VESSELS; "strike the v.", i. e. “tap the casks"; (? "strike your cups together"); II. vii. 105. VIALS; "sacred v.", "alluding to the lachrymatory vials, or bottles of tears, which the Romans sometimes put into the urn of a friend"; I. iii. 63. VIE, contend with, rival; "v. strange forms with fancy," i. e. "contend with, rival, fancy in producing strange forms"; V. ii. 98. VIEW; "to my sister's v.", to see my sister; II. ii. 170. VIRTUE, valor; IV. viii. 17. WAGED, were opposed to each other; (F. 2, “way"; Ff. 3, 4, "may"; Rowe, "weigh'd"; Ritson conj. "Weigh"); V. i. 31. WAIL'D, bewailed; III. ii. 58. WANED, faded; (Ff., "wand"; Johnson conj. "fond"); II. i. 21. WASSAILS, carousing; (Pope's emendation of Ff. 1, 2, 3, "Vassailes" and "Vassails"; F. 4, "Vassals"); I. iv. 56. WAY'S, way he is; (so F. 4; Ff. WHOLE, well again; IV. viii. 11. WINDOWED, placed in a window; IV. xiv. 72. WITH, by; I. i. 56; III. x. 7; V. ii. 171. WITH'S, with us; III. i. 36. Woo'T, wouldst thou; (Capell, "Wou't"); IV. ii. 7. WORDS, flatters with words, cajoles; V. ii. 191. WORKY-DAY, Ordinary; I. ii. 56. WORM, Snake; V. ii. 243. WOT'ST, knowest; I. v. 22. WRONG LED, misled; (Capell, "wrong'd"); III. vi. 80. YARE, light, active; III. vii. 39. -, ready; III. xiii. 131. be quick; V. ii. 286. YARELY, readily; II. ii. 216. YIELD, reward, requite; IV. ii. 33. STUDY QUESTIONS By ANNE THROOP CRAIG GENERAL 1. To what period of the Poet's development does the style of this play assign its composition? What other plays belong to this period? 2. What distinguishes its style? 3. What are its historical sources? 4. Justify the love of Antony and Cleopatra,—or explain it. 5. Were the circumstances of Antony's political situation to blame for the mischief his devotion to the Egyptian queen made for him? Without these circumstances would his devotion necessarily have marred his life and success? Comment for and against. 6. Considering his passion for Cleopatra was it to be expected he would be faithful to Octavia? What was his real wrong to Octavia, dependent upon this condition? 7. Was Octavia wise to marry Antony knowing the circumstances? 8. If he had loved Octavia, was she calculated, as a woman, to help him maintain reason and balance in his life, more than such a woman as Cleopatra? If so, or if not, why? 9. What is the function of Enobarbus throughout the play? In what way does he knit the elements of the theme together? 10. What are the main features of Antony's character as compared with Octavius Cæsar's? ACT I 11. To what view of the infatuation of Antony are we introduced in the opening lines of Antony's friend Philo? 12. In what way does the passage between Antony and Cleopatra, upon their entrance, give the keynote of the drama's action? 13. What does the passage between the handmaids of Cleopatra, and the soothsayer, reveal of the tone of life about the Queen? 14. Where does Antony express realization of the danger of his infatuation for Cleopatra? 15. How does Enobarbus show his insight into Cleopatra's nature? What undercurrent of feeling towards Antony's course is conveyed through his words? 16. How do Cleopatra's own actions corroborate the view Enobarbus takes of her? 17. What calls Antony to Rome? From what soldierly sternness does Cæsar describe him as having fallen? 18. What is revealed of the nature, and the sincerity of Cleopatra, and of her love for Antony, in the passages where she appears during this act? 19. Does she enlist our sympathy? If so, how, and why? 20. Do her coquetries necessarily mean insincerity? Analyze the aspects she presents of herself. ACT II 21. How does Pompey significantly describe the respective positions of the Triumvirs? 22. How does Enobarbus speak for the best of Antony's character, and how does Lepidus show himself in the short passage between them? 23. How is the situation between Antony, Cæsar, and the State, shown in the second scene? How also, does it reveal the qualities of the two great Triumvirs? 24. What are the pithy comments of Enobarbus during it? 25. What is the advice of Agrippa, to bring about amity? 26. How does Enobarbus describe the meeting of Antony and Cleopatra and the Alexandrian revels? 27. What does the soothsayer tell Antony, and what occasions does Antony recall to give color to the divinations? 28. How does Cleopatra receive the news of Antony's marriage to Octavia? Relate the passage. What does this show of her nature and the order of her love? 29. What is the prophecy of Enobarbus with regard to the marriage of Octavia and Antony? 30. How is the trouble between Pompey and the Triumvirate arranged? 31. What does Pompey's captain suggest he do? How does Pompey rebuff him? 32. What graphic sketch of Lepidus in his relation to the Triumvirate do the servants, on Pompey's galley, give? ACT III 33. What successive occurrences lead to Antony's return to Egypt? 34. What does Cæsar relate of Antony's lavish gifts to Cleopatra and her sons? 35. What brings on the war between Antony and Octavius finally? 36. How does Cleopatra make it difficult for Antony to carry on the war? 37. How is he advised to carry on the battle of Actium? Why does he not follow the advice? 38. What is the result? Is the behavior of Antony in the matter explicable? On what grounds? 39. What is his emotion, owing to the result of the battle? 40. What are Cleopatra's pleas for her part in the disaster? 41. How does Enobarbus express himself over the disgrace of it? Whom does he blame most, Antony or the Queen? Why? 42. How does Enobarbus comment on the message of Antony to Cæsar? 43. What dramatic purpose with regard to the passion of Antony for the Queen does the incident of Thyreus, serve? What comment of Enobarbus in this scene, is tragically significant of the condition of Antony? 44. What is the final comment of Enobarbus upon Antony's resolution of valor concerning the further prosecution of the war? ACT IV 45. What is the significant comment of Mæcenas with regard to Antony when Cæsar receives Antony's reply? 46. What is the dramatic character of scene ii? What personal sentiment of Antony's friends and followers toward him, is exemplified in it? 47. What is the dramatic purpose and effect of scene iii? Describe the scene. 48. What is the particular sting to Antony's feeling in the report of Enobarbus' defection? 49. What is the general effect upon Antony's followers finally, produced by his disgrace at Actium and the results of his subservience to Cleopatra? 50. What is the dramatic effect of the emphasis upon Antony's exultation over the first turn of the battle in his favor? How does it affect the atmosphere of portent already engendered? 51. What are we to believe drives Enobarbus to his death? 52. What turns the tide of Antony's passion against Cleopatra? 53. What gives the deep intensity to the expression of his feeling when he is told she is dead? Relate the substance of his words and action following. To what deed does the news drive him? 54. Describe the final passage between Antony and Cleopatra while Antony is dying. Cite its lines of especial beauty and tragic passion. What essential qualities are |