Most probable
That so she died: for her physician tells me
She hath pursued conclusions infinite
Of easy ways to die.
(V. ii. 356.)
Apart from the great pivots and levers of the action Plutarch has supplied numbers of these minor fittings. Including with them the more literal loans, from which they cannot always be discriminated, we find in addition to the instances already cited the following unmistakable reminiscences: in Act i., Antony’s proposal to roam the streets with Cleopatra; in Act ii., the motive assigned for Fulvia’s rising, Antony’s ambiguous position as widower, Sextus Pompeius’ courtesy to Antony’s mother, Charmian’s description of the fishing, the conditions of peace offered to Pompey, Pompey’s flout at the seizure of his father’s house, the bantering of Antony in regard to Cleopatra, the banquet on the galley, Menas’ suggestion and Pompey’s reply; in Act iii., Ventidius’ halt in his career of victory and its reason, Octavia’s distraction between the claims of husband and brother, the overthrow of Pompey and deposition of Lepidus, the account of the coronation of Cleopatra and her children, Enobarbus’ remonstrance against Cleopatra’s presence in the armament, the allusion to the war being managed by her eunuch and her maids, the comparison of Octavius’ and Antony’s navies, the name Antoniad given to Cleopatra’s admiral, Antony’s challenge to Octavius, the soldier’s appeal to fight on land, many particulars about the battle of Actium, Antony’s dismissal of his friends with treasure, the embassage of Euphronius and Octavius’ reply, Thyreus’ commission, Antony’s renewed challenge, the birthday celebration; in Act iv., Octavius’ answer to the challenge, Antony’s disquieting speech at the banquet, the supposed departure of his divine patron, the defection of Enobarbus, the reference to the treason of Alexas and others, Antony’s successful sally, his return in triumph and embrace of Cleopatra ere he doffs his armour, her gift to the valiant soldier, the death of Enobarbus, the posting of the footmen on the hills before the final catastrophe, the presage of swallows building on Antony’s ship, the fraternization of the fleets, Antony’s rage at Cleopatra, her flight to the tomb, the message of her death, Antony’s revulsion of feeling at the news, Eros’ plighted obligation and his suicide, the mortal wound Antony gives himself, the second message from Cleopatra, his conveyance to the monument, Cleopatra’s refusal to undo the locks and her expedient of drawing him up, several particulars in the last interview, such as the commendation of Proculeius; in Act v., Dercetas’ announcement to Octavius of Antony’s death, Octavius’ reception of the tidings and his reference to their correspondence, his plans for Cleopatra, the interview of Proculeius with Cleopatra at the Monument, his unobserved entrance, the exclamation of the waiting-woman, Cleopatra’s attempted suicide, the visit of Octavius, his threats concerning Cleopatra’s children, her concealment of her treasure, the disclosure of Seleucus, her indignation at him and apology to Octavius, Octavius’ reception of it, Dolabella’s sympathy with the captive queen, the arrival of the countryman with the figs, the dressing in state, the death of Cleopatra and Iras before the soldiers enter, Charmian’s last service in adjusting the diadem, Octavius’ appreciation of Cleopatra’s courage and command for her burial beside Antony.
This enumeration shows how largely Shakespeare is indebted to Plutarch, and also how his obligations are greatest in the later portion of the play. They become conspicuous a little before the middle of the third act, and the proportion is maintained till the close; for though there are not so many in the fifth act, it is considerably shorter than the fourth or than the last eight scenes of the third.
Shakespeare however obtains from Plutarch not merely a large number of his details, but the general programme of the story and the presuppositions of the portraiture, as will appear from a short summary of Plutarch’s narrative, into which, for clearness’ sake, I insert the principal dates.
After Philippi, Antony gave himself up to a life of ostentation and luxury, interrupted by flashes of his nobler mood, first in Greece and subsequently in Asia. Then came his meeting with Cleopatra on the Cydnus, and in his passion for her all that was worthiest in his nature was smothered. Despite pressing public duties he accompanied her on her return to Alexandria, where he wasted his time in “childish sports and idle pastimes.” In the midst of his dalliance the tidings arrive with which the play opens, in 41 b.c., of the contest of his brother Lucius and his wife Fulvia, first with each other and then with Octavius, of their defeat and expulsion from Italy; as well as of the inroad of the Parthians under Labienus as far as Lydia and Ionia.
Then began Antonius with much a doe to rouse him selfe as if he had been wakened out of a deepe sleepe, and as a man may say comming out of a great dronkennes.