No Fear Shakespeare: Antony and Cleopatra: Act 2 Scene 5

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Original Text	Modern Text
Enter CLEOPATRA , CHARMIAN , IRAS , and ALEXAS	CLEOPATRA , CHARMIAN , IRAS , and ALEXAS enter.
CLEOPATRA Give me some music. Music, moody food Of us that trade in love.	CLEOPATRA Play me some music. Music feeds the melancholy moods of us lovers.
ALL The music, ho!	ALL Musicians, come in!
Enter MARDIAN the eunuch	MADRIAN enters.
CLEOPATRA Let it alone. Let’s to billiards. Come, Charmian.	CLEOPATRA Never mind. Let’s play billiards. Play with me, Charmian.
CHARMIAN My arm is sore. Best play with Mardian.	CHARMIAN My arm is sore. You’ll have a better game with Mardian.
CLEOPATRA 5 As well a woman with an eunuch played As with a woman.—Come, you’ll play with me, sir?	CLEOPATRA Playing with a eunuch is the same as playing with a woman. Will you play with me, sir?
MARDIAN As well as I can, madam.	MARDIAN I’ll do my best, madam.
CLEOPATRA And when good will is showed, though ’t come too short, The actor may plead pardon. I’ll none now. 10 Give me mine angle. We’ll to th’ river. There, My music playing far off, I will betray Tawny-finned fishes. My bended hook shall pierce Their slimy jaws, and as I draw them up I’ll think them every one an Antony 15 And say, “Aha! You’re caught.”	CLEOPATRA When a person tries in good faith, even if he fails he cannot be blamed. I don’t want to play now. Give me my fishing rod. We’ll go to the river. With my music playing in the background, I’ll lure fish. My hook will go through their slimy jaws and as I pull them up I’ll imagine each one is Antony. I’ll say, “Aha! I caught you!”
CHARMIAN ’Twas merry when You wagered on your angling, when your diver Did hang a salt fish on his hook, which he With fervency drew up.	CHARMIAN It was funny when you and Antony bet on who could catch the first fish. You had a diver put a salted fish on his hook. He was so excited as he hurried to pull it in!
CLEOPATRA That time—Oh, times!— I laughed him out of patience, and that night 20 I laughed him into patience. And next morn, Ere the ninth hour, I drunk him to his bed, Then put my tires and mantles on him, whilst I wore his sword Philippan.	CLEOPATRA That time? Oh, there were so many fun times. I would play some trick on him and laugh until he lost his patience. Then, that night, I would laugh with him while we made love until he was patient again. Then by nine in the morning I would have him so drunk I could dress him in my clothes while I wore the sword he used at the famous battle of Philippi.
Enter a MESSENGER	A MESSENGER enters.
Oh, from Italy! Ram thou thy fruitful tidings in mine ears, 25 That long time have been barren.	Oh! News from Italy! Cram your good news into my ears. It’s been so long since I’ve heard from him.
MESSENGER Madam, madam—	MESSENGER Madam, madam—
CLEOPATRA Antonio’s dead! If thou say so, villain, Thou kill’st thy mistress. But well and free, If thou so yield him, there is gold, and here My bluest veins to kiss—a hand that kings 30 Have lipped, and trembled kissing.	CLEOPATRA Antony’s dead! If you say that, you bastard, you’ll kill your Queen. If you say he’s healthy and free, I’ll give you money and you may kiss my hand. Kings have trembled to kiss this hand.
MESSENGER First, madam, he is well.	MESSENGER Let me say first, madam, that he is well.
CLEOPATRA Why, there’s more gold. But, sirrah, mark, we use To say the dead are well. Bring it to that, The gold I give thee will I melt and pour 35 Down thy ill-uttering throat.	CLEOPATRA Well then, here’s more money for you. But you know, sirrah, we customarily say that the dead are well. If that’s what you mean, I’ll melt this gold and pour it down your throat that speaks these hateful words.
MESSENGER Good madam, hear me.	MESSENGER Good madam, let me speak.
CLEOPATRA Well, go to, I will. But there’s no goodness in thy face—if Antony Be free and healthful, so tart a favor 40 To trumpet such good tidings! If not well, Thou shouldst come like a Fury crowned with snakes, Not like a formal man.	CLEOPATRA All right, I will. But you don’t look as if you bring good news. If Antony is free and healthy, you shouldn’t wear such a sour face while bringing such good news. If he’s not well, you should arrive like a Fury The Furies were mythological figures who punished those who broke either natural or moral laws Fury with snakes for hair, not in the shape of a normal man.
MESSENGER Will ’t please you hear me?	MESSENGER Do you want to hear my news?
CLEOPATRA I have a mind to strike thee ere thou speak’st. Yet if thou say Antony lives, is well, 45 Or friends with Caesar, or not captive to him, I’ll set thee in a shower of gold and hail Rich pearls upon thee.	CLEOPATRA I have half a mind to hit you before you speak again. But if Antony is alive, healthy, friendly with Caesar, and not Caesar’s prisoner, I’ll shower you with gold and pearls.
MESSENGER Madam, he’s well.	MESSENGER Madam, he’s well.
CLEOPATRA Well said.	CLEOPATRA That’s well spoken.
MESSENGER And friends with Caesar.	MESSENGER And he’s friendly with Caesar.
CLEOPATRA Th’ art an honest man.	CLEOPATRA You are an honest man.
MESSENGER Caesar and he are greater friends than ever.	MESSENGER Caesar and he are better friends than ever.
CLEOPATRA 50 Make thee a fortune from me.	CLEOPATRA I’m going to make you a rich man.
MESSENGER But yet, madam—	MESSENGER But yet, madam—
CLEOPATRA I do not like “But yet.” It does allay The good precedence. Fie upon “But yet.” “But yet” is as a jailer to bring forth Some monstrous malefactor. Prithee, friend, 55 Pour out the pack of matter to mine ear, The good and bad together. He’s friends with Caesar, In state of health, thou say’st, and, thou say’st, free.	CLEOPATRA I don’t like the sound of “but yet.” It reverses all the good that came before it. Damn those words, “but yet!” “But yet” is like a jailer about to bring out some horrible criminal. Please, my friend, give me all the news, both good and bad, at the same time. You say he’s friendly with Caesar, healthy, and free.
MESSENGER Free, madam, no. I made no such report. He’s bound unto Octavia.	MESSENGER I didn’t say free, madam. No, I didn’t say that. He’s bound to Octavia.
CLEOPATRA For what good turn?	CLEOPATRA For what favor?
MESSENGER 60 For the best turn i’ th’ bed.	MESSENGER For the favor of sleeping in her bed.
CLEOPATRA I am pale, Charmian.	CLEOPATRA I’m sick, Charmian.
MESSENGER Madam, he’s married to Octavia.	MESSENGER He’s married to Octavia, madam.
CLEOPATRA The most infectious pestilence upon thee!	CLEOPATRA May you die of the worst disease!
Strikes him down	She knocks him down.
MESSENGER Good madam, patience.	MESSENGER Good madam, be patient.
CLEOPATRA What say you?	CLEOPATRA What did you say to me?
Strikes him	She hits him again.
Hence, horrible villain, or I’ll spurn thine eyes Like balls before me! I’ll unhair thy head!	Get out, you horrible bastard, or I’ll gouge out your eyes. I’ll scalp you.
She hales him up and down	She drags him across the stage.
Thou shalt be whipped with wire and stewed in brine, Smarting in ling’ring pickle!	I’ll have you whipped with wire and soaked in brine like a pickle, making your pain linger.
MESSENGER Gracious madam, I that do bring the news made not the match.	MESSENGER Gracious madam, I only brought the news. I didn’t make the match.
CLEOPATRA 70 Say ’tis not so, a province I will give thee And make thy fortunes proud. The blow thou hadst Shall make thy peace for moving me to rage, And I will boot thee with what gift beside Thy modesty can beg.	CLEOPATRA If you say it isn’t true, I’ll give you a province and make you rich. The blows I gave you already will make up for your upsetting me. And on top of that I’ll give you whatever you ask for.
MESSENGER He’s married, madam.	MESSENGER He’s married, madam.
CLEOPATRA 75 Rogue, thou hast lived too long.	CLEOPATRA Rogue, you’ve lived too long!
Draws a knife	She draws a knife.
MESSENGER Nay then, I’ll run. What mean you, madam? I have made no fault.	MESSENGER No way, then, I’ll run. What’s the matter with you, madam? I haven’t done anything to you.
Exit	The MESSENGER exits.
CHARMIAN Good madam, keep yourself within yourself. The man is innocent.	CHARMIAN Good madam, restrain yourself. The man hasn’t done anything wrong.
CLEOPATRA Some innocents ’scape not the thunderbolt. 80 Melt Egypt into Nile, and kindly creatures Turn all to serpents. Call the slave again. Though I am mad, I will not bite him. Call!	CLEOPATRA Even innocents cannot always escape disaster. May Egypt drown in the Nile and all good creatures turn into poisonous snakes. Call that servant back. Even though I’m mad, I won’t bite him. Call him!
CHARMIAN He is afeard to come.	CHARMIAN He’s afraid to come in.
CLEOPATRA I will not hurt him. These hands do lack nobility that they strike 85 A meaner than myself, since I myself Have given myself the cause.	CLEOPATRA I won’t hurt him. My hands are tainted if they hit an inferior, especially since I myself am the cause of my own distress.
Enter the MESSENGER again	The MESSENGER returns.
Come hither, sir. Though it be honest, it is never good To bring bad news. Give to a gracious message An host of tongues, but let ill tidings tell 90 Themselves when they be felt.	Come here, sir. It may be honest, but it’s never wise to bring bad news. You can give good news in many ways, but let bad news interpret itself as you tell it.
MESSENGER I have done my duty.	MESSENGER I’ve only done my duty.
CLEOPATRA Is he married? I cannot hate thee worser than I do If thou again say “yes.”	CLEOPATRA Is he married? I can’t hate you any more than I already do if you repeat that he is.
MESSENGER He’s married, madam.	MESSENGER He’s married, madam.
CLEOPATRA The gods confound thee! Dost thou hold there still?	CLEOPATRA May the gods destroy you! Do you maintain the same story?
MESSENGER Should I lie, madam?	MESSENGER Do you want me to lie, madam?
CLEOPATRA Oh, I would thou didst, So half my Egypt were submerged and made A cistern for scaled snakes! Go, get thee hence. Hadst thou Narcissus in thy face, to me Thou wouldst appear most ugly. He is married?	CLEOPATRA Oh, I wish you had lied, even if it meant half my kingdom would be submerged and filled with snakes. Go, get out! Even if you were as handsome as Narcissus mythical boy who was so beautiful that he drowned himself while trying to embrace his own reflection Narcissus, your face would be ugly to me. Is he really married?
MESSENGER I crave your highness’ pardon.	MESSENGER I beg your highness’ pardon.
CLEOPATRA He is married?	CLEOPATRA Is he really married?
MESSENGER Take no offense that I would not offend you. To punish me for what you make me do Seems much unequal. He’s married to Octavia.	MESSENGER Please don’t be offended that I don’t want to offend you any more. It’s not fair to punish me for something you make me do. He’s married to Octavia.
CLEOPATRA Oh, that his fault should make a knave of thee, That art not what th’ art sure of! Get thee hence. The merchandise which thou hast brought from Rome Are all too dear for me. Lie they upon thy hand And be undone by ’em!	CLEOPATRA It’s too bad that Antony’s fault should make you look like a jerk. You didn’t have anything to do with it. Go away. The merchandise you bring from Rome is too expensive for me. Let it stay in your inventory until it bankrupts you.
Exit MESSENGER	The MESSENGER exits.
CHARMIAN Good your highness, patience.	CHARMIAN Be patient, your highness.
CLEOPATRA 110 In praising Antony, I have dispraised Caesar.	CLEOPATRA When I have praised Antony, I’ve disparaged Caesar.
CHARMIAN Many times, madam.	CHARMIAN Many times, madam.
CLEOPATRA I am paid for ’t now. Lead me from hence. I faint. O Iras, Charmian! ’Tis no matter.— Go to the fellow, good Alexas. Bid him 115 Report the feature of Octavia: her years, Her inclination. Let him not leave out The color of her hair. Bring me word quickly.	CLEOPATRA I’m being repaid for that now. Help me out of here. I feel faint. Oh, Iras, Charmian! It doesn’t matter. Good Alexas, go ask that fellow to describe Octavia. How old is she? What kind of disposition does she have? Don’t let him leave out the color of her hair. Bring me his answers quickly.
Exit ALEXAS	ALEXAS exits.
Let him forever go!—Let him not, Charmian. Though he be painted one way like a Gorgon, The other way’s a Mars. (to MARDIAN) Bid you Alexas Bring me word how tall she is. Pity me, Charmian, But do not speak to me. Lead me to my chamber.	Let Antony be purged from my life forever—but no, don’t let him, Charmian. Even though half of him is like a Gorgon The Gorgons were mythical monsters whose gaze turned humans to stone Gorgon, the other half is like Mars. (to MARDIAN) Ask Alexas to also ask him how tall she is. Feel sorry for me, Charmian, but don’t talk to me. Help me get to my bedroom.
Exeunt	They exit.

Original Text	Modern Text
Enter CLEOPATRA , CHARMIAN , IRAS , and ALEXAS	CLEOPATRA , CHARMIAN , IRAS , and ALEXAS enter.
CLEOPATRA Give me some music. Music, moody food Of us that trade in love.	CLEOPATRA Play me some music. Music feeds the melancholy moods of us lovers.
ALL The music, ho!	ALL Musicians, come in!
Enter MARDIAN the eunuch	MADRIAN enters.
CLEOPATRA Let it alone. Let’s to billiards. Come, Charmian.	CLEOPATRA Never mind. Let’s play billiards. Play with me, Charmian.
CHARMIAN My arm is sore. Best play with Mardian.	CHARMIAN My arm is sore. You’ll have a better game with Mardian.
CLEOPATRA 5 As well a woman with an eunuch played As with a woman.—Come, you’ll play with me, sir?	CLEOPATRA Playing with a eunuch is the same as playing with a woman. Will you play with me, sir?
MARDIAN As well as I can, madam.	MARDIAN I’ll do my best, madam.
CLEOPATRA And when good will is showed, though ’t come too short, The actor may plead pardon. I’ll none now. 10 Give me mine angle. We’ll to th’ river. There, My music playing far off, I will betray Tawny-finned fishes. My bended hook shall pierce Their slimy jaws, and as I draw them up I’ll think them every one an Antony 15 And say, “Aha! You’re caught.”	CLEOPATRA When a person tries in good faith, even if he fails he cannot be blamed. I don’t want to play now. Give me my fishing rod. We’ll go to the river. With my music playing in the background, I’ll lure fish. My hook will go through their slimy jaws and as I pull them up I’ll imagine each one is Antony. I’ll say, “Aha! I caught you!”
CHARMIAN ’Twas merry when You wagered on your angling, when your diver Did hang a salt fish on his hook, which he With fervency drew up.	CHARMIAN It was funny when you and Antony bet on who could catch the first fish. You had a diver put a salted fish on his hook. He was so excited as he hurried to pull it in!
CLEOPATRA That time—Oh, times!— I laughed him out of patience, and that night 20 I laughed him into patience. And next morn, Ere the ninth hour, I drunk him to his bed, Then put my tires and mantles on him, whilst I wore his sword Philippan.	CLEOPATRA That time? Oh, there were so many fun times. I would play some trick on him and laugh until he lost his patience. Then, that night, I would laugh with him while we made love until he was patient again. Then by nine in the morning I would have him so drunk I could dress him in my clothes while I wore the sword he used at the famous battle of Philippi.
Enter a MESSENGER	A MESSENGER enters.
Oh, from Italy! Ram thou thy fruitful tidings in mine ears, 25 That long time have been barren.	Oh! News from Italy! Cram your good news into my ears. It’s been so long since I’ve heard from him.
MESSENGER Madam, madam—	MESSENGER Madam, madam—
CLEOPATRA Antonio’s dead! If thou say so, villain, Thou kill’st thy mistress. But well and free, If thou so yield him, there is gold, and here My bluest veins to kiss—a hand that kings 30 Have lipped, and trembled kissing.	CLEOPATRA Antony’s dead! If you say that, you bastard, you’ll kill your Queen. If you say he’s healthy and free, I’ll give you money and you may kiss my hand. Kings have trembled to kiss this hand.
MESSENGER First, madam, he is well.	MESSENGER Let me say first, madam, that he is well.
CLEOPATRA Why, there’s more gold. But, sirrah, mark, we use To say the dead are well. Bring it to that, The gold I give thee will I melt and pour 35 Down thy ill-uttering throat.	CLEOPATRA Well then, here’s more money for you. But you know, sirrah, we customarily say that the dead are well. If that’s what you mean, I’ll melt this gold and pour it down your throat that speaks these hateful words.
MESSENGER Good madam, hear me.	MESSENGER Good madam, let me speak.
CLEOPATRA Well, go to, I will. But there’s no goodness in thy face—if Antony Be free and healthful, so tart a favor 40 To trumpet such good tidings! If not well, Thou shouldst come like a Fury crowned with snakes, Not like a formal man.	CLEOPATRA All right, I will. But you don’t look as if you bring good news. If Antony is free and healthy, you shouldn’t wear such a sour face while bringing such good news. If he’s not well, you should arrive like a Fury The Furies were mythological figures who punished those who broke either natural or moral laws Fury with snakes for hair, not in the shape of a normal man.
MESSENGER Will ’t please you hear me?	MESSENGER Do you want to hear my news?
CLEOPATRA I have a mind to strike thee ere thou speak’st. Yet if thou say Antony lives, is well, 45 Or friends with Caesar, or not captive to him, I’ll set thee in a shower of gold and hail Rich pearls upon thee.	CLEOPATRA I have half a mind to hit you before you speak again. But if Antony is alive, healthy, friendly with Caesar, and not Caesar’s prisoner, I’ll shower you with gold and pearls.
MESSENGER Madam, he’s well.	MESSENGER Madam, he’s well.
CLEOPATRA Well said.	CLEOPATRA That’s well spoken.
MESSENGER And friends with Caesar.	MESSENGER And he’s friendly with Caesar.
CLEOPATRA Th’ art an honest man.	CLEOPATRA You are an honest man.
MESSENGER Caesar and he are greater friends than ever.	MESSENGER Caesar and he are better friends than ever.
CLEOPATRA 50 Make thee a fortune from me.	CLEOPATRA I’m going to make you a rich man.
MESSENGER But yet, madam—	MESSENGER But yet, madam—
CLEOPATRA I do not like “But yet.” It does allay The good precedence. Fie upon “But yet.” “But yet” is as a jailer to bring forth Some monstrous malefactor. Prithee, friend, 55 Pour out the pack of matter to mine ear, The good and bad together. He’s friends with Caesar, In state of health, thou say’st, and, thou say’st, free.	CLEOPATRA I don’t like the sound of “but yet.” It reverses all the good that came before it. Damn those words, “but yet!” “But yet” is like a jailer about to bring out some horrible criminal. Please, my friend, give me all the news, both good and bad, at the same time. You say he’s friendly with Caesar, healthy, and free.
MESSENGER Free, madam, no. I made no such report. He’s bound unto Octavia.	MESSENGER I didn’t say free, madam. No, I didn’t say that. He’s bound to Octavia.
CLEOPATRA For what good turn?	CLEOPATRA For what favor?
MESSENGER 60 For the best turn i’ th’ bed.	MESSENGER For the favor of sleeping in her bed.
CLEOPATRA I am pale, Charmian.	CLEOPATRA I’m sick, Charmian.
MESSENGER Madam, he’s married to Octavia.	MESSENGER He’s married to Octavia, madam.
CLEOPATRA The most infectious pestilence upon thee!	CLEOPATRA May you die of the worst disease!
Strikes him down	She knocks him down.
MESSENGER Good madam, patience.	MESSENGER Good madam, be patient.
CLEOPATRA What say you?	CLEOPATRA What did you say to me?
Strikes him	She hits him again.
Hence, horrible villain, or I’ll spurn thine eyes Like balls before me! I’ll unhair thy head!	Get out, you horrible bastard, or I’ll gouge out your eyes. I’ll scalp you.
She hales him up and down	She drags him across the stage.
Thou shalt be whipped with wire and stewed in brine, Smarting in ling’ring pickle!	I’ll have you whipped with wire and soaked in brine like a pickle, making your pain linger.
MESSENGER Gracious madam, I that do bring the news made not the match.	MESSENGER Gracious madam, I only brought the news. I didn’t make the match.
CLEOPATRA 70 Say ’tis not so, a province I will give thee And make thy fortunes proud. The blow thou hadst Shall make thy peace for moving me to rage, And I will boot thee with what gift beside Thy modesty can beg.	CLEOPATRA If you say it isn’t true, I’ll give you a province and make you rich. The blows I gave you already will make up for your upsetting me. And on top of that I’ll give you whatever you ask for.
MESSENGER He’s married, madam.	MESSENGER He’s married, madam.
CLEOPATRA 75 Rogue, thou hast lived too long.	CLEOPATRA Rogue, you’ve lived too long!
Draws a knife	She draws a knife.
MESSENGER Nay then, I’ll run. What mean you, madam? I have made no fault.	MESSENGER No way, then, I’ll run. What’s the matter with you, madam? I haven’t done anything to you.
Exit	The MESSENGER exits.
CHARMIAN Good madam, keep yourself within yourself. The man is innocent.	CHARMIAN Good madam, restrain yourself. The man hasn’t done anything wrong.
CLEOPATRA Some innocents ’scape not the thunderbolt. 80 Melt Egypt into Nile, and kindly creatures Turn all to serpents. Call the slave again. Though I am mad, I will not bite him. Call!	CLEOPATRA Even innocents cannot always escape disaster. May Egypt drown in the Nile and all good creatures turn into poisonous snakes. Call that servant back. Even though I’m mad, I won’t bite him. Call him!
CHARMIAN He is afeard to come.	CHARMIAN He’s afraid to come in.
CLEOPATRA I will not hurt him. These hands do lack nobility that they strike 85 A meaner than myself, since I myself Have given myself the cause.	CLEOPATRA I won’t hurt him. My hands are tainted if they hit an inferior, especially since I myself am the cause of my own distress.
Enter the MESSENGER again	The MESSENGER returns.
Come hither, sir. Though it be honest, it is never good To bring bad news. Give to a gracious message An host of tongues, but let ill tidings tell 90 Themselves when they be felt.	Come here, sir. It may be honest, but it’s never wise to bring bad news. You can give good news in many ways, but let bad news interpret itself as you tell it.
MESSENGER I have done my duty.	MESSENGER I’ve only done my duty.
CLEOPATRA Is he married? I cannot hate thee worser than I do If thou again say “yes.”	CLEOPATRA Is he married? I can’t hate you any more than I already do if you repeat that he is.
MESSENGER He’s married, madam.	MESSENGER He’s married, madam.
CLEOPATRA The gods confound thee! Dost thou hold there still?	CLEOPATRA May the gods destroy you! Do you maintain the same story?
MESSENGER Should I lie, madam?	MESSENGER Do you want me to lie, madam?
CLEOPATRA Oh, I would thou didst, So half my Egypt were submerged and made A cistern for scaled snakes! Go, get thee hence. Hadst thou Narcissus in thy face, to me Thou wouldst appear most ugly. He is married?	CLEOPATRA Oh, I wish you had lied, even if it meant half my kingdom would be submerged and filled with snakes. Go, get out! Even if you were as handsome as Narcissus mythical boy who was so beautiful that he drowned himself while trying to embrace his own reflection Narcissus, your face would be ugly to me. Is he really married?
MESSENGER I crave your highness’ pardon.	MESSENGER I beg your highness’ pardon.
CLEOPATRA He is married?	CLEOPATRA Is he really married?
MESSENGER Take no offense that I would not offend you. To punish me for what you make me do Seems much unequal. He’s married to Octavia.	MESSENGER Please don’t be offended that I don’t want to offend you any more. It’s not fair to punish me for something you make me do. He’s married to Octavia.
CLEOPATRA Oh, that his fault should make a knave of thee, That art not what th’ art sure of! Get thee hence. The merchandise which thou hast brought from Rome Are all too dear for me. Lie they upon thy hand And be undone by ’em!	CLEOPATRA It’s too bad that Antony’s fault should make you look like a jerk. You didn’t have anything to do with it. Go away. The merchandise you bring from Rome is too expensive for me. Let it stay in your inventory until it bankrupts you.
Exit MESSENGER	The MESSENGER exits.
CHARMIAN Good your highness, patience.	CHARMIAN Be patient, your highness.
CLEOPATRA 110 In praising Antony, I have dispraised Caesar.	CLEOPATRA When I have praised Antony, I’ve disparaged Caesar.
CHARMIAN Many times, madam.	CHARMIAN Many times, madam.
CLEOPATRA I am paid for ’t now. Lead me from hence. I faint. O Iras, Charmian! ’Tis no matter.— Go to the fellow, good Alexas. Bid him 115 Report the feature of Octavia: her years, Her inclination. Let him not leave out The color of her hair. Bring me word quickly.	CLEOPATRA I’m being repaid for that now. Help me out of here. I feel faint. Oh, Iras, Charmian! It doesn’t matter. Good Alexas, go ask that fellow to describe Octavia. How old is she? What kind of disposition does she have? Don’t let him leave out the color of her hair. Bring me his answers quickly.
Exit ALEXAS	ALEXAS exits.
Let him forever go!—Let him not, Charmian. Though he be painted one way like a Gorgon, The other way’s a Mars. (to MARDIAN) Bid you Alexas Bring me word how tall she is. Pity me, Charmian, But do not speak to me. Lead me to my chamber.	Let Antony be purged from my life forever—but no, don’t let him, Charmian. Even though half of him is like a Gorgon The Gorgons were mythical monsters whose gaze turned humans to stone Gorgon, the other half is like Mars. (to MARDIAN) Ask Alexas to also ask him how tall she is. Feel sorry for me, Charmian, but don’t talk to me. Help me get to my bedroom.
Exeunt	They exit.