In literature a drama genre deserves your attention. Dramas are usually called plays. Every person is made up of two parts: good and evil. Due to life circumstances, the human reveals one or another side of his nature. In drama we can see the full range of emotions : it can be love, jealousy, hatred, fear, etc. The best drama books are full of dialogue. This type of drama is one of the oldest forms of storytelling and has existed almost since the beginning of humanity. Drama genre - these are events that involve a lot of people. People most often suffer in this genre, because they are selfish. People always think to themselves first, they want have a benefit.All For Love by John Dryden (classic english novels .TXT) 📖
- Author: John Dryden
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IRAS. The aspics, madam?
CLEOPATRA. Must I bid you twice? [Exit CHARMION and IRAS.] ‘Tis sweet to die, when they would force life on me, To rush into the dark abode of death, And seize him first; if he be like my love, He is not frightful, sure. We’re now alone, in secrecy and silence; And is not this like lovers? I may kiss These pale, cold lips; Octavia does not see me: And, oh! ‘tis better far to have him thus, Than see him in her arms.—Oh, welcome, welcome!
Enter CHARMION and IRAS
CHARMION. What must be done?
CLEOPATRA. Short ceremony, friends; But yet it must be decent. First, this laurel Shall crown my hero’s head: he fell not basely, Nor left his shield behind him.—Only thou Couldst triumph o’er thyself; and thou alone Wert worthy so to triumph.
CHARMION. To what end These ensigns of your pomp and royalty?
CLEOPATRA. Dull, that thou art! why ‘tis to meet my love; As when I saw him first, on Cydnus’ bank, All sparkling, like a goddess: so adorned, I’ll find him once again; my second spousals Shall match my first in glory. Haste, haste, both, And dress the bride of Antony.
CHARMION. ‘Tis done.
CLEOPATRA. Now seat me by my lord. I claim this place, For I must conquer Caesar too, like him, And win my share of the world.—Hail, you dear relics Of my immortal love! O let no impious hand remove you hence: But rest for ever here! Let Egypt give His death that peace, which it denied his life.— Reach me the casket.
IRAS. Underneath the fruit The aspic lies.
CLEOPATRA. Welcome, thou kind deceiver! [Putting aside the leaves.] Thou best of thieves: who, with an easy key, Dost open life, and, unperceived by us, Even steal us from ourselves; discharging so Death’s dreadful office, better than himself; Touching our limbs so gently into slumber, That Death stands by, deceived by his own image, And thinks himself but sleep.
SERAPION. The queen, where is she? [Within.] The town is yielded, Caesar’s at the gates.
CLEOPATRA. He comes too late to invade the rights of death! Haste, bare my arm, and rouse the serpent’s fury. [Holds out her arm, and draws it back.] Coward flesh, Wouldst thou conspire with Caesar to betray me, As thou wert none of mine? I’ll force thee to it, And not be sent by him, But bring, myself, my soul to Antony. [Turns aside, and then shows her arm bloody.] Take hence; the work is done.
SERAPION. Break ope the door, [Within.] And guard the traitor well.
CHARMION. The next is ours.
IRAS. Now, Charmion, to be worthy Of our great queen and mistress. [They apply the aspics.]
CLEOPATRA. Already, death, I feel thee in my veins: I go with such a will to find my lord, That we shall quickly meet. A heavy numbness creeps through every limb, And now ‘tis at my head: My eyelids fall, And my dear love is vanquished in a mist. Where shall I find him, where? O turn me to him, And lay me on his breast!—Caesar, thy worst; Now part us, if thou canst. [Dies.] [IRAS sinks down at her feet, and dies; CHARMION stands behind her chair, as dressing her head.]
Enter SERAPION, two PRIESTS, ALEXAS bound, EGYPTIANS
PRIEST. Behold, Serapion, What havoc death has made!
SERAPION. ‘Twas what I feared.— Charmion, is this well done?
CHARMION. Yes, ‘tis well done, and like a queen, the last Of her great race: I follow her. [Sinks down: dies.]
ALEXAS. ‘Tis true, She has done well: Much better thus to die, Than live to make a holiday in Rome.
SERAPION. See how the lovers sit in state together, As they were giving laws to half mankind! The impression of a smile, left in her face, Shows she died pleased with him for whom she lived, And went to charm him in another world. Caesar’s just entering: grief has now no leisure. Secure that villain, as our pledge of safety, To grace the imperial triumph.—Sleep, blest pair, Secure from human chance, long ages out, While all the storms of fate fly o’er your tomb; And fame to late posterity shall tell, No lovers lived so great, or died so well. [Exeunt.]
Poets, like disputants, when reasons fail, Have one sure refuge left—and that’s to rail. Fop, coxcomb, fool, are thundered through the pit; And this is all their equipage of wit. We wonder how the devil this difference grows Betwixt our fools in verse, and yours in prose: For, ‘faith, the quarrel rightly understood, ‘Tis civil war with their own flesh and blood. The threadbare author hates the gaudy coat; And swears at the gilt coach, but swears afoot: For ‘tis observed of every scribbling man, He grows a fop as fast as e’er he can; Prunes up, and asks his oracle, the glass, If pink or purple best become his face. For our poor wretch, he neither rails nor prays; Nor likes your wit just as you like his plays; He has not yet so much of Mr Bayes. He does his best; and if he cannot please, Would quietly sue out his WRIT OF EASE. Yet, if he might his own grand jury call, By the fair sex he begs to stand or fall. Let Caesar’s power the men’s ambition move, But grace you him who lost the world for love! Yet if some antiquated lady say, The last age is not copied in his play; Heaven help the man who for that face must drudge, Which only has the wrinkles of a judge. Let not the young and beauteous join with those; For should you raise such numerous hosts of foes, Young wits and sparks he to his aid must call; ‘Tis more than one man’s work to please you all.
End of The Project Gutenberg Etext of All For Love, by John Dryden
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