After all, life with Cleopatra had become a settled thing. She had had twin children-a boy and a girl-soon after he had left her, back in 40 b.c. Now he recognized them as his. They were named Alexander Helios ("the sun") and Cleopatra Selene ("the moon"). He even married Cleopatra with all solemnity, and the marriage was recognized as valid in the provinces controlled by him, even though he was still married to Octavia. (He didn't formally divorce Octavia till 32 b.c.)

It was at this point, too, that he began to hand over Roman territory to Cleopatra, as he had earlier promised.

Octavius, who had been continuing to build his strength in the West and had been preparing public opinion for an offensive against the East, found all this a godsend.

It is here that Shakespeare takes up the story. Immediately after the scene in which the fate of Lepidus and Sextus is described, the scene shifts to Rome, where Octavius Caesar is describing Antony's activity to Maecenas:

—Act III, scene vi, lines 1-11

Caesarion is, of course, the reputed son of Julius Caesar. Julius Caesar was the great-uncle of Octavius Caesar, actually, but in his will Julius had adopted Octavius as his son, and Octavius therefore always refers to Julius as his father. (A good propaganda point, of course.)

In a way, Antony was restoring to Cleopatra territory that had belonged to the Ptolemies at the peak of their power two centuries before. He also restored Cyrene (which Shakespeare does not mention), which Rome had annexed in 96 b.c. 

What's more, their children are also endowed. Octavius Caesar goes on to say:

—Act III, scene vi, lines 12-16

This is not as bad as it sounds. Alexander is Alexander Helios, who at this time (34 b.c.) was six years old. The kingdoms he was given were not really Roman, so that they represented a phantom rule. Ptolemy (that is, Caesarion, who is called Ptolemy XIV) received lands that had once been Ptolemaic.

However, we can be sure that Octavius Caesar made the most of Antony's rash family-centered actions. He made it seem to the Roman populace that Antony was giving away Roman provinces to a powerful foreign queen. What's more, he had made himself king (hated word) and loved Alexandria more than Rome. He held triumphs there and Octavius Caesar found a will which he said was Antony's and which directed that Antony be buried in Alexandria rather than in Rome.

It was easy to make it appear that Antony planned to conquer the West and then not only set himself up as king in Rome but make Cleopatra queen. Accusations such as these, skillfully spread, and made plausible by Antony's own actions, utterly destroyed any credit Antony might have in the West.

And in upon Octavius Caesar, at this moment, comes Octavia, apparently on her errand of mediation. She says:

—Act III, scene vi, lines 57-60

It would appear that Octavia, who left Mark Antony two scenes before, now arrives in Rome. All the events that took place over three years-the defeat and death of Sextus Pompeius, the demotion of Lepidus, the campaigns of Mark Antony in Parthia and Armenia (to which Octavius makes reference in passing)-are all hastened over in the one intervening scene.

This serves a purpose. In many places in the play, Mark Antony is whitewashed to make him a more sympathetic hero. Here he is made to seem worse than he is so that the love story with Cleopatra can be made more dramatic.

In actual fact, he returned to Cleopatra only after three years, when his marriage to Octavia proved to be politically worthless-or worse. Here in the play, it appears that even while Octavia is on her way to intercede for Antony with her brother, the faithless Antony deserts her.

Octavius asks her where Antony is and when she innocently says that he is in Athens, her brother says:

—Act III, scene vi, lines 65-66

Cleopatra's power over Antony thus seems enormous. The truth of Antony's return would have considerably diminished the glamour of the love affair.

Indeed, Octavius goes on to say, Antony is preparing for war:

—Act III, scene vi, lines 66-76

This list of kings sounds impressive; the sonorous syllables roll off the tongue. They are at best, however, a set of puppet kinglets, with very little power except for what prestige their names can lend Antony. Cappadocia, Paphlagonia, Pont (Pontus), Comagene, and Lycaonia are all regions in Asia Minor. Herod and Mauchas represent small kingdoms in southern Syria, and so on. Indeed, one of the kings listed, Bocchus of Libya, actually fought on Octavius Caesar's side.

Nevertheless, this sort of thing was undoubtedly used by Octavius to rouse the Roman populace with the fear that Antony was turning the whole mysterious East loose upon them.

Between this scene and the next, further crucial events take place.

Toward the end of 32 b.c. Octavius finally had the situation exactly where he wanted it. The Senate and the people had grown so exasperated that the former declared war against Cleopatra and the latter supported it avidly.