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In the posteriors of this day, which the rude multitude call the afternoon.

      — Love's Labour's Lost, Act V Scene 1

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KEYWORD: cheeks

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Work The work is either a play, poem, or sonnet. The sonnets are treated as single work with 154 parts.

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1

Antony and Cleopatra
[II, 2]

Domitius Enobarus

914

I will tell you.
The barge she sat in, like a burnish'd throne,
Burn'd on the water: the poop was beaten gold;
Purple the sails, and so perfumed that
The winds were love-sick with them; the oars were silver,
Which to the tune of flutes kept stroke, and made
The water which they beat to follow faster,
As amorous of their strokes. For her own person,
It beggar'd all description: she did lie
In her pavilion—cloth-of-gold of tissue—
O'er-picturing that Venus where we see
The fancy outwork nature: on each side her
Stood pretty dimpled boys, like smiling Cupids,
With divers-colour'd fans, whose wind did seem
To glow the delicate cheeks which they did cool,
And what they undid did.

2

Antony and Cleopatra
[II, 7]

First Servant

1386

To be called into a huge sphere, and not to be seen
to move in't, are the holes where eyes should be,
which pitifully disaster the cheeks.
[A sennet sounded. Enter OCTAVIUS CAESAR, MARK]
ANTONY, LEPIDUS, POMPEY, AGRIPPA, MECAENAS,
DOMITIUS ENOBARBUS, MENAS, with other captains]

3

Antony and Cleopatra
[II, 7]

Octavius

1521

What would you more? Pompey, good night. Good brother,
Let me request you off: our graver business
Frowns at this levity. Gentle lords, let's part;
You see we have burnt our cheeks: strong Enobarb
Is weaker than the wine; and mine own tongue
Splits what it speaks: the wild disguise hath almost
Antick'd us all. What needs more words? Good night.
Good Antony, your hand.

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