The piece begins with a prologue to the king, and then the first act opens with a long soliloquy from the ghost of Antony. Long speeches, it should be said, are the bane of this early French tragedy, and for nearly a century the evil increased instead of diminishing. Cleopatra, Charmium, and Eras then appear, for the play follows Plutarch strictly enough. The queen expresses her despair, and announces her intention to die. The first act is concluded by a long chorus of Alexandrian women, who bewail the shortness of life in six-syllable quatrains. The second act, like the first (unless the monologue of the ghost is counted in this latter), consists of only a single scene and a chorus. The scene is between Octavian, Agrippa, and Proculeius, who argue about the probable fate of Cleopatra. The conqueror is disposed to mercy and to regret for Antony's death, but his officers are less amiably minded. They agree, however, that Cleopatra will have to be watched for fear of suicide. The chorus now is nominally divided into strophes and antistrophes, but these are really only uniform stanzas of six six-syllable lines each, with the rhymes arranged a, b, a, b, c, c, and there is no epode. The third act contains the interview of Octavian with Cleopatra, the surrender of the treasures, and the treachery of Seleucus. The chorus takes part in this scene both by a short song and a longer one in couplets, but arranged in eight-line stanzas, which is preceded by a dialogue with Seleucus. The act thus consists of two scenes. In the fourth act Cleopatra repeats and regularly matures her resolve of death. It contains two choric pieces of some beauty. The first is an undivided song in sixes and fours; the second has a regular arrangement of strophe, antistrophe, and epode three times repeated, consisting of five-syllable lines, of which the strophe and antistrophe contain eleven each and the epode eight, arranged--strophe and antistrophe a, b, a, b, c, c, d, d, e, e, d, epode a, b, a, b, c, c, d, d. The fifth act is very short, containing a recital by Proculeius of the Queen's death, and a choric lament in quatrains. It will thus be seen that the action in the piece is very small, except in the brawl with Seleucus; that the chorus has the full importance which it possessed in the classical tragedy; and that, owing to the few changes of scene and the other restrictions imposed upon himself by the poet, the dramatic capabilities of the plan are not a little limited. The same state of things continued to be the case during the whole duration of the school whose master Jodelle was. Style and versification were sometimes better, sometimes worse than his; but, with comparatively few exceptions, the general conception was the same, long monologues, few characters, an almost total defect of action, which is conducted by the aid of messengers, etc. [Sidenote: Minor Pleiade Dramatists.]