Quotes & Sayings About Cleopatra In Antony And Cleopatra

You still don't get it, do you, Margaret?' Kat smiled almost sadly. 'We never had to steal the Antony. All we had to do was get it next to the Cleopatra and switch the signs. — Ally Carter

The personal inevitably trumps the political, and the erotic trumps all: We will remember that Cleopatra slept with Julius Caesar and Mark Antony long after we have forgotten what she accomplished in doing so, that she sustained a vast, rich, densely populated empire in its troubled twilight in the name of a proud and cultivated dynasty. She remains on the map for having seduced two of the greatest men of her time, while her crime was to have entered into those same "wily and suspicious" marital partnerships that every man in power enjoyed. She did so in reverse and in her own name; this made her a deviant, socially disruptive, an unnatural woman. To these she added a few other offenses. She made Rome feel uncouth, insecure, and poor, sufficient cause for anxiety without adding sexuality into the mix. — Stacy Schiff

His words hit me. He knew about Mila's and Gabriel's love ... perhaps he could change things. If he did, Eli and I could be together freely, but until then there was no happy ending. I could feel it. The love that Eli and I have was great, but when has any great love in history ended well? Romeo and Juliet, Cleopatra and Mark Antony, or Tristan and Isolde? Each and every one ended in tragedy, be it death or banishment. — Skyla Madi

Cleopatra: Give me to drink Mandragora.
Charmian: Why, madam?
Cleopatra: That I might sleep out this great gap of time my Antony is away. — William Shakespeare

Being an artist:
And this susceptibility of theirs is doubly unfortunate , I thought, returning again to my original enquiry into what state of mind is propitious for creative work, because the mind of an artist, in order to achieve to the prodigious effort of freeing whole and entire the work that is in him, must be incandescent, like Shakespeare's mind, I conjectured, looking at the book which lay open at Antony and Cleopatra. There must be no obstacle in it, no foreign matter unconsumed. — Virginia Woolf

Her seductive power, however, did not lie in her looks [ ... ]. In reality, Cleopatra was physically unexceptional and had no political power, yet both Caesar and Antony, brave and clever men, saw none of this. What they saw was a woman who constantly transformed herself before their eyes, a one-woman spectacle.
Her dress and makeup changed from day to day, but always gave her a heightened, goddesslike appearance. Her words could be banal enough, but were spoken so sweetly that listeners would find themselves remembering not what she said but how she said it. — Robert Greene

Why is it that we honor the Great Thieves of Whitehall, for Acts that in Whitechapel would merit hanging? Why admire one sort of Thief, and despise the other? I suggest, 'tis because of the Scale of the Crime.
What we of the Mobility love to watch, is any of the Great Motrices, Greed, Lust, Revenge, taken out of all measure, brought quite past the scale of the ev'ryday world, approaching what we always knew were the true Dimensions of Desire. Let Antony lose the world for Cleopatra, to be sure,
not Dick his Day's Wages, at the Tavern. — Thomas Pynchon

I think all novels are contemporary. When people went to see 'Antony-Cleopatra' at the Globe in the 16th century, they were not going to get a history lesson on the Roman Empire. It was about love, sex, and also about dynastic troubles. — Richard Flanagan

Here was a woman about the year 1800 writing without hate, without bitterness, without fear, without protest, without preaching. That was how Shakespeare wrote, I thought, looking at Antony and Cleopatra; and when people compare Shakespeare and Jane Austen, they may mean that the minds of both had consumed all impediments; and for that reason we do not know Jane Austen and we do not know Shakespeare, and for that reason Jane Austen pervades every word that she wrote, and so does Shakespeare. — Virginia Woolf

As Antony said to Cleopatra, as he opened a crate of ale;
Oh I say, some girls are bigger than others. — Morrissey

Cleopatra: You come before me as a suppliant.
Antony: If you choose to regard me as such.
Cleopatra: You will therefore assume the position of a suppliant before this throne. You will kneel.
Antony: I will *what*?
Cleopatra: On-your-knees!
Antony: You dare ask the Proconsul of the Roman Empire?
Cleopatra: I *asked* it of Julius Caesar. I *demand* it of you — Elizabeth Taylor

Her passions are made of nothing but the finest part of pure love; we cannot call her winds and waters, sighs and tears; they are greater storms and tempests than almanacs can report ... — William Shakespeare

What was said of an earlier tribune was more true of Antony: "He was a spendthrift of money and chastity - his own and other people's." The brilliant cavalry officer had all of Caesar's charm and none of his self-control. In 44 the conspirators had deemed him too inconsistent to be dangerous. After the Ides Mark Antony was in his glory, entirely the man of the hour - at least until Octavian arrived. Cleopatra — Stacy Schiff

[At Marc Antony's tomb:] Nothing could part us in life, but now in death we are likely to change places, you the Roman lying here in Egyptian soil, and I, helpless woman that I am, being buried in Italy. — Cleopatra

The theme of the dance was "Great Romances," or some such nonsense. There were projections of supposedly great couples from the past on the walls of the gym. Romeo and Juliet, Antony and Cleopatra, Hermione and Ron, Bonnie and Clyde, etc. — Gabrielle Zevin

I would not for the whole world diminish you. I know it is usual in these circumstances to protest - "I love you for yourself alone" - "I love you essentially" - and as you imply, my dearest, to mean by "you essentially" - lips hands and eyes. But you must know - we do know - that it is not so - dearest, I love your soul and with that your poetry - the grammar and stopping and hurrying syntax of your quick thought - quite as much essentially you as Cleopatra's hopping was essentially hers to delight Antony - more essentially, in that while all lips hands and eyes resemble each other somewhat (though yours are enchanting and also magnetic) - your thought clothed with your words is uniquely you, came with you, would vanish if you vanished - — A.S. Byatt

The legion was raised by Mark Antony. He filled the ranks with men from Cleopatra's army. When Antony was defeated by Octavian, the Twenty-Second was integrated into the rest of the army and has been stationed on the Nile since then. They're a mix of Greeks and Egyptians from the Nile cities. — Simon Scarrow

Two of the first plays I saw after I arrived in Britain were 'King Lear' in Liverpool, and 'Antony and Cleopatra' at Stratford. One was produced with hardly a backdrop and the other with gigantic scene changes. I was impressed by what connected the two: the words and their life beyond the stage. — Romesh Gunesekera

Not romantic," she disagreed. "To me it would be romantic if Antony properly fell on his sword and kicked the bucket and Cleopatra escaped and lived a lovely life sailing along the Nile without him and his big ideas ruining her kingdom. — Jack Gantos

J.B. Bury once followed Pascal in suggesting that the cause of the foundation of the Roman Empire was the length of Cleopatra's nose: had her features not been perfectly proportioned, Mark Antony would not have been entranced; had he not been entranced he would not have allied himself with Egypt against Octavian; had he not made that alliance, the battle of Actium would not have been fought - and so on. — Alasdair MacIntyre

But the ifs of history: if Cleopatra's nose had been one inch longer,' he said, 'would Antony have lost the battle of Actium? — William Dalrymple

Cleopatra: Oh, Charmian, Where think'st thou he is now? Stands he or sits he?
Or does he walk? Or is he on his horse?
O happy horse, to bear the weight of Antony!
Do bravely, horse, for wott'st thou whom thou mov'st?
The demi-Atlas of this earth, the arm
And burgonet of men. He's speaking now,
Or murmuring "Where's my serpent of old Nile?"
For so he calls me. Now I feed myself
With most delicious poison. Think on me,
That am with Phoebus' amorous pinches black
And wrinkled deep in time. Broad-fronted Caesar,
When thou wast here above the ground, I was
A morsel for a monarch. And great Pompey
Would stand and make his eyes grow in my brow.
There would he anchor his aspect, and die
With looking on his life. — William Shakespeare

CLEOPATRA: If it be love indeed, tell me how much. ANTONY: There's beggary in the love that can be reckoned. CLEOPATRA: I'll set a bourne how far to be belov'd. ANTONY: Then must thou needs find out new heaven, new earth. — William Shakespeare

Passion doesn't count the cost. Pascal said that the heart has its reasons that reason takes no account of. If he meant what I think, he meant that when passion seizes the heart it invents reasons that seem not only plausible but conclusive to prove that the world is well lost for love. It convinces you that honour is well sacrificed and that shame is a cheap price to pay. Passion is destructive. It destroyed Antony and Cleopatra, Tristan and Isolde, Parnell and Kitty O'Shea. And if it doesn't destroy it dies. — W. Somerset Maugham

The April's in her eyes: it is love's Spring,
And these the showers to bring it on.. — William Shakespeare

Cleopatra: Whoever is born on a day I forget to send a message to Antony will die a beggar. Bring ink and paper, Charmian. Welcome, my good Alexas. Charmian, did I ever love Caesar as much as this?
Charmian:
Oh, that splendid Caesar!
Cleopatra:
May you choke on any other sentiments like that! Say, "That splendid Antony."
Charmian:
The courageous Caesar!
Cleopatra:
By Isis, I'll give you bloody teeth if you ever compare Caesar with Antony, my best man among men. — William Shakespeare

If it be love indeed, tell me how much.
There's beggary in the love that can be reckon'd.
I'll set a bourn how far to be belov'd.
Then must thou needs find out new heaven, new earth.
Antony and Cleopatra - Act 1, Scene 1 — William Shakespeare

In praising Antony I have dispraised Caesar. — Cleopatra Egypt

Antony shall be brought drunken forth, and I shall see some squeaking Cleopatra boy my greatness
I' th' posture of a whore. — William Shakespeare

The matter of the breath of the poor weighs upon Shakespeare and his characters. Cleopatra shudders at the thought that "mechanic slaves, With greasy aprons, rules and hammers, shall Uplift us to the view; in their thick breaths Rank of gross diet, shall we be enclouded, And forced to drink their vapor." (Antony and Cleopatra, Act 5, Sc. 2.) — William Shakespeare

How shall I abide
In this dull world, which in thy absence is
No better than a sty? — William Shakespeare

It were for me
To throw my sceptre at the injurious gods;
To tell them that this world did equal theirs
Till they had stolen our jewel. — William Shakespeare

Antony and Cleopatra: "what love, what accomplishments, what repetitions of natural affections passed between them is not for vulgar minds to imagine, none but so great hearts know them. — James Shapiro

It may take a decade or two before the extent of Shakespeare's collaboration passes from the graduate seminar to the undergraduate lecture, and finally to popular biography, by which time it will be one of those things about Shakespeare that we thought we knew all along. Right now, though, for those who teach the plays and write about his life, it hasn't been easy abandoning old habits of mind. I know that I am not alone in struggling to come to terms with how profoundly it alters one's sense of how Shakespeare wrote, especially toward the end of his career when he coauthored half of his last ten plays. For intermixed with five that he wrote alone, Antony and Cleopatra, Coriolanus, The Winter's Tale, Cymbeline, and The Tempest, are Timon of Athens (written with Thomas Middleton), Pericles (written with George Wilkins), and Henry the Eighth, the lost Cardenio, and The Two Noble Kinsmen (all written with John Fletcher). — James Shapiro

It is no surprise that the only woman in antiquity who could be the subject of a full-length biography is Cleopatra. Yet, unlike Alexander, whom she rivals as the theme of romance and legend, Cleopatra is known to us through overwhelmingly hostile sources. The reward of the 'good' woman in Rome was likely to be praise in stereotyped phrases; in Athens she won oblivion. — Sarah B. Pomeroy

Princess," he said, spreading his arms in a shrug, "how does such a little thing like you get such a big temper?"
I held up my hand to shield my eyes from the sun.
"Marc Antony," I said, "how does such a big man like you have such a little brain? — Kristiana Gregory

CLEOPATRA TO THE ASP

The bright mirror I braved: the devil in it
Loved me like my soul, my soul:
Now that I seek myself in a serpent
My smile is fatal.

Nile moves in me; my thighs splay
Into the squalled Mediterranean;
My brain hides in that Abyssinia
Lost armies foundered towards.

Desert and river unwrinkle again.
Seeming to bring them the waters that make drunk
Caesar, Pompey, Antony I drank.
Now let the snake reign.

A half-deity out of Capricorn,
This rigid Augustus mounts
With his sword virginal indeed; and has shorn
Summarily the moon-horned river

From my bed. May the moon
Ruin him with virginity! Drink me, now, whole
With coiled Egypt's past; then from my delta
Swim like a fish toward Rome. — Ted Hughes

Thank you," he said as he gathered his bags and looked at me. "I love you more than anyone has ever loved anyone in the history of the world. Do you know that? Do you know that Antony didn't love Cleopatra as much as I love you? Do you know that Romeo didn't love Juliet as much as I love you?"

I laughed. "I love you, too," I said. "More than Liz Taylor loved Richard Burton. — Taylor Jenkins Reid