides to help but has no real idea of what she is doing and needs to ask. Antony, correcting her, tells her to let it be—her job is to arm his heart. Cleopatra insists on helping and manages to correct some of Eros’ oversights, prompting Antony to tell him that the queen is a better attendant than he is. He tells Eros to finish quickly. Then, turning to Cleopatra, he says that he wishes that she understood the royal profession of warfare and could be there today to witness the battle, and then she would see a master craftsman in action.

An armed soldier enters the room. Antony bids him good morning and welcome. He says that the soldier looks like someone who understands the responsibilities of combat, adding that those who love their occupation will rise early and attend to their responsibilities with pleasure. The soldier informs him that, as early as it is, a thousand armored men await him at the gate.

There is a shout and the sound of trumpets as more captains and soldiers arrive. A captain informs Antony that the weather this morning is good and bids him good morning. The other captains and soldiers also bid the general good morning.

Antony complements them on their trumpet blowing and adds that the morning, like an ambitious youth with high energy, has gotten off to an early start. As Cleopatra makes some final adjustments, he thanks her for a job well done. Turning to her, he bids her farewell, adding that whatever happens to him, the kiss he now gives her is a soldier’s kiss. Anything more vulgar than that would deserve a shameful rebuke. He finishes by saying that he’ll depart from her like a man of steel. Addressing the soldiers, he commands them to follow his lead closely. They all leave.

Charmian asks Cleopatra if she wants to retire to her quarters. Cleopatra indicates that she does and then muses at Antony’s valiant exit as he goes to determine the conclusion of the war by going face to face with Caesar. Her final sentence is vague, and she seems to doubt the outcome but then quickly dismisses the thought, knowing that they must move forward.

ACT IV, Scene 5

The scene takes place in Alexandria. Trumpets sound as Antony, attended by Eros, meets a soldier.

The soldier greets Antony, bidding him a fortunate day blessed by the gods. Antony replies that he wishes that the soldier, with his combat experience, had previously convinced him to do battle by land. The soldier replies that had he done so, the kings who rebelled against him and the soldier who deserted him this morning would still be with him. Antony asks him who deserted this morning. The soldier seems surprised at the question, answering that it was someone near and dear to him. He tells him to try calling Enobarbus, who will not be able to hear him; or if he goes to Caesar’s camp, he will find him saying that he is no longer on Antony’s side. Antony, who has not quite grasped the situation, asks the soldier what he means, whereupon the soldier bluntly tells him that Enobarbus has deserted him to join Caesar’s forces. Eros informs Antony that Enobarbus did not take any of his belongings or valuables. Antony, still in a state of shock, asks if he is gone, to which the soldier replies that he is most certainly so. Antony orders Eros to send Enobarbus his valuables, retaining nothing. He tells him to write him a letter, which Antony will sign, sending him kind greetings and farewells, and that he hopes he never finds any reason to change masters again. Unhappy, he laments that his fate has corrupted even the ways of honorable men. He tells Eros to fulfill his assignment quickly, and the scene ends as he sadly exclaims Enobarbus’ name.

ACT IV, Scene 6

The scene takes place in Caesar’s camp. There is the sound of trumpets as Caesar enters with Agrippa, Enobarbus, and Dolabella.

Caesar commands Agrippa to go forth and begin the battle. His orders are to take Antony alive, which he wants Agrippa to tell the rest of the troops. Agrippa confirms the order and leaves.

Caesar proclaims that universal peace—the outcome of Roman world domination—is at hand. He says that if this day proves prosperous—that is, should it result in victory for their side—then the world (the known world at the time, which included Europe, Asia, and Africa) will carry the olive branch, the symbol of peace, without fear of attack.

A messenger enters to announce that Antony has arrived on the battlefield. Caesar orders the messenger to tell Agrippa to place Antony’s deserters (his former soldiers) in the front lines, so that it will seem to him that he is attacking his own army. All leave except Enobarbus.

Alone, Enobarbus muses how Alexas deserted Antony, going to Judea under the guise of taking care of Antony’s affairs. There, he convinced Herod the Great to side with Caesar, and for Alexas’ trouble, Caesar had him hanged. Canidius and the others who deserted Antony are employed but without what Enobarbus calls “honorable trust,” which seems to mean that they have not been entrusted with roles of importance. For his own part, Enobarbus acknowledges that he has wronged Antony, and his lack of self-forgiveness extends to the refusal of all enjoyment.

One of Caesar’s soldiers enters to tell him that Antony has sent a messenger who is delivering his valuables, along with an extra gift. The goods are now being unloaded at Enobarbus’ tent. Enobarbus tells the soldier that he can have them. The soldier tells him not to ridicule him and that Enobarbus should escort the messenger safely through Caesar’s army. He says that he would have done it himself if he didn’t have to attend to his responsibilities. Before leaving, he adds that Antony, whom he calls Enobarbus’ emperor, still possesses a greatness like that of Jove, the king of the gods.

Again alone, Enobarbus now chides himself for being the worst villain in all the world. If Antony, in his infinite generosity, repays Enobarbus’ wickedness with gold, how would he have repaid his honorable service? Enobarbus’ heart is swollen to such a degree that he feels that one quick thought alone will break it, or something even faster will strike down the thought, but he feels that thought alone will be enough. Will he fight Antony now? No, he will find a ditch to die in, since at this point in his life he deserves no better than the worst. With that thought, Enobarbus leaves.

ACT IV, Scene 7

Scene 7 takes place on a battlefield near Alexandria. Drums and trumpets sound.

The scene begins with an urgent call from Agrippa to retreat. The battle has been more difficult than expected, and even Caesar is experiencing trouble. Agrippa and his soldiers exit.

Next, Antony enters followed by Scarus, who is wounded. Scarus exclaims that their side has been fighting heroically and that if they had fought like this earlier in the war, they would have driven the enemy off with bandages on their heads. Antony notices that Scarus is bleeding profusely. Scarus replies that his wound was originally in the shape of a T but that now it is like an H.

The sound of a call to retreat is heard in the distance. Antony confirms that Caesar’s troops are retreating. Scarus exclaims that they will beat the other side into privy holes (toilet or outhouse holes) and that he still has room for six more wounds.

Eros enters to inform them that the other side is indeed beaten and that their own troops have had a clear win. Scarus has the idea of marking their backs and taking them from behind, like hares. He thinks it is fun to attack someone who is fleeing. Antony tells him that he will give him a reward for his lively encouragement and ten times that for his bravery. He then orders them to follow him. Scarus says that he will limp after them, and they all exit.

ACT IV, Scene 8

Scene 8 takes place before the gates of Alexandria. There is the sound of an alarum (which usually refers to a call to arms). Antony enters marching, with Scarus and other soldiers.

Antony declares that they have beaten back the enemy and that they have retreated to their camp. He orders one of the soldiers to run ahead and tell Cleopatra of their deeds. Tomorrow before sunrise, they will kill those who have escaped today. He thanks all the soldiers for their bravery, acknowledging that they fought as though the cause was their own. He tells them that they have all shown themselves equal to Hector, the greatest of the Trojan warriors. Antony then urges the soldiers to enter the city, embrace their wives and friends, and tell them about their brave acts while with reverence and tears of joy, their friends and relatives cleanse the soldiers’ wounds and heal them with their kisses.

Cleopatra enters. Taking Scarus’ hand, Antony commends him to the queen, whom he calls a great enchantress and whose gratitude will bless the soldier. Rejoicing in their triumph, Antony then seems to be addressing Cleopatra, calling her the light (“day”) of the world and urging her (metaphorically) to embrace him—to leap through his impenetrable armor to his heart.

Delighted to see him, Cleopatra too rejoices that he has escaped the great trap set by Caesar. Antony exclaims that they have beaten them back. He is thrilled that, despite his age, he showed the force of youth and manhood that enabled him to attain his goals. Turning again to Scarus, he asks Cleopatra to give the soldier her hand to kiss in return for his extraordinary service in battle, which Antony likens to the acts of a god.

Cleopatra promises Scarus a gift of gold armor that belonged to a king. Antony says that Scarus would deserve it even if it were decorated with gemstones, like the chariot of the sun god Phoebus. Taking Cleopatra’s hand, Antony says that they will march through Alexandria carrying their hacked shields like the men that own them. He adds that if their magnificent palace had room for the whole army, they would all eat together and drink to the following day’s destiny, which promises immense danger. Antony then orders the trumpeters to play their brassy tones as loudly as possible, which, mixed with the sound of rattling drums, will make the sounds of heaven and earth themselves strike together in celebration of their arrival.

ACT IV, Scene 9

Scene 9 takes place at Caesar’s camp. A sentry enters, followed by his company of watch guards. Enobarbus comes in after them. It is nighttime.

The sentry discusses how they will need to be relieved of duty soon, or they will have to return to the court of guard, which is where they gather. He notes the brightness of the night and that they are expected to get ready for battle early in the morning. The first watchman mentions that this last day has been hard on them.

Off by himself, Enobarbus asks the night to bear him witness. The guards, who were unaware of him before, first wonder who he is and then decide to stay hidden and listen. Enobarbus prays that when history records the shameful acts of deserters, the moon will be his witness that he kneeled down before her in repentance.

Recognizing him, the sentry questioningly speaks his name, but one of the watchmen tells him to be silent and listen. Enobarbus continues in prayer to the moon to release the damp poisons of the night upon him so that the life that clings to him, which he no longer wants, will ebb away. He asks that his heart, which is dried up with grief, be thrown against the hardness of his mistake to once and for all do away with all evil thoughts. He then cries out to Antony for forgiveness—Antony, whose nobleness exceeds the infamy of his own desertion. Enobarbus’ desire is to receive Antony’s individual forgiveness but to go on public record as a master deserter. After crying out Antony’s name twice more, Enobarbus dies.

One of the watchmen suggests that they speak to him. The sentry thinks it would be better to keep listening since some of what he said might relate to Caesar. Another watchman agrees but notices that Enobarbus seems to be sleeping. The sentry believes that he must have fainted instead since prayers as troubled as his don’t allow for sleep.

They go over to him and try to wake him, but the sentry realizes that he is dead. The sound of drums is heard in the distance. The sentry comments that the drums are gently trying to awaken the sleeping man. He suggests that they carry him to the court of guard since he is an important person and their watch hour is over. The second watchman agrees, hoping that he might still recover. They leave, carrying the body.

ACT IV, Scene 10

Antony, Scarus, and the Egyptian army have met in a field near Alexandria.

Antony is informing Scarus that Caesar’s military forces have focused their preparations on battle by sea and that they are reluctant to take on Antony’s forces on land. Scarus’ reply is a little vague, but he seems to be saying that they are preparing for both land and sea. Antony replies that he wishes they would fight in the fire and air as well—that his forces would take them on under all circumstances. But he tells Scarus to keep their own infantry on the hills next to Alexandria. It seems clear to Antony that Caesar’s orders for battle by sea are in place and that his ships have already set forth toward the harbor. From the Egyptian army’s vantage point on the hills, Antony’s forces will best be able to determine Caesar’s plans.

ACT IV, Scene 11

Meanwhile, in a similar location outside Alexandria, Caesar is giving opposite orders to his forces. He is commanding them to remain quiet and motionless on land unless ordered to do otherwise. He is anticipating that, since Antony’s best forces have taken to their ships, Caesar’s forces won’t need to fight after all and can stay where they are. He orders his troops to go to the valleys and to hold an advantageous position.

ACT IV, Scene 12

The scene opens with Antony and Scarus, still outside Alexandria where they are surveying the area for Caesar’s next move.

Antony begins by observing that Caesar’s forces have not yet joined together. He tells Scarus that he is moving to a higher vantage point to get a better look and that he will bring word when he has a clearer idea of the likely outcome.

Once alone, Scarus muses that the swallows have built their nests in the sails of Cleopatra’s ships—apparently a bad omen. The fortune tellers claim that they cannot see the future, and they look grim and are afraid to say what they do know. Antony is alternately courageous and depressed, and with his fortunes wearing thin, he focuses by turns on what he has and what he lacks.

An alarm sounds in the distance, evidently at sea. Antony enters in despair, crying that all is lost. Convinced that Cleopatra has betrayed him to Caesar, he curses her. His naval fleet has surrendered to the enemy forces and is now celebrating with them as though they were long-lost friends. Now determined to make war on Cleopatra alone, he commands Scarus to tell his army to flee, for when he has avenged himself of Cleopatra’s magic, he will have done all that there is to do. Scarus leaves.

Alone now, Antony bemoans his fate. He laments that he will no longer see the sun rise, that Fortune and he must now shake hands and part. Is everything come to this? he cries. The hearts that followed him whose wishes he fulfilled, now dissolve their good (he uses the metaphor of sweetness and melting candy) onto Caesar’s growing fortunes; while he, who was once like a pine that was taller than the rest, now sheds his bark. Again, he cries out that he has been betrayed by Cleopatra, whom he now sees as a false Egyptian enchantress who beckoned him to war and back again. She, who had been the crown and main goal of his life, has cheated him at the game of fast and loose, in which knots that appear tight are actually loose. He has now lost everything.

As Antony calls for Eros, Cleopatra enters, and Antony immediately shouts at her to leave. She asks him why he is so furious at the one he loves, but he rails against her, telling her to disappear or he will mar Caesar’s victory parade, showing her to be the monster that she is by hoisting her up where the crowds of common folk can watch Octavia rake her face with her fingernails.

Not sure what is going on, Cleopatra leaves. Still convinced that she has betrayed him, Antony says that it’s good that she’s gone if she wants to live but that it would be even better if he killed her in his rage, since her death might have prevented many others (in his mind, she was the reason he had gone to war). He adds that he now wears the shirt of Nessus, a reference to Hercules (originally Antony’s protector), who was driven mad by the centaur’s poisoned blood. The blood had been smeared on a shirt given to him by his wife who, deceived by Nessus, was trying to bind Hercules’ love for her. Hercules was in such agony that he went mad, throwing Lichas, the servant who brought him the shirt, up to the sky and then trying to kill himself.

The scene ends as Antony vows to kill Cleopatra.

ACT IV, Scene 13

Back at Cleopatra’s palace, the queen is at a loss as to what is going on with Antony. She likens his rage and madness to that of the warrior Telamon (Ajax), who was so furious when Achilles’ shield was given to Ulysses instead of to him that he committed suicide. Even the mad rage of the boar of Thessaly was not as extreme as Antony’s. As Cleopatra pleads with her attendants to help her, Charmian has the bright idea—which she presents with absolute confidence and enthusiasm—that Cleopatra should pretend to be dead and lock herself in her personal tomb. The idea sits perfectly with Cleopatra, who instructs Mardian the eunuch to tell Antony that she has killed herself and that the last word that she breathed was his name. She adds that Mardian should present it in a sorrowful manner and that she wants to know Antony’s reaction. With great enthusiasm, they set off for the tomb.

ACT IV, Scene 14

Scene 14 takes place near Cleopatra’s palace. Antony and Eros enter.

Antony asks Eros whether he can still see him, to which Eros replies yes. Sensing the end, Antony speaks of how the clouds and shadows at dusk form illusive shapes that disappear as easily as they were made. In the same way, Antony sees his fortunes as having been made and unmade by what he thought was his mutual love for Cleopatra, the inspiration for all the wars he fought. But now she has cheated and betrayed him by making arrangements with Caesar behind his back. Seeing Eros weeping, he tells him not to; but the comfort that he offers him is the ironic assurance that there is enough left of him to end himself.

Mardian the eunuch enters. On seeing him, Antony exclaims that his contemptible mistress has stolen his strength (his sword, or power) from him. Mardian denies the accusation, saying that Cleopatra loved him and that their fortunes were perfectly intertwined. Antony tells him to get out—that Cleopatra has betrayed him and shall die for it. Mardian, as instructed, tells him that she has already killed herself and that the last word that came out of her mouth was Antony’s name.

On hearing this, Antony tells Eros to disarm—that all is now over and it is time to die (he uses the word “sleep”). Mardian leaves, and Antony continues to speak about the intense pain that he feels. His heart is breaking, and he feels that he can hardly sustain it. He asks Eros to leave him for a while.

Having heard that Cleopatra is dead, Antony decides to kill himself and join her. He vows to overtake her and win her forgiveness. Life seems too long now, and effort expended in any direction seems frustrated and wasted. He dreams of their being together in heaven—how they will walk together by the Elysian flowerbeds and steal the hearts and attention of the heavenly souls with their youthful majesty, and that no other couple will match them.

Having called Eros back, he informs him that he is ready to die. He cannot live in disgrace any longer—he who conquered the world should possess courage at least equal to a woman’s, meaning Cleopatra, who preferred to kill herself rather than submit to Caesar. He reminds Eros that he has sworn an oath to kill Antony on his command, should the time ever come—and that it has now come. He tries to encourage him by telling him that it is Caesar that he is striking down, not Antony.

Eros resists, asking Antony how he expects him to do what the Parthian army could not. Antony asks him in turn whether he wants to see his master shamed and paraded before Caesar in Rome. Eros says he does not. Antony then urges him to do what he asks, presenting it as an honorable deed done in the service of his country and one that will heal a wounded situation. Eros, still resisting, begs for forgiveness, upon which Antony reminds him of his oath and that if he fails to see it through, all his former service will have been a waste. Eros asks Antony to turn away from him and then informs him that his sword is drawn. Antony tells him to at once do what he intended to do by drawing his sword. Eros, who obviously loves Antony, calling him his dear master, captain, and emperor, desires to first say farewell to him. Antony says that it’s done and to now get it over with. Eros, still stalling, bids farewell again and then asks him if he should strike, to which Antony answers to do it now. Unable to kill his beloved master, Eros kills himself instead. As he does it, he says that it is his way of escaping the need to perform such a sorrowful deed as killing Antony.

Antony, who now sees Eros as three times nobler than himself, takes it as a lesson from his valet and his queen. He vows to run toward death as a bridegroom and a lover. Expressing his respect toward Eros for teaching him the necessary courage, he falls on his sword. Finding himself still alive, he calls for his guards to help finish him. The guards, dismayed at what they see, refuse to obey his orders to finish him off. They all leave.

One of his followers, Dercetus, who came in with the guards, tells Antony that his death and the turn of events in his fortunes have caused his supporters to flee. But he promises Antony that after delivering the news of his death to Caesar, Dercetus will use his sword to kill both Caesar and himself.

Diomedes, one of Cleopatra’s attendants, enters looking for Antony. He asks Dercetus whether he is alive, but Dercetus refuses to answer and leaves. Antony, perceiving Diomedes’ presence, asks him to finish the job of killing him. Diomedes tells him that Cleopatra has just sent him and that she is still alive, locked in her tomb. He explains to Antony that the news of Cleopatra’s death was originally intended only to shake him out of his unjustified rage, but later Cleopatra had an ominous foreboding. She, therefore, sent Diomedes to deliver the news that she was still alive, but he is afraid that he has come too late.

Antony asks Diomedes to call his guards, which he does, and four or five of them respond. Calling them his good friends, Antony then orders them to carry him to Cleopatra and that this will be the last service that they perform for him. On hearing this, his guards express their sorrow, but Antony tells them to welcome the fate of punishment when it is due, and to punish fate in return by taking it lightly. In a moving sentence, he tells them that he has led them often; now it is their turn to carry him. Again calling them his good friends, he thanks them for all they have done. They all leave, carrying Antony and Eros.

ACT IV, Scene 15

Scene 15 takes place before Cleopatra’s tomb, with Cleopatra, Charmian, and Iras standing on a higher section of the monument.

Cleopatra, distraught, tells Charmian that she will never leave the tomb. When Charmian tries to comfort her, she refuses it, saying that her sorrow must match its cause.

Seeing Diomedes arrive, Cleopatra asks him if Antony is dead. He informs her that Antony is on his deathbed, but not dead yet, and that if she looks toward the other side of her monument, she will see his guards carrying him. On seeing her beloved Antony near death, Cleopatra in her distress invokes the sun to burn the sphere on which it moves (as was believed) so as to leave the world in darkness. Calling out Antony’s name, she asks her attendants and the guards to help bring him up.

Antony, intent on dying with honor, makes it clear that his death did not result from Caesar’s triumph but from his own victory over himself. Cleopatra, though miserable, agrees that he alone should have the honor of conquering himself. In one of the most moving lines of the play, he tells Cleopatra that he is dying but that he asks death to wait until he kisses his beloved Cleopatra once more. Begging his pardon, Cleopatra resists coming down to him for fear of being taken. She adds that she will never be an ornament for Caesar’s victory as long as knives, drugs, and serpents retain their power (presumably to kill). Nor will she allow herself to be dishonored by Octavia’s silent judgment of her.

Again, she calls for help to bring Antony up, which they all finally manage to do, even though he has become heavy since he is fading fast. As she holds Antony in her arms, Cleopatra wishes that she could bring him back to life with her kisses. Antony asks for some wine so that he can speak, but Cleopatra protests that she will speak instead—that she will complain so loudly against Fortune (here compared to an unfaithful housewife because the wheel on which she spins people’s fortunes is unpredictable) that Fortune will break her wheel because she is so offended. Antony urges Cleopatra to seek assurance from Caesar for both her honor and safety. Cleopatra replies without hesitation that those two things do not go together. Antony pleads with her to trust none of Caesar’s men except Proculeius, but the queen is determined to trust only her own resolve and hands (to carry out her resolve), and not one of Caesar’s supporters.

As Antony speaks his dying words, he tells Cleopatra not to mourn his ending but to think of his former days, when he was the greatest and noblest ruler of the world, who now takes comfort that his death is just as noble—that he has not chosen to submit himself to another, like a coward. He has been able to die like a Roman, conquered only by himself. On saying this, he realizes that his spirit is leaving and that he cannot go on.

Knowing that it is the end, Cleopatra becomes desperate, asking him whether he must die, whether he cares about her at all. She has no desire to stay in a world that without him is nothing more than a pigsty. As he dies, she cries out to her maidens that the crown of the world is melting, the royal wreath of the war is withered, the soldier’s guiding star has fallen. All things are equal now that the world no longer holds anything of greatness—the sense being that there is no longer any point in remaining in the world.

As Cleopatra collapses, Iras and Charmian gather around her in distress, trying to bring her back. At last, Cleopatra speaks, saying that she is now no more than an ordinary woman, whose passion is no better than the milkmaid’s who does the lowest type of chores. She continues, saying that once she could have told the gods that this world equaled theirs, but now that they have taken the crown jewel of the world, nothing is worthwhile anymore. Patience is foolish, and impatience is only suitable for a rabid dog. She asks whether it is, therefore, wrong to hasten death before its time. Turning to her attendants, she tries to comfort them, realizing that they have been affected by her speech. But her time is up; her light has gone out. She tells them that they will bury Antony and then do the brave and noble thing according to Roman custom—to die with honor. Antony’s body, that once housed an enormous spirit, has grown cold. The scene ends as Cleopatra exclaims to her women that she now has no friend but her own resolve and a quick ending. They all leave, carrying Antony’s body.

Act V

ACT V, Scene 1

Scene 1 of Act V takes place at Caesar’s camp, where Caesar is meeting with his Council of War and his close advisors and supporters.

The scene begins with Caesar giving orders to Dolabella to tell Antony to surrender since it makes no sense for him to do otherwise in his hopeless condition. As Dolabella leaves, Dercetus arrives holding Antony’s bloodstained sword. Indignant and surprised at his sudden appearance, Caesar asks him who he is and why he has appeared in this manner. Dercetus introduces himself, saying that he was Mark Antony’s servant and that there was no better master to serve. Dercetus adds that while Antony was alive, his own life was dedicated to fighting those who hated him. If Caesar is interested, he will offer him the same service that he gave Antony; and if he is not interested, he will submit his life to him.

Confused, Caesar asks him what he means, to which Dercetus bluntly replies that Antony is dead. On hearing this, Caesar grows philosophical, saying that such monumental news should have a greater effect (he compares it to the sound produced by the destruction of something large). Antony’s death is not like the death of a single ordinary person: it is the death of one who ruled half the world.

Dercetus goes on to explain that Antony was not killed by someone else but by his own hand. The same hand that performed all those acts of honor split his own heart in two with the courage given to it by that selfsame heart. Dercetus then presents Caesar with Antony’s sword, which he took from his wound.

Noticing the sad faces of his friends, Caesar acknowledges that the news is enough to bring tears to the eyes of a king. Agrippa notes how strange it is that they should mourn for what they worked so hard to achieve, and Maecenas adds that Antony’s faults and virtues vied for an equal place in his character.

Agrippa and Maecenas both notice how much Caesar has been affected by the news of Antony’s death, and Maecenas guesses the reason as being that when one great soul is faced with another, they act as mirrors for each other. Caesar laments Antony’s fate and the fact that their destinies, though they shared much that was good, could not ultimately support each other. He is about to go on when they are interrupted by the arrival of an emissary from Cleopatra, who has come to find out Caesar’s intentions for her. Caesar instructs the messenger to tell Cleopatra to take comfort and that he will soon send envoys to convey his intentions. The Egyptian messenger bids him farewell and leaves.

Caesar next calls Proculeius, instructing him to tell Cleopatra of the Emperor’s goodwill toward her and to give her whatever will comfort her in her grief. Caesar’s concern, at least in part, is that Cleopatra will thwart his desire to have her in his victory parade in Rome, since her presence there would assure its place as an unforgettable historic event. Proculeius leaves, accompanied by Gallus. Caesar also considers sending Dolabella but then remembers that he sent him on a prior mission (to see Antony, before he knew of his death). He recalls how reluctantly he entered this war and how calm and controlled he kept his responses to Antony. The scene ends as he takes his friends to his tent to show them the proof in his letters.

ACT V, Scene 2

The last scene of the play again takes place before Cleopatra’s monument (her tomb). Cleopatra is alone with Charmian and Iras.

The queen muses on how her desolate state has given her a better understanding of what is truly worthwhile in life. Compared to destiny, Caesar is nothing, since he is also destiny’s servant; and to take your own life is to handle destiny through death, which ends and equalizes all things—in which beggar and king are alike.

Proculeius enters with greetings and then informs Cleopatra of Caesar’s instructions to her to decide on her demands. She answers that if Caesar will give her Egypt to be ruled by her son, Caesarion, she will submit to him. Proculeius promises her that Caesar is merciful to those who submit themselves to his rule.

As Proculeius is assuring Cleopatra of Caesar’s graciousness, a group of Roman soldiers arrives to seize the queen. Proculeius, showing his true colors, observes how easily she is taken and instructs them to guard her until Caesar’s arrival.

Cleopatra wastes no time in drawing a dagger to kill herself, but Proculeius intervenes and takes it away from her. Cleopatra, who has no desire to be an ornament for Caesar, cries out for death. She tells Proculeius that she will neither eat, drink, nor sleep but instead do whatever is necessary to destroy her body (which she sees as the mortal house of her soul) and that Caesar can do nothing about it. She tells him that, rather than be paraded through Rome or subjected to Octavia’s looks, she would prefer to die in a ditch, let the Nile’s water flies lay their eggs in her naked body, or hang in chains from a pyramid.

Dolabella enters and instructs Proculeius to go to Caesar while he takes charge of Cleopatra. As Proculeius leaves, he urges the queen to tell him what she would like from Caesar. She replies that she wants to die.

With Proculeius and the other soldiers gone, Dolabella now asks the queen whether she recognizes him, but she either cannot or will not commit to a definite answer. Instead, she changes the subject to her “dream” of Antony, whom she describes in strikingly poetic, godlike terms in one of the most beautiful speeches in the play.

Dolabella, who has been trying to interrupt, finally just listens and then tells her, once she has finished, that he feels the depth and greatness of her loss. Cleopatra presses him to tell her whether Caesar intends to parade her through Rome in his victory procession, and Dolabella reluctantly confirms that he does.

There is the sound of trumpets, and Caesar enters with his entourage. Cleopatra kneels on being introduced to him, but Caesar insists that she stand, adding that he forgives her for her past behavior. He informs her that he intends to be extremely gentle in his demands on her and that if she complies, she will reap the benefits. But if she goes against his wishes, she will receive nothing and her children will be destroyed.

He moves to leave, but before he does, Cleopatra hands him a scroll informing him of the value of the possessions she has handed over to him. Calling for Seleucus, her treasurer, she tells Caesar that she has held nothing back, and she then asks Seleucus to confirm her statement with the truth. Seleucus, knowing the real truth, tells her that he would rather say nothing. In front of Caesar, she asks him what she has held back, and Seleucus answers honestly that it was enough to buy back everything that she declared. While Cleopatra tries to restrain herself from taking her anger out on Seleucus for telling Caesar the truth, Caesar replies that he agrees with the wisdom of her actions and that he has no desire to take any of her property. After assuring her of his compassion, friendship, and respect, he takes his leave of her.

Cleopatra, however, does not trust his words and has other plans in mind than the ones suggested by Caesar. She whispers something to Charmian and tells her to hurry. In a short but significant line, Iras foretells their impending doom when she says that the day is over and darkness has come. Dolabella enters to quickly inform the queen of Caesar’s forthcoming travel plans for her and her children. Cleopatra thanks him for his loyal service, and he leaves to attend to his duties for Caesar.

Alone with Iras, Cleopatra now describes to her in detail the horrors she sees them having to endure as puppets of the Roman emperor. Appalled, Iras says she would rather scratch out her own eyes with her fingernails. At this point, Charmian returns and Cleopatra asks her to bring her best clothing, including her crown so that she can prepare herself to see Antony once more.

A guard arrives to tell Cleopatra that there is a rural fellow outside with a basket of figs. Cleopatra, knowing that he is bringing the asps, tells him to let the man in. While she waits, she observes how she no longer has the fickle feelings of a woman but that her resolve is solid like marble. The countryman enters, and after the guard leaves, Cleopatra asks the fellow if he has the asp. He says that he does, and he warns her that its bite is fatal.

A bit of a simpleton, he keeps talking and warning Cleopatra of the asp’s dangers, even though she continues to shoo him off. Finally, he leaves, and shortly afterwards, Iras enters with Cleopatra’s robe, crown, and other royal clothing. Cleopatra now settles down to prepare for the final deed that will take her away from Caesar and back to Antony.

As Charmian and Iras prepare Cleopatra, the queen begins to shed her mortal self, relating only to the more ethereal elements of fire and air. When Iras and Charmian have finished dressing her, she kisses them both, whereupon Iras falls down dead, apparently from the poison on Cleopatra’s lips. Cleopatra marvels that Iras has died so easily but then suddenly realizes that she needs to hurry in case Antony sees Iras first and gives her maiden the kiss that was reserved for her. She quickly applies the asp to her breast, and as she begins to fade, she places the other one on her arm. As she is dying, she exclaims Antony’s name.

Charmian, the last remaining of the three, pays tribute to Cleopatra as a rare woman without equal. She then notices that the queen’s crown is off center, and as she stoops down to fix it, the guards enter asking for the Cleopatra. Charmian informs them that they are too late, as she applies the third asp to her own arm; and having answered the guards’ questions and praised Cleopatra one last time, she too falls down dead.

Dolabella enters and asks how everything is, to which the guard replies that Cleopatra and her women are all dead. Caesar arrives with his followers, and Dolabella informs him that his fears have come true. Caesar understands, however, that Cleopatra wanted to take her own path rather than submit to someone else. Unable at first to tell how they died, he determines that they poisoned themselves with asps. Cleopatra, with none of the marks of a violent death, looks like she is asleep and, as Caesar observes, poised to cast her spell on another Antony.

In the final monologue, Caesar instructs his men to carry Cleopatra and her women from her tomb to Antony’s burial place, where they will lie together. He gives orders to have the army attend the funeral in all solemnity, afterwards to return to Rome. And he adds that no grave in all the world will ever hold within it a pair so famous as Antony and Cleopatra.