Gary Taylor, John Jowett, Terri Bourus, and Gabriel Egan (eds), The New Oxford Shakespeare: Critical Reference Edition, Vol. 2

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Sc. 62.1

Critical ApparatusEnter Pompey, Menecrates, and Menas, in warlike manner.
1

Pom. If the great Gods be iust, they shall assist

Critical Apparatus2The deeds of iustest men.

Mene. Know worthy Pompey,

3That what they do delay, they not deny.

Critical Apparatus4

Pom. Whiles we are sutors to their Throne, decayes

5The thing we sue for.

Mene. We ignorant of our selues,

6Begge often our owne harmes, which the wise Powres

7Deny vs for our good: so finde we profit

8By loosing of our Prayers.

Pom. I shall do well:

9The people loue me, and the Sea is mine;

10My powers are Cressent, and my Auguring hope

11Sayes it will come to'th'full. Marke Anthony

12In Egypt sits at dinner, and will make

13No warres without doores. Cæsar gets money where

14He looses hearts: Lepidus flatters both,

15Of both is flatter'd: but he neither loues,

16Nor either cares for him.

Mene. Cæsar and Lepidus

Critical Apparatus17Are in the field; a mighty strength they carry.

18

Pom. Where haue you this? 'Tis false.

Mene. From Siluius, Sir.

19

Pom. He dreames: I know they are in Rome together

20Looking for Anthony: but all the charmes of Loue,

Critical Apparatus21Salt Cleopatra soften thy wand lip,

22Let Witchcraft ioyne with Beauty, Lust with both,

Critical Apparatus23Tye vp the Libertine in a field of Feasts

24Keepe his Braine fuming. Epicurean Cookes,

25Sharpen with cloylesse sawce his Appetite,

26That sleepe and feeding may prorogue his Honour,

27Euen till a Lethied dulnesse—

Enter Varrius.

How now Varrius?

28

Var. This is most certaine, that I shall deliuer:

29Marke Anthony is euery houre in Rome

pg 327730Expected. Since he went from Egypt, 'tis

31A space for farther Trauaile.

Pom. I could haue giuen lesse matter

32A better eare. Menas, I did not thinke

33This amorous Surfetter would haue donn'd his Helme

34For such a petty Warre: His Souldiership

35Is twice the other twaine: But let vs reare

36The higher our Opinion, that our stirring

37Can from the lap of Egypts Widdow, plucke

Critical Apparatus38The neere Lust-wearied Anthony.

Mene. I cannot hope,

39Cæsar and Anthony shall well greet together;

40His Wife that's dead, did trespasses to Cæsar,

Critical Apparatus41His Brother [war'd] vpon him, although I thinke

42Not mou'd by Anthony.

Pom. I know not Menas,

Critical Apparatus43How lesser Enmities may giue way to greater,

Critical Apparatus44Were't not that we stand vp against them all

45'Twer pregnant they should square between themselues,

46For they haue entertained cause enough

47To draw their swords: but how the feare of vs

48May Ciment their diuisions, and binde vp

49The petty difference, we yet not know:

50Bee't as our Gods will haue't; it onely stands

Critical Apparatus51Our liues vpon, to vse our strongest hands,

52Come Menas.

Exeunt.

Notes Settings

Notes

Critical Apparatus
6.0.1 Menecrates, and Menas jaggard. Only Menas is addressed by name in the dialogue, and only Menas appears in subsequent scenes with Pompey. Although Menecrates is mentioned in the source of this scene in Plutarch, he might be a ghost character here. The speech prefixes are ambiguous. johnson gave Menas all the 'Mene' speeches in the scene; malone gave him the final three. Theatre companies will be forced to make their own choices, but there is no editorially secure way to differentiate between the two characters in any of the speeches except at 38 and editors have distributed them among the two characters in different ways. See Performance Note.
Critical Apparatus
6.2–3 Know … deny. rowe; prose jaggard
Critical Apparatus
6.4–5 Whiles … for. capell; prose jaggard
Critical Apparatus
6.17–8 Caesar … carry. capell; prose jaggard
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6.21 wand = waned. A case can also be made for 'wanned'.
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6.23 Feasts this edition (Taylor); ~, jaggard. The 'field of feasts' is more naturally connected to the fuming brain. wells moved the comma to follow 'Libertine' (an interpretation I accept in Modern), but the error is more easily explained if the manuscript was simply unpunctuated, and the compositor routinely inserted punctuation at the end of the line.
Critical Apparatus
6.38 neere = ne'er
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6.38 Mene. jaggard; Mena. rowe2. The address to 'Menas' in the preceding and following speech makes it clear that he must speak this speech, which we unequivocally assign to him in Modern. But Menas is spelled 'Menes' in jaggard at 12.1, so the abbreviation in the speech prefix here is ambiguous, and does not need to be emended.
Critical Apparatus
6.41 war'd allot; wan'd jaggard. Easy minim misreading.
Critical Apparatus
6.43 may giue way to greater jaggard; to greater may giue way conj. this edition (Taylor). Compositors and scribes often transpose words or phrases, usually substituting common word order for rarer poetic order. The conjectured transposition produces a clearer run of iambs.
Critical Apparatus
6.44 all rowe; ~: jaggard. Another probable example of the compositor adding punctuation at the end of a line.
Critical Apparatus
6.51 hands, allot; ~^ jaggard
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