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 not have accomplished so difficult a task; she must have seduced Antony, made him forget his duty to his wife, to his legitimate children, to the Republic, the soldiery, his native land,--all the duties that Latin morals inculcated into the minds of the great, and that a shameless Egyptian woman, rendered perverse by all the arts of the Orient, had blotted out in his soul; therefore Antony's tragic fate should serve as a solemn warning to distrust the voluptuous seductions, of which Cleopatra symbolised the elegant and fatal depravity. The story was magnified, coloured, diffused, not because it was beautiful and romantic, but because it served the interests of the political coterie that gained definite control of the government on the ruin of Antony. At Actium, the future Augustus did not fight a real war, he only passively watched the power of the adversary go to pieces, destroyed by its own internal contradictions. He did not decide to conquer Egypt until the public opinion of Italy, enraged against Antony and Cleopatra, required this vengeance with such insistence that he had to satisfy it.

If Augustus was not a man too quick in action, he was, instead, keenly intelligent in comprehending the situation created by the catastrophe of Antony