The loyalty well held to fools, does make Does conquer him that did his master conquer, And earns a place i'th' ftory. Wisdom fuperior to Fortune. Wisdom and fortune, combating together, If that the former dare but what it can, No chance may shake it. SCENE X. Vicious Perfons infatuated by Heaven. Good, my lord; When we in our vicioufnefs grow hard, Oh mifery on't! the wife gods feal our eyes In our own filth, drop our clear judgments, make us Fury expels Fear, Now he'll outftare the lightning; to be furious Reftores his heart; when valour preys on reafon, ACT IV. SCENE II. A Mafter taking leave of his Servants. May be, it is the period of your duty; Married Married to your good fervice, ftay till death; SCENE III. Early rifing the Way to Eminence. This morning, like the fpirit of a youth That means to be of note, begins betines. SCENE VI. Antony to Cleopatra, at his Return with Victory. O, thou day o'th' world, (29) Chain mine arm'd neck, leap thou, attire and all, Through proof of harness to my heart, and there Ride on the pants triumphing. SCENE VII. Loathed Life. (30) Oh, fovereign miftrefs of true melancholy, The poifonous damp of night difpunge upon me, That (29) Chain, &c.] i. e. Entwine me, armed as I am, in thy embraces. A chain, Mr. Edwards adds, Can. of Crit. p. 123. a gallant man would prefer before any gold one. He obferves too, on the laft line in the fpeech, (wherein Mr. Warburton tells us) Shakespear alludes to an admiral fhip on the billows after a ftorm." Why should it be triumphing like an admiral ship on the billows after a ftorm? I thought victories gained, not storms escaped, had been the matter of triumphs; and, I fuppofe, other fhips dance on the billows just after the fame manner as the admiral's does. (30) Ob, &c.] Enobarbus here beautifully calls the moon, the fovereign mistress of true melancholy, and betrays a generous concern for his ingratitude. Bellario, in Philafter, A&t 4. makes this affecting and melancholy speech; A heaviness near death fits on my brow, H 4 Than That life, a very rebel to my will, SCENE IX. Antony's Defpondency. (31) Oh fun, thy uprife fhall I fee no more: Fortune and Antony part here, even here Do we shake hands-All come to this!-The hearts That pannell'd me at heels, to whom I gave Their wishes, do difcandy, melt their sweets Than quick above you; dullness fhuts mine eyes, So found a fleep, that I might never wake! The defpondency of both is beautiful: but the poet's art is admirable, in fo well fuiting the fentiments: the despair of one proceeding from guilt; the other from injured innocence. (31) Oh fun, &c.] So Ajax, just before he kills himself, addreffes himself to the fun, Σεδω φαίννης, &c. Bright day-light, and thou glory of the world, Now raft I call-and hence am heard no more. The word pannell'd, in the text, hath greatly disturbed the critics; fome altering it to pantler'd, others to pag'd, fpaniel'd, and the like but Mr.Upton's laft criticism seems moft juft-"Who," fays he, "is fo unacquainted with our author as to be ignorant of his vague and licentious ufe of metaphors: his sporting, as it were, with the meaning of words?-The illufion here, licentious as it is, is to the pannel of a wainscot. But hear ye the poet himself in As you like it, A&t 3. "Jar. This fellow will but join you together, as they join wainscot." So that by the hearts that pannell'd me at heels, he means, the hearts that join'd me, united themselves to me, &c. This might have been lengthened into a fimile, but he chooses to express it more closely by a metaphor." Upton's Obfervations on Shakespear, p. 200. n. 3. I would always prefer that criticism which retains the original word, if it gives a tolerable fenfe. Tho' the line Do difcandy, melt their sweets, &c. is very good fenfe, I think, it would be better, if we read do difsandying melt their sweets. The reafons are obvious. On bloffoming Cafar; and this pine is bark'd Departing Greatness. The foul and body rive not more in parting, Than greatness going off. SCENE X. Antony, on his faded Glory. Ant. Sometime, we fee a cloud that's dragonish; A forked mountain, or blue promontory, With trees upon't, that nod unto the world, And mock our eyes with air.-Thou haft feen these figns, They are black vefper's pageants. Eros. Ay, my lord. Ant. That which is now a horfe, even with a thought The rack diflimns, and makes it indistinct As water is in water. Eros. It does, my lord. Ant. My good knave, Eros, now thy captain is Yet cannot hold this visible shape, my knave. Nay, weep not, gentle Eros, there is left us Defcription of Cleopatra's (supposed) Death. Death of one person can be paid but once, And that she has difcharg'd. What thou wouldst do, Is done unto thy hand; the last she spake Was Antony! most noble Antony! Then in the midft a tearing groan did break Between her heart and lips; the render'd life, SCENE XII. Cleopatra on the Death of Antony. It were for me To throw my fceptre at th' injurious gods, Ere death dare come to us? How do ye, women? ACT V. SCENE I. Death. My defolation does begin to make A better life; 'tis paltry to be Cafar: SCENE (32) Which fleeps, &c.] Mr. Seward, in a note on the Falle One, @bferves; "When we fpeak in contempt of any thing, we gene rally |