No Fear Shakespeare: Antony and Cleopatra: Act 1 Scene 3

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Original Text	Modern Text
Enter CLEOPATRA , CHARMIAN , ALEXAS , and IRAS	CLEOPATRA , CHARMIAN , ALEXAS , and IRAS enter.
CLEOPATRA Where is he?	CLEOPATRA Where is he?
CHARMIAN I did not see him since.	CHARMIAN I haven’t seen him recently.
CLEOPATRA (to ALEXAS) See where he is, who’s with him, what he does. I did not send you. If you find him sad, Say I am dancing. If in mirth, report 5 That I am sudden sick. Quick, and return.	CLEOPATRA (to ALEXAS) Find out where he is, who’s with him, and what he’s doing. Don’t tell him I sent you. If he’s sad, tell him I’m dancing. If he’s happy, say that I’ve suddenly taken sick. Hurry, and come back.
CHARMIAN Madam, methinks, if you did love him dearly, You do not hold the method to enforce The like from him.	CHARMIAN Madam, I think if you love him so much, you aren’t using the best way to get him to reciprocate.
CLEOPATRA What should I do I do not?	CLEOPATRA What should I do that I’m not doing?
CHARMIAN In each thing give him way. Cross him in nothing.	CHARMIAN Always give him his way. Never contradict him.
CLEOPATRA 10 Thou teachest like a fool the way to lose him.	CLEOPATRA You advise me like a fool. That’s the way to lose him.
CHARMIAN Tempt him not so too far. I wish, forbear. In time we hate that which we often fear.	CHARMIAN Don’t push him too far. I wish you’d be patient. We come to hate that which controls us.
Enter ANTONY	ANTONY enters.
But here comes Antony.	But here comes Antony.
CLEOPATRA I am sick and sullen.	CLEOPATRA I am sick and sullen.
ANTONY I am sorry to give breathing to my purpose—	ANTONY I’m sorry to have to say this—
CLEOPATRA 15 Help me away, dear Charmian! I shall fall. It cannot be thus long. The sides of nature Will not sustain it.	CLEOPATRA Help me away from here, dear Charmian! I shall faint. I won’t be able to go on this way much longer. Human nature isn’t built to withstand this.
Exit ALEXAS	ALEXAS exits.
ANTONY Now, my dearest Queen—	ANTONY Now, my dearest Queen—
CLEOPATRA Pray you, stand farther from me.	CLEOPATRA Please, stand farther away from me.
ANTONY What’s the matter?	ANTONY What’s the matter?
CLEOPATRA I know by that same eye there’s some good news. 20 What, says the married woman you may go? Would she had never given you leave to come! Let her not say ’tis I that keep you here. I have no power upon you. Hers you are.	CLEOPATRA I can see in your eyes there’s been some good news. What, does your wife say you can come home? I wish she’d never let you come. Don’t let her say I kept you. I have no power over you. You belong to her.
ANTONY The gods best know—	ANTONY The gods know—
CLEOPATRA Oh never was there queen 25 So mightily betrayed! Yet at the first I saw the treasons planted.	CLEOPATRA Oh, never has a queen been so betrayed as I have been. I knew from the first it would be this way.
ANTONY Cleopatra—	ANTONY Cleopatra—
CLEOPATRA Why should I think you can be mine, and true— Though you in swearing shake the thronèd gods— Who have been false to Fulvia? Riotous madness, 30 To be entangled with those mouth-made vows Which break themselves in swearing!	CLEOPATRA How could I have ever thought that you would be faithful and true, even though your vows of love shook the heavens themselves—you, who were unfaithful to Fulvia? It was wild insanity to believe promises made by the mouth and not the heart. Such false vows are broken as soon as they are spoken.
ANTONY Most sweet Queen—	ANTONY Most sweet Queen—
CLEOPATRA 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! 35 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.	CLEOPATRA No, please don’t try to excuse your departure. Just say good-bye and go. When you begged to stay, that was the time for words. You didn’t want to go then! You saw eternity in my lips and eyes, and happiness in the arch of my eyebrows. Then, all my parts seemed angelic to you. My features are still that beautiful—or else you, the greatest soldier in the world, have become the greatest liar by overpraising them.
ANTONY How now, lady?	ANTONY What do you mean, lady?
CLEOPATRA 40 I would I had thy inches. Thou shouldst know There were a heart in Egypt.	CLEOPATRA I wish I were as big and strong as you. Then you’d see the courage that lives in the Queen of Egypt.
ANTONY Hear me, Queen: The strong necessity of time commands Our services awhile, but my full heart Remains in use with you. Our Italy 45 Shines o’er with civil swords. Sextus Pompeius Makes his approaches to the port of Rome. Equality of two domestic powers Breed scrupulous faction. The hated, grown to strength, Are newly grown to love. The condemned Pompey, 50 Rich in his father’s honor, creeps apace Into the hearts of such as have not thrived Upon the present state, whose numbers threaten; And quietness, grown sick of rest, would purge By any desperate change. My more particular, And that which most with you should safe my going, Is Fulvia’s death.	ANTONY Listen to me, Queen. There is an emergency I must take care of, but my whole heart will remain here with you. My Italy is full of civil war. Sextus Pompeius is sailing toward the port of Rome. When two domestic opponents are equally matched—as we are against Pompey—factions will form on the smallest of pretexts. When a formerly hated man grows powerful, he suddenly finds himself with many supporters. Pompey, who was once condemned, now wields his father’s power, and all the citizens who have grievances against the government are joining him. Pompey’s numbers are steadily growing, and the government is ready to do something desperate. But my personal motivation—and that which should move you most to sanction my departure—is that Fulvia is dead.
CLEOPATRA Though age from folly could not give me freedom, It does from childishness. Can Fulvia die?	CLEOPATRA I may not have outlived the foolishness of my youth, but I’m not that childishly naïve. Is it possible Fulvia is dead?
ANTONY She’s dead, my Queen.	ANTONY She’s dead, my Queen.
He offers letters	He shows her the message.
60 Look here, and at thy sovereign leisure read The garboils she awaked, at the last, best, See when and where she died.	Look at this. Take your royal time and read about the quarrels she encouraged. And saving the best for last, read when and where she died.
CLEOPATRA O most false love! Where be the sacred vials thou shouldst fill With sorrowful water? Now I see, I see, 65 In Fulvia’s death how mine received shall be.	CLEOPATRA Oh, unfaithful lover! You should be filling vials with your tears. Ancient Romans often placed vials of tears inside their friends’ funerary urns. You should be filling vials with your tears. Seeing how you take Fulvia’s death, I can see how you would react to mine.
ANTONY Quarrel no more, but be prepared to know The purposes I bear, which are or cease As you shall give th’ advice. By the fire That quickens Nilus’ slime, I go from hence 70 Thy soldier, servant, making peace or war As thou affects.	ANTONY Stop arguing and listen to my plans. Whether I go ahead with them or not is completely up to you. I swear by the sun that when I leave here, it will be as your faithful servant. I will make either peace or war, whichever you prefer.
CLEOPATRA Cut my lace, Charmian, come! But let it be. I am quickly ill, and well, So Antony loves.	CLEOPATRA Cut my corset laces, Charmian, so I can breathe. Hurry! No, leave it alone. I waver easily between sickness and health. Just as Antony loves.
ANTONY 75 My precious Queen, forbear, And give true evidence to his love which stands An honorable trial.	ANTONY Control yourself, my precious Queen, and concede that my love is true. It has endured many genuine trials.
CLEOPATRA So Fulvia told me. I prithee, turn aside and weep for her. 80 Then bid adieu to me, and say the tears Belong to Egypt. Good now, play one scene Of excellent dissembling, and let it look Like perfect honor.	CLEOPATRA That’s what Fulvia told me. I beg you, turn away and cry for her. Then say good-bye to me and tell me those tears were for my benefit. Good. Now perform a scene for me, using your excellent skills of playacting, and pretend that you’re being honorable and righteous.
ANTONY You’ll heat my blood. No more.	ANTONY You’ll make me angry. No more of this.
CLEOPATRA You can do better yet, but this is meetly.	CLEOPATRA I know you can do better than that, but it’ll do for now.
ANTONY 85 Now, by my sword—	ANTONY I swear by my sword—
CLEOPATRA And target. Still he mends. (to CHARMIAN) But this is not the best. Look, prithee, Charmian, How this Herculean Roman does become The carriage of his chafe.	CLEOPATRA Swear by your shield, too! (to CHARMIAN) He’s getting better, but still it’s not his best. See, Charmian, how well this mighty Roman portrays anger?
ANTONY I’ll leave you, lady.	ANTONY I’ll leave you, lady.
CLEOPATRA 90 Courteous lord, one word. Sir, you and I must part, but that’s not it. Sir, you and I have loved, but there’s not it, That you know well. Something it is I would— Oh, my oblivion is a very Antony, 95 And I am all forgotten.	CLEOPATRA Polite sir, let me say one thing. Sir, you and I must part company—no, that’s not it. Sir, you and I were lovers—no, that’s not it, either. You already know all that. There’s something I’d like to—oh, I’ve forgotten what I wanted to say. Just as Antony has forgotten me.
ANTONY But that your royalty Holds idleness your subject, I should take you For idleness itself.	ANTONY If you weren’t the queen of immaturity, I’d think you were immaturity itself.
CLEOPATRA ’Tis sweating labor To bear such idleness so near the heart As Cleopatra this. But, sir, forgive me, 100 Since my becomings kill me when they do not Eye well to you. Your honor calls you hence. Therefore be deaf to my unpitied folly, And all the gods go with you! Upon your sword Sit laurel victory, and smooth success 105 Be strewed before your feet.	CLEOPATRA It’s difficult to have such immaturity so close to my heart, but bear with me. Even the traits that become me most kill me when you don’t approve of them. Your honor is the reason you are leaving. So I beg you not to listen to my foolishness. May the gods be with you. May your sword be victorious and everything you do succeed.
ANTONY Let us go. Come. Our separation so abides and flies That thou, residing here, goes yet with me, And I, hence fleeting, here remain with thee. Away!	ANTONY Let’s go. Come with me. Our imminent separation so occupies our thoughts that even though you stay here, you come with me, and even though I leave here, I stay with you.
Exeunt	They exit.

Original Text	Modern Text
Enter CLEOPATRA , CHARMIAN , ALEXAS , and IRAS	CLEOPATRA , CHARMIAN , ALEXAS , and IRAS enter.
CLEOPATRA Where is he?	CLEOPATRA Where is he?
CHARMIAN I did not see him since.	CHARMIAN I haven’t seen him recently.
CLEOPATRA (to ALEXAS) See where he is, who’s with him, what he does. I did not send you. If you find him sad, Say I am dancing. If in mirth, report 5 That I am sudden sick. Quick, and return.	CLEOPATRA (to ALEXAS) Find out where he is, who’s with him, and what he’s doing. Don’t tell him I sent you. If he’s sad, tell him I’m dancing. If he’s happy, say that I’ve suddenly taken sick. Hurry, and come back.
CHARMIAN Madam, methinks, if you did love him dearly, You do not hold the method to enforce The like from him.	CHARMIAN Madam, I think if you love him so much, you aren’t using the best way to get him to reciprocate.
CLEOPATRA What should I do I do not?	CLEOPATRA What should I do that I’m not doing?
CHARMIAN In each thing give him way. Cross him in nothing.	CHARMIAN Always give him his way. Never contradict him.
CLEOPATRA 10 Thou teachest like a fool the way to lose him.	CLEOPATRA You advise me like a fool. That’s the way to lose him.
CHARMIAN Tempt him not so too far. I wish, forbear. In time we hate that which we often fear.	CHARMIAN Don’t push him too far. I wish you’d be patient. We come to hate that which controls us.
Enter ANTONY	ANTONY enters.
But here comes Antony.	But here comes Antony.
CLEOPATRA I am sick and sullen.	CLEOPATRA I am sick and sullen.
ANTONY I am sorry to give breathing to my purpose—	ANTONY I’m sorry to have to say this—
CLEOPATRA 15 Help me away, dear Charmian! I shall fall. It cannot be thus long. The sides of nature Will not sustain it.	CLEOPATRA Help me away from here, dear Charmian! I shall faint. I won’t be able to go on this way much longer. Human nature isn’t built to withstand this.
Exit ALEXAS	ALEXAS exits.
ANTONY Now, my dearest Queen—	ANTONY Now, my dearest Queen—
CLEOPATRA Pray you, stand farther from me.	CLEOPATRA Please, stand farther away from me.
ANTONY What’s the matter?	ANTONY What’s the matter?
CLEOPATRA I know by that same eye there’s some good news. 20 What, says the married woman you may go? Would she had never given you leave to come! Let her not say ’tis I that keep you here. I have no power upon you. Hers you are.	CLEOPATRA I can see in your eyes there’s been some good news. What, does your wife say you can come home? I wish she’d never let you come. Don’t let her say I kept you. I have no power over you. You belong to her.
ANTONY The gods best know—	ANTONY The gods know—
CLEOPATRA Oh never was there queen 25 So mightily betrayed! Yet at the first I saw the treasons planted.	CLEOPATRA Oh, never has a queen been so betrayed as I have been. I knew from the first it would be this way.
ANTONY Cleopatra—	ANTONY Cleopatra—
CLEOPATRA Why should I think you can be mine, and true— Though you in swearing shake the thronèd gods— Who have been false to Fulvia? Riotous madness, 30 To be entangled with those mouth-made vows Which break themselves in swearing!	CLEOPATRA How could I have ever thought that you would be faithful and true, even though your vows of love shook the heavens themselves—you, who were unfaithful to Fulvia? It was wild insanity to believe promises made by the mouth and not the heart. Such false vows are broken as soon as they are spoken.
ANTONY Most sweet Queen—	ANTONY Most sweet Queen—
CLEOPATRA 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! 35 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.	CLEOPATRA No, please don’t try to excuse your departure. Just say good-bye and go. When you begged to stay, that was the time for words. You didn’t want to go then! You saw eternity in my lips and eyes, and happiness in the arch of my eyebrows. Then, all my parts seemed angelic to you. My features are still that beautiful—or else you, the greatest soldier in the world, have become the greatest liar by overpraising them.
ANTONY How now, lady?	ANTONY What do you mean, lady?
CLEOPATRA 40 I would I had thy inches. Thou shouldst know There were a heart in Egypt.	CLEOPATRA I wish I were as big and strong as you. Then you’d see the courage that lives in the Queen of Egypt.
ANTONY Hear me, Queen: The strong necessity of time commands Our services awhile, but my full heart Remains in use with you. Our Italy 45 Shines o’er with civil swords. Sextus Pompeius Makes his approaches to the port of Rome. Equality of two domestic powers Breed scrupulous faction. The hated, grown to strength, Are newly grown to love. The condemned Pompey, 50 Rich in his father’s honor, creeps apace Into the hearts of such as have not thrived Upon the present state, whose numbers threaten; And quietness, grown sick of rest, would purge By any desperate change. My more particular, And that which most with you should safe my going, Is Fulvia’s death.	ANTONY Listen to me, Queen. There is an emergency I must take care of, but my whole heart will remain here with you. My Italy is full of civil war. Sextus Pompeius is sailing toward the port of Rome. When two domestic opponents are equally matched—as we are against Pompey—factions will form on the smallest of pretexts. When a formerly hated man grows powerful, he suddenly finds himself with many supporters. Pompey, who was once condemned, now wields his father’s power, and all the citizens who have grievances against the government are joining him. Pompey’s numbers are steadily growing, and the government is ready to do something desperate. But my personal motivation—and that which should move you most to sanction my departure—is that Fulvia is dead.
CLEOPATRA Though age from folly could not give me freedom, It does from childishness. Can Fulvia die?	CLEOPATRA I may not have outlived the foolishness of my youth, but I’m not that childishly naïve. Is it possible Fulvia is dead?
ANTONY She’s dead, my Queen.	ANTONY She’s dead, my Queen.
He offers letters	He shows her the message.
60 Look here, and at thy sovereign leisure read The garboils she awaked, at the last, best, See when and where she died.	Look at this. Take your royal time and read about the quarrels she encouraged. And saving the best for last, read when and where she died.
CLEOPATRA O most false love! Where be the sacred vials thou shouldst fill With sorrowful water? Now I see, I see, 65 In Fulvia’s death how mine received shall be.	CLEOPATRA Oh, unfaithful lover! You should be filling vials with your tears. Ancient Romans often placed vials of tears inside their friends’ funerary urns. You should be filling vials with your tears. Seeing how you take Fulvia’s death, I can see how you would react to mine.
ANTONY Quarrel no more, but be prepared to know The purposes I bear, which are or cease As you shall give th’ advice. By the fire That quickens Nilus’ slime, I go from hence 70 Thy soldier, servant, making peace or war As thou affects.	ANTONY Stop arguing and listen to my plans. Whether I go ahead with them or not is completely up to you. I swear by the sun that when I leave here, it will be as your faithful servant. I will make either peace or war, whichever you prefer.
CLEOPATRA Cut my lace, Charmian, come! But let it be. I am quickly ill, and well, So Antony loves.	CLEOPATRA Cut my corset laces, Charmian, so I can breathe. Hurry! No, leave it alone. I waver easily between sickness and health. Just as Antony loves.
ANTONY 75 My precious Queen, forbear, And give true evidence to his love which stands An honorable trial.	ANTONY Control yourself, my precious Queen, and concede that my love is true. It has endured many genuine trials.
CLEOPATRA So Fulvia told me. I prithee, turn aside and weep for her. 80 Then bid adieu to me, and say the tears Belong to Egypt. Good now, play one scene Of excellent dissembling, and let it look Like perfect honor.	CLEOPATRA That’s what Fulvia told me. I beg you, turn away and cry for her. Then say good-bye to me and tell me those tears were for my benefit. Good. Now perform a scene for me, using your excellent skills of playacting, and pretend that you’re being honorable and righteous.
ANTONY You’ll heat my blood. No more.	ANTONY You’ll make me angry. No more of this.
CLEOPATRA You can do better yet, but this is meetly.	CLEOPATRA I know you can do better than that, but it’ll do for now.
ANTONY 85 Now, by my sword—	ANTONY I swear by my sword—
CLEOPATRA And target. Still he mends. (to CHARMIAN) But this is not the best. Look, prithee, Charmian, How this Herculean Roman does become The carriage of his chafe.	CLEOPATRA Swear by your shield, too! (to CHARMIAN) He’s getting better, but still it’s not his best. See, Charmian, how well this mighty Roman portrays anger?
ANTONY I’ll leave you, lady.	ANTONY I’ll leave you, lady.
CLEOPATRA 90 Courteous lord, one word. Sir, you and I must part, but that’s not it. Sir, you and I have loved, but there’s not it, That you know well. Something it is I would— Oh, my oblivion is a very Antony, 95 And I am all forgotten.	CLEOPATRA Polite sir, let me say one thing. Sir, you and I must part company—no, that’s not it. Sir, you and I were lovers—no, that’s not it, either. You already know all that. There’s something I’d like to—oh, I’ve forgotten what I wanted to say. Just as Antony has forgotten me.
ANTONY But that your royalty Holds idleness your subject, I should take you For idleness itself.	ANTONY If you weren’t the queen of immaturity, I’d think you were immaturity itself.
CLEOPATRA ’Tis sweating labor To bear such idleness so near the heart As Cleopatra this. But, sir, forgive me, 100 Since my becomings kill me when they do not Eye well to you. Your honor calls you hence. Therefore be deaf to my unpitied folly, And all the gods go with you! Upon your sword Sit laurel victory, and smooth success 105 Be strewed before your feet.	CLEOPATRA It’s difficult to have such immaturity so close to my heart, but bear with me. Even the traits that become me most kill me when you don’t approve of them. Your honor is the reason you are leaving. So I beg you not to listen to my foolishness. May the gods be with you. May your sword be victorious and everything you do succeed.
ANTONY Let us go. Come. Our separation so abides and flies That thou, residing here, goes yet with me, And I, hence fleeting, here remain with thee. Away!	ANTONY Let’s go. Come with me. Our imminent separation so occupies our thoughts that even though you stay here, you come with me, and even though I leave here, I stay with you.
Exeunt	They exit.