As water is in water.
Eros. It does, my lord.
Antony. My good knave, Eros, now thy captain is
Even such a body,’ etc.
This is, without doubt, one of the finest pieces of poetry in Shakespear. The splendour of the imagery, the semblance of reality, the lofty range of picturesque objects hanging over the world, their evanescent nature, the total uncertainty of what is left behind, are just like the mouldering schemes of human greatness. It is finer than Cleopatra’s passionate lamentation over his fallen grandeur, because it is more dim, unstable, unsubstantial. Antony’s headstrong presumption and infatuated determination to yield to Cleopatra’s wishes to fight by sea instead of land, meet a merited punishment; and the extravagance of his resolutions, increasing with the desperateness of his circumstances, is well commented upon by Œnobarbus.
——‘I see men’s judgments are
A parcel of their fortunes, and things outward
Do draw the inward quality after them
To suffer all alike.’
The repentance of Œnobarbus after his treachery to his master is the most affecting part of the play. He cannot recover from the blow which Antony’s generosity gives him, and he dies broken-hearted, ‘a master-leaver and a fugitive.’