Antony And Cleopatra Quotes

The breaking of so great a thing should make A greater crack: the round world Should have shook lions into civil streets, And citizens to their dens.

In time we hate that which we often fear.

Make death proud to take us.

I mean she's Cleopatra... shouldn't she and Antony have known better? They were so different..." "Variety is the spice of life" "And from a thousand miles apart" "Absence makes the heart grow fonder

Give to a gracious message a host of tongues, but let ill tidings tell themselves when they be felt.

We, ignorant of ourselves, Beg often our own harms, which the wise powers Deny us for our good; so find we profit By losing of our prayers.

Age cannot wither her, nor custom stale her infinite variety.

Her seductive power, however, did not lie in her looks [...]. In reality, Cleopatra was physically unexceptional and had no political power, yet both Caesar and Antony, brave and clever men, saw none of this. What they saw was a woman who constantly transformed herself before their eyes, a one-woman spectacle. Her dress and makeup changed from day to day, but always gave her a heightened, goddesslike appearance. Her words could be banal enough, but were spoken so sweetly that listeners would find themselves remembering not what she said but how she said it.

But she makes hungry Where she most satisfies...

Music, moody food Of us that trade in love.

That truth should be silent I had almost forgot. (Enobarbus)

Finish, good lady; the bright day is done, And we are for the Dark.

You still don't get it, do you, Margaret?' Kat smiled almost sadly. 'We never had to steal the Antony. All we had to do was get it next to the Cleopatra and switch the signs.

The stroke of death is as a lover's pinch Which hurts and is desired.

Here was a woman about the year 1800 writing without hate, without bitterness, without fear, without protest, without preaching. That was how Shakespeare wrote, I thought, looking at Antony and Cleopatra; and when people compare Shakespeare and Jane Austen, they may mean that the minds of both had consumed all impediments; and for that reason we do not know Jane Austen and we do not know Shakespeare, and for that reason Jane Austen pervades every word that she wrote, and so does Shakespeare.

Give me my robe, put on my crown; I have Immortal longings in me: now no more The juice of Egypt's grape shall moist this lip: Yare, yare, good Iras; quick. Methinks I hear Antony call; I see him rouse himself To praise my noble act; I hear him mock The luck of Caesar, which the gods give men To excuse their after wrath: husband, I come: Now to that name my courage prove my title! I am fire and air; my other elements I give to baser life. So; have you done? Come then, and take the last warmth of my lips. Farewell, kind Charmian; Iras, long farewell. Kisses them. IRAS falls and dies Have I the aspic in my lips? Dost fall? If thou and nature can so gently part, The stroke of death is as a lover's pinch, Which hurts, and is desired. Dost thou lie still? If thus thou vanishest, thou tell'st the world It is not worth leave-taking.

The theme of the dance was "Great Romances," or some such nonsense. There were projections of supposedly great couples from the past on the walls of the gym. Romeo and Juliet, Antony and Cleopatra, Hermione and Ron, Bonnie and Clyde, etc.

The crown o' the earth doth melt. My lord! O, wither'd is the garland of the war, The soldier's pole is fall'n: young boys and girls Are level now with men; the odds is gone, And there is nothing left remarkable Beneath the visiting moon.

My salad days, When I was green in judgment: cold in blood, To say as I said then! But, come, away; Get me ink and paper: He shall have every day a several greeting, Or I'll unpeople Egypt.

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

Princess," he said, spreading his arms in a shrug, "how does such a little thing like you get such a big temper?" I held up my hand to shield my eyes from the sun. "Marc Antony," I said, "how does such a big man like you have such a little brain?

If you find him sad, say I am dancing. If in mirth, report that I am sudden sick.

The barge she sat in, like a burnish’d throne, Burn’d on the water; the poop was beaten gold; Purple the sails, and so perfumed that The winds were love-sick with them; the oars were silver, Which to the tune of flutes kept stroke, and made The water which they beat to follow faster, As amorous of their strokes. For her own person, It beggar’d all description.

The April's in her eyes: it is love's Spring, And these the showers to bring it on..

How shall I abide In this dull world, which in thy absence is No better than a sty?

The worm is not to be trusted...

If it be love indeed, tell me how much. There's beggary in the love that can be reckoned. I'll set a bourn how far to be beloved. Then must thou needs find out new heaven, new earth.

My desolation does begin to make a better life.

We are all women you assure me? Then I may tell you that the very next words I read were these – ‘Chloe liked Olivia …’ Do not start. Do not blush. Let us admit in the privacy of our own society that these things sometimes happen. Sometimes women do like women. ‘Chloe liked Olivia,’ I read. And then it struck me how immense a change was there. Chloe liked Olivia perhaps for the first time in literature. Cleopatra did not like Octavia. And how completely Antony and Cleopatra would have been altered had she done so! As it is, I thought, letting my mind, I am afraid, wander a little from Life’s Adventure, the whole thing is simplified, conventionalized, if one dared say it, absurdly. Cleopatra’s only feeling about Octavia is one of jealousy. Is she taller than I am? How does she do her hair? The play, perhaps, required no more. But how interesting it would have been if the relationship between the two women had been more complicated. All these relationships between women, I thought, rapidly recalling the splendid gallery of fictitious women, are too simple. So much has been left out, unattempted. And I tried to remember any case in the course of my reading where two women are represented as friends. There is an attempt at it in Diana of the Crossways. They are confidantes, of course, in Racine and the Greek tragedies. They are now and then mothers and daughters. But almost without exception they are shown in their relation to men.

Her passions are made of nothing but the finest part of pure love; we cannot call her winds and waters, sighs and tears; they are greater storms and tempests than almanacs can report...

Where souls do couch on flowers we’ll hand in hand...

All strange and terrible events are welcome, but comforts we despise

Kingdoms are clay: our dungy earth alike Feeds beast as man.

Let him forever go!-Let him not, Charmian. Though he be painted one way like a Gorgon, The other way he's a Mars.

For what good turn? Messenger: For the best turn of the bed.

But you gods will give us Some faults to make us men.

There's beggary in the love that can be reckon'd.

Our separation so abides, and flies, That thou, residing here, go'st yet with me, And I, hence fleeting, here remain with thee.

Passion is destructive. It destroyed Antony and Cleopatra, Tristan and Isolde, Parnell and Kitty O'Shea. And if it doesn't destroy it dies. It may be then that one is faced with the desolation of knowing that one has wasted the years of one's life, that one's brought disgrace upon oneself, endured the frightful pang of jealousy, swallowed every bitter mortification, that one's expended all one's tenderness, poured out all the riches of one's soul on a poor drab, a fool, a peg on which on hung one's dreams, who wasn't worth a stick of chewing gum.

Alack, sir, no; her passions are made of nothing but the finest part of pure love. We cannot call her winds and waters sighs and tears; they are greater storms and tempests than almanacs can report: this cannot be cunning in her; if it be, she makes a shower of rain as well as Jove.

But yet let me lament With tears as sovereign as the blood of hearts That thou my brother, my competitor In top of all design, my mate in empire, Friend and companion in the front of war, The arm of mine own body, and the heart Where mine his thoughts did kindle—that our stars Unreconcilable should divide Our equalness to this.

she did lie In her pavillion--cloth-of-gold of tissue-- O'er-picturing that Venus where we see The fancy out-work nature

He kiss’d, –the last of many doubled kisses, –this orient pearl.

What our contempt often hurls from us, We wish it our again; the present pleasure, By revolution lowering, does become The opposite of itself

being an artist: "And this susceptibility of theirs is doubly unfortunate , I thought, returning again to my original enquiry into what state of mind is propitious for creative work, because the mind of an artist, in order to achieve to the prodigious effort of freeing whole and entire the work that is in him, must be incandescent, like Shakespeare's mind, I conjectured, looking at the book which lay open at Antony and Cleopatra. There must be no obstacle in it, no foreign matter unconsumed.

Throw my heart Against the flint and hardness of my fault: Which, being dried with grief, will break to powder, And finish all foul thoughts.

And strange it is That nature must compel us to lament Our most persisted deeds.

Why is it that we honor the Great Thieves of Whitehall, for Acts that in Whitechapel would merit hanging? Why admire one sort of Thief, and despise the other? I suggest, 'tis because of the Scale of the Crime.--What we of the Mobility love to watch, is any of the Great Motrices, Greed, Lust, Revenge, taken out of all measure, brought quite past the scale of the ev'ryday world, approaching what we always knew were the true Dimensions of Desire. Let Antony lose the world for Cleopatra, to be sure,--not Dick his Day's Wages, at the Tavern.

Not romantic," she disagreed. "To me it would be romantic if Antony properly fell on his sword and kicked the bucket and Cleopatra escaped and lived a lovely life sailing along the Nile without him and his big ideas ruining her kingdom.

Let Rome in Tiber melt and the wide arch / Of the ranged empire fall. Here is my space. / Kingdoms are clay; our dungy earth alike / Feeds beast as man.

and Anthony, Enthroned i'th'market-place, did sit alone Whistling to th'air, which but for vacancy Had gone to gaze on Cleopatra too, And made a gap in Nature.

Que ella que con su muerte le dice a nuestro César: "Me conquisté yo misma".

Gracious Queen, even Herod of Judea wouldn’t dare look at you unless you were in a good mood.

Now he'll outstare the lighting. To be furious Is to be frightened out of fear, and in that mood The dove will peck the estridge; and I see still A diminution in our captain's brain Restores his heart. When valor preys on reason, It eats the sword it fights with.

The personal inevitably trumps the political, and the erotic trumps all: We will remember that Cleopatra slept with Julius Caesar and Mark Antony long after we have forgotten what she accomplished in doing so, that she sustained a vast, rich, densely populated empire in its troubled twilight in the name of a proud and cultivated dynasty. She remains on the map for having seduced two of the greatest men of her time, while her crime was to have entered into those same "wily and suspicious" marital partnerships that every man in power enjoyed. She did so in reverse and in her own name; this made her a deviant, socially disruptive, an unnatural woman. To these she added a few other offenses. She made Rome feel uncouth, insecure, and poor, sufficient cause for anxiety without adding sexuality into the mix.

It may take a decade or two before the extent of Shakespeare's collaboration passes from the graduate seminar to the undergraduate lecture, and finally to popular biography, by which time it will be one of those things about Shakespeare that we thought we knew all along. Right now, though, for those who teach the plays and write about his life, it hasn't been easy abandoning old habits of mind. I know that I am not alone in struggling to come to terms with how profoundly it alters one's sense of how Shakespeare wrote, especially toward the end of his career when he coauthored half of his last ten plays. For intermixed with five that he wrote alone, Antony and Cleopatra, Coriolanus, The Winter's Tale, Cymbeline, and The Tempest, are Timon of Athens (written with Thomas Middleton), Pericles (written with George Wilkins), and Henry the Eighth, the lost Cardenio, and The Two Noble Kinsmen (all written with John Fletcher).

Kind sir, give me a good fortune. Fortuneteller: I don’t make fortunes; I only see them. Charmian: Then see a good one for me. Fortuneteller: Your beauty will be even greater than it is now. Charmian (to the others) He means I’ll get fat. Iras No, he means you’ll use makeup when you’re old. Fortuneteller: You will love more than you are loved. Charmian: I had rather heat my liver with drinking.

You will learn as you get older, my dear girl, that not everyone reads as you do. Not everyone has the same encounter with language. There is a heightened sensitivity in you, to be sure, but you can embrace it. It’s far more than just a nervous condition, these tears you shed when you read of Cleopatra and Marc Antony’s fall. You are a rare and beautiful thing, Sibyl. For most people, words are just symbols for sounds, made on paper. For you, they can create all new worlds in your mind.

Shakespeare will not allow Falstaff to die upon stage. We see and hear the deaths of Hamlet, Cleopatra, Antony, Othello, and Lear. Iago is led away to die silently under torture. Macbeth dies offstage but he goes down fighting. Falstaff dies singing the Twenty-third Psalm, smiling upon his fingertips, playing with flowers, and crying aloud to God three or four times. That sounds more like pain than prayer. We do not want Sir John Falstaff to die. And of course he does not. He is life itself.

Whoever is born on a day I forget to send a message to Antony will die a beggar. Bring ink and paper, Charmian. Welcome, my good Alexas. Charmian, did I ever love Caesar as much as this? Oh, that splendid Caesar! May you choke on any other sentiments like that! Say, “That splendid Antony.” The courageous Caesar! By Isis, I’ll give you bloody teeth if you ever compare Caesar with Antony, my best man among men.

Passion doesn’t count the cost. Pascal said that the heart has its reasons that reason takes no account of. If he meant what I think, he meant that when passion seizes the heart it invents reasons that seem not only plausible but conclusive to prove that the world is well lost for love. It convinces you that honour is well sacrificed and that shame is a cheap price to pay. Passion is destructive. It destroyed Antony and Cleopatra, Tristan and Isolde, Parnell and Kitty O’Shea. And if it doesn’t destroy it dies.

I didn’t say free, madam. No, I didn’t say that. He’s bound to Octavia. CLEOPATRA For what favor? MESSENGER For the favor of sleeping in her bed. CLEOPATRA I am pale, Charmian. MESSENGER He’s married to Octavia, madam. CLEOPATRA May you die of the worst disease!

Melt Egypt into Nile!

Qui cherche et ne saisit pas ce qui s'offre ne le reverra jamais plus.

Though you can guess what temperance should be, You know not what it is

Let’s do ’t after the high Roman fashion And make death proud to take us.

You shall find there a man who is the abstract of all faults that all men follow.

Antony shall be brought drunken forth, and I shall see some squeaking Cleopatra boy my greatness I’ th’ posture of a whore.

Though age from folly could not give me freedom, It does from childishness

In praising Antony I have dispraised Caesar.

Give me to drink Mandragora. Why, madam? That I might sleep out this great gap of time my Antony is away.

When valor preys on reason, it eats the sword it fights with.

Soothsayer’s warning to Antony in Antony and Cleopatra, “If thou dost play with him at any game, / Thou art sure to lose” (2.3.26–27),

George Washington was at peace when I came for him, Marc Antony and Cleopatra mourned for the lives they left behind, and Genghis Khan was grimly satisfied with his end.

Passion doesn’t count the cost. Pascal said that the heart has its reasons that reason takes no account of. If he meant what I think, he meant that when passion seizes the heart it invents reasons that seem not only plausible but conclusive to prove that the world is well lost for love. It convinces you that honour is well sacrificed and that shame is a cheap price to pay. Passion is destructive. It destroyed Antony and Cleopatra, Tristan and Isolde, Parnell and Kitty O’Shea. And if it doesn’t destroy it dies. It may be then that one is faced with the desolation of knowing that one has wasted the years of one’s life, that one’s brought disgrace upon oneself, endured the frightful pang of jealousy, swallowed every bitter mortification, that one’s expended all one’s tenderness, poured out all the riches of one’s soul on a poor drab, a fool, a peg on which one hung one’s dreams, who wasn’t worth a stick of chewing gum.

Thank you,” he said as he gathered his bags and looked at me. “I love you more than anyone has ever loved anyone in the history of the world. Do you know that? Do you know that Antony didn’t love Cleopatra as much as I love you? Do you know that Romeo didn’t love Juliet as much as I love you?” I laughed. “I love you, too,” I said. “More than Liz Taylor loved Richard Burton.

Sometime we see a cloud that's dragonish, A vapor sometime like a bear or lion, A towered citadel, a pendant rock, A forked mountain, or blue promontory With trees upon't that nod unto the world And mock our eyes with air. Thou hast seen these signs: They are black vesper's pageants.

Egypt, thou knew'st too well My heart was to thy rudder tied by the strings, And thou shouldst tow me after: o'er my spirit Thy full supremacy thou knew'st, and that Thy beck might from the bidding of the gods Command me.

Nay, pray you, seek no color for your going, But bid farewell and go. When you sued staying, Then was the time for words. No going then! Eternity was in our lips and eyes, Bliss in our brows’ bent, none our parts so poor But was a race of heaven. They are so still, Or thou, the greatest soldier of the world, Art turned the greatest liar.

As for describing the smell of a spaniel mixed with the smell of torches, laurels, incense, banners, wax candles and a garland of rose leaves crushed by a satin heel that has been laid up in camphor, perhaps Shakespeare, had he paused in the middle of writing Antony and Cleopatra — But Shakespeare did not pause. Confessing our inadequacy, then, we can but note that to Flush Italy, in these the fullest, the freest, the happiest years of his life, meant mainly a succession of smells. Love, it must be supposed, was gradually losing its appeal. Smell remained. Now that they were established in Casa Guidi again, all had their avocations. Mr. Browning wrote regularly in one room; Mrs. Browning wrote regularly in another. The baby played in the nursery. But Flush wandered off into the streets of Florence to enjoy the rapture of smell. He threaded his path through main streets and back streets, through squares and alleys, by smell. He nosed his way from smell to smell; the rough, the smooth, the dark, the golden. He went in and out, up and down, where they beat brass, where they bake bread, where the women sit combing their hair, where the bird-cages are piled high on the causeway, where the wine spills itself in dark red stains on the pavement, where leather smells and harness and garlic, where cloth is beaten, where vine leaves tremble, where men sit and drink and spit and dice — he ran in and out, always with his nose to the ground, drinking in the essence; or with his nose in the air vibrating with the aroma. He slept in this hot patch of sun — how sun made the stone reek! he sought that tunnel of shade — how acid shade made the stone smell! He devoured whole bunches of ripe grapes largely because of their purple smell; he chewed and spat out whatever tough relic of goat or macaroni the Italian housewife had thrown from the balcony — goat and macaroni were raucous smells, crimson smells. He followed the swooning sweetness of incense into the violet intricacies of dark cathedrals; and, sniffing, tried to lap the gold on the window- stained tomb. Nor was his sense of touch much less acute. He knew Florence in its marmoreal smoothness and in its gritty and cobbled roughness. Hoary folds of drapery, smooth fingers and feet of stone received the lick of his tongue, the quiver of his shivering snout. Upon the infinitely sensitive pads of his feet he took the clear stamp of proud Latin inscriptions. In short, he knew Florence as no human being has ever known it; as Ruskin never knew it or George Eliot either.

It is no surprise that the only woman in antiquity who could be the subject of a full-length biography is Cleopatra. Yet, unlike Alexander, whom she rivals as the theme of romance and legend, Cleopatra is known to us through overwhelmingly hostile sources. The reward of the ‘good’ woman in Rome was likely to be praise in stereotyped phrases; in Athens she won oblivion.

Oh, Charmian, Where think’st thou he is now? Stands he or sits he? Or does he walk? Or is he on his horse? O happy horse, to bear the weight of Antony! Do bravely, horse, for wott’st thou whom thou mov’st? The demi-Atlas of this earth, the arm And burgonet of men. He’s speaking now, Or murmuring “Where’s my serpent of old Nile?” For so he calls me. Now I feed myself With most delicious poison. Think on me, That am with Phoebus’ amorous pinches black And wrinkled deep in time. Broad-fronted Caesar, When thou wast here above the ground, I was A morsel for a monarch. And great Pompey Would stand and make his eyes grow in my brow. There would he anchor his aspect, and die With looking on his life.

CLEOPATRA TO THE ASP The bright mirror I braved: the devil in it Loved me like my soul, my soul: Now that I seek myself in a serpent My smile is fatal. Nile moves in me; my thighs splay Into the squalled Mediterranean; My brain hides in that Abyssinia Lost armies foundered towards. Desert and river unwrinkle again. Seeming to bring them the waters that make drunk Caesar, Pompey, Antony I drank. Now let the snake reign. A half-deity out of Capricorn, This rigid Augustus mounts With his sword virginal indeed; and has shorn Summarily the moon-horned river From my bed. May the moon Ruin him with virginity! Drink me, now, whole With coiled Egypt's past; then from my delta Swim like a fish toward Rome.

The matter of the breath of the poor weighs upon Shakespeare and his characters. Cleopatra shudders at the thought that “mechanic slaves, With greasy aprons, rules and hammers, shall Uplift us to the view; in their thick breaths Rank of gross diet, shall we be enclouded, And forced to drink their vapor.” (Antony and Cleopatra, Act 5, Sc. 2.)

Come, Dolabella, see High order in this great solemnity.

¡Ah, por fin conmigo! Muere luego y vive antes; revive con besos. Si tal poder tuvieran, yo mis labios gastaría besando.

In nature's infinite book of secrecy A little I can read.

Riotous madness, To be entangled with those mouth-made vows, Which break themselves in swearing!

Fortune knows we scorn her most when most she offers blows.

Gösterilmeyen sevgi çok kez sevgi olmaktan çıkar.

Who does i'the wars more than his captain can Becomes his captain's captain: and ambition, The soldier's virtue, rather makes choice of loss, Than gain which darkens him.

When we debate, Our trivial difference loud, we do commit Murder in healing wounds.

CAESAR. Take your time.

This common body, like to a vagabond flag upon the stream, goes to and back, lackeying the varying tide, to rot itself with motion

Thou are the armourer of my heart—

The bright day is done, and we are for the dark.

Mine honor was not yielded, But conquer'd merely.

I that do bring the news made not the match.

So it should be; that none but Antony Should conquer Antony, but woe 'tis so!

Now, for the love of Love and her soft hours, Let's not confound the time with conference harsh.

I do not like 'But yet,' it does allay The good precedence; fie upon 'But yet'! 'But yet' is as a gaoler to bring forth Some monstrous malefactor.

Before the thought of Cleopatra every man is an Antony.

That something is not impossible does not mean that it happened.

here I am Antony: Yet cannot hold this visible shape

to rush into the secret house of death...

I am dying, Egypt, dying; only I here importune death awhile, until Of many thousand kisses the poor last I lay upon thy lips.

She did not approach Caesar wrapped in a carpet, she was not a seductress, she did not use her charm to persuade the men in her life to lose their judgement, and she did not die by the bite of an asp…Yet other important elements of her career have been bypassed in the post-antique recension: she was a Skilled naval commander, a published medical authority, and an expert royal administrator who was met with adulation throughout the eastern Mediterranean, perhaps seen by some as a messianic figure, the hope for a future Eastern Mediterranean free of Roman domination.

What say you? Hence, Horrible villain! or I'll spurn thine eyes Like balls before me; I'll unhair thy head: Thou shalt be whipp'd with wire, and stew'd in brine, Smarting in lingering pickle.

In fact Cleopatra was indebted to Fulvia for teaching Antony to obey a wife's authority, for by the time he met her he had already been quite broken in and schooled to accept the way of women.

His words hit me. He knew about Mila’s and Gabriel’s love… perhaps he could change things. If he did, Eli and I could be together freely, but until then there was no happy ending. I could feel it. The love that Eli and I have was great, but when has any great love in history ended well? Romeo and Juliet, Cleopatra and Mark Antony, or Tristan and Isolde? Each and every one ended in tragedy, be it death or banishment.

Pero derrochar el tiempo que le llama cual tambor con la fuerza de su rango y del nuestro, debe reprenderse como se riñe al muchacho que, maduro, por un placer fugaz sacrifica la cordura traicionando a la razón.

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

I would not for the whole world diminish you. I know it is usual in these circumstances to protest—"I love you for yourself alone"—"I love you essentially"—and as you imply, my dearest, to mean by "you essentially"—lips hands and eyes. But you must know—we do know—that it is not so—dearest, I love your soul and with that your poetry—the grammar and stopping and hurrying syntax of your quick thought—quite as much essentially you as Cleopatra's hopping was essentially hers to delight Antony—more essentially, in that while all lips hands and eyes resemble each other somewhat (though yours are enchanting and also magnetic)—your thought clothed with your words is uniquely you, came with you, would vanish if you vanished—

As for the other experiences, the solitary ones, which people go through alone, in their bedrooms, in their offices, walking the fields and the streets of London, he had them; had left home, a mere boy, because of his mother; she lied; because he came down to tea for the fiftieth time with his hands unwashed; because he could see no future for a poet in Stroud; and so, making a confidant of his little sister, had gone to London leaving an absurd note behind him, such as great men have written, and the world has read later when the story of their struggles has become famous. London has swallowed up many millions of young men called Smith; thought nothing of fantastic Christian names like Septimus with which their parents have thought to distinguish them. Lodging off the Euston Road, there were experiences, again experiences, such as change a face in two years from a pink innocent oval to a face lean, contracted, hostile. But of all this what could the most observant of friends have said except what a gardener says when he opens the conservatory door in the morning and finds a new blossom on his plant: — It has flowered; flowered from vanity, ambition, idealism, passion, loneliness, courage, laziness, the usual seeds, which all muddled up (in a room off the Euston Road), made him shy, and stammering, made him anxious to improve himself, made him fall in love with Miss Isabel Pole, lecturing in the Waterloo Road upon Shakespeare. Was he not like Keats? she asked; and reflected how she might give him a taste of Antony and Cleopatra and the rest; lent him books; wrote him scraps of letters; and lit in him

There's a great spirit gone! Thus did I desire it. What our contempts doth often hurl from us, We wish it ours again. The present pleasure, By revolution lowering, does become The opposite of itself. She's good, being gone. The hand could pluck her back that shoved her on.

It hath been taught us from the primal state / That he which is was wished until he were, / And the ebbed man, ne'er loved till ne'er worth love, / Comes feared by being lacked. This common body, / Like to a vagabond flag upon the stream, / Goes to and back, lackeying the varying tide / To rot itself with motion.

Be witness to me, O thou blessed moon […] O sovereign mistress of true melancholy, The poisonous damp of night dispunge upon me, That life, a very rebel to my will, May hang no longer on me. Throw my heart Against the flint and hardness of my fault, Which being dried with grief will break to powder, And finish all foul thoughts.

We know that Antony pined for Cleopatra months later, though she wound up with all the credit for the affair. As one of her sworn enemies asserted, she did not fall in love with Antony but “brought him to fall in love with her.” In the ancient world too women schemed while men strategized; there was a great gulf, elemental and eternal, between the adventurer and the adventuress. There was one too between virility and promiscuity: Caesar left Cleopatra in Alexandria to sleep with the wife of the king of Mauretania. Antony arrived in Tarsus fresh from an affair with the queen of Cappadocia. The consort of two men of voracious sexual appetite and innumerable sexual conquests, Cleopatra would go down in history as the snare, the delusion, the seductress. Citing her sexual prowess was evidently less discomfiting than acknowledging her intellectual gifts. In the same way it is easier to ascribe her power to magic than to love. We have evidence of neither, but the first can at least be explained; with magic one forfeits rather than loses the game. So Cleopatra has Antony under her thumb, poised to obey her every wish, “not only because of his intimacy with her,” as Josephus has it, “but also because of being under the influence of drugs.” To claim as much is to acknowledge her power, also to insult her intelligence.

My nightingale, We have beat them to their beds. What, girl! though grey Do something mingle with our younger brown, yet ha' we A brain that nourishes our nerves, and can Get goal for goal of youth. Behold this man; Commend unto his lips thy favouring hand: Kiss it, my warrior: he hath fought to-day As if a god, in hate of mankind, had Destroy'd in such a shape.

O, whither hast thou led me, Egypt? See How I convey my shame out of thine eyes By looking back what I have left behind 'Stroyed in dishonour. Cleopatra: O my lord, my lord, Forgive my fearful sails! I little thought You would have followed. Antony: Egypt, thou knew'st too well My heart was to thy rudder tied by th' strings, And thou shouldst tow me after. O'er my spirit Thy full supremacy thou knew'st, and that Thy beck might from the bidding of the gods Command me. Cleopatra: O, my pardon! Antony: Now I must To the young man send humble treaties, dodge And palter in the shifts of lowness, who With half the bulk o' th' world played as I pleased, Making and marring fortunes. You did know How much you were my conqueror, and that My sword, made weak by my affection, would Obey it on all cause. Cleopatra: Pardon, pardon! Antony: Fall not a tear, I say; one of them rates All that is won and lost. Give me a kiss. Even this repays me. We sent our schoolmaster; is 'a come back? Love, I am full of lead. Some wine Within there, and our viands! Fortune knows We scorn her most when she offers blows.

Did you see Octavia? MESSENGER Yes, revered Queen. CLEOPATRA Where? MESSENGER In Rome, Madam. I saw her face as she walked with her brother and Mark Antony. CLEOPATRA Is she as tall as I am? MESSENGER She is not, madam. CLEOPATRA Did you hear her speak? Is her voice pitched high or low? MESSENGER Madam, I heard her speak. She has a low-pitched voice. CLEOPATRA That’s not so good. He cannot like her long. MESSENGER Like her? Oh, Isis, that’s impossible. CLEOPATRA You’re right. Charmian, she’s both dull-spoken and dwarfishly little.—Did she carry herself with majesty? Compare her to any memory you might have of royalty. MESSENGER She creeps along. Moving or standing still, her bearing is about the same. She has a body, not a life. She’s more like a statue than a living, breathing human being. CLEOPATRA Is this true? MESSENGER If not, then I have no powers of observation. CHARMIAN There aren’t three people in all of Egypt who could do better. CLEOPATRA He’s very observant. I can tell. She doesn’t have anything going for her so far. This messenger is wise. CLEOPATRA (to MESSENGER ) How old do you think she is? MESSENGER She was a widow previously, madam CLEOPATRA A widow? Do you hear that, Charmian? MESSENGER And I think she’s at least thirty. CLEOPATRA Do you remember her face? Was it long or round? MESSENGER Round enough to be unattractive. CLEOPATRA Usually that means a person is foolish. What color is her hair? MESSENGER Brown, madam, and her forehead As low as she would wish it.

J.B. Bury once followed Pascal in suggesting that the cause of the foundation of the Roman Empire was the length of Cleopatra’s nose: had her features not been perfectly proportioned, Mark Antony would not have been entranced; had he not been entranced he would not have allied himself with Egypt against Octavian; had he not made that alliance, the battle of Actium would not have been fought—and so on.

No more light answers. Let our officers Have note what we purpose. I shall break The cause of our expedience to the Queen And get her leave to part. For not alone The death of Fulvia, with more urgent touches, Do strongly speak to us, but the letters too Of many our contriving friends in Rome Petition us at home. Sextus Pompeius Hath given the dare to Caesar and commands The empire of the sea. Our slippery people, Whose love is never linked to the deserver Till his deserts are past, begin to throw Pompey the Great and all his dignities Upon his son, who - high in name and power, Higher than both in blood and life - stands up For the main soldier; whose quality, going on, The sides o' th' world may danger. Much is breeding Which, like the courser's hair, hath yet but life And not a serpent's poison.

What was said of an earlier tribune was more true of Antony: “He was a spendthrift of money and chastity—his own and other people’s.” The brilliant cavalry officer had all of Caesar’s charm and none of his self-control. In 44 the conspirators had deemed him too inconsistent to be dangerous. After the Ides Mark Antony was in his glory, entirely the man of the hour—at least until Octavian arrived. Cleopatra

The Ptolemies were Macedonians, with an admixture of a little Greek and via marriage with the Seleucids a small element of Syrian blood…Cleopatra may have had black, brown, blonde, or even red hair, and her eyes could have been brown, grey, green or blue. Almost any combination of these is possible. Similarly, she may have been very light skinned or had a darker more Mediterranean complexion. Fairer skin is probably marginally more likely given her ancestry.

Lo último que hizo, Majestad, fue dar un beso, el último de miles, a esta perla oriental. Sus palabras se clavaron en mi pecho. CLEOPATRA Y de ahí mi oído ha de arrancarlas. ALEXAS «Buen amigo —dice—, haz saber que el fiel romano envía a la gran egipcia el tesoro de una ostra y que, además, por compensar tan vil regalo, rodearé su rico trono de otros reinos. Todo el Oriente —díselo— la llamará señora». Saludó y con dignidad montó un airoso corcel, que relinchó con tal brío que silenció brutalmente mi respuesta.

People write tragedies in which fatal blondes betray their paramours to ruin, which Cressidas, Cleopatras, Delilahs, and sometimes even naughty daughters like Jessica bring their lovers or their parents to distress: but these are not the heart of tragedy. They are fripperies to the soul of man. What does it matter if Antony did fall upon his sword? It only killed him. It is the mother's not the lover's lust that rots the mind. It is that which condemns the tragic character to his walking death. It is Jocasta, not Juliet, who dwells in the inner chamber. It is Gertrude, not the silly Ophelia, who sends Hamlet to his madness. The heart of tragedy does not lie in stealing or taking away. Any featherpated girl can steal a heart. It lies in giving, in putting on, in adding, in smothering without pillows. Desdemona robbed of life or honour is nothing to a Mordred, robbed of himself--his soul stolen, overlaid, wizened, while the mother-character lives in triumph, superfluously and with stifling love endowed on him, seemingly innocent of ill-intention. Mordred was the only son of Orkney who never married. He, while his brothers fled to England, was the one who stayed alone with her for twenty years--her living larder. Now that she was dead, he had become her grave. She existed in him like the vampire. When he moved, when he blew his nose, he did it with her movement. When he acted he became as unreal as she had been, pretending to be a virgin for the unicorn. He dabbled in the same cruel magic. He had even begun to keep lap dogs like her--although he had always hated hers with the same bitter jealousy as that with which he had hated her lovers.

CAESAR Evet, öyle öldürmüş olacak kendini. Hekimi söylüyordu: Bir sürü denemeler yaptırmış Kolay ölmenin yolunu bulmak için. Alın götürün onu yatağı üstünde, Kadınlarını da çıkartın bu anıttan dışarı. Antonius'un yanına gömülsün Kleopatra. Böylesine ünlü bir çifti, hiçbir mezar Birleştirememiştir yeryüzünde. Sebep olanların da içini sarsan Büyük olaylardan biri bu yaşadığımız: Onların hikayesinin insanlara duyuracağı acı Daha küçük olmayacak Onları acınacak hale düşürenlerin zaferinden. Ordumuz bu ölüm törenine saygı ile katılacak, Sonra Roma'ya döneceğiz. Sayfa:164

Yeminlerin tanrıların tahtını da sarssa, Nasıl inanabilirdim benim olduğuna, Benim kalacağına? Kimdi Fulvia'yı aldatan? İnsan deli olmalı ki kansın O yalnız ağızdan edilen, Edilir edilmez de bozulan yeminlere! ANTONIUS Canım kraliçem benim... KLEOPATRA Yok, rica ederim, bahaneler arama gitmene: Hoşçakal de ve git. Kalmak istediğin günlerde Neler söylemiştin neler. Gitme sözü yoktu o zaman. Sonsuzluk dudaklarımızda, gözlerimizde, Mutluluk kaşımız kirpiğimizdeydi, o zaman. Varlığımızın tek kılında bile Tanrısal bir şeyler vardı. Bugün bunlar yine var, Yok dersen, dünyanın en büyük yalancısısın, Dünyanın en büyük askeri de olsan.

Are there no men present? Do you promise me that behind that red curtain over there the figure of Sir Chartres Biron is not concealed? We are all women, you assure me? Then I may tell you that the very next words I read were these—“Chloe liked Olivia . . .” Do not start. Do not blush. Let us admit in the privacy of our own society that these things sometimes happen. Sometimes women do like women. “Chloe liked Olivia,” I read. And then it struck me how immense a change was there. Chloe liked Olivia perhaps for the first time in literature. Cleopatra did not like Octavia. And how completely Antony and Cleopatra would have been altered had she done sol As it is, I thought, letting my mind, I am afraid, wander a little from Life’s Adventure, the whole thing is simplified, conventionalised, if one dared say it, absurdly. Cleopatra’s only feeling about Octavia is one of jealousy. Is she taller than I am? How does she do her hair? The play, perhaps, required no more. But how interesting it would have been if the relationship between the two women had been more complicated. All these relationships between women, I thought, rapidly recalling the splendid gallery of fictitious women, are too simple. So much has been left out, unattempted. And I tried to remember any case in the course of my reading where two women are represented as friends.

Kleopatra Öyleyse, sevgilim, soğuyan yüreğimden Buz gibi taşlar yağdırsın gökler Zehirleyerek hem de kanımın kaynağını: İlk taş boynuma düşsün ve erisin canımla birlikte. İkinci taş Caesarion'un başını alsın, Silsin birer birer izlerini soyumun; Bugün yiğit Mısırlılar'ımla birlikte Mezarsız bıraksın hepsini bu eriyen buz kasırgası; Nil'in sinekleri, kurtları gömsün yesin onları! Antonius Ferahladı yüreğim. İskenderiye'ye mi iniyor Caesar, Peki, ben de orda çıkarım karşısına. Kara gücümüz yiyitçe duruyor ayakta. Dağılan donanmamız da toparlanıyor, yeniden Yarıyor denizleri, meydan okuyarak. Nerelere gitmişti bu yüreğim benim? Dinle beni, kraliçe, bu dudakları öpmek için Bir daha dönersem savaştan, Üstüm başım kan içinde döneceğim. Kılıcımla ben yazacağım tarihimizi. Umutsuz değilim henüz. Sayfa:108

1595, Richard Field, fellow-alumnus of the King Edward grammar school in Stratford-upon-Avon, printed The lives of the noble Grecians and Romanes, compared together by that grave learned philosopher and historiographer, Plutarke of Chaeronea: translated out of Greeke into French by James Amiot, abbot of Bellozane, Bishop of Auxerre, one of the Kings privie counsell, and great Amner of France, and out of French into English, by Thomas North. This was the book that got Shakespeare thinking seriously about politics: monarchy versus republicanism versus empire; the choices we make and their tragic consequences; the conflict between public duty and private desire. He absorbed classical thought, but was not enslaved to it. Shakespeare was a thinker who always made it new, adapted his source materials, and put his own spin on them. In the case of Plutarch, he feminized the very masculine Roman world. Brutus and Caesar are seen through the prism of their wives, Portia and Calpurnia; Coriolanus through his mother, Volumnia; Mark Antony through his lover, Cleopatra. Roman women were traditionally silent, confined to the domestic sphere. Cleopatra is the very antithesis of such a woman, while Volumnia is given the full force of that supreme Ciceronian skill, a persuasive rhetorical voice.40 Timon of Athens is alone and unhappy precisely because his obsession with money has cut him off from the love of, and for, women (the only females in Timon’s strange play are two prostitutes). Paradoxically, the very masculinity of Plutarch’s version of ancient history stimulated Shakespeare into demonstrating that women are more than the equal of men. Where most thinkers among his contemporaries took the traditional view of female inferiority, he again and again wrote comedies in which the girls are smarter than the boys—Beatrice in Much Ado about Nothing, Rosalind in As You Like It, Portia in The Merchant of Venice—and tragedies in which women exercise forceful authority for good or ill (Tamora, Cleopatra, Volumnia, and Cymbeline’s Queen in his imagined antiquity, but also Queen Margaret in his rendition of the Wars of the Roses).41

Aku membayangkan dirimu berbaring di atas sofa seperti sebuah novel yang belum selesai aku baca. Kutemukan sebuah luka yang selama ini engkau tutup-tutupi. Sebuah luka parut di bawah perutmu yang baru kemudian aku ketahui ternyata menyiratkan begitu banyak kebahagiaan. Telah bertahun tahun lamanya aku ingin mengungkap apa yang sebenarnya engkau pikirkan. Tapi engkau bukanlah sebuah cerita yang mudah untuk dimengerti. Aku memasang kamera pengintai jarak jauh hanya untuk memperbesar wujudmu dan mengenali karaktermu. Menelisik detail dari sidik jarimu atau mengintai apakah engkau akan menyingkap rok abu abu yang engkau kenakan itu dengan sepenuh harap. Tapi pada wajahmulah aku menemukan apa yang selama ini aku cari-cari. Bukan pada sepasang bola matamu yang kecoklatan dan seolah mengantuk itu, melainkan pada terakota bibirmu yang merona seperti daun peperomia. Pesona sebentuk kerinduan atas sebuah akhir cerita yang sama sekali tak terduga. Baru aku sadari, bahwa kebahagiaan itu hanyalah sebagian saja dari apa yang aku rasakan, penggalan dari sebagian bab yang sudah aku tamatkan sebelumnya. Aku tak pernah mendapati riwayat yang lebih menggugah dari kisahmu. Cerita yang memaksaku berpikir, hanya untuk melihat betapa beruntungnya diriku bisa merasakan mirakel-mirakel kecil yang engkau ciptakan lewat sentuhan jari tanganmu. Bagaimana kau hadirkan pagi dan kehangatan mentari pada sebuah gelas yang engkau minum, atau temaram rembulan pada kasur yang engkau tiduri. Lewat mimpi kau membagikan cinta untuk semua orang. Dan di setiap lembaran baru yang aku baca aku selalu menemukan keajaiban baru yang tak pernah aku temukan dalam hikayat manapun. Meskipun aku tak habis mengerti, bagaimana engkau bisa menghadirkan kisah yang menakjubkan serupa itu? Seperti tak letih melahirkan makna-makna baru bagi kehidupan. Seperti mengajak orang untuk menjadi bahagia. Dari bibirmulah aku mengerti bagaimana mengucap kata-kata cerdas yang akan mengubah hidup orang lain. Seperti seolah memanipulasi pikiran orang demi untuk menuruti apa yang engkau inginkan. Di atas sofa itu engkau berbaring. Seperti seorang putri raja yang tengah tertidur dalam keabadian, dan menunggu kehadiran seorang pangeran untuk membangunkan dirimu dengan sebuah ciuman di bibir. Seperti seekor putri duyung yang menangis di atas sebuah batu karang menunggu kekasih hatinya yang tak kunjung tiba. Demikianlah engkau menyihir diriku dengan rangkaian peristiwa dalam sebuah prosa liris, tak mengharap kisah tragis serupa Cleopatra - Mark Antony atau Salim - Anarkali. Seperti membaca sebuah dongeng yang tak ada habisnya, sebab setiap paragraf bisa setiap waktu berubah dan kau reka ulang beribu bahkan berjuta kali. Sedang aku hanya bisa menduga-duga bagaimana kisah itu akan berakhir.

History is full of examples of generals done in by their own blind spots: from a willingness of the Persian fleet to sail into the Greek's trap in the Salamis straits; to the legions that marched into Arminius's ambush in the Teutoburg Forest; to the American warships and airplanes that were easy pickings for the Japanese attackers at Pearl harbor.

The case of Mark Antony affords one of the most extraordinary examples of the power of unlawful love to lead its deluded and infatuated victim into the very jaws of open and recognized destruction that history records.

According to Plutarch, Cleopatra and Antony now dissolved their celebrated Society of Inimitable Livers and instituted another, which was at least its equal in elegance, luxury and extravagance, and which they called the Order of the Inseparable in Death. Their friends joined it on the understanding that they would end their lives together, and they set themselves to charm away the days with a succession of exquisite supper parties.

Offering his own scalding stream of accusations, he terrified the opposition into silence. “By certain documents,” Octavian promised to demonstrate that Antony constituted a threat to Rome. He fixed a date on which he would present his evidence. The opposing consuls had seen the daggers; they knew better than to await that session, and secretly fled the city. Nearly four hundred senators followed, sailing to Ephesus,

Rapunzel woke up to the dazzling, sparkling, gently chiming display with more cheer than anyone really should who had spent the last six thousand and approximately nine hundred days in a lonely tower. "This birthday is going to be great. I just know it!" She only really knew about birthdays because she had read about them in one of the thirty-seven books she owned: Book #3: Stories from Rome and Other Great Empires. Marc Antony apparently had splendid birthdays, and Cleopatra gave him the most cunning gifts. Anyway, they seemed like a marvelous idea, and she had adopted this time of year as her own. Had there been anyone around, they would have been amazed at the hermit's beauty. For one thing, her cheeks were surprisingly rosy for a girl who had been indoors her whole life. (This was because on sunny Wednesday and Saturday afternoons she carefully followed the window-shaped spot of sun around her room, lying down and soaking in the warm rays.) Her eyes were large and green because of parents she had never known. Her lips were usually set in an expectant smile because she was Rapunzel; good-natured, lighthearted, with a quick mind that constantly refused to be crushed by her circumstances.

The second library was called the Library of Cleopatra and was built around a couple of hundred thousand manuscripts that were given to her by Marc Antony in what was either a magnificent gesture of romantic love or a shrewd political maneuver. Marc Antony suffered from what we would today call “poor impulse control,” so the former explanation is more likely. This library was wiped out by Christians in AD 391. Depending on which version of events you read, its life span may have overlapped with that of the first library for a few years, a few decades, or not at all.

It were for me To throw my sceptre at the injurious gods; To tell them that this world did equal theirs Till they had stolen our jewel.

But the ifs of history: if Cleopatra’s nose had been one inch longer,’ he said, ‘would Antony have lost the battle of Actium?

Herod the Great achieved power in Judea with Roman backing; he brutally suppressed all opposition. Herod was a friend of Marc Antony but, unfortunately, an enemy of Antony’s mistress Cleopatra. When Octavian (Augustus) Caesar defeated Antony and Cleopatra, Herod submitted to him. Noting that he had been a loyal friend to Antony until the end, Herod promised that he would now be no less loyal to Caesar, and Caesar accepted this promise. Herod named cities for Caesar and built temples in his honor.

ABYSM  (ABY'SM)   n.s.[abysme, old Fr. now written contractedly abîme.]A gulf; the same with abyss. My good stars, that were my former guides,Have empty left their orbs, and shot their firesInto the abysm of hell.Shakespeare’sAntony and Cleopatra.

While they were sitting in the room above his shop there had been a distance, and she had never feared—and never hoped— that the distance would be altered by any brusque or clumsy or sly movement of his. On the few occasions when this had happened with other men she had felt embarrassed for them. Now of necessity she and this man walked fairly close to each other and if they met someone their arms might brush together. Or he would move slightly behind her to get out of the way and his arm or chest knocked for a second against her back. These possibilities, and the knowledge that the people they met must see them as a couple, set up something like a hum, a tension, across her shoulders and down that one arm. He asked her about Antony and Cleopatra, had she liked it (yes) and what part she had liked best. What came into her mind then were various bold and convincing embraces, but she could not say so.

As for the other experiences, the solitary ones, which people go through alone, in their bedrooms, in their offices, walking the fields and the streets of London, he had them; had left home, a mere boy, because of his mother; she lied; because he came down to tea for the fiftieth time with his hands unwashed; because he could see no future for a poet in Stroud; and so, making a confidant of his little sister, had gone to London leaving an absurd note behind him, such as great men have written, and the world has read later when the story of their struggles has become famous. London has swallowed up many millions of young men called Smith; thought nothing of fantastic Christian names like Septimus with which their parents have thought to distinguish them. Lodging off the Euston Road, there were experiences, again experiences, such as change a face in two years from a pink innocent oval to a face lean, contracted, hostile. But of all this what could the most observant of friends have said except what a gardener says when he opens the conservatory door in the morning and finds a new blossom on his plant: — It has flowered; flowered from vanity, ambition, idealism, passion, loneliness, courage, laziness, the usual seeds, which all muddled up (in a room off the Euston Road), made him shy, and stammering, made him anxious to improve himself, made him fall in love with Miss Isabel Pole, lecturing in the Waterloo Road upon Shakespeare. Was he not like Keats? she asked; and reflected how she might give him a taste of Antony and Cleopatra and the rest; lent him books; wrote him scraps of letters; and lit in him such a fire as burns only once in a lifetime, without heat, flickering a red gold flame infinitely ethereal and insubstantial over Miss Pole; Antony and Cleopatra; and the Waterloo Road. He thought her beautiful, believed her impeccably wise; dreamed of her, wrote poems to her, which, ignoring the subject, she corrected in red ink; he saw her, one summer evening, walking in a green dress in a square. “It has flowered,” the gardener might have said, had he opened the door; had he come in, that is to say, any night about this time, and found him writing; found him tearing up his writing; found him finishing a masterpiece at three o’clock in the morning and running out to pace the streets, and visiting churches, and fasting one day, drinking another, devouring Shakespeare, Darwin, The History of Civilisation, and Bernard Shaw.

I’m sure I’ve got that part of the Aristophanic sex-myth straight. With the help of Eros we go on, each of us, looking for his missing half. Ravelstein was in real earnest about this quest, driven by longing. Not everyone feels that longing, or acknowledges it if he does feel it. In literature Antony and Cleopatra had it, Romeo and Juliet had it. Closer to our own time Anna Karenina and Emma Bovary had it, Stendhal’s Madame de Rênal in her simplicity and innocence had

Greek was her first language, and in Greek literature and culture she was educated. Although representing on Egyptian temples and some statuary in the traditional headgear and robes of the pharaohs’ wives, it was unlikely she actually dressed this way save perhaps occasionally to perform certain rites. Instead she wore the headband and robes of a Greek monarch. Cleopatra proclaimed herself the ‘New Isis’, and yet her worship of the goddess betrayed a strongly Hellenised version of the cult. She was no more Egyptian culturally or ethnically than most residents of modern day Airzona are Apaches.

pay. Passion is destructive. It destroyed Antony and Cleopatra, Tristan and Isolde, Parnell and Kitty O’Shea. And if it doesn’t destroy it dies.

Antony and Cleopatra: “what love, what accomplishments, what repetitions of natural affections passed between them is not for vulgar minds to imagine, none but so great hearts know them.

Canopus, lure of the dissolute and the anxious, where Hadrian and Antinous, like Cleopatra and Mark Antony before them, amused themselves in 130, and which made sufficient impact on Hadrian for him to give its name to part of his palatial villa at Tivoli, also lay on a tributary of the Nile west of where the river runs today. From the fourth century onwards a series of natural disasters wiped Canopus off the map. The rise of Christianity had long destroyed the temples and removed the treasures of pagan religion, and the depravity against which both ancient and Christian commentators had inveighed came to a truly biblical end.

As Antony said to Cleopatra, as he opened a crate of ale; "Oh I say, some girls are bigger than others.

London has swallowed up many millions of young men called Smith... Lodging off the Euston Road, there were experiences, again experiences, such as change a face in two years from a pink innocent oval to a face lean, contracted, hostile. But of all this what could the most observant of friends have said except what a gardener says when he opens the conservatory door in the morning and finds a new blossom on his plant: — It has flowered; flowered from vanity, ambition, idealism, passion, loneliness, courage, laziness, the usual seeds, which all muddled up (in a room off the Euston Road), made him shy, and stammering, made him anxious to improve himself, made him fall in love with Miss Isabel Pole, lecturing in the Waterloo Road upon Shakespeare. Was he not like Keats? she asked; and reflected how she might give him a taste of Antony and Cleopatra and the rest; lent him books; wrote him scraps of letters; and lit in him such a fire as burns only once in a lifetime, without heat, flickering a red gold flame infinitely ethereal and insubstantial over Miss Pole; Antony and Cleopatra; and the Waterloo Road. He thought her beautiful, believed her impeccably wise; dreamed of her, wrote poems to her, which, ignoring the subject, she corrected in red ink; he saw her, one summer evening, walking in a green dress in a in a green dress in a square. ‘It has flowered,’ the gardener might have said, had he opened the door; had he come in, that is to say, any night about this time, and found him writing; found him tearing up his writing; found him finishing a masterpiece at three o'clock in the morning and running out to pace the streets, and visiting churches, and fasting one day, drinking another, devouring Shakespeare, Darwin, The History of Civilisation, and Bernard Shaw.

At present, the ottoman was occupied by a pair of cats who eyed Alex with blasé effeteness. He stuck his hands in his pockets and eyed them back. "Romeo and Juliet," she told him. "They used to be lovers, but since that visit to the vet they're just friends." "Are they friendly?" he asked, stretching out a hand at Romeo's funny pushed-in face. "They're cats," she said, grinning as Romeo turned up his nose at the outstretched hand. Juliet wasn't interested, either. They poured themselves off the furniture, then minced away. "I think they've been talking to your friends at the restaurant," Alex said. "They don't talk to anyone." She saw him glance at the terrarium on the windowsill. "The turtles are Tristan and Isolde, and their offspring are Heloise and Abelard." "So where are Cleopatra and Mark Antony?" he asked. "In a tomb in Egypt, I imagine. But you can look in the fish tank and see Bonnie and Clyde, Napoleon and Josephine, and Jane and Guildford." He bent and peered into the lighted tank. "Fun couples. Is it a coincidence that they all ended tragically?" "Not a coincidence, just poor judgment." "Isn't it bad karma, naming your pets after doomed lovers?" "I don't think they care.

each Shakespearean reference is taken from a specific Shakespearean character. These are the characters I paired together: Cady: Miranda in The Tempest. Miranda is an ingenue who has lived most of her life secluded with her father in a remote wilderness, not unlike Cady. (I broke this pairing once, when Cady uses lines borrowed from Hero in Much Ado About Nothing. The quote from Hero was so perfect for the moment that I had to use it. Can you find it?) Janis: Beatrice in Much Ado About Nothing. Beatrice has a caustic, biting wit and a fierce loyalty to her friends. Regina: Kate in Taming of the Shrew. Kate, the titular shrew, starts off the play as a harsh woman with a sharp tongue. Gretchen: Viola in Twelfth Night. Viola, dressing as a man, serves as a constant go-between and wears a different face with each character. Karen: Juliet in Romeo and Juliet. Juliet is the youngest of Shakespeare’s heroines. She is innocent and hopeful. Mrs. Heron: Cleopatra in Antony and Cleopatra. Cleopatra is the regal, intelligent woman who has come from Africa. Mrs. George: Lady Macbeth in Macbeth. Lady Macbeth is one of Shakespeare’s cruelest, most cunning villains. Yes, this is unfair to Amy Poehler’s portrayal of Mrs. George, who is nothing but positive and fun. My thought was that anyone who could raise Regina must be a piece of work. Ms. Norbury: Titania in A Midsummer Night’s Dream. There’s little textual connection here—I just love Tina Fey so much that I thought, “Who could represent her except a majestic fairy queen?

The Four Loves Killers of the Flower Moon Crazy Rich Asians The Screwtape Letters Rebecca Martha Stewart’s Homekeeping Handbook Sense and Sensibility Number the Stars The Awakening of Miss Prim The Hiding Place Church of Spies: The Pope’s Secret War Against Hitler Animal Farm Alice in Wonderland All Quiet on the Western Front And Then There Were None Antony and Cleopatra

The legion was raised by Mark Antony. He filled the ranks with men from Cleopatra’s army. When Antony was defeated by Octavian, the Twenty-Second was integrated into the rest of the army and has been stationed on the Nile since then. They’re a mix of Greeks and Egyptians from the Nile cities.

The agent reported from 26 BC, but that’s four years after Caesarion was supposed to have died. He’s alive and Pharaoh in Egypt, having struck a deal with Octavian. Octavian, who by 26 BC was now Augustus, Emperor of Rome.” “Okay,” Nada said. “Lead with the headline. And?” Edith stared at him in shock. “History is very different and going to get more so accordingly. Four years different when the agent etched this message. The fact there is no update to the message means that in that agent’s time, things had gone off course enough that he could not access the Needle. Or perhaps he no longer lived.” She barely paused to take a breath. “It could explain why, in your man Eagle’s history, the Lateran Obelisk was still in Egypt, never having been brought to Rome. “The implications are staggering if this is left unchecked.” She looked at her watch. “We only have six hours to fix this. It’s just the beginning. It’s likely, if left unchecked, the obelisk will disappear and then . . .” Moms held up a hand as Nada began to say something. “Six hours to fix something that’s already gone wrong for four years in the past?” “Yes, yes,” Edith said. “That’s the way the Patrol works. Go back to the day Caesarion was supposed to have been killed, although I believe the exact date isn’t recorded. I’ll have to do research.” She closed her eyes in thought. “After the naval battle at Actium, when Antony was defeated by Octavian, he fled back to Egypt. Cleopatra was there with Caesarion, who she had claimed from birth was the son of Caesar and heir.” “Was he?” Moms asked.

It is easy to enter every moment of a day so burdened down as we try to carry all of our hopes and fears for that day, that we miss the good in every moment. Every moment is worth investing a full moment in. How we approach every moment matters. Shakespeare said in Antony and Cleopatra, “Give me my robe. Put on my crown. I have immortal longings in me.” Our innermost longing is not merely to survive, but to thrive, and we share that longing with everyone else. Connection comes most intimately from looking for that innermost longing in others and ourselves. Love says, as Jordan Peterson wrote, “I want the best, for what wants the best in you.” We ought to love ourselves and want the best for what wants the best in us. There is a longing inside to love without reserve or limits and allow ourselves to be loved with ultimate vulnerability. We are more than what we can hide behind a mask, and there is no reason we should try to hide it. We are not the chemical mess we feel like at times, we are amazing—we defy the law of the universe that says all things trend towards chaos and emptiness. Walt Whitman said, “I am not contained between my hat and my boots.” We are not contained between our fears and our past experiences either. We are born with awareness, imagination and will-power, and combined with any other awareness, imagination and will-power both will be increased; that is the value of connecting. What we are born with is all we have or need to give. You were born worthy of connection, don’t ever second guess it! Yes, it may be dangerous to open up and let people into our life, but it is fatal to attempt to keep people out. Choose love, choose to see the goodness in life unbiasedly wherever it may be, and choose to make life better for yourself and everyone, whether or not anyone else wants to help. It is very normal and understandable to want to feel heard, seen and appreciated; at some point however, we have to make the decision to say what most merits hearing, do what is most worth seeing, and give what is most worth appreciating, whether or not anyone sees, hears or appreciates it. There is a saying that “integrity is how you act when you think no one is looking.” I say that character is what we do despite all that would sway us otherwise, whether that be potential for fame or fear of insignificance. "No positive effort is so small that good things won’t come from it, so do it!

I am going to tell a story: Once Upon A Time there was a man and a woman. The man and the woman were dreaming. The man and the woman dreamed each other and when they finished dreaming they had invented each other. So I am going to tell the story of a dream: Once upon a time there was a couple: the ideal couple, the perfect couple, the archetypal couple, who would combine in their two faces the features of all the lovers of history, all those who might have been able to fall in love with each other, all those ever imagined by the poets, and all those unimagined yet. They were (or would be) Abelard and Héloïse, Venus and Tannhäuser, Hamlet and Ophelia, Agathe and Ulrich, Solomon and the Shulamite maiden, the Consul and Yvonne, Daphnis and Chloe, Percy and Mary Shelley, the narrator and Albertine, Jocasta and Oedipus, Hans Castorp and Clavdia Chauchat, Pygmalion and Galatea, Othello and Desdemona, Penelope and Ulysses, Baudelaire and Jeanne Duval, Laura and Petrarch, Humbert Humbert and Lolita, Elizabeth Barrett and Robert Browning, Alonso Quijano and Dulcinea, Leda and the Swan, Adam and Eve, Wagner and Cosima, Pelléas and Mélisande, Cleopatra and Mark Antony, Calisto and Melibea, Faust and Gretchen, Orpheus and Eurydice, Romeo and Juliet, Heathcliff and Cathy, Tristan and Isolde, Rilke and Lou Andreas-Salome, Jason and Medea, Miranda and Ferdinand, Kafka and Milena, Electra and Agamemnon, Don Juan and Thisbe, von Aschenbach and Tadzio, Poe and Annabel Lee, Borges and Matilde Urbach. As the curtain rises they are kissing each other passionately in the middle of a steamy, shadowed park, underneath the pines. Is this not perhaps the ideal beginning of any love story? Not to forget that there is also a unicorn, a tree laden with garnet-colored fruit, and a large neon sign hanging above them both that reads: A Mon Suel Desir. If we look carefully we will notice that the park is surrounded by water on all sides—that is, this is an island. The story might well begin at any moment.

I love you more than anyone has ever loved anyone in the history of the world. Do you know that? Do you know that Antony didn’t love Cleopatra as much as I love you? Do you know that Romeo didn’t love Juliet as much as I love you?

Antony and Cleopatra were actually in Greece at the time, and by catching them off guard,

Realizing that there was nowhere left to run, Mark Antony and Cleopatra chose to take their own lives.

Mark Antony stabbed himself with his weapon before dying in Cleopatra’s embrace.

Mark Antony and Cleopatra took what was left of their entourage and set sail off the shores of the Greek mainland.

Like Cleopatra,” observed Philostratus, “they reached such a pinnacle by using their connection to men: Cleopatra through Julius Caesar and Marc Antony, Domna through Severus, Maesa and her daughter through the two young cousins—one or both of them said to be the son of Caracalla. And now those boys rule jointly, since Antoninus adopted him and made him Caesar.