-NRLF
SHAKSPERE
JULIUS
CAESAR
NEILSON
f SY
General Editor
LINDSAY TODD DAMON
Professor of English, Brown University
ADDISON AND STEELE Sir Roger de Coverly Papers
ABBOTT
ADDISON AND STEELE Selections from The Taller and
The Spectator ABBOTT
American Short Stories ROYSTER
AUSTIN Pride and Prejudice WARD
BROWNING Selected Poems REYNOLDS
Builders of Democracy GREEN LAW
BUNYAN The Pilgrim's Progress LATHAM
BURKE Speech on Conciliation with Collateral Readings
WARD
BURNS Selected Poems \ 1 , MAKS-T
CARLYLE Essay on Burns $ l 1. MARS.I
CHAUCER Selections GREENLAW
COLERIDGE The Ancient Mariner \ ., , Mftrmv
LOWELL Vision of Sir Launfal $ X vol. MOODI
COOPER The Last of the Mohicans LEWIS
COOPER The Spy DAMON
DANA Two Tears Before the Mast WESTCOTT
DEFOE Robinson Crusoe HASTINGS
Democracy Today GAUSS
DE QUINCEY The Flight of a Tartar Tribe FRENCH
DE QUINCEY Joan of Arc and Selections MOODY
DICKENS A Christmas Carol, etc. BROADUS
DICKENS A Tale of Two Cities BALDWIN
DICKENS David Copper field BALDWIN
DRYDEN Palamon and Arcite COOK
ELIOT, GEORGE Silas Marner HANCOCK
ELIOT, GEORGE The Mill on the Floss WARD
EMERSON Essays and Addresses HEYDRICK
English Poems From POPE, GRAY, GOLDSMITH, COLERIDGE,
BYRON, MACATJLAY, ARNOLD, and others SCUDDER
English Popular Ballads HART
Essays English and American ALDEN
Familiar Letters, English and American GREENLAW
FRANKLIN Autobiography GRIFFEN
French Short Stories SCHWEIKERT
GASKELL (Mrs.) Cranford HANCOCK
GOLDSMITH The Vicar of Wakefield MORTON
HAWTHORNE The House of the Seven Gables HERRICK
HAWTHORNE Twice-Told Tales HERRICK AND BRUERE
HUGHES Tom Brown's School Days DE MILLF
IRVING Life of Goldsmith KRAPP
IRVING The Sketch Book KRAPP
Hafee Cnsltef) Claic continue*
IRVING Tales of a Traveller and parts of The Sketch Book KRAPP
LAMB Essays of Elia BENEDICT
LONGFELLOW Narrative Poems POWELL
LOWELL Vision of Sir LaunfalSee Coleridge
MACAULAY Essays on Addtson and Johnson NEWCOMER
MACAULAY Essays on Clive amd Hastings NEWCOMER
MACAULAY Goldsmith, Frederic the Great, Madame D'Arblay NEW-
COMER
MACAULAY Essays on Milton and Addison NEWCOMER
MILTON L' Allegro, II Penseroso, Comus, and Lycidas NEILBON
MILTON Paradise Lost, Books I and II FARLEY
Modern Plays, A Book of COFFMAN
Old Testament Narratives RHODES
One Hundred Narrative Poems TETER
PALGRAVE The Golden Treasury NEWCOMER
PAR KM AN The Oregon Trail MACDONALD
POE Poems and Tales, Selected NEWCOMER
POPE Homer's Iliad, Books I, VI, XXII, XXIV CRES8Y AND MOODY
READE The Cloister and the Hearth DE MlLLE
RUSKIN Sesame and Lilies LlNN
Russian Short Stories SCHWEIKERT
SCOTT Lady of the Lake MOODf
SCOTT Lay of the Lust Minstrel MOODY AND WlLLARD
SCOTT Marmion MOODY AND WlLLARD
SCOTT Ivanhoe SlMONDS
SCOTT Quentin Durward SlMONDS
Selections from the Writings of Abraham Lincoln HAMILTON
SHAKSPERE The Neilson Edition Edited, by W. A. NEILSON,
As You Like It Macbeth
Hamlet Midsummer-Night's Dream
Henry V Romeo and Juliet
Julius Caesar The Tempest
Twelfth Night
SHAKSPERE The Merchant of Venice LOVETT
SOUTHEY Life of Nelson WESTCOTT
STEVENSON Inland Voyage and Travels with a Donkey LEONARD
STEVENSON Kidnapped LEONARD
STEVENSON Treasure Island BROADUS
TENNYSON Selected Poems REYNOLDS
TENNYSON The Princess COPELAND
THACKERAY English Humorists CUNLIFFE AND WATT
THACKERAY Henry Esmond PHELPS
THOREAU WaWn BOWMAN
Three American Poems The Raven, Snow-Bound, Miles Standish
GREEVER
Types of the Short Story HEYDRICK
VIRGIL Aeneid ALLIN8ON AND ALLINSON
Washington, Webster, Lincoln, Selections from DENNEY
SCOTT, FORESMAN AND COMPANY
CHICAGO ATLANTA NEW YORK
Hafec Cngltsii)
REVISED EDITION WITH HELPS TO STUDY
SHAKSPERE'S
JULIUS G^SAR
EDITED BY
WILLIAM ALLAN NEILSON
PRESIDENT SMITH COLLEGE
SCOTT, FORESMAN AND COMPANY
CHICAGO ATLANTA NEW YORK
CASE
COPYRIGHT 1901, 1919
BY SCOTT, FORESMAN AND COMPANY
302.39
TO 2.04 5 >'
A
PEEFACE.
The aim in the present volume, as in the others
of the series, is to present a satisfactory text with
as full an equipment of introduction and notes as
is necessary for thorough intelligibility. The sec-
tion of the introduction dealing with Shakspere
and the drama is intended to give the student a
clear idea of the place of the play in literary his-
tory. The treatment of the relation of Shaks-
pere's Julius Caesar to North's Plutarch is an
attempt to solve a difficulty which meets the
editor of any of the Roman plays; A mere state-
ment of indebtedness fails to convey a true idea
of the real facts of the case; and the reprinting
of the whole text of which Shakspere availed him-
self does not explain the situation without much
detailed study. The comparative table given oi/
pp. 40-42 tells much at a glance ; and the teacher
who wishes to illustrate further Shakspere's use
of his material will find it easy to do so by means
of the references to Skeat's Shakespeare's Plutarch,
a book which every teacher of the play should
have at hand. The sections on language and
metre present some of the peculiarities of Shaks-
pere's English and versification in a more system-
atic fashion than is possible in separate notes.
863504
PREFACE,
The task of aesthetic interpretation has been,
for the most part, left to the teacher; yet it may
be pointed out that this play offers exceptionally
good opportunities for explaining the elements of
dramatic construction. The action in Julius
Caesar is less complicated than in most of Shaks-
pere's other tragedies; there is no under plot; and
the rise and fall of the action, up to the climax
in Caesar's death and down to the catastrophe at
Philippi, is easily traced. If we regard the tragedy
as a conflict between the party of conspirators and
the party of Caesar, we see that the movement
which culminates m the assassination deals with
the triumph of the former; while in the second
part, the friends of Caesar, deprived of his pres-
ence but animated by his spirit, avenge his death
on his murderers. This final triumph of Caesar's
faction, the acknowledgement by Brutus that it is
the spirit of Caesar that brings disaster on the
conspirators, and the obvious advertising value of
the name of Caesar in a title, seem sufficient to
answer the much debated question as to why
Shakspere called the play Julius Caesar and not
Marcus Brutus.
The admirably conceived contrasts of character,
and the elaboration of these from Plutarch's
hints, should give rise to suggestive discussion,
oral or written. The play as a whole, while not
reaching the pitch of intensity in feeling and
expression of the greatest of Shakspere's trag
PREFACE. 7
edies, is less concentrated and difficult in style
than, for example, Hamlet or Lear, while its
rhetorical brilliance easily arouses the enthusiasm
of even the younger students.
Attention might profitably be drawn to the
political significance of the play. The hopeless-
ness of curing national degeneracy by the removal
of any one man, and the total failure of the
populace to see the aim of the conspirators' action,
are most pointedly expressed in the shout of the
Third Citizen after the republican speech of
Brutus, "Let him be Caesar."
For further details on the life and works of
Shakspere, the following may be referred to:
Dow-den's Shakspere Primer and Shakspere, His
Mind and Art; Sidney Lee's Life of William
Shakespeare; William Shakspere, by Barrett Wen-
dell; Shakspere and His Predecessors, by F. S.
Boas. The most exhaustive account of the Eng-
lish Drama is the new three-volume edition of A. W.
Ward's History of English Dramatic Literature.
Both this work and that of Sidney Lee are rich in
bibliographical information. For questions of
language and grammar, see A. Schmidt's Shakes-
peare Lexicon; J. Bartlett's Concordance to
Shakespeare; E. A. Abbott's Shakespearian
Grammar; and, for philological commentary on
the present play in particular, Eolfe's edition of
Craik's English of Shakespeare. For general ques-
tions of dramatic construction, see Gustav Frey-
8 PREFACE.
tag's Technik des Dramas, translated into English
by E. J. MacEwan, and Dr. Elisabeth Wood-
bridge's The Drama, its Law and its Technique,
HARVARD
May, 1901,
CONTENTS
PAGE
PREFACE . .
INTRODUCTION
I. Shakspere and the English Drama . . 11
II. Julius Caesar 29
TEXT
NOTES 159
WORD INDEX
APPENDIX
Helps to Study 19 ?
Theme Subjects 201
Selections for Class Heading . . . .203
INTRODUCTION.
1. SHAKSPERE AND THE ENGLISH DRAMA
The wonderful rapidity of the development of
the English drama in the last quarter of the six-'
teenth century stands in striking contrast to the
slowness of its growth before that period. The
religious drama, out of which the modern dramatic
forms were to spring, had dragged through centu-
ries with comparatively little change, and was still
alive when, in 1576, the first theatre was built in
London. By 1600 Shakspere had written more
than half his plays and stood completely master of
the art which he brought to a pitch unsurpassed
in any age. Much of this extraordinary later
progress was due to contemporary causes; but
there entered into it also certain other elements
which can be understood only in the light of the
attempts that had been made in the three or four
preceding centuries.
In England, as in Greece, the drama sprang from
religious ceremonial. The Mass, the centre of
The Drama ^ e P 11 ^ worship of the Roman
before church, contained dramatic mate-
Shakspere.
ating priests, in the narratives contained in the
Lessons, and in the responsive singing and chant-
1)
12 ; ; t , ' . INTRODUCTION.
ing. Latin r ,*tbq .language m which the services
were cto'nductJed,' was unintelligible to the mass of
the people, and as early as the fifth century the
clergy had begun to use such devices as tableaux
vivants of scenes like the marriage in Cana and
the Adoration of the Magi to make comprehen-
sible important events in Bible history. Later,
the Easter services were illuminated by repre-
sentations of the scene at the sepulchre on the
morning of the Eesurrection, in which a wooden,
and afterwards a stone, structure was used for the
tomb itself, and the dialogue was chanted by differ-
ent speakers representing respectively the angel,
the disciples, and the women. From such begin-
nings as this there gradually evolved the earliest
forms of the MIRACLE PLAY.
As the presentations became more elaborate,
the place of performance was moved first to tho
churchyard, then to the fields, and finally to the
streets and open spaces of the towns. With this
change of locality went a change in the language
a,nd in the actors, and an extension of the field from
which the subjects were chosen. Latin gave way
to the vernacular, and the priests to laymen; and
miracle plays representing the lives of patron
saints were given by schools, trade gilds, and
other lay institutions. A further development
appeared when, instead of single plays, whole
series such as the extant York, Chester, and
Coventry cycles were given, dealing in chrono-
SHAKSPERE AND ENGLISH DRAMA. 13
logical order with the most important events in
Bible history from the Creation to the Day of
Judgment.
The stage used for the miracle play as thus
developed was a platform mounted on wheels,
which was moved from space to space through
the streets. Each trade undertook one or more
plays, and, when possible, these were allotted with
reference to the nature of the particular trade.
Thus the play representing the visit of the Magi
bearing gifts to the infant Christ was given to the
goldsmiths, and the Building of the Ark to the
carpenters. The costumes were conventional and
frequently grotesque. Judas always wore red
nair and a red beard ; Herod appeared as a fierce
Saracen ; the devil had a terrifying mask and k
tail ; and divine personages wore gilt hair.
Meanwhile the attitude of the church towards
these performances had changed. Priests were
forbidden to take part in them, and as early as
the fourteenth century we find sermons directed
against them. The secular management had a
more important result in the introduction of
comic elements. Figures such as Noah's wife and
Herod became frankly farcical, and whole episodes
drawn from contemporary life and full of local
color were invented, in which the original aim
of edification was displaced by an explicit attempt
at pure entertainment. Most of these features
vere characteristic of the religious drama in gen-
14 . INTRODUCTION.
eral throughout Western Europe. But the local
and contemporary elements naturally tended to
become national ; and in England we find in these
humorous episodes the beginnings of native
comedy.
Long before the miracle plays had reached their
height, the next stage in the development of the
drama had begun,, Even in very early performances
there had appeared, among the dramatis personae
drawn from the Scriptures, personifications of
abstract qualities such as Eighteousness, Peace,
Mercy, and Truth. In the fifteenth century this
allegorical tendency, which was prevalent also in
the non-dramatic literature of the age, resulted in
the rise of another kind of play, the MORALITY,
in which all the characters were personifications,
and in which the aim, at first the teaching of
moral lessons, later became frequently satirical.
Thus the most powerful of all the Moralities,
Sir David Lindesay's Satire of the Three Estates,
is a direct attack upon the corruption in the
church just before the Keformation.
The advance implied in the Morality consisted
not so much in any increase in the vitality of the
characters or in the interest of the plot (in both
of which, indeed, there was usually a falling off),
as in the fact that in it the drama had freed
itself from the bondage of having to choose its
subject matter from one set of sources the
Bible, the Apocrypha, and the Lives of the Saints.
SHAKSPERE AND ENGLISH DRAMA. 15
This freedom was shared by the INTERLUDE, a
form not always to be distinguished from the
Morality, but one in which the tendency was to
substitute for personified abstractions actua)
social types such as the Priest, the Pardoner, or
the Palmer. A feature of both forms was the
Vice, a humorous character who appeared under
the various disguises of Hypocrisy, Fraud, and
the like, and whose function it was to make fun,
chiefly at the expense of the Devil. The Vice
is historically important as having bequeathed
some of his characteristics to the Fool of the later
drama.
John llVywood, the most important writer of
Interludes, lived wei" into the reign of Elizabeth,
and even the miracle play persisted into the
reign of her successor in the seventeenth cen-
tury. . But long before it finally disappeared
it had become a mere medieval survival. A new
England had meantime come into being and new
forces were at work, manifesting themselves in a
dramatic literature infinitely beyond anything
even suggested by the crude forms which have
been described.
The great European intellectual movement
known as the Kenaissance had at last reached
England, and it brought with it materials for an
unparalleled advance in all the living forms of
literature. Italy and the classics, especially,
supplied literary models and material. Not only
16 INTRODUCTION.
were translations from these sources abundant,
but Italian players visited England, and per-
formed before Queen Elizabeth. France and
Spain, as well as Italy, flooded the literary mar-
ket with collections of tales, from which, both in
the original languages and in such translations as
are found in Paynter's Palace of Pleasure (pub-
lished 1566-67), the dramatists drew materials
for their plots.
These literary conditions, however, did not do
much beyond offering a means of expression.
For a movement so magnificent in scale as that
which produced the Elizabethan Drama, some-
thing is needed besides models and material. In
the present instance this something is to be found
in the state of exaltation which characterized the
spirit of the English people in the days of Queen
Elizabeth. Politically, the nation was at last one
after the protracted divisions of the Eeformation,
and its pride was stimulated by its success in the
fight with Spain. Intellectually, it was sharing
with the rest of Europe the exhilaration of the
Eenaissance. New lines of action in all parts of
the world, new lines of thought in all depart-
ments of scholarship and speculation, were open-
ing up ; and the whole land was throbbing with
life.
In its very beginnings the new movement in Eng-
land showed signs of that combination of native
tradition and foreign influence which was to char-
SHAKSPERE AND ENGLISH DRAMA. 17
acterize it throughout. The first regular English
comedy, Udall's Ralph Roister Doister was an
adaptation of the plot of the Miles Gloriosus of
Plautus to contemporary English life. After a
short period of experiment by amateurs working
chiefly under the influence of Seneca, we come on
a band of professional playwrights who not only
prepared the way for Shakspere, but in some
instances produced works of great intrinsic worth.
The mythological dramas of Lyly with the bright
repartee of their prose dialogue and the music of
their occasional lyrics, the interesting experiments
of Greene and Peele, and the horrors of the
tragedy of Kyd, are all full of suggestions of what
was to come. But by far the greatest of Shaks-
pere's forerunners was Christopher Marlowe, who
not only has the credit of fixing blank verse as the
future poetic medium for English tragedy, but
who in his plays from Tamburlaine to Edward II.
contributed to the list of the great permanent
masterpieces of the English drama.
It was in the professional society of these men
that Shakspere found himself when he came to
London. Born in the provincial
Eari k yTife. 8 town of Stratford-on-Avon in the
heart of England, he was bap-
tized on April 26, 1564 (May 6th, according to
our reckoning). The exact day of his birth is
unknown. His father was John Shakspere, a
fairly prosperous tradesman, who mav be upposed
18 INTRODUCTION.
to have followed the custom of his class in edu
eating his son. If this were so, William would be
sent to the Grammar School, already able to
read, when he was seven, and there he would be
set to work on Latin Grammar, followed by read-
ing, up to the fourth year, in Cato's Maxims,
Aesop's Fables, and parts of Ovid, Cicero, and
the medieval poet Mantuanus. If he continued
through the fifth and sixth years, he would read
parts of Vergil, Horace, Terence, Plautus, and
the Satirists. Greek was not usually taught in
the Grammar Schools. Whether he went through
this course or not we have no means of knowing,
except the evidence afforded by the use of the
classics in his works, and the famous dictum of
his friend, Ben Jonson, that he had " small
Latin and less Greek." What we are sure of is
that he was a boy with remarkable acuteness of
observation, who used his chances for picking up
facts of all kinds; for only thus could he have
accumulated the fund of information which he
put to such a variety of uses in his writings.
Throughout the poet's boyhood the fortunes of
John Shakspere kept improving until he reached
the position of High Bailiff or Mayor of Stratford.
When William was about thirteen, however, his
father began to meet with reverses, and these are
conjectured to have led to the boy's being taken
from school early and set to work. What business
he was taught we do not know, and indeed we
SHAKSPERE AND ENGLISH DRAMA ,19
have little more information about him till the
date of his marriage in November, 1582, to Anne
Hathaway, a woman from a neighboring village,
who was seven years his senior. Concerning his
occupations in the years immediately preceding
and succeeding his marriage several traditions
have come down, of his having been apprenticed
as a butcher, of his having taken part in poaching
expeditions, and the like but none of these is
based upon sufficient evidence. About 1585 he
left Stratford, and probably by the next year he
had found his way to London.
How soon and in what capacity he first became
attached to the theatres we are again unable to
say, but by 1592 he had certainly been engaged
in theatrical affairs long enough to give some
occasion for the jealous outburst of a rival play-
wright, Robert Greene, who, in a pamphlet
posthumously published in that year, accused him
of plagiarism. Henry Chettle, the editor of
Greene's pamphlet, shortly after apologized for his
connection with tae charge, and bore witness to
Shakspere's honorable reputation as a man and to
his skill both as an actor and a dramatist.
Robert Greene, who thus supplies us with the
earliest extant indications of his rival's presence
in London, was in many ways a typical figure among
the playwrights with whom Shakspere worked
during this early period. A member of both
universities, Greene came to the metropolis while
20 INTRODUCTION.
yet a young man, and there led a life of the most
diversified literary activity, varied with bouts of
the wildest debauchery. He was a writer of
satirical and controversial pamphlets, of romantic
tales, of elegiac, pastoral, and lyric poetry, a
translator, a dramatist, in fact, a literary jack-
of -all-trades. The society in which he lived con-
sisted in part of "University Wits" like himself,
in part of the low men and women who haunted
the vile taverns of the slums to prey upon such as
he. "A world of blackguardism dashed with
genius," it has been called, and the phrase is fit
enough. Among such surroundings Greene lived,
and among them he died, bankrupt in body and
estate, the victim of his own ill-governed passions.
In conjunction with such men as this Shakspere
began his life-work. His first dramatic efforts
were made in revising the plays of his predeces-
sors with a view to their revival on the stage ; and
in Titus Andronicus and the first part of Henry
VI. we have examples of this kind of work.
The next step was probably the production of
plays in collaboration with other writers, and to
this practice, which he almost abandoned in the
middle of his career, he seems to have returned in
his later years in such plays as Pericles, Henry
VIII., and The Two Noble Kinsmen. How far
Shakspere was of this dissolute set to which his
fellow-workers belonged it is impossible to tell;
but we know that by and by, as he gained mastery
SHAKSPERE AND ENGLISH DRAMA. 21
over his art and became more and more independ-
ent in work and in fortune, he left this sordid
life behind him, and aimed at the establishment
of a family. In half a dozen years from the time
of Greene's attack, he had reached the top of his
profession, was a sharer in the profits of his
theatre, and had invested his savings in land and
houses in his native town. The youth who ten
years before had left Stratford poor and burdened
with a wife and three children, had now become
"William Shakspere, Gentleman."
During these years Shakspere's literary work
was not confined to the drama, which, indeed,
was then hardly regarded as a form of literature.
In 1593 he published Venus and Adonis , and in
1594, Lucrece, two poems belonging to a class of
highly wrought versions ^f classical legends which
was then fashionable, and 01 which Marlowe's
Hero and Leander is the other most famous ex-
ample. For several years, too, in the last decade
of the sixteenth century and the first few years
of the seventeenth, he was composing a series
of sonnets on love and friendship, in this, too,
following a literary fashion of the time. Yet
these give us more in the way of self -revelation
than anything else he has left. From them we
seem to be able to catch glimpses of his attitude
towards his profession, and one of them makes us
realize sc vividly his perception of the tragic risks
of his surroundings that it is set down here :
22 INTRODUCTION.
O, for my sake do you with Fortune chide,
The guilty goddess of my harmful deeds,
That did not better for my life provide
Than public means which public manners breeds.
Thence comes it that my name receives a brand,
And almost thence my nature is subdued
To what it works in, like the dyer's hand:
Pity me then and wish I were renewed ;
Whilst, like a willing patient, I will drink
Potions of eisel 'gainst my strong infection;
No bitterness that I will bitter think,
Nor double penance to correct correction.
Pity me then, dear friend, and I assure ye
Even that your pity is enough to cure me.
It does not seem possible to avoid the inferences
lying on the surface in this poem ; but whatever
confessions it may imply, it serves, too, to give us
the assurance that Shakspere did not easily and
blindly yield to the temptations that surrounded
the life of the theatre of his time.
For the theatre of Shakspere's day was no very
reputable affair. Externally it appears to us now
The Eliza- a Yei T meagre apparatus almost
bethan absurdly so, when we reflect on the
grandeur of the compositions for
. which it gave occasion. A roughly circular
wooden building, with a roof over the stage
and over the galleries, but with the pit often
open to the wind and weather, having very
little scenery and practically no attempt at the
achievement of stage-illusion, such was the
scene of the production of some of the greatest
SHAKSPERE AND ENGLISH DR^MA. %3
-.imaginative works the world has seen. Nor was
the audience very choice. The more respectable
citizens of Puritan tendencies frowned on the
theatre to such an extent that it was found advis-
able to place the buildings outside the city limits,
and beyond the jurisdiction of the city fathers.
The pit was thronged with a motley crowd of
petty tradesfolk and the dregs of the town; the
gallants of the time sat on stools on the stage,
<c drinking" tobacco and chaffing the actors, their
efforts divided between displaying their wit and
their clothes. The actors were all male, the
women's parts being taken by boys whose voices
were not yet broken. The costumes, frequently
the cast-off clothing of the gallants, were often
gorgeous, but seldom appropriate. Thus the suc-
cess of the performance had to depend upon the
excellence of the piece, the merit of the acting,
and the readiness o^ Appreciation of the audience
This last point, however, was more to be relied
upon than a modern student might imagine.
Despite their dubious respectability, the Eliza-
bethan play-goers must have been of wonderfully
keen intellectual susceptibilities. For clever feats
in the manipulation of language, for puns,
happy alliterations, delicate melody such as we
find in the lyrics of the times, for the thunder of
the pentameter as it rolls through the tragedies of
Marlowe, they had a practiced taste. Qualities
which we now expect to appeal chiefly to the
24 INTRODUCTION.
closet student were keenly relished by men who
could neither read nor write, and who at the same
time enjoyed jokes which would be too broad, and
stage massacres which would be too bloody, for a
modern audience of sensibilities much less acute
in these other directions. In it all we see how
far-reaching was the wonderful vitality of the
time.
This audience Shakspere knew thoroughly, and
in his writing he showed himself always, with
shakspere's whatever growth in permanent ar-
Dramatic tistic qualities, the clever man of
nt ' business with his eye on the mar-
ket. Thus we can trace throughout the course
of his production two main lines: one indicative
of the changes of theatrical fashions ; one, more
subtle and more liable to misinterpretation, show-
ing the progress of his own spiritual growth.
The chronology of Shakspere's plays will prob-
ably never be made out with complete assurance,
but already much has been ascertained (1) from
external evidence such as dates of acting or pub-
lication, and allusions in other works, and (2)
from internal evidence such as references to books
or events of known date, and considerations of
metre and language. The following arrangement
represents what is probably an approximately
correct view of the chronological sequence of his
works, though scholars are far from being agreed
upon many of the details.
SHAKSPERE AND ENGLISH DRAMA. 25
26 INTRODUCTION.
The first of these groups contains three comedies
of a distinctly experimental character, and a
number of chronicle-histories, some of which, like
the three parts of Henry F/., were almost cer-
tainly written in collaboration with other play-
wrights. The comedies are light, full of ingen-
ious plays on words, and the verse is often
rhymed. The first of them, at least, shows the
influence of Lyly. The histories also betray a
considerable delight in language for its own sake,
and the Marlowesque blank verse, at its best
eloquent and highly poetical, not infrequently
becomes ranting, while the pause at the end of
each line tends to become monotonous. No copy
of Romeo and Juliet in its earliest form is known
to be in existence, and the extent of Shakspere's
share in Titus Andronicus is still debated.
The second period contains a group of comedies
marked by brilliance in the dialogue ; wholesome-
ness, capacity, and high spirits in the main char-
acters, and a pervading feeling of good-humor.
The histories contain a larger comic element than
in the first period, and are no longer suggestive of
Marlowe. Rhymes have become less frequent, and
the blank verse has freed itself from the bondage
of the end-stopped line.
The plays of the third period are tragedies, or
comedies with a prevailing tragic tone. Shaks-
pere here turned his attention to those elements
in life which produce perplexity and disaster, and
SHAKSPERE AND ENGLISH DRAMA. 27
in this series of masterpieces we have his most
magnificent achievement. His power of perfect
adaptation of language to thought and feeling
had now reached its height, and his verse had
become thoroughly flexible without having lost
strength.
In the fourth period Shakspere returned to
comedy. These plays, written during his last
years in London, are again romantic in subject
and treatment, and technically seem to show the
influence of the earlier successes of Beaumont and
Fletcher. But in place of the high spirits which
characterized the comedies of the earlier periods
we have a placid optimism, and a recurrence of
situations which are more ingenious than plausi-
ble, and which are marked externally by reunions
and reconciliations and internally by repentance
and forgiveness. The verse is singularly sweet
and highly poetical ; and the departure from the
end-stopped line has now gone so far that we see
clearly the beginnings of that tendency which
went to such an extreme in some of Shakspere's
successors that it at times became hard to dis-
tinguish the metre at all.
In Two Noble Kinsmen and Henry VIII.,
Shakspere again worked in partnership, the col-
laborator being, in all probability, John Fletcher.
Nothing that we know of Shakspere's life from
external sources justifies us in saying, as has
frequently been said, that the changes of mood in
28 INTRODUCTION.
his work from period to period corresponded to
changes in the man Shakspere. As an artist he
certainly seems to have viewed life now in this
light, now in that ; but it is worth noting that the
period of his gloomiest plays coincides with the
period of his greatest worldly prosperity. It has
already been hinted, too, that much of his change
of manner and subject was dictated by the vari-
ations of theatrical fashion and the example of
successful contemporaries.
Throughout nearly, the whole of these marvel
ously fertile years Shakspere seems to have stayed
in London; but from 1610 to 1612
he was making Stratford more and
more his place of abode, and at the
same time he was beginning to write less. After
1611 he wrote only in collaboration; and having
spent about five years in peaceful retirement in
the town from which he had set out a penniless
youth, and to which he returned a man of reputa-
tion and fortune, he died on April 23, 1616 His
only son, Hamnet, having died in boyhood, of his
immediate family there survived him his wife and
his two daughters, Susanna and Judith, both of
whom were well married. He lies buried in the
parish church of Stratford,
JULIUS CAESAR. 29
II. JULIUS CAESAR.
The date of Julius Caesar may, with a fair
nmount of assurance, be fixed as 1601. The
argument against an earlier date,
apart from the general relation of
the play to Shakspere's tragic period, is based
by Mr. Aldis Wright on the use of the word
"eternal," in I. ii. 160. In 1600 Shakspere
was still using "infernal" in such passages, but
after that date he substituted "eternal," appar-
ently out of deference to the Puritan agitation
which culminated in legislation against profanity
and other abuses on the stage. Other examples
of this substitution occur in Hamlet, I. v. 21,
and Othello, IV. ii. 130.
The later limit is fixed by the following passage
in Weever's Mirror of Martyrs (published 1601),
first noted by Halliwell-Phillipps:
The many headed multitude were drawn
By Brutus speech, that Caesar was ambitious,
When eloquent Mark Antonie had showne
His vert ues, who but Brutus then was vicious?
As the speech put into the mouth of Antony in
the play is Shakspere's invention, and as the
argument of that speech is referred to here, it is
evident that the play cannot be later than 1601.
It is thus the first of the series of great tragedies
which constituted the chief production of Shaks
30 INTRODUCTION.
pere's third period, and which were written when
Ije had achieved complete mastery of all the
instruments of expression, when his verse, his
diction, and his powers of characterization and
dramatic construction were at their best, and
when he was. using them to deal with the problems
of life seriously and profoundly.
This play, like many others of Shakspere's,
seems to have remained unpublished during his
lifetime, and to have appeared in
xtxt? e print first in the earliest collected
edition of his works issued in 1623
by the two actors, Heminge and Condell. This
volume is usually known as the "First Folio,'*
and from it the present text is taken, with a few
alterations drawn from the later Folios and from
the suggestions of modern editors.
The history of Julius Caesar had been treated
on the Elizabethan stage before Shakspere wrote
his tragedy, but there is no trace
liot. Ce f ^ of his having made use of any
earlier play. He took his subject-
matter entirely from Plutarch's lives of Caesar,
Brutus, and Antony. These formed part of the
admirable series of biographies of the great men
of antiquity which Plutarch wrote in the first
century A.D., and which were translated from
Greek into French by Jacques Amyot, Bishop
of Auxerre, in 1559. This French version
was in turn put into English by Sir Thomas
JULIUS CAESAR. 31
North and published in 1579, and North's version
was that used by Shakspere.
The structure of the play is entirely Shaks-
pere's, and many of the finest passages, from the
points of view of both characterization and style,
are purely the product of his imagination. But
there remains an astonishingly large portion of
the play in which the language of North is merely
turned into blank verse; and much that has
puzzled critics in the unheroic character of Caesar
himself finds its explanation in the text of
Plutarch.
Shakspere's general method of handling his
source may be gathered frcm a comparison of the
following extract with the corresponding passages
in the drama:
For, touching the fires in tho element, and spirits
running up and down in the night, and also the solitary
birds to be seen at noondays sitting in the great market-
place, are not all these signs perhaps worth the noting,
in such a wonderful chance as happened? But Strabo
the philosopher writeth, that divers men were seen
going up and down in fire : and furthermore, that there
was a slave of the soldiers that did cast a marvellous
burning flame out of his hand, insomuch as they that
saw it thought he had been burnt ; but when the fir^
was out, it was found he had no hurt. Caesar self also
doing sacrifice unto the gods, found that one of the
beasts which was sacrificed had no heart: and that was
a strange thing in nature, how a beast could live with-
out a heart. Furthermore there was a certain sooth-
sayer that had given Caesar warning long time afore,
32 INTRODUCTION.
to take heed of the day of the Ides of March, (which is
the fifteenth of the month), for on that day he should
be in great danger. That day being come, Caesar going
unto the Senate-house, and speaking merrily unto the
soothsayer, told him, "the Ides of March be come":
"so they be," softly answered the soothsayer, "but yet
are they not past." 1
It will be observed that this material is used by
Shakspere in four distinct places. The first-men-
tioned omens are described by Casca in I. iii. 9ff.
The omen of the sacrificial beast without a heart
is reported to Caesar by a servant in II. ii. 39, 40.
The soothsayer appears in I. ii. 12-24 and III. i.
1, 2. In each case the narrative is thrown into
drama, and the style is made more vivid.
How closely at times Shakspere follows his
original may be gathered from a comparison such
as this :
So Brutus boldly asked what he was, a god or a
man, and what cause brought him thither? The spirit
answered him, "I am thy evil spirit, Brutus: and thou
shalt see me by the city of Philippes." Brutus being
no otherwise afraid, replied again unto it: "Well, then I
shall see thee again." Shakespeare's Plutarch, p. 136.
Bru. Art thou anything?
Art thou some god, some angel, or some devil,
That makest my blood cold and my hair to stare?
Speak to me what thou art.
Ghost Thy evil spirit, Brutus.
"B^nji. Why comest thou?
* Shakespeare'' s Plutarch, edited by W. W. Skeat,
London and New York, 1892, pp. 97, 98.
JULIUS CAESAR. 33
Ghost. To tell thee thou shalt see me at Philippi.
Bru. Well; then I shall see thee again?
Ghost, Ay, at Philippi.
Bru. Why. I will see thee at Philippi, then.
Julius Caesar, IV. iii. 279-287
The translation of prose into blank verse dia-
logue could hardly be made with less change.
From the table of comparisons between the play
and the corresponding passages in North's Plutarch
which will be found on pp. 42-44, one can see at a
glance the method of selection and rearrangement,
and can note the passages which are entirely of
Shakspere's invention. Thus the characters of
Casca and Lepidus are hardly hinted at by Plu-
tarch, while the boy Lucius, the soliloquy in which
the workings of the mind of Brutus are laid bare,
the scene in his orchard, the scene in which the
conspirators bathe their arms in Caesar's blood, and
the soliloquy of Antony over Caesar's dead body,
are all wholly Shakspere's. Further, the speeches
of Antony and Brutus at Caesar's funeral are
elaborated from the slightest hints.
Julius Caesar is written in the blank verse
which, since Marlowe, had been the standard
metre of the English drama. The
Metre.
few prose passages in the plaj
occur in pieces of homely dialogue and in the
laconic speech of Brutus to the citizens. The
normal type of the blank verse has five iambic
feet, that is, ten syllables with the accent falling
34 INTRODUCTION.
on the even syllables. From this regular form f
however, Shakspere deviates with great freedom,
the commonest variations being the following:
1. The addition of an eleventh syllable; e.g.>
Which give | some soil | perhaps | to my | behav | ioura,
I. ii. 42.
Then, Bru | tus, I | have much I mistook | your pas |
sion, I. ii. 48.
And be | not jeal | ous on | me, gen j tie Bru | tus, L
ii. 71.
Occasionally this extra syllable occurs in the mid
die of the line, at the main pause known as the
caesura, which is most frequent after the third
foot; e.g.,
The melt | ing spirits | of worn | en, \\ then, coun I try
men 1 , II. i. 122.
Brutus | and Cae | sar \\ : what should | be in | that
"Cae | sar," I. ii. 142.
2. Frequently what seems an extra syllable is to
be slurred in reading; e.g., "spirits" in the line
quoted above is a monosyllable. So
Being crossed | in con | ference by | some sen | ators ) ,
I. ii 188.
where u Being" is monosyllabic and "conference"
dissyllabic. So also "whether" is a monosyl-
lable in
See, whether | their bas ] est met I al be | not moved | r .
I. i. 65.
Whether Cae ] sar will | come forth | to-day | , or ao I
II. i. 194.
JULIUS CAESAR. 35
Similarly "Either" is a monosyllable in
Either led | or driv | en, as | we point | the way | , IV.
i. 23.
In some lines it is doubtful whether a syllable is
to be slurred or sounded as a light extra syllable,
as, e.g., " together" in
Write them | together | , yours is | as fair | a name | ,
I. ii. 144.
3. Sometimes an emphatic syllable stands alone
as a foot, without an unaccented syllable ; e.g. ,
Speak | , strike \ , redress 1 ! Am I | entreat | ed, IL
i. 55.
4. Short lines, lacking one or more feet, occur j
Made in his concave shores, I. i 51.
For that which is not in me, L ii. 65.
5. Long lines of twelve or thirteen syllables
occur; e.g.,
The old Anchises bear, so from the waves of Tiber, L
ii. 114.
None that I know will be, much that I fear may chance,
II. iv. 32.
To mask thy monstrous visage? Seek none, conspiracy,
IL i. 81.
Usually in such lines some words bearing the
metrical accent are quite unemphatic in reading,
as in the fourth foot of the first example.
6. Frequently, especially in the first foot, &
trochee is substituted for an iambus, t,e. the
36 INTRODUCTION.
accent falls on the odd instead of the even syllable;
e.g.,
t
Being [ mechanical, you ought not walk, I. L 3.
j_
Therefore | , good Brutus, be prepared to hear, I. ii 66.
j_
When went there by an age | since the [ great flood, I
ii. 152.
j_
Till then, my noble friend, | chew up | on this, I. ii. 171.
It must be remembered, however, that some
frords have changed their pronunciation since
Shakspere's time. Thus "compact" was usually
accented on the last syllable, as in the following
line,
^
But what compact mean you to have with us, III. i. 216
Again, from
Even at the base of Pompey's statue, III. ii. 198,
we see that " statue" was sometimes trisyllabic,
and from
Fearing to strengthen that impati-ence, II. i. 248,
that "impatience" had four syllables.
Although differences between the language of
Shakspere and that of our own day are obvious to
the most casual reader, there is a
risk that the student may under-
estimate the extent of these differences, and,
assuming that similarity of form implies iden-
tity of meaning, miss the true interpretation.
The most important instances of change of
meaning are explained in the notes; but a
JULIUS CAESAR. 87
clearer view of the nature and extent of the
contrast between the language of Julius Caesar
and modern English will be gained by a classifi-
cation of the most frequent features of this con-
trast. Some of the Shaksperean usages are merely
results of the carelessness and freedom which the
more elastic standards of the Elizabethan time
permitted ; others are forms of expression at that
time quite accurate, but now become obsolete.
(1.) NOUNS, (a) Shakspere frequently uses an
abstract noun with "of" where modern English
has an adjective. Thus in Hamlet , I. ii. 4,
"brow of woe" = woful brow, and in Twelfth
Night, I. v. 77, <c mouse of virtue" = virtuous
mouse. So in Julius Caesar, I. ii. 109, "hearts
of controversy" = controversial feelings, and in I.
ii. 40, "passions of some difference" = conflicting
passions. Conversely in IV. ii. 16, "familiar
instances" = instances of familiarity.
(b) Abstract nouns are often used in the plurai ;
e.g., "behaviours," I. ii. 42.
(2.) ADJECTIVES. Double superlatives occur;
e.g., "most unkindest," III. ii. 193; "most
boldest," HI. i. 122.
(3.) PKONOUNS. (a) The nominative is often
used for the objective, especially after preposi-
tions; e.g., "save I," III. ii. 70; "save only he, 1
V. v. 69; "but we," III. i. 96.
(b) The possessive "its" did not come into
common use until after the middle of the seven
30 INTRODUCTION.
teenth century, and in Shakspere, as in other
early writers, we have "his"; e.g., "And that
same eye . . . Did lose his lustre," I. ii. 123, 4.
(c) Confusion between the personal and reflex-
ive forms is common ; e.g., "Submitting me unto
the perilous night," I. iii. 47; "Here is himself,"
III. ii. 207; "%s^/have letters," IV. iii. 172,
(d) The ethical dative is commoner in Shaka.
pere than in modern speech; e.g., "He plucked
me ope his doublet," I. ii. 271, 2.
(e) The modern distinction among the relative
pronouns, who, which, that, as, is not observed;
e.g., "a lion who glared," I. iii. 20; "a lamb That
carries anger as the flint bears fire, Who, much
enforced, shows a hasty spark," IV. iii. 110-112;
44 That gentleness And show of love as I was wont
to have," I. ii. 33; "Under these hard conditions
as this time Is like to lay upon us," I. ii. 174,5;
"To such a man That is no fleering tell-tale," L
ui. 116-7.
(4.) VERBS, (a) A singular verb is often
found with a plural subject; e.g., "7s Decius
Brutus and Trebonius there?" I. iii. 148; "There
is tears for his love," III. ii. 31; "Three parts of
him Is ours," I. iii. 154, 5; "There's two or three
of us," I. iii. 138. In relative clauses where the
relative pronoun refers to "you" used of one
person, Shakspere frequently has a singular verb;
e.g., "You know that you are Brutus that speaks
this," IV, iii. 13.
JULIUS CAESAR. 39
(8) Plural verbs occur with singular subjects;
e.g., "The posture of your blows are yet un-
known," V. i. 33, where the irregularity is due
to the plural " blows."
(c) The "n" is frequently dropped from the
ending of the past participle of strong verbs ; e.g. ,
"spoke" for "spoken," II. i. 125. When the
word thus produced might be mistaken for the
infinitive, the form of the past tense is found;
e.#.,"took" for "taken," I. ii. 48; II. i. 50.
Three forms of the past participle of "strike"
are found in Julius Caesar, viz., "struck," I. ii.
177; "strucken," II. ii. 114; "stricken," II.
i. 192.
(d) "Be" is sometimes used for "are" in the
plural of the present indicative; e.g., "Sucn men
as he be never at heart's ease," I. ii. 208.
(e) Verbs of motion are at times omitted; e.g.,
"I'll about and drive away the vulgar," I. i. 73, 4.
(5.) ADVERBS, (a) Double negatives are used
with a merely intensive force; e.g., "Nor to
no Koman else," III. i. 92; "Yet 'twas not a
crown neither," I. ii. 239; "Nor nothing in
your letters," IV. iii. 184; "No figures nor no
fantasies," II. i. 231.
(b) The form of the adjective is often used for
the adverb; e.g., "This time Is like to lay upon
us," I. ii. 174, 5; "Every time gentler than
other," I. ii. 231; "Thou couldst not die more
honourable," V. i. 60.
(6.) PREPOSITIONS. These are often omitted j
**ff*9 "Worthy note," I. ii. 181; "Arrive the
point, 1 '! ii. 110; "Listen great things," IV. L
41.
COMPARISON OF JULIUS CAESAR AND
NORTH'S PLUTARCH
The italics indicate passages in the plays which are not repre-
sented in Plutarch. The page references in the third column are
to Skeat's Shakespeare's Plutarch*
I.
The stripping of the images.
The Lupercalia
The warning of the Sooth-
sayer
Cassius incites Brutus to
conspiracy
Caesar's description of Cas-
sius
The offer of the crown to
Caesar
Caesar's falling sickness. . . .
Marullus and Flavius si-
lenced
Charade* of Casca
Writings thrown in Brutus's
way
Omens before the death of
Caesar
Cassius' enlists Casca
Why the conspirators de-
sired Brutus
II.
The rdle of Lucius
Brutus soliloquizes on Caesar
Conspirators visit Brutus
by night
Li
L ii. 1-24...
Lii. 24-181.,
L ii. 192-210,
I. ii. 221-285,
L ii. 252-261,
I. ii. 295....
I. ii. 306-313,
ILL 41....
I. iii. 1-33...
I. iii. 41
I. iii. 140, 156
II. i. 10 .....
II. i. 70 .....
96
95-6; 163-4
98
97; 113
97; 111
94-6
57; 89; 95,
[etc.
96
97; 112
97
114
JULIUS CAESAR. 4
JVLIU8 CAESAR AND NORTH'S PLU T Alt CH. Continued.
Objection to taking oaths
(by Brutus in S. ; by whom
is not stated in P.)
Objection to confiding in
Cicero (by Brutus in S. ;
by whom is not stated in P.)
II. i. 113
ILL 141
114
114
Brutus objects to killing
IL i 154
119; 164
Caesar's superstition and
love of flattery
II. i. 194
Portia pleads with Brutus . .
Brutus enlists Caius Liga-
rius
Calpurnia pleads with Cae-
II. i. 279
II. i. 310....
II ii. 1
115
113
98; 11?
Decius persuades Caesar ....
Conspirators come to escort
Caesar
Petition of Artemidorus ....
Portia sends messenger to
Brutus
Portia and the Soothsayer . .
III.
Cassius fears discovery
The assassination
Bathing in Caesar's blood . .
Antony and the conspirators
Brutus gives Antony leave
to speak
Antony's soliloquy over Cae-
sar's body
Brutus to the citizens
II. ii. 57
II. ii. 108....
II.iii.jIII.i.3
II. iv. 1.
II. iv. 21 ...
III. i. 13
III. i. 25 ....
III. i. 106....
III. i. 148....
III. i. 232....
III. i. 255....
III. ii. 1
Ill ii 82
99
99
117
117
117
100-1; 118-9
121; 165
121
[120]
[121' 165]
The riot
Cinna's dream and death . . .
IV.
The triumvirs prick the
names .
III. ii. 263...
III. iii.
IV.i. I:iii.l73
122
102-3; 123
128: 169
42 INTRODUCTION.
JULIUS CAESAR AND NORTH'S PLUTARCH.-Continued.
Antonyms description of Lep-
idus
IV. i. 12.....
Quarrel of Brutus and Cas-
sius
IV. ii, in....
134
The poet interrupts
Death of Portia
IV. iii. 124 . .
IV. iii. 147 . .
134
151
Brutus counsels an advance.
IV. iii. 197 . .
138-9
The ghost of Caesar
IV. iii. 275 . .
136
V.
Antony and Octavius order
their array -
V. i 1
The parley
V. i. 21
The omen of the eagles
V. i. 80
137
Brutus and Cassius discuss
suicide
V. i. 93
140
Brutus and Cassius take
farewell
V. i. 116....
Brutus pushes Octavius
hard
V. ii
141
Cassius is overcome
V. iii. 1 ....
142
Death of Cassius
V. iii. 14
143
Titinius kills himself
V. iii. 51 ....
143
Brutus over the body of
Cassius
V. iii. 91 ....
144
Death of young Cato
V. iv. 1
148
Lucilius mistaken for Bru-
tus
V. iv. 13 ....
149
Death of Brutus
V. v. 1
104; 150-1
Antony over the body of
Brutus
V. v. 68
130
JULIUS CAESAR.
DRAMATIS PERSOJSTAE
triumvirs after the death of
Julius Caesar.
senators.
conspirators against Julius
Caesar.
JULIUS CAESAR.
OCTAVIUS CAESAR,
MARCUS ANTONIUS,
M. AEMILIUS LEPIDUS,
CICERO,
PUBLIUS,
POPILIUS LENA,
MARCUS BRUTUS,
CASSIUS,
CASCA,
TREBONIUS,
LIGARIUS,
DECIUS BRUTUS,
METELLUS CIMBER,
CINNA,
FLAVIUS and MARULLUS,
ARTEMIDORUS of Cnidos, a teacher of Rhetoric
A Soothsayer.
CINNA, a poet. Another Poet.
LUCILIUS,
TITINIUS,
MESSALA,
Young CATO,
VOLUMNIUS,
VARRO,
CLITUS,
CLAUDIUS,
STRATO,
Lucius,
DARDANIUS,
PINDARUS, servant to Cassius.
I friends to Brutus and Cassiits
servants to Brutus
CALPURNIA, wife to Caesar.
PORTIA, wife to Brutus.
Senators, Citizens, Guards, Attendants, eta
SCENE : Rome; the neighborhood of Sardis; the neigh-
borhood of Philippi.
44
JULIUS CAESAR
ACT FIEST.
SCENE I.
Rome. A street.
Enter Flavins, Marullus, and certain Com-
moners.
Flav. Hence! home, you idle creatures, get you
home:
Is this a holiday? what ! know you not,
Being mechanical, you ought not walk
Upon a labouring day without the sign
s Of your profession? Speak, what trade art
thou?
First Com. Why, sir, a carpenter.
Mar. Where is thy leather apron and thy rule?
What dost thou with thy best apparel on?
You, sir, what trade are you?
10 Sec. Com. Truly, sir, in respect of a fine work-
man, I am but, as you would say, a cobbler.
Mar. But what trade art thou? answer me
directly.
45
46 JULIUS CAESAR. [ACT I. So. i.
Sec. Com. A trade, sir, that, I hope, I may use
with a safe conscience; which is, indeed,
sir, a mender of bad soles. 15
Mar. What trade, thou knave? thou naughty
knave, what trade?
Sec. Com. Nay, I beseech you, sir, be not out
with me : yet, if you be out, sir, I can mend
you.
Mar. What mean'st thou by that? mend me, 20
thou saucy fellow !
Sec. Com. Why, sir, cobble you.
Flav. Thou art a cobbler, art thou?
Sec. Com. Truly, sir, all that I live by is with
the awl: I meddle with no tradesman's mat-
ters, nor women's matters, but with awl. I 25
am, indeed, sir, a surgeon to old shoes ; when
they are in great danger, I recover them.
As proper men as ever trod upon neat's
leather have gone upon my handiwork.
Flav. But wherefore art not in thy shop to-day? so
Why dost thou lead these men about the
streets?
Sec. Com. Truly, sir, to wear out their shoes, to
get myself into more work. But, indeed,
sir. we make holiday, to see Caesar and to
rejoice in his triumph. 35
Mar. Wherefore rejoice? What conquest brings
he home?
What tributaries follow him to Rome,
To grace in captive bonds his chariot-wheels?
ACT I. Sc. i.] JULIUS CAESAR. 47
You blocks, you stones, you worse than
senseless things !
40 you hard hearts, you cruel men of Rome,
Knew.you not Pompey? Many a time and oft
Have you climb 'd up to walls and battle-
ments,
To towers and windows, yea, to chimney-
tops,
Your infants in your arms, and there have
sat
45 The live-long day, with patient expectation,
To see great Pompey pass the streets of
Eome:
And when you saw his chariot but appear,
Have you not made an universal shout,
That Tiber trembled underneath her banks,
50 To hear the replication of your sounds
Made in her concave shores?
And do you now put on your best attire?
And do you now cull out a holiday?
And do you now strew flowers in his way
5B That comes in triumph over Pompey's
blood?
Be gone !
Eun to your houses, fall upon your knees,
Pray to the gods to intermit the plague
That needs must light on this ingratitude,
eo Flav. Go, go, good countrymen, and, for this
fault,
Assemble all the poor men of your sort;
48 JULIUS CAESAR. [ACT I. Sa i
Draw them to Tiber banks, and weep your
tears
Into the channel, till the lowest stream
Do kiss the most exalted shores of- all.
[Exeunt all the Commoners.
See, whether their basest metal be not as
mov'd;
They vanish tongue-tied in their guiltiness.
Go you down that way towards the Capitol;
This way will I : disrobe the images,
If you do find them deck'd with ceremonies.
Mar. May we do so? TO
You know it is the feast of Lupercal.
Flav. It is no matter ; let no images
Be hung with Caesar's trophies. I'll about,
And drive away the vulgar from the streets :
So do you too, where you perceive them 75
thick.
These growing feathers pluck 'd from Cae
sar's wing
Will make him fly an ordinary pitch,
Who else would soar above the view of men
And keep us all in servile fearfulness.
[Exeunt.
ACT I. So. ii.] JULIUS CAESAR. 49
SCENE II.
A public place.
Flourish. Enter Caesar; Antony, for the course.*
Calpurnia, Portia, Decius, Cicero, Brutus,
Cassius, and Casca; a great crowd following,
among them a Soothsayer.
Caes. Calpurnia!
Casca. Peace, ho ! Caesar speaks.
Caes. Calpurnia *
Gal. Here, my lord.
Caes. Stand you directly in Antonius' way,
When he doth run his course. Antonius !
o Ant. Caesar, my lord?
Caes. Forget not, in your speed, Antonius,
To touch Calpurnia ; for our elders say,
The barren, touched in this holy chase,
Shake off their sterile curse.
Ant. I shall remember:
10 When Caesar says "do this," it is perform'd.
Caes. Set on ; and leave no ceremony out.
[Flourish.
Sooth. Caesar!
Caes. Ha! who calls?
Casca. Bid every noise be still : peace yet again !
15 Caes. Who is it in the press that calls on me?
I hear a tongue, shriller than all the music.
50 JULIUS CAESAR. [ACT I. So. ii.
Cry " Caesar!" Speak; Caesar is turn 'd to
hear.
Sooth. Beware the ides of March.
Caes. What man is that?
Bru. A soothsayer bids you beware the ides of
March.
Caes. Set him before me; let me see his face. 2
Cas. Fellow, come from the throng; look upon
Caesar.
'Jaes. What say'st thou to me now? speak once
again.
Sooth. Beware the ides of March.
Caes. He is a dreamer ; let us leave him : pass.
[Sennet. Exeunt all except Brutus and
Cassius.
Oas. Will you go see the order of the course?
Bru. Not I.
Cas. I pray you, do.
Bru. I am not gamesome: I do lack some part
Of that quick spirit that is in Antony.
Let me not hinder, Cassius, your desires;
I'll leave you.
Cas. Brutus, I do observe you now of late :
I have not from your eyes that gentleness
And show of love as I was wont to have:
You bear too stubborn and too strange a
hand
Over your friend that loves you.
Bru. Cassius,
Be not deceiv'd: if I have veil'd my look,
ACT I. Sc. ii.] JULIUS CAESAR. 51
I turn the trouble of my countenance
Merely upon myself. Vexed I am
ft Of late with passions of some difference,
Conceptions only proper to myself,
Which give some soil perhaps to my behav*
iours ;
But let not therefore my good friends be
griev'd
Among which number, Cassius, be you one
15 Nor construe any further my neglect,
Than that poor Brutus, with himself at war,
Forgets the shows of love to other men.
Cas. Then, Brutus, I have much mistook your
passion ;
By means whereof this breast of mine hath
buried
80 Thoughts of great value, worthy cogitations.
Tell me, good Brutus, can you see your face?
Bru. No, Cassius ; for the eye sees not itself
But by reflection, by some other things.
Cas. 'Tis just:
65 And it is very much lamented, Brutus,
That you have no such mirrors as will tu*a
Your hidden worthiness into your eye,
That you might see your shadow. I have
heard,
Where many of the best respect in Home*
w Except immortal Caesar, speaking of Brntus
And groaning underneath this age's yokr,
Have wish'd that noble Brutus had his
52 JULIUS CAESAR. [ACT I. Sc. it
Bru. Into what dangers would you lead me,
Cassius,
That you would have me seek into myself
For that which is not in me? 35
Cas. Therefore, good Brutus, be prepared to hear:
And since you know you cannot see yourself
So well as by reflection, I, your glass,
Will modestly discover to yourself
That of yourself which you yet know not of. w
And be not jealous on me, gentle Brutus:
Were I a common laugher, or did use
To stale with ordinary oaths my love
To every new protester ; if you know
That I do fawn on men and hug them hard t*
And after scandal them, or if you know
That I profess myself in banqueting
To all the rout, then hold me dangerous.
[Flourish and shout,
Bru. What means this shouting? I do fear, the
people
Choose Caesar for their king.
Cas. Ay, do you fear it? so
Then must I think you would not have it so.
Bru. I would npt, Cassius; yet I love him well.
But wherefore do you hold me here so long?
What is it that you would impart to me?
If it be aught toward the general good, 85
Set honour in one eye and death i' th' other,
And I will look on both indifferently,
For let the gods so speed me as I love
ACT I. Sc. ii.] JULIUS CAESAR. 53
The name of honour more than I fear death.
90 Cas. I know that virtue to be in you, Brutus,
As well as 1 do know your ouLward favour.
Well, honour is the subject of my story.
I cannot tell what you and other men
Think of this life ; but, for my single self,
05 I had as lief not be as live to be
In awe of such a thing as I myself.
I was born free as Caesar; so were you:
We both have fed as well, and we can both
Endure the winter's cold as well as he:
too For once, upon a raw and gusty day,
The troubled Tiber chafing with her shores,
Caesar said to me "Dar'st thou, Cassius, now
Leap in with me into this angry flood,
And swim to yonder point?" Upon the
word,
106 Accoutred as I was, I plunged in
And bade him follow ; so indeed he did.
The torrent roar'd, and we did buffet it
With lusty sinews, throwing it aside
And stemming it with hearts of controversy^
110 But ere we could arrive the point propos'd,
Caesar cried "Help me, Cassius, or I sink!"
I, as Aeneas, our great ancestor,
Did from the flames of Troy upon his
shoulder
The old Anchises bear, so from the waves of
Tiber
us Did I the tired Caesar. And this man
$4 JULIUS CAESAR. [ACT I. So. ii
Is now become a god, and Cassius is
A wretched creature and must bend his
body,
If Caesar carelessly but nod on him.
He had a fever when he was in Spain,
And when the fit was on him, I did mark 120
How he did shake: 'tis true, this god did
shake :
His coward lips did from their colour fiy,
And that same eye whose bend doth awe the
world
Did lose his lustre: I did hear him groan:
Ay, and that tongue of his that bade the 125
Eomans
Mark him and write his speeches in their
books,
Alas, it cried "Give me some drink, Titin-
ius,"
As a sick girl. Ye gods, it doth amaze me
A man of such a feeble temper should
So get the start of the majestic world iso
And bear the palm alone.
[Shout. Flourish.
Bru. Another general shout !
I do believe that these applauses are
"For some new honours that are heap'd on
Caesar.
Cas. Why, man, he doth bestride the narrow 135
world
Like a Colossus, and we petty men
ACT I. Sc. ii.] JULIUS CAESAR. 55
Walk under his huge legs and peep about
To find ourselves dishonourable graves.
Men at some time are masters of their fates ;
i The fault, dear Brutus, is not in our stars,
But in ourselves, that we are underlings.
Brutus and Caesar : what should be in that
"Caesar"?
Why should that name be sounded more
than yours?
Write them together, yours is as fair a name ;
Sound them, it doth become the mouth as
well ;
Weigh them, it is as heavy; conjure with
'em,
"Brutus" will start a spirit as soon as
"Caesar."
Now, in the names of all the gods at once,
Upon what meat doth this our Caesar feed,
> That he is grown so great? Age, thou art
sham'd!
Rome, thou hast lost the breed of noble
bloods !
When went there by an age, since the great
flood,
But it was fam'd with more than with one
man?
When could they say till now, that talk'd of
Rome,
! That her wide walls encompass'd but one
man?
06 JULIUS CAESAR. [ACT I. Sc. u,
Now is it Rome indeed and room enough,
When there is in it but one only man.
0, you and I have heard our fathers say,
There was a Brutus once that would have
brook'd
The eternal devil to keep his state in Eome leo
As easily as a king.
Bru. That you do love me, I am nothing jealous;
What you would work me to, I have some aim i
How I have thought of this and of these
times,
I shall recount hereafter; for this present, 165
I would not, so with love I might entreat you,
Be any further mov'd. What you have said
I will consider ; what you have to say
I will with patience hear, and find a time
Both meet to hear and answer such high things. ITO
Till then, my noble friend, chew upon this;
Brutus had rather, be a villager
Than to repute himself a son of Rome
Under these hard conditions as this time
Is like to lay upon us. i?i
Gas. I am glad that my weak words
Have struck but thus much show of fire
from Brutus.
Bru. The games are done and Caesar is returning.
Cas. As they pass by, pluck Casca by the sleeve;
And he will, after his sour fashion, tell you tao
What hath proceeded worthy note to-day.
Re-enter Caesar and his Train.
ACT I. So. ii.] JULIUS CAESAR. 57
Bru. I will do so. But, look you, Cassius,
The angry spot doth glow on Caesar's brow,
And all the rest look like a chidden train :
165 Calpurnia's cheek is pale; and Cicero
Looks with such ferret and such fiery eyes
As we have seen him in the Capitol,
Being cross 'd in conference by some senators
Gas. Casca will tell us what the matter is.
w Caes. Antonius!
Ant. Caesar?
Caes. Let me have men about me that are fat :
Sleek-headed men and such as sleep o' nights:
Yond Cassius has a lean and hungry look ;
<gv He thinks too much : such men are danger-
ous.
Ant. Fear him not, Caesar; he's not dangerous;
He is a noble Roman and well given.
Caes. Would he were fatter ! But I fear him not :
Yet if my name were liable to fear,
coo I do not know the man I should avoid
So soon as that spare Cassius. He reads
much ;
He is a great observer, and he looks
Quite through the deeds of men; he loves no
plays,
As thou dost, Antony; he hears no music;
a Seldom he smiles, and smiles in such a sort
As if he mock'd himself and scorn'd hip
spirit
That could be mov'd to smile at any thing.
58 JULIUS CAESAR. (ACT I. So. ii
Such men as he he never at heart's ease
Whiles they hehold a greater than them-
selves,
And therefore are they very dangerous. 2
I rather tell thee what is to be fear'd
Than what I fear; for always I am Caesar.
Come on my right hand, for this ear is deaf,
And tell me truly what thou think 'st of him.
[Sennet. Exeunt Caesar and all Ms Train
but Casca.
Casca. You pull'd me by the cloak ; would you 218
speak with me?
Bru. Ay, Casca; tell us what hath chanc'd to-day,
That Caesar looks so sad.
Casca. Why, you were with him, were you not ?
Bru. I should not then ask Casca what had 220
chanc'd.
Casca. Why, there was a crown offer 'd him: and
being offer'd him, he put it by with the
back of his hand, thus ; and then the people
fell a-shouting.
Bru. What was the second noise for? 225
Casca. Why, for that too.
Cas. They shouted thrice : what was the last cry
for?
Casca. Why, for that too.
.Bru. Was the crown offer'd him thrice?
Casca. Ay, marry, was't, and he put it by thrice, 230
every time gentler than other ; and at every
putting-by mine honest neighbours shouted.
ACT I. Sc. ii] JULIUS CAESAR. 59
Cas. Who offer'd him the crown?
Casca. Why, Antony.
235 Bru. Tell us the manner of it, gentle Casca.
Casca. I can as well be hang'd as tell the man-
ner of it: it was mere foolery; I did not
mark it. I saw Mark Antony offer him a
crown; yet 'twas not a crown* neither,
240 'twas one of these coronets ; and, as I told
you, he put it by once : but, for all that, to
my thinking, he would fain have had it.
Then he offer'd it to him again ; then he put
it by again: but, to my thinking, he was
very loath to lay his fingers off it. And
then he offer'd it the third time; he put it
the third time by: and still as he refus'd it,
the rabblement shouted and olapp'd their
chapp'd hands and threw up their sweaty
o night-caps and utter'd such a deal of stink-
ing breath because Caesar refus'd the crown
that it had almost chok'd Caesar; for he
swounded and fell down at it : and for mine
own part, I durst not laugh, for fear of open-
ing my lips and receiving the bad air.
Cas. But, soft, I pray you: what, did Caesar
swound?
Casca. He fell down in the market-place, and
foam'd at mouth, and was speechless.
Bru. 'Tis very like: he hath the falling sickness
50 Cas. No, Caesar hath it not; but you and I
And honest Casca, we have the falling- sickness
60 JULIUS CAESAR. r Acx I. Sc. ii.
Casca. I know not what you mean by that ; but
I am sure Caesar fell down. If the tag-rag
people did not clap him and hiss him, ac-
cording as he pleas 'd and displeas'd them, 265
as they use to do the players in the theatre,
I am no true man.
Bru. What said he when he came unto himself?
Casca. Marry, before he fell down, when he
perceiv'd the common herd was glad he 270
refused the crown, he plucked / me/ope his
doublet and offer'd them his throat to cut.
An I had been a man of any occupation, if
I would not have taken him at a word, I
would I might go to hell among the rogues. 275
And so he fell. When he came to himself
again, he said, If he had done or said any
thing amiss, he desir'd their worships to
think it was his infirmity. Three or four
wenches, where I stood, cried "Alas, good 280
soul!" and forgave him with all their hearts:
but there's no heed to be taken of them ; if
Caesar had stabb'd their mothers, they would
have done no less.
Bru. And after that, he came, thus sad, away? 285
Casca. Ay.
Cas. Did Cicero say any thing?
Casca. Ay, he spoke Greek.
Cas. To what effect?
Casca. Nay, an I tell you that, I'll ne'er look you 290
i' th' face again: but those that understood
ACT I. Sc. ii.] JULIUS CAESAR. 61
him smil'd at one another and shook their
heads; but, for mine own part, it was Greek
to me. I could tell you more news too:
895 Marullus and Flavius, for pulling scarfs off
Caesar's images, are put to silence. Fare
you well. There was more foolery yet, if I
could remember it.
Cas. Will you sup with me to-night, Casca?
soo Casca. No, I am promis'd forth.
Cas. Will you dine with me to-morrow?
Casca. Ay, if I be alive and your mind hold and
your dinner worth the eating.
Cas. Good: I will expect you.
805 Casca. Do so. Farewell, both. [Exit.
Bru. What a blunt fellow is this grown to be!
He was quick mettle when he went to school.
Cas. So is he now in execution
Of any bold or noble enterprise,
8io However he puts on this tardy form.
This rudeness is a sauce to his good wit,
Which gives men stomach to digest his words
With better appetite.
Bru. And so it is. For this time I will leave
you:
815 To-morrow, if you please to speak with me,
I will come home to you ; or, if you will,
Come home to me, and I will wait for you.
Cas. I will do so : till then, think of the world.
[Exit Brutus.
Well, Brutus, thou art noble ; yet, I see f
62 JULIUS CAESAR. [ACT I. Sc. iii.
Thy honourable metal may be wrought 320
From that it is disposed : therefore it is meet
That noble minds keep ever with their likes ;
For who so firm that cannot be seduc'd?
Caesar doth bear me hard; but he loves
Brutus :
If I were Brutus now and he were Cassius, 335
He should not humour me. I will this night,
In several hands, in at his windows throw,
As if they came from several citizens,
"Writings all tending to the great opinion
That Eome holds of his name; wherein sso
obscurely
Caesar's ambition shall be glanced at:
And after this let Caesar seat him sure;
For we will shake him, or worse days endure.
{Exit.
SCENE III.
The same. A street.
Thunder and lightning. Enter, from opposite
sides, Casca, with his sword drawn, and
Cicero.
Cic. Good even, Casca: brought you Caesar
home?
Why are you breathless? and why stare you
so?
ACT 1. So. iii.] JULIUS CAESAR. 63
Casca. Are not you mov'd, when all the sway of
earth
Shakes like a thing unfirm? Cicero,
5 I have seen tempests, when the scolding
winds
Have riv'd the knotty oaks, and I have seen
The ambitious ocean swell and rage and
foam,
To he exalted with the threat'ning clouds:
But never till to-night, never till now,
to Did I go through a tempest dropping fire.
Either there is a civil strife in heaven,
Or else the world, too saucy with the gods,
Incenses them to send destruction.
Cic. Why, saw you any thing more wonderful?
is Casca. A common islave you know him well by
sight
Held up his left hand, which did flame and
burn
Like twenty torches join'd, and'yet his hand,
Not sensible of fire, remain'd unscorch'd.
Besides I ha' not since put up my sword
20 Against the Capitol I met a lion,
Who glared upon me, and went surly by,
Without annoying me: and there were
drawn
Upon a heap a hundred ghastly women,
Transformed with their fear; who swore
they saw
Men all in fire walk up and down the streets.
64 JULIUS CAESAR. [ACT I. So. iii.
And yesterday the bird of night did sit
Even at noon-day upon the market-place,
Hooting and shrieking. When these prodigies
Do so conjointly meet, let not men say
"These are their reasons; they are natural;" 30
For, I believe, they are portentous things
Unto the climate that they point upon.
Gic. Indeed, it is a strange-disposed time :
But men may construe things after their
fashion,
Clean from the purpose of the things them- 35
selves.
Comes Caesar to the Capitol to-morrow?
Gasca. He doth ; for he did bid Antonius
Send word to you he would be there to-mor-
row.
Cic. Good night then, Casca : this disturbed sky
Is not to walk in.
Gasca. Farewell, Cicero. 40
[Exit Cicero.
Enter Cassius.
Gas. Who's there?
Casca. A Eoman.
Cas. Casca, by your voice.
Casca. Your ear is good. Cassius, what night is
this!
Cas. A very pleasing night to honest men.
Casca. Who ever knew the heavens menace so?
Cas. Those that have known the earth so full of
faults.
ACT I. So. iii.] JULIUS CAESAR. 65
For my part, I have walk'd about the streets,
Submitting me unto the perilous night,
And, thus unbraced, Casca, as you see,
Have bar'd my bosom to the thunder-stone;
so And when the cross blue lightning seem'd to
open
The breast of heaven, I did present myself
Even in the aim and very flash of it.
Casca. But wherefore did you so much tempt the
heavens?
It is the part of men to fear and tremble,
65 When the most mighty gods by tokens send
Such dreadful heralds to astonish us.
Cas. You are dull, Casca, and those sparks of
life
That should be in a Roman you do want,
Or else you use not. You look pale and gaze
eo And put on fear and cast yourself in wonder,
To see the strange impatience of the heavens:
But if you would consider the true cause
Why all these fires, why all these gliding
ghosts,
Wliy birds and beasts from quality and kind,
65 Why old men, fools, and children calculate.
Why all these things change from their
ordinance
Their natures and preformed faculties
To monstrous quality, why, you shall find
That heaven hath infus'd them with these
spirits.
66 JULIUS CAESAR. [ACT I. Sc. iii.
To make them instruments of fear and warn- TO
ing
Unto some monstrous state.
Now could I, Casca, name to thee a man
Most like this dreadful night,
That thunders, lightens, opens graves, and
roars
As doth the lion in the Capitol, 75
A man no mightier than thyself or me
In personal action, jet prodigious grown
And fearful, as these strange eruptions are.
Casca. 'Tis Caqsar that you mean; is it not, Cas-
sius?
Gas. Let it be who it is : for Eomans now so
Have thews and limbs like to their ancestors ;
But, woe the while ! our fathers' minds are
dead,-
And we are govern 'd with our mothers'
spirits ;
Our yoke and sufferance show us womanish.
Casca. Indeed, they say the senators to-morrow 85
Mean to establish Caesar as a king;
And he shall wear his crown by sea and land,
In every place, save here in Italy.
Gas. I know where I will wear this dagger then;
Cassius from bondage will deliver Cassius : 90
Therein, ye gods, you make the weak most
strong ;
Therein, ye gods, you tyrants do defeat:
Nor stony tower, nor walls of beaten brass r
ACT I. Sc. iii.] JULIUS CAESAR. 67
Nor airless dungeon, nor strong links of iron,
95 Can be retentive to the strength of spirit ;
But life, being weary of these worldly bars,
Never lacks power to dismiss itself.
If I know this, know all the world besides,
That part of tyranny that I do bear
100 I can shake off at pleasure.
[TJiunder still.
Casca. So can I :
So every bondman in his own hand bears
The power to cancel his captivity.
Cas. And why should Caesar be a tyrant then?
Poor man ! I know he would not be a wolf,
105 But that he sees the Eomans are but sheep :
He were no lion, were not Romans hinds.
Those that with haste will make a mighty fire
Begin it with weak straws: what trash is
Rome,
What rubbish and what offal, when it serves
no ' For the base matter to illuminate
So vile a thing as Caesar ! But, grief,
Where hast thou led me? I perhaps speak
this
Before a willing bondman ; then I know
My answer must be made. But I am arm'd,
115 And dangers are to me indifferent.
Casca. You speak to Casca, and to such a man
That is no fleering tell-tale. Hold, my hand?
Be factious for redress of all these griefs,
And I will set this foot of mine as far
68 JTJLIUS CAESAR. [ACT I. Sc. iii
As who goes farthest.
Cas. There's a bargain made. 120
Now know you, Casca, I have mov'd already
Some certain of the noblest-minded Eomans
To undergo with me an enterprise
Of honourable- dangerous consequence ;
And I do know, by this, they stay for me 125
In Pompey's porch: for now, this fearful
night,
There is no stir or walking in the streets ;
And the complexion of the element
In favour 's like the work we have in hand,
Most bloody, fiery, and most terrible. 130
Casca. Stand close awhile, for here comes one in
haste.
Cas. 'Tis Cinna; I do know him by his gait;
He is a friend.
Enter Cinna.
Cinna, where haste you so?
Cm. To find out you. Who's that? Metellus
Cimber?
Cas. No, it is Casca; one incorporate 135
To our attempts. Am I not stay'd for,
Cinna?
Gin. I am glad on't. What a fearful night is
this!
There's two or three of us have seen strange
sights.
Cas. Am I not stay'd for? tell me.
Gin. Yes, you are.
ACT I. Sc. iii.] JULIUS CAESAR. 69
140 Cassius, if you could
But win the noble Brutus to our party
Gas. Be you content: good Cinna, take this
paper,
And look you lay it in the praetor's chair,
Where Brutus may but find it; and throw this
i4ft In at his window ; set this up with wax
Upon old Brutus' statue: all this done,
Repair to Pompey's porch, where you shall
find us.
Is Decius Brutus and Trebonius there?
Cin. All but Metellus Cimber; and he's gone
150 To seek you at your house. Well, I will hie,
And so bestow these papers as you bade me.
Cas. That done, repair to Pompey's theatre.
[Exit Cinna.
Come, Casca, you and I will yet ere day
See Brutus at his house : three parts of him
165 Is ours already, and the man entire
Upon the next encounter yields him ours.
Casca. 0, he sits high in all the people's heartb:
And that which would appear offence in us,
His countenance, like richest alchemy,
160 Will change to virtue and to worthiness.
Cas. Him and his worth and our great need of
him
You have right well conceited. Let us go,
For it is after midnight ; and ere day
We ~vill awake him and be sure of him.
[Exeunt.
ACT SECOND.
I.
Rome. Brutus's orchard.
Enter Brutus.
Bru. What, Lucius, ho!
I cannot by the progress of the stars,
Give guess how near to day. Lucius, I say!
I would it were my fault to sleep .0 soundly.
When, Lucius, when? awake, I say! what, 5
Lucius !
Enter Lucius.
Luc. CalPd you, my lord?
Bru. Get me a taper in my study, Lucius :
V^hen it is lighted, come and call me here.
Luc. I will, my lord. [Exit.
Bru. It must be by his death : and for my part, 10
I know no personal cause to spurn at him,
But for the general. He would be crown'd:
How that might change his nature, there's
the question.
It is the bright day that brings forth the
adder ;
And that craves wary walking. Crown him ? is
that ;<
And then, I grant, we put a sting in him,
That at his will he may do danger with.
70
ACT II. Sc. i.] JULIUS CAESAR. 71
The abuse of greatness is, when it disjoins
Remorse from power : and, to speak truth of
Caesar,
*> I have not known when his affections swayed
More than his reason. But 'tis a common
proof,
Thart lowliness is young ambition's ladder,
Whereto the climber upward turns his face;
But when he once attains the upmost round,
86 He then unto the ladder turns his back,
Looks in the clouds, scorning the base degrees
By which he did ascend. So Caesar may;
Then, lest he may, prevent. And, since the
quarrel
Will bear no colour for the thing he is,
30 Fashion it thus ; that what he is, augmented,
Would run to these and these extremities:
And therefore think him as a serpent's egg
Which, hatch 'd, would, as his kind, grow
mischievous,
And kill him in the shell.
Re-enter Lucius.
Luc. The taper burneth in your closet, sir.
Searching the window for a flint, I found
This paper, thus seal'd up; and I am sure
It did not lie there when I went to bed.
[Gives Mm the letter.
Bru. Get you to bed again ; it is not day.
to Is not to-morrow, boy, the ides of March?
72 JULIUS CAESAR. [ACT II. So. i
Luc. I know not, sir.
Bru. Look in the calendar, and bring me word.
Luc. I will, sir. [Exit.
Bru. The exhalations whizzing in the air
Give so much light that I may read by them. 45
[Opens the letter and reads.
*Brutus, thou sleep'st: awake, and see thyself.
Shall Rome, etc. Speak, strike, redress ! "
"Brutus, thou sleep'st: awake!"
Such instigations have been often dropp'd
Where I have took them up. 50
"Shall Eome, etc." Thus must I piece it
out:
Shall Rome stand under one man's awe?
What, Rome?
My ancestors did from the streets of Rome
The Tarquin drive, when he was call'd a
king.
"Speak, strike, redress!" Am I entreated 55
To speak and strike? Rome, I make thee
promise ;
If the redress will follow, thou receivest
Thy full petition at the hand of Brutus!
Re-enter Lucius.
Luc. Sir, March is wasted fifteen days.
[Knocking within.
Bru 'Tis good. Go to the gate; somebody ee
knocks. [Exit Lucius.
ACT II. Sc. i.] JULIUS CAESAR. 73
Since Cassius first did whet me against
Caesar, '
I have not slept.
Between the acting of a dreadful thing
And- the first motion, all the interim is
<55 Like a phantasma, or a hideous dream:
The Genius and the mortal instruments
Are then in council ; and the state of man,
Like to a little kingdom, suffers then
The nature of an insurrection.
Re-enter Lucius.
70 Luc. Sir, 'tis your brother Cassius at the door,
Who doth desire to see you.
Bru. Is he alone?
Luc. No, sir, there are moe with him.
Bru. Do you know them?
Luc. No, sir; their hats are pluck'd about their
ears,
And half their faces buried in their cloaks,
75 That by no means I may discover them
By any mark of favour.
Bru. Let 'em enter.
[Exit Lucius.
They are the faction. conspiracy >
Sham'st thou to show thy dang'rous brow by
night,
When evils are most free? 0, then by day
80 Where wilt thou find a cavern dark enough
To mask thy monstrous visage? Seek none,
conspiracy ;
74 JULIUS CAESAR. [ACT II. Sc. i.
Hide it in smiles and affability :
For if thou path, thy native semblance on,
Not Erebus itself were dim enough
To hide thee from prevention. 85
Enter the conspirators, Cassius, Cased, Decius^
Cinna, Metellus Cimber, and Trebonius.
Cas. I think we are too bold upon your rest:
Good morrow, Brutus ; do we trouble you?
Bru. I have been up this hour, awake all night.
Know I these men that come along with you?
Cas. Yes, every man of them ; and no man here 90
But honours you ; and every one doth wish
You had but that opinion of yourself
Which every noble Eoman bears of you.
This is Trebonius.
Bru. He is welcome hither.
Cas. This, Decius Brutus.
Bru. He is welcome too. 95
Cas. This, Casca; this, Cinna; and this, Metel-
lus Cimber.
1\ru. They are all welcome.
What watchful cares do interpose themselves
Betwixt your eyes and night?
Cas. Shall I entreat a word? 100
[Brutus and Cassius whisper.
Dec. Here lies the east : doth not the day break
here?
Casca. No.
. 0, pardon, sir, it doth; and yon gray lines
That fret the clouds are messengers of day.
ACT II. Sc. i.] JULIUS CAESAR. 75
105 Casca. You shall confess that you are both
deceiv'd.
Here, as I point my sword, the sun arises,
Which is a great way growing on the south,
Weighing the youthful season of the year.
Some two months hence up higher toward
the north
no He first presents his fire ; and the high east
Stands, as the Capitol, directly here.
Bru. Give me your hands all over, one by one.
Cas. And let us swear our resolution.
Bru. No, not an oath : if not the face of men,
H5 The sufferance of our souls, the time's
abuse,
If these be motives weak, break off betimes,
And every man hence to his idle bed;
So let high-sighted tyranny range on,
Till each man drop by lottery. But if these,
120 As I am sure they do, bear fire enough
To kindle cowards and to steel with valour
The melting spirits of women, then, country-
men,
What need we any spur but our own cause,
To prick us to redress? what other bond
!25 Than secret Romans, that have spoke the
word,
And will not palter? and what other oath
Than honesty to honesty engag'd,
That this shall be, or we will fall for it?
Swear priests and cowards and men cautelous,
76 JULIUS CAESAR. [ACT II. Sc. i.
Old feeble carrions and such suffering souls iao
That welcome wrongs ; unto bad causes swear
Such creatures as men doubt; but do not
stain
The even virtue of our enterprise,
Nor th' insuppressive mettle of our spirits,
To think that or our cause or our perform- 135
ance
Did need an oath ; when every drop of blood
That every Roman bears, and nobly bears,
Is guilty of a several bastardy,
If he do break the smallest particle
Of any promise that hath pass'd from him. HO
Cas. But what of Cicero? shall we sound him?
I think he will stand very strong with us.
Casca. Let us not leave him out.
Cin. No, by no means.
Met, 0, let us have him, for his silver hairs
Will purchase us a good opinion 145
And buy men's voices to commend our
deeds :
It shall be said, his judgment rul'd our
hands ;
Our youths and wildness shall no whit appear.
But all be buried in his gravity.
Bru. 0, name him not: let us not break with 150
him;
For he will never follow any thing
That other men begin.
Cas. Then leave him out.
ACT II. Sc. i.] JULIUS CAESAR. 77
Casca. Indeed he is not fit.
' Dec. Shall no man else be touch'd but only
Caesar?
IBS Cas. Decius, well urg'd: I think it Is not meet,
Mark Antony, so well belov'd of Caesar,
Should outlive Caesar : we shall find of him
A shrewd contriver; and, you know, his
means,
If he improve them, may well stretch so far
160 As to aunoy us all : which to prevent,
Let Antony and Caesar fall together.
Bru. Our course will seem too bloody, Caius
Cassias,
To cut the head off and then hack the limbs,
Like wrath in death and envy afterwards;
165 For Antony is but a limb of Caesar :
Let us be sacrificers, but not butchers, Caius.
We all stand up against the spirit of Caesar;
And in the spirit of men there is no blood-
0, that we then could come by Caesars
spirit,
170 And not dismember Caesar! But, alas,
Caesar must bleed for it! And, gentle
friends,
Let's kill him boldly, but not wrathfully;
Let's carve him as a dish fit for the gods,
Not hew him as a carcass fit for hounds :
ITO And let our hearts, as subtle masters do,
Stir up their servants to an act of rage,
And after seem to chide 'em. This shall make
78 JULIUS CAESAR. [ACT II. So. i
Our purpose necessary and not envious:
Which so appearing to the common eyes,
We shall be call'd purgers, not murderers. iso
And for Mark Antony, think not of him;
For he can do no more than Caesar's arm
When Caesar's head is off.
Gas. Yet I fear him;
For in the ingrafted love he bears to Caesar -
Bru. Alas, good Cassius, do not think of him : iss
If he love Caesar, all that he can do
Is to himself, take thought and die for
Caesar :
And that were much he should; for he is
given
To sports, to wildness and much company.
Treb. There is no fear in him; let him not die; 190
For he will live, and laugh at this hereafter.
[Clock strikes.
Bru. Peace! count the clock.
Gas. The clock hath stricken three.
Treb. 'Tis time to part.
Cas. But it is doubtful yet,
Whether Caesar will come forth to-day, or no ;
For he is superstitious grown of late, 195
Quite from the main opinion he held once
Of fantasy, of dreams and ceremonies :
It may be, these apparent prodigies,
The unaccustom'd terror of this night,
And the persuasion of his augurers,
May hold him from the Capitol to-day.
ACT II. Sc. i.] JULIUS CAESAR. 79
Dec. Never fear that : if he be so resolv'd,
I can o'ersway him; for. he loves to hear
That unicorns may be betray 'd with trees,
aos And bears with glasses, elephants with holes,
Lions with toils and men with flatterers;
But when I tell him he hates flatterers,
He says he does, being then most flattered.
Let me work ;
wo For I can give his humour the true bent,
And I will bring him to the Capitol.
Cas. Nay, we will all of us be there to fetch him.
Bru. By the eighth hour, is that the uttermost?
Gin. Be that t^e uttermost, and fail not then.
2iP Met. Caius Ligarius doth bear Caesar hard,
Who rated him for speaking well of Pompey :
I wonder none of you have thought of him.
Bru. Now, good Metellus, go along by him:
He loves me well, and I have given him
reasons ;
220 Send him but hither, and I'll fashion him.
Cas. The morning comes upon 's: well leave
you, Brutus.
And, friends, disperse yourselves; but all
remember
What you have said, and show yourselves
true Romans.
Bru. Good gentlemen, look fresh and merrily;
225 Let not our looks put on our purposes,
But bear it as our Roman actors do,
With untir'd spirits and formal constancv;
SO JULIUS CAESAR. [Aor II. Sa 1
And so good morrow to you every one.
[Exeunt all but Brutus.
Boy! Lucius! Fast asleep? It is no matter;
Enjoy the honey-heavy dew of slumber: 330
Thou hast no figures nor no fantasies,
Which busy care draws in the brains of men:
Therefore thou sleep'st so sound.
Enter Portia.
For. Brutus, my lord!
Bru. Portia, what mean you? wherefore rise you
now?
It is not for your health thus to commit 235
Your weak condition to the raw cold morning.
Por. Nor for yours neither. You've ungently,
Brutus,
Stole from my bed : and yesternight, at sup-
per,
You suddenly arose, and walk'd about,
Musing and sighing, with your arms across, 240
And when I ask'd you what the matter was.
You star'd upon me with ungentle looks;
I urg'd you further; then you scratch'd your
head,
And too impatiently stamp'd with your foot;
Yet I insisted; yet you answer'd not, 245
But, with an angry waf ture of your hand,
Gave sign for me to leave you : so I did ;
Fearing to strengthen that impatience
Which seem'd too much enkindled, and withal
Hoping it was but an effect of humour, 250
ACT II. So. i.J JULIUS CAESAR. 81
Which sometime hwtj. his hour with every
man.
It will not let you eat, nor talk, nor sleep,
And could it work so much upon your shape
As it hath much prevail'd on your condition,
ass I should not know you, Brutus. Dear my
lord,
Make me acquainted with your cause of griet
Bru. I am not well in health, and that is all.
Por. Brutus is wise, and, were he not in health,
He would embrace the means to come by it.
360 Bru. Why, so I do. Good Portia, go to bed.
Por. Is Brutus sick? and is it physical
To walk unbraced and suck up the humours
Of the dank morning? What, is Brutus sick,
And will he steal out of his wholesome bed,
3 To dare the vile contagion of the night
And tempt the rheumy and unpurged air
To add unto his sickness? No, my Brutus;
You have some sick offence within your mind,
Which, by the right and virtue of my place,
arc I ought to know of: and, upon my knees,
I charm you, by my once commended beauty,
By all your vows of love and that great vow
Which did incorporate and make us one,
That you unfold to me, yourself, your half,
3T5 Why you are heavy, and what men to-night
Have had resort to you : for here have been
Some six or seven, who did bide their faces
Even from darkness.
82 JULIUS CAESAR. [ACT IL So. i.
Bni. Kneel not, gentle Portia.
f*?r. I should not need, if you were gentle
Brutus.
Within the bond of marriage, tell me, Brutus, 28c
Is it excepted I shpuld know no secrets
That appertain to you? Am I yourself
But, as it were, in sort or limitation,
To keep with you at meals, comfort your bed,
And talk to you sometimes? Dwell I but in 285
the suburbs
Of your good pleasure? If it be no more,
Portia is Brutus' harlot, not his wife.
Bru. You are my true and honourable wife,
As dear to me as are the ruddy drops
That visit my sad heart. 290
Por. If this were true, then should I know this
secret.
I grant I am a woman , but withal
A woman that Lord Brutus took to wife:
I grant I am a woman ; but withal
A woman well-reputed, Cato's daughter. 295
Think you I am no stronger than my sex,
Being so father'd and so husbanded?
Tell me your counsels, I will not disclose 'em:
I have made strong proof of my constancy,
Giving myself a voluntary wound soo
Here, in the thigh: can I bear that with
patience,
And not my husband's secrets?
Bru. ye gods!
ACT II. Sc. i.] JULIUS CAESAR. 83
Bender me worthy of this noble wife !
[Knocking trithin.
Hark, hark! one knocks: Portia, go in
awhile ;
we And by and by thy bosom shall partake
The secrets of my heart.
All my engagements I will construe to thee,
All the charactery of my sad brows :
Leave me with haste. [Exit Portia.]
Lucius, who's that knocks?
Re-enter Lucius with Ligarius.
sio Luc. Here is a sick man that would speak with
you.
Bru. Caius Ligarius, that Metellus spake of.
Boy, stand aside. Caius Ligarius! how?
Lig. Vouchsafe good morrow from a feeble
tongue.
Bru. 0, what a time have you chose out, brave
Caius,
MS To wear a kerchief! Would you were not
sick!
Lig. I am not sick, if Brutus have in hand:
Any exploit worthy the name of honour.
Bru. Such an exploit have I in hand, Ligarius,
Had you a healthful ear to hear of it.
sao Lig. By all the gods that Eomans bow before,
I here discard my sickness ! Soul of Eome !
Brave son, deriv'd from honourable loins!
Thou, like an exorcist, hast conjur'd up
My mortified spirit. Now bid me run.
84 JULIUS CAESAR. [ACT II. So. ii.
And I will strive with things impossible; i
Yea, get the better of them. What's to do?
Bru. A piece of work that will make sick men
whole.
Lig. But are not some whole that we must make
sick?
Bru. That must we also. What it is, my Caius,
I shall unfold to thee, as we are going
To whom it must be done.
Lig. Set on your foot,
And with a heart new-fir'd I follow you,
To do I know not what : but it sufficeth
That Brutus leads me on.
Bru. Follow me, then.
[Exeunt.
SCENE II.
Caesar's house.
Thunder and lightning. Enter Caesar^ in Ms
night-gown.
Caes. Nor heaven nor earth have been at peace
to-night :
Thrice hath Calpurnia in her sleep cried out,
"Help! ho! they murther Caesar!" Who's
within?
Enter a Servant.
Serv. My lord?
ACT II. Sc. ii.] JULIUS CAESAR. 85
5 Caes. Go bid the priests do present sacrifice
And bring me their opinions of success.
Serv. I will, my lord. [Exit.
Enter Calpurnia.
CaL What mean you, Caesar? think you to walk
forth?
You shall not stir out of your house to-day.
10 Caes. Caesar shall forth : the things that threat-
en'd me
Ne'er look'd but on my back; when they
shall see
The face of Caesar, they are vanished.
CaL Caesar, I never stood on ceremonies,
Yet now they fright me. There is one
within,
is Besides the things that we have heard and
seen,
Recounts most horrid sights seen by the
watch.
A lioness hath whelped in the streets ;
And graves have yawn'd, and yielded up
their dead;
Fierce fiery warriors fight upon the clouds,
30 In ranks and squadrons and right form of
war,
Which drizzled blood upon the Capitol ;
The noise of battle hurtled in the air,
Horses did neigh, and dying men did groan,
And ghosts did shriek and squeal about the
streets.
86 JULIUS CAESAR. [ACT II Sa ii.
Caesar! these things are beyond all use, 25
And I do fear them.
Gaes. .- What can be avoided
Whose end is purposed by the mighty gods?
Yet Caesar shall go forth ; for these predic-
tions
Are to the world in general as to Caesar.
Cdl. When beggars die, there are no comets seen; so
The heavens themselves blaze forth the death
of princes.
Caes. Cowards die many times before their deaths ;
The valiant never taste of death but once.
Of all the wonders that I yet have heard,
It seems to me most strange that men should 35
fear,
Seeing that death, a necessary end,
Will come when it will come.
Re-enter Servant.
What say the augurers?
Serv. They would not have you to stir forth to-
day.
Plucking the entrails of an offering forth,
They could not find a heart within the beast. 40
Caes. The gods do this in shame of cowardice:
Caesar should be a beast without a heart
If he should stay at home to-day for fear.
No, Caesar shall not : danger knows full well
That Caesar is more dangerous than he: 45
We are two lions litter 'd in one day,
dnd I the elder and more terrible:
ACT II. Sc. ii.] JULIUS CAESAR. 87
And Caesar shall go forth.
Cdl. Alas, my lord,
Your wisdom is consum'd in confidence.
50 Do not go forth to-day: call it my fear
That keeps you in the house, and not your
own.
We'll send Mark Antony to the senate-house;
And he shall say you are not well to-day:
Let me, upon my knee, prevail in this.
65 Caes. Mark Antony shall say I am not well;
And, for thy humour, I will stay at home.
Enter Decius.
Here's Decius Brutus, he shall tell them so.
Dec. Caesar, all hail! good morrow, worthy
Caesar:
I come to fetch you to the senate-house.
60 Caes. And you are come in very happy time,
To bear my greetings to the senators
And tell them that I will not come to-day:
Cannot, is false, and that I dare not, falser:
I will not come to-day : tell them so, Decius.
66 Cal. Say he is sick.
Caes. Shall Caesar send a lie?
Have I in conquest stretch'd mine arm so far,
To be afeard to tell graybeards the truth?
Decius, go tell them Caesar will not come.
Dec. Most mighty Caesar, let me know some
cause,
TO Lest I be laugh 'd at when I tell them so.
Caes. The cause is in my will: I will not come}
88 JULIUS CAESAR. [ACT II. Sc h.
That is enough to satisfy the senate.
But for your private satisfaction,
Because I love you, I will let you know:
Calpurnia here, my wife, stays me at home: 75
She dreamt to-night she saw my statue,
Which, like a fountain with an hundred
spouts,
Did run pure blood ; and many lusty Romans
Came smiling, and did bathe their hands in
it:
And these does she apply for warnings, and so
portents,
And evils imminent ; and on her knee
Hath begg'd that I will stay at home to-day.
Dec. This dream is all amiss interpreted;
It was a vision fair and fortunate :
Your statue spouting blood in many pipes, 85
In which so many smiling Romans bath'd,
Signifies that from you great Rome shall suck
Reviving blood, and that great men shall
press
For tinctures, stains, relics and cognizance.
This by Calpurnia's dream is signified. o
Caes. And this way have you well expounded it.
Dec. I have, when you have heard what I can
say:
And know it now : the senate have concluded
To give this day a crown to mighty Caesar.
If you shall send them word you will not 85
come,
ACT II. So. ii.] JULIUS CAESAR. 89
Their minds may change. Besides, it were a
mock
Apt to be render'd, for some one to say,
"Break up the senate till another time,
When Caesar's wife shall meet with better
dreams."
100 If Caesar hide himself, shall they not
whisper,
"Lo, Caesar is afraid?"
Pardon me, Caesar; for my dear dear love
To your proceeding bids me tell you this ;
And reason to my love is liable.
105 Caes. How foolish do your fears seem now,
Calpurnia !
I am ashamed I did yield to them.
Give me my robe, for I will go.
Enter Publius, Brutus, Ligarius, Metellus,
Casca, Trebonius, and Cinna.
And look where Publius is come to fetch me.
Pub. Good morrow, Caesar.
Caes. Welcome, Publius.
no What, Brutus, are you stirr'd so early too?
Good morrow, Casca. Caius Ligarius,
Caesar was ne'er so much your enemy
As that same ague which hath made you lean.
What is 't o'clock?
Bru. Caesar, 't is strucken eight
us Caes. I thank you for your pains and courtesy
Enter Antony.
90 JULIUS CAESAR. [ACT II. So, iii.
See! Antony, that revels long o' nights,
Is notwithstanding up. Good morrow,
Antony.
Ant. So to most noble Caesar.
Caes. Bid them prepare within:
I am to blame to be thus waited for.
Now, Cinna: now, Metellus: what, Tre- 120
bonius !
I have an hour's talk in store for you;
Remember that you call on me to-day:
Be near me, that I may remember you.
Treb. Caesar, I w T ill: [Aside] and so near will
I be,
That your best friend? shall wish I had been 125
further.
Caes. Good friends, go in, and taste some wine
with me;
And we, like friends, will straightway go
together.
Bru. [Aside] That every like is not the same,
Caesar,
The heart of Brutus yearns to think upon !
[Exeunt?
SCESTE III.
A street near the Capitol.
Enter Artemidorus^ reading a paper.
4r. Caesar, beware of Brutus; take heed of Cassiusj
come not near Casca : have an eye to Cinna ; trust
ACT II. So. iv.J JULIUS CAESAR. 91
not Trebonius ; mark well Metellus Gimber : Decius
Brutus loves thee not: thou hast wronged Caius
5 Ligarius. There is but one mind in all these men,
and it is bent against Caesar. If thou beest not
immortal, look about you: security gives way to
conspiracy. The mighty gods defend thee ! Thy
lover, ARTEMIDOBUS.
10 Here will I stand till Caesar pass along,
And as a suitor will I give him this.
My heart laments that virtue cannot live
Out of the teeth of emulation.
If thou read this, Caesar, thou mayst live
15 If not, the Fates with traitors do contrive.
[Exii.
SCENE IV.
Another part of the same street , before the
house of Brutus.
Enter Portia and Lucius.
Par. I prithee, boy, run to the senate-house;
Stay not to answer me, but get thee gone:
Why dost thou stay?
Luc. To know my errand, madam.
Por. I would have had thee there, and here again,
6 Ere I can tell thee what thou shouldst do
there.
constancy, be strong upon my side,
Set a huge mountain 'tween my heart and
tongue !
92 JULIUS CAESAR. [ACT II. So. iv.
I have a man's mind, but a woman's might.
How hard it is for women to keep counsel !
Art thou here yet?
Luc. Madam, what should I do? 10
Eun to the Capitol, and nothing else?
And so return to you, and nothing else?
For. Yes, bring me word, boy, if thy lord look
well,
For he went sickly forth : and take good note
What Caesar doth, what suitors press to him. 15
Hark, boy! what noise is that?
Luc. I hear none, madam.
For. Prithee, listen well;
I heard a bustling rumour, like a fray,
And the wind brings it from the Capitol.
Luc. Sooth, madam, I hear nothing. 28
Enter the Soothsayer.
For. Come hither, fellow : which way hast thou
been?
Sooth. At mine own house, good lady.
For. What is 't o'clock?
Sooth. About the ninth hour, lady.
For. Is Caesar yet gone to the Capitol?
Sooth. Madam, not yet: I go to take my stand, %
To see him pass on to the CapitoL
For. Thou hast some suit to Caesar, hast thou not?
Sooth. That I have, lady: if it will please Caesar
To be so good to Caesar as to hear me,
I shall beseech him to befriend himself. so
ACT II Sc. iv.j JULIUS CAESAR. 93
Por. Why, know'st thou any harm's intended
towards him?
Sooth. None that I know will be, much that I fear
may chance.
Good morrow to you. Here the street is
narrow:
The throng that follows Caesar at the heels,
35 Of senators, of praetors, common suitors,
Will crowd a feeble man almost to death :
I'll get me to a place more void, and there
Speak to great Caesar as he comes along.
[Exit.
Por. I must go in. Ay me, how weak a thing
40 The heart of woman is! Brutus,
The heavens speed thee in thine enterprise!
[To herself] Sure, the boy heard me: [To
Lucius] Brutus hath a suit
That Caesar will not grant. 0, 1 grow faint.
Kun, Lucius, and commend me to my lord;
# Say I am merry: come to me again,
And bring me word what he doth say to thee.
[Exeunt severally
ACT THIKD,
SCENE I.
Rome. Before the Capitol.
A crowd of people; among them Artemidorus and
the Soothsayer. Flourish. Enter Caesar ,
Brutus, Cassius, Casca, Deems, Metellus,
Trebonius, Cinna, Antony, Lepidus\ Popi-
lius, Publius, and others.
tlaes. [To the Soothsayer.'} The ides of March are
come.
Sooth. Ay, Caesar; but not gone.
Art. Hail, Caesar! read this schedule.
Dec. Trebonius doth desire you to o'er-read,
At your best leisure, this his humble suit. 6
Art. Caesar, read mine first; for mine's a suit
That touches Caesar nearer: read it, great
Caesar.
Caes. What touches us ourself shall be last served.
Art. Delay not, Caesar; read it instantly.
Caes. What, is the fellow mad?
Pub. Sirrah, give place, ic
Cas. What, urge you your petitions in the street?
Come to the Capitol.
Caesar goes up to the Senate-House, the rest fol-
lowing.
Pop. I wish your enterprise to-day may thrive.
ACT III. So. i.] JULIUS CAESAR. 95
Cas. What enterprise, Popilius?
Pop. Fare you well.
[Advances to Caesar.
1 is Bru. What said Popilius Lena?
Cas. He wished to-day our enterprise might
thrive.
I fear our purpose is discovered.
Bru. Look, how he makes to Caesar: mark him.
Cas. Casca, be sudden, for we fear prevention.
20 Brutus, what shall be done? If this be
known,
Cassius or Caesar never shall turn back,
For I will slay myself.
Bru. Cassius, be constant:
Popilius Lena speaks not of our purposes;
For, look, he smiles, and Caesar doth not
change.
as Cas. Trebonius knows his time; for, look you,
Brutus,
He draws Mark Antony out of the way.
[Exeunt Antony and Trebonius.
Dec. .Where is Metellus Cimber? Let him go,
And presently prefer his suit to Caesar.
Bru. He is addressed: press near and second him.
ao Gin. Casca, you are the first that rears your hand.
Caes. Are we all ready? What is now amiss
That Caesar and his senate must redress?
Met. Most high, most mighty, and most puissant
Caesar,
Metellus Cimber throws before thy seat
96 JULIUS CAESAR, [ACT III. be. i.
An humble heart, [Kneeling.
Caes. 1 must prevent thee, Cimber. 85
These crouchings and these lowly courtesies
Might fire the blood of ordinary men,
And turn pre-ordinance and first decree
Into the law of children. Be not fond,
To think that Caesar bears such rebel blood 40
That will be thaw'd from the true quality
With that which melteth fools ; I mean, sweet
words,
Low-crooked court 'sies and base spaniel -fawn-
ing.
Thy brother by decree is banished :
If thou dost bend and pray and fawn for &
him.
i spurn thee like a cur out of my way.
Know, Caesar doth not wrong, nor without
cause
Will he be satisfied.
Met. Is there no voice more worthy than my own,
To sound more sweetly in great Caesar's ear so
For the repealing of my banish'd brother?
JBru. I kiss thy hand, but not in flattery, Caesar;
Desiring thee that Publius Cimber may
Have an immediate freedom of repeal.
Caes. What, Brutus !
Cas Pardon, Caesar; Caesar, pardon:
As low as to thy foot doth Cassius fall,
To beg enfranchisement for Publius Cimber.
Caes. I could be well mov'd, if I were as you:
ACT III. So. i.) JULIUS CAESAR. 97
If I could pray to move, prayers would move
me:
00 But I am constant as the northern star,
Of whose true-fix'd and resting quality
There is no fellow in the firmament.
The* skies are painted with unnumbered
sparks,
They are all fire and every one doth shine ;
66 But there's but one in all doth hold his place:
So in the world: 't is furnish'd well with
men,
And men are flesh and blood, and apprehen
sive;
Yet in the number I do know but one
That unassailable holds on his rank,
TO Unshak'd of motion: and that I am he,
Let me a little show it, even in this;
That I was constant Cimber should be
banish'd,
And constant do remain to keep him so.
Cin. Caesar,
Caes. Hence! wilt thou lift up Olympus?
75 Dec. Great Caesar,
Caes. Doth not Brutus bootless kneel?
Casca. Speak, hands, for me!
[Casca first, then the other Conspirators and
Marcus Brutus stab Caesar.
Caes. Ettu, Brute! Then fall, Caesar! [Dies.
Cin* Liberty ! Freedom ! Tyranny is dead !
Run hence, proclaim, cry it about the streets,
98 JULIUS CAESAR. [ACT III. So. i
Cas. Some to the common pulpits, and cry out so
"Liberty, freedom, and enfranchisement!"
Bru. People and senators, be not affrighted ;
Fly not ; stand still : ambition's debt is paid.
Casca. Go to the pulpit, Brutus.
Dec. And Cassius too.
Bru. Where's Publius? 85
Oin. Here, quite confounded with this mutiny.
Met. Stand fast together, lest some friend of
Caesar's
Should chance
Bru. Talk not of standing. Publius, good cheer;
There is no harm intended to your person, 9Q
Nor to no Eoman else: so tell them, Publius.
Cas. And leave us, Publius; lest that the people,
Rushing on us, should do your age some mis-
chief.
Bru. Do so : and let no man abide this deed,
But we the doers
Re-enter Trebonius.
Cas. Where is Antony? 95
Treb. Fled to his house amaz'd:
Men, wives and children stare, cry out and
run
As it were doomsday.
Bru. Fates, we will know your pleasures :
That we shall die, we know, 1 't is but the
time
And drawing days out, that men stand upon. 100
Cas. Why, he that cuts off twenty years of life
ACT III. Sc. i.] JULIUS CAESAR. 99
Cuts off so many years of fearing death.
Bru. Grant that, and then is death a benefit :
So are we Caesar's friends, that have abridg'd
MJ6 His time of fearing death. Stoop, Romans,
stoop,
And let us bathe our hands in Caesar's blood
Up to the elbows, and besmear our swords:
Then walk we forth, even to the market-
place,
And, waving our red weapons o'er our heads,
410 Let's all cry "Peace, freedom and liberty!''
Cas. Stoop, then, and wash. How many ages
hence
Shall this our lofty scene be acted over
Instates unborn and accents yet unknown !
Bru. How many times shall Caesar bleed in
sport,
lift That now on Pompey's basis lies along
No worthier than the dust !
Cas. So oft as that shall be,
So often shall the knot of us be call'd
The men that gave their country liberty.
Dec. What, shall we forth?
Cas. Ay, every man away:
USD Brutus shall lead 5 and we will grace his heels
With the most boldest and best hearts of
Rome.
Enter a Servant.
Bru. Soft! who comes here? A friend of An-
tony's.
100 JULIUS CAESAR. [ACT III. So. i
Thus, Brutus, did my master bid me kneel;
Thus did Mark Antony bid me fall down;
And, being prostrate, thus he bade me say: im
Brutus is noble, wise, valiant, and honest ;
Caesar was mighty, bold, royal, and loving ^
Say I love Brutus, and I honour him c ,
Say I fear'd Caesar, honour'd him, and lov'd
him.
If Brutus will vouchsafe that Antony isn
May safely come to him, and be resolv'd
How Caesar hath deserv'd to lie in death,
Mark Antony shall not love Caesar dead
So well as Brutus living; but will follow
The fortunes and affairs of noble Brutus iss
Thorough the hazards of this untrod state
With all true faith. So says my master
Antony.
Bru. Thy master is a wise and valiant Roman ;
I never thought him worse.
Tell him, so please him come unto this place, !4fl
He shall be satisfied; and, by my honour,
Depart untouch'd.
,Serv. I'll fetch him presently, [Exit.
Bru. I know that we shall have him well to
friend.
Cas. I wish we may: but yet have I a mind
That fears him much ; and my misgiving still t48
Falls shrewdly to the purpose.
Bru. But here comes Antony.
Re-enter Antony
ACT III. Sc. i.] JULIUS CA*$AR. 10*
Welcome, Mark Antony.
Ant. mighty Caesar! dost thou lie so low?
Are all thy conquests, glories, triumphs,
spoils,
wo Shrunk to this little measure? Fare thee
well.
I know not, gentlemen, what you intend,
Who else must be let blood, who else is rank:
If I myself, there is no hour so fit
As Caesar's death hour, nor no instrument
155 Of half that worth as those your swords,
made rich
With the most noble blood of all this world
I do beseech ye, if you bear me hard,
Now, whilst your purpled hands do reek and
smoke,
Fulfil your pleasure. Live a thousand years,
leo I shall not find myself so apt to die:
No place will please me so, no mean of death,
As here by Caesar, and by you cut on%
The choice and master spirits of this age c
Bru. Antony, beg not your death of us.
166 Though now we must appear bloody and cruel,
As, by our hands and this our present act,
You see we do, yet see you but our hands
And this the bleeding business they have
done:
Our hearts you see not ; they are pitiful ;
wo And pity to the general wrong of Rome
As fire drives out fire, so pity pity
102 JULIU8 CAESAR. [ACT III. So. i
Hath done this deed on Caesar. For your
part,
To you our swords have leaden points, Mark
Antony :
Our arms, in strength of malice, and our
hearts
Of brothers' temper, do receive you in 175
With all kind love, good thoughts, and
reverence.
Gas. Your voice shall be as strong as any man's
In the disposing of new dignities.
Bru. Only be patient till we have appeas'd
The multitude, beside themselves with fear, iso
And then we will deliver you the cause,
Why I, that did love Caesar when I struck
him,
Have thus proceeded.
Ant. I doubt not of your wisdom.
Let each man render me his bloody hand:
First, Marcus Brutus, will I shake with you; 185
Next, Caius Cassius, do I take your hand;
Now, Decius Brutus, yours; now yours,
Me tell us;
Yours, Cinna; and, my valiant Casca, yours;
Though last, not least in love, yours, good
Trebonius.
Gentlemen all, alas, what shall I say? 190
My credit now stands on such slippery
ground,
That one of two bad ways you must conceit me,
ACT III. Sc. J.] JULIUS CAESAR 103
Either a coward or a flatterer.
That I did love thee, Caesar, 0, 'tis true.
185 If then thy spirit look upon us now,
Shall it not grieve thee dearer than thy death,
To see thy Antony making his peace,
Shaking the bloody fingers of thy foes,
Most noble ! in the presence of thy corse?
200 Had I as many eyes as thou hast wounds,
Weeping as fast as they stream forth, thy
blood,
It would become me better than to close
In terms of friendship with thine enemies.
Pardon me, Julius! Here wast thou bay 'd,
brave hart;
205 Here didst thou fall; and here thy hunters
stand,
Sign'd in thy spoil, and crimson'd in thy
lethe.
world, thou wast the forest to this hart;
And this, indeed, world, the heart of thee
How like a deer, strucken by many princes,
210 Dost thou here lie!
Cas. Mark Antony,
Ant. Pardon me, Caius Cassius:
The enemies of Caesar shall say this ;
Then, in a friend, it is cold modesty.
Cas. I blame you not ior praising Caesar so ;
as But what compact mean you to have with us?
Will you be prick'd in number of our friends;
Or shall we on, and not depend on vou?
104 JULIUS CAESAR. AcT III, So. i
Ant. Therefore I took your hands, but was,
indeed,
Sway'd from the point, by looking down on
Caesar.
Friends am I with yon all and love you all, 220
Upon this hope, that you shall give me
reasons
Why and wherein Caesar was dangerous.
Bru. Or else were this a savage spectacle :
Our reasons are so full of good regard
That were you, Antony, the son of Caesar, 225.
You should be satisfied.
Ant. That's all I seeks
And am moreover suitor that I may
Produce his body to the market-place ;
And in the pulpit, as becomes a friend,
Speak in the order of his funeral. 230
Bru. You shall, Mark Antony.
Cas. Brutus, a word with you.
[Aside to Bru.~\ You know not what you do:
do not consent
That Antony speak in his funeral:
Know you how much the people may be mov'd
By that which he will utter?
Bru. By your pardon : 235
I will myself into the pulpit first,
And show the reason of our Caesar's death:
What Antony shall speak, I will protest
He speaks by leave and by permission,
And that we are contented Caesar shall 340
ACT III. Sc. i.J JULIUS CAESAR 105
Have all true rites and lawful ceremonies
It shall advantage more than do us wrong.
Cas. I know not what may fall ; I like it not.
Bru. Mark Antony, here, take you Caesar's body.
845 You shall not in your funeral speech blame
us,
But speak all good you can devise of Caesar,
And say you do't by our permission;
Else shall you not have any hand at all
About his funeral : and you shall speak
S60 In the same pulpit whereto I am going,
After my speech is ended.
Ant. Be it so;
I do desire no more.
Bru. Prepare the body then, and follow us.
[Exeunt all but Antony.
Ant. 0, pardon me, thou bleeding piece of earth,
2M That I am meek and gentle with these
butchers !
Thou art the ruins of the noblest man
That ever lived in the tide of times.
Woe to the hand that shed this costly blood!
Over thy wounds now do I prophesy,
see Which, like dumb mouths, do ope their ruby
lips,
To beg the voice and utterance of my
tongue
A curse shall light upon the limbs of men;
Domestic fury and fierce civil strife
Shall cumber all the parts of Italy;
106 JULIUS CAESAR [ACT III. Sc. L
Blood and destruction shall be so in use 261
And dreadful objects so familiar
That mothers shall but smile when they
behold
Their infants quarter'd with the hands of
war;
All pity chok'd with'custom of fell deeds.
And Caesar's spirit, ranging for revenge, STO
With Ate by his side come hot from hell,
Shall in these confines with a monarch's voico
Cry " Havoc," and let slip the dogs of war;
That this foul deed shall smell above the
earth
With carrion men, groaning for burial. m
Enter a Servant,
You serve Octavius Caesar, do you not?
Serv. I do, Mark Antony.
Ant. Caesar did write for him to come to Rome.
Serv. He did receive his letters, and is coming;
And bid me say to you by word of mouth ggo
Caesar! [Seeing the body.
Ant. Thy heart is big, get thee apart and weep
Passion, I see, is catching; for mine eyes,
Seeing those beads of sorrow stand in thine,
Began to water. Is thy master coming? m
Serv. He lies to-night within seven leagues of
Eome.
dnL Post back with speed and tell him what hath
chanc'd:
Here is a mourning Eome, a dangerous Eome,
ACT III. Sc. ii.] JULIUS CAESAR. 107
No Rome of safety for Octavius yet;
fttt Hie hence, and tell him so. Yet, stay awhile ;
Thou shalt not back till I have borne this
corse
Into the market-place : there shall I try,
In my oration, how the people take
The cruel issue of these bloody men ;
9& According to the which, thou shalt discourse
To young Octavius of the state of things.
Lend me your hand.
[Exeunt with Caesar's l)ody.
SCENE II.
Tlie Forum.
Enter Brutus and Cassius^ and a throng of
Citizens.
Citizens. We will be satisfied; let us be satisfied.
Bru* Then follow me, and give me audience,
friends.
Cassius, go you into the other street,
And part the numbers.
5 Those that will hear me speak, let 'em stay
here;
Those that will follow Cassius, go with him;
And public reasons shall be rendered
Of Caesar's death.
First Cit. I will hear Brutus speak.
10 Sec. Cit. I will hear Cassius ; and compare their
reasons,
108 JULIUS CAESAR. [ACT III. So. ii
When severally we hear them rendered.
]Exit Cassius, with some of the Citizens.
Brutus goes into the pulpit.
Third Cit. The noble Brutus is ascended: silence!
Bru. Be patient till the last.
Romans, countrymen, and lovers! hear me
for my cause, and be silent, that you may is
hear : believe me for mine honour, and have
respect to mine honour, that you may be-
lieve : censure me in your wisdom, and awake
your senses, that you may the better judge.
If there be any in this assembly, any dear ao
friend of Caesar's, to him I say, that Brutus'
love to Caesar was no less than his. If then
that friend demand why Brutus rose against
Caesar, this is my answer: Not that I lov'd
Caesar less, but that I lov'd Eome more. 88
Had you rather Caesar were living and die
all slaves, than that Caesar were dead, to
live all free men? As Caesar lov'd me, I
weep for him ; as he was fortunate, I rejoice
at it ; as he was valiant, I honour him : but, 30
as he was ambitious, I slew him. There is
tears for his love ; joy for his fortune ; hon-
our for his valour ; and death for his ambi-
tion. Who is here so base that would be a
bondman? If any, speak ; for him have I 85
offended. Who is here so rude that would
not be a Eoman? If any, speak; for him
have I offended. Who is here so vile that
ACT III. Sc. ii.] JULIUS CAESAR. 109
will not love his country? If any, speak ; for
him have I offended. I pause for a reply.
AIL None, Brutus, none.
Bru. Then none have I offended. I have done
no more to Caesar than you shall do to
Brutus. The question of his death is en-
* roll'd" in the Capitol; his glory not exten-
uated, wherein he was worthy, nor his
offences enforced, for which he suffered
death.
Enter Antony and other s, with Caesar* s body.
Here comes his body, mourn'd by Mark An-
bo tony: who, though he had no hand in his
death, shall receive the benefit of his dying,
a place in the Commonwealth ; as which of
you shall not? With this I depart, that,
as I slew my best lover for the good of Eome,
55 I have the same dagger for myself, when it
shall please my country to need my death.
All. Live, Brutus! live, live!
First Cit. Bring him with triumph home unto his
house.
Sec, Cit. Give him a statue with his ancestors.
m Third Cit. Let him be Caesar.
Fourth Cit. Caesar's better parts
Shall be crown'd in Brutus.
First Cit, We'll bring him to his house
With shouts and clamours.
Bru. My countrymen, -
Sec. Cit. Peace, silence! Brutus speaks.
J10 JULIUS CAESAR. [ACT III. So. ii
First Cit, Peace, ho!
Bru. Good countrymen, let me depart alone,
And, for my sake, stay here with Antony: ft
Do grace to Caesar's corpse, and grace his
speech
Tending to Caesar's glories; which Mark
Antony,
By our permission, is allow'd to make.
I do entreat you, not a man depart
Save I alone, till Antony have spoke. [Exit, m
First Cit. Stay, ho ! and let us hear Mark Antony.
Third at. Let him go up into the public chair;
We'll hear him. Noble Antony, go up.
Ant. For Brutus' sake, I am beholding to you.
[Goes into the pulpit,
Fourth at. What does he say of Brutus?
Third at. He says, for Brutus' sake, 75
He finds himself beholding to us all.
Fourth at. 'T were best he speak no harm of
Brutus here.
First at. This Caesar was a tyrant.
Third at. Nay, that's certain:
We are blest that Rome is rid of him.
Bee. at. Peace ! let us hear what Antony can say. so
Ant. You gentle Romans,
Citizens. Peace, ho ! let us hear him.
Ant. Friends, Romans, countrymen, lend me
your ears;
I come to bury Caesar, not to praise him.
The evil that men do lives after them ;
ACT III. Sc. ii.] JULIUS CAESAR. Ill
The good is oft interred with their bones;
So let it be with Caesar. The noble Brutus
Hath told you Caesar was ambitious :
If it were so, it was a grievous fault,
And grievously hath Caesar answer 'd it.
90 Here, under leave of Brutus and the rest
For Brutus is an honourable man ;
So are they all, all honourable men
Come I to speak in Caesar's funeral.
He was my friend, faithful and just to me:
as But Brutus says he was ambitious;
And Brutus is an honourable man.
He hath brought many captives home to
Eome,
Whose ransoms did the general coffers fill:
Did this in Caesar seem ambitious?
too When that the poor have cried, Caesar hatl
wept:
Ambition should be made of sterner stuff:
Yet Brutus says he was ambitious;
And Brutus is an honourable man.
You all did see that on the Lupercal
K I thrice presented him a kingly crown,
Which he did thrice refuse : was this ambitiou
Yet Brutus says he was ambitious ;
And, sure, he is an honourable man.
I speak not to disprove what Brutus spoke,
o But here I am to speak what I do know.
You all did love him once, not without
cause
t!2 JULIUS CAESAR. [ACT III. So. it
What cause withholds you then, to mourn fo*
him?
judgement ! thou art fled to brutish beasts,
And men have lost their reason. Bear with
me;
My heart is in the coffin there with Caesar, tie
And I must pause till it come back to me,
First Cit. Methinks there is much reason in his
sayings.
Sec. Cit. If thou consider rightly of the matter.
Caesar has had great wrong.
Third Cit. Has he, masters?
1 fear there will a worse come in his place. tap
Fourth Cit. Mark'd ye his words? He would not
take the crown ;
Therefore 't is certain he was not ambitious*
First Cit. If it be found so, some will dear abide it.
Sec. Cit. Poor soul ! his eyes are red as fire with
weeping.
Third Cit. There's not a nobler man in Rome
than Antony. 125
Fourth Cit. Now mark him, he begins again to
speak.
Ant. But yesterday the word of Caesar mignt
Have stood against the world; now lies he
there,
And none so poor to do him reverence
masters, if I were dispos'd to stir i
Your hearts and minds to mutiny and rage,
1 should do Brutus wrong, and Cassius wrong,
ACT III. Sc. ii.] JULIUS CAESAR. 115
Who, you all know, are honourable men:
I will not do them wrong ; I rather choose
135 To wrong the dead, to wrong myself and you*
Than I will wrong such honourable men.
But here's a parchment with the seal of Cae-
sar;
I found it in his closet, 't is his will:
Let but the commons hear this testament
140 Which, pardon me, I do not mean to read
And they would go and kiss dead Caesar's
wounds
And dip their napkins in his sacred blood,
Yea, beg a hair of him for memory,
And, dying, mention it within their wills,
145 Bequeathing it as a rich legacy
Unto their issue.
Fourth Cit. We'll hear the will: read it, Mark
Antony.
All. The will, the will! we will hear Caesar's will.
Ant. Have patience, gentle friends, I must not
read it;
150 It is not meet you know how Caesar lov'd you.
You are not wood, you are not stones, but
men;
And, being men, hearing the will of Caesar,
It will inflame you, it will make you mad:
'T is good you know not that you are his heirs ;
165 For, if you should, 0, what would come of it!
Fourth Cit. Eead the will; we'll hear it, Antony f *
You shall read us the will, Caesar's will.
114 JULIUS CAESAR. [ACT III. So. ii
Ant. Will you be patient? will you stay awhile?
I have o'ershot myself to tell you of it ?
I fear I wrong the honourable men
Whose daggers have stabb'd Caesar; I do fear
it.
Fourth Cit. They were traitors : honourable men!
All. The will! the testament !
Sec. Cit. They were villains, murderers : the will !
read the will.
Ant. You will compel me, then, to read the will?
Then make a ring about the corpse of Caesar,
And let me show you him that made the will.
Shall I descend? and will you give me leave?
Several Cit. Come down.
Sec. at. Descend.
Third at. You shall have leave.
[Antony comes down from the pulpit.
Fourth Cit. A* ring; stand round.
First at. Stand from the hearse, stand from the
body.
Sec. at. Boom for Antony, most noble Antony.
Ant. Nay, press not so upon me; stand far off.
Several at. Stand back; room; bear back!
Ant. If you have tears, prepare to shed them now.
You all do know this mantle : I remember
The first time ever Caesar put it on ; \
'T was on a summer's evening, in his tent,
That day he overcame the Nervii:
Look, in this place ran Cassius* daggey
through :
ACT III. Sc. ii.] JULIUS CAESAB 115
See what a rent the envious Casca made:
*85 Through this the well-beloved Brutus stabb'd ;
And as he pluck'd his cursed steel away,
Mark how the blood of Caesar follow'd it,
As rushing out of doors, to be resolved
If Brutus so unkindly knock'd, or no;
190 For Brutus, as you know, was Caesar's angel
Judge, you gods, how dearly Caesar lov'd
him!
This was the most unkindest cut of all;
For when the noble Caesar saw him stab,
Ingratitude, more strong than traitors' arms,
i5 Quite vanquish 'd him: then burst his mighty
heart ;
And, in his mantle muffling up his face,
Even at the base of Pompey's statue,
Which all the while ran blood, great Caesar
fell.
0, what a fall was there, my countrymen!
200 Then I, and you, and all of us fell down,
Whilst bloody treason flourish 'd over us.
0, now you weep; and, I perceive, you feel
The dint of pity: these are gracious drops.
Kind souls, what, weep you when you but
behold
aos Our Caesar's vesture wounded? Look you
here, [Lifting Caesar's mantle.
Here is himself, marr'd, as you see, with
traitors.
First Cit. piteous spectacle!
116 JULIUS CAESAR, ] ACT TIL So ii
Sec. Cit. noble Caesar!
Third Cit. woful day!
Fourth Cit. traitors, villains! 210
First Cit. most bloody sight-
Sec. Cit. We will be reveng'd.
All. Kevenge! About! Seek! Burn! Eire! Kill!
Slay!
Let not a traitor live !
Ant. Stay, countrymen.
First Cit. Peace there ! hear the noble Antony. 215
Sec. Cit. We'll hear him, we'll follow him, we'll
die with him.
Ant. Good friends, sweet friends, let me not stir
yon up
To such a sudden flood of mutiny.
They that have done this deed are honourable: 220
What private griefs they have, alas, I know not,
That made them do it: they are wise and
honourable,
And will, no doubt, with reasons answer you.
I come not, friends, to steal away your hearts:
I am no orator, as Brutus is ; 225
But, as you know me all, a plain blunt man,
That love my friend ; and that they know
full well
That gave me public leave to speak of him:
For I have neither wit, nor words, nor
worth,
Action, nor utterance, nor the power of 230
speech,
ACT III. Sc. iL] JULIUS CAESAR. 117
To stir men's blood: I only speak right on;
I tell you that which you yourselves do
know;
Show you sweet Caesar's wounds, poor, poor,
dumb mouths,
And bid them speak for me: but were I
Brutus,
235 And Brutus Antony, there were an Antony
Would ruffle up your spirits and put a tongue
In every wound of Caesar that should move
The stones of Rome to rise and mutiny.
All. We'll mutiny.
240 First Cit. We'll burn the house of Brutus.
Third Cit. Away, then! come, seek the conspir
ators.
Ant. Yet hear me, countrymen; yet hear me
speak.
All. Peace, ho! Hear Antony. Most noble
Antony !
Ant. Why, friends, you go to do you know not
what:
245 Wherein hath Caesar thus deserv'd your
loves?
Alas, you know not: I must tell you, then:
You have forgot the will I told you of.
All. Most true. The will! Let's stay and hear
the will.
Ant. Here is the will, and under Caesar's seal.
250 To every Roman citizen he gives,
To every several man, seventy-five drachmae
118 JULIUS CAESAR. [ACT III. So. ii.
Sec. Cit. Most noble Caesar! We'll revenge his
death.
Third Git. royal Caesar!
Ant. Hear me with patience.
All. Peace \ ho! 25!
Ant. Moreover, he hath left you all his walks,
His private arbours and new-planted orchards.
On this side Tiber; he hath left them you,
And to your heirs forever, common pleasures,
To walk abroad, and recreate yourselves. 260
Here was a Caesar ! when comes such another?
First Cit. Never, never. Come, away, away!
We'll burn his body in the holy place,
And with the brands fire the traitors' houses.
Take up the body. 265
Sec. at. Go fetch fire.
Third at. Pluck down benches.
Fourth at. Pluck down forms, windows, any
thing. [Exeunt Citizens with the body.
Ant. Now let it work. Mischief, thou art afoot,
Take thou what course thou wilt !
Enter a servant.
How now, fellow! 270
Serv. Sir, Octavius is already come to Eome.
Ant. Where is he?
Serv. He and Lepidus are at Caesar's house.
Ant. And thither will I straight to visit him:
He comes upon a wish. Fortune is merry, 275
And in this mood will give us any thing.
Serv. I heard him say, Brutus and Cassius
ACT III. Sc. iii.] JULIUS CAESAR
Are rid like madmen through tne gates of
Home.
Ant. Belike they had some notice of the people,
280 How I had mov'd them. Bring me to Oc-
tavius. [Exeunt.
SCENE III.
A street.
Enter Cinna the poet.
Cm. I dreamt to-night that I did feast with
Caesar,
And things unluckily charge my fantasy:
I have no will to wander forth of doors,
Yet something leads me forth.
Enter Citizens.
5 First Cit. What is your name?
Sec. Cit. Whither are you going?
Third Cit. Where do you dwell?
Fourth Cit. Are you a married man or a bach-
elor?
Sec. Cit. Answer every man directly.
10 First Cit. Ay, and briefly.
Fourth Cit. Ay, and wisely.
Third Cit. Ay, and truly, you were best.
Gin. What is my name? Whither am I going?
Where do I dwell? Am I a married man or a
is bachelor? Then, to answer every man
120 JULIUS CAESAR. [ACT III. So. iii,
directly and briefly, wisely and truly : wisely
I say, I am a bachelor.
Sec. Cit. That's as much as to say, they are fools
that marry: you'll bear me a bang for that,
I fear. Proceed; directly. 20
Gin. Directly, I am going to Caesar's funeral.
First Cit. As a friend or an enemy?
Cm. As a friend.
Sec. at. That matter is answered directly.
Fourth Cit. For your dwelling, briefly. 25
an. Briefly, I dwell by the Capitol.
Third at. Your name, sir, truly.
an. Truly, my name is Cinna.
First at. Tear him to pieces; he's a conspirator,
an. I am Cinna the poet, I am Cinna the poet. 30
Fourth at. Tear him for his bad verses, tear him
for his bad verses.
an. I am not Cinna the conspirator.
Fourth at. It is no matter, Ids name's Cinna;
pluck but his name out of his heart, and turn 35
him going.
Third at. Tear him, tear him! Come, brands,
ho! fire-brands: to Brutus', to Cassius';
burn all: some to Deems' house, and some
to Casca's; some to Ligarius': away, go! 40
[Exeunt.
ACT FOURTH.
SCENE I.
A house in Rome.
Antony , Octavius, and Lepidus, seated at a table.
Ant. These many, then, shall die; their names
are prick 'd.
Oct. Your brother too must die; consent you,
Lepidus?
Lep. I do consent,
Oct. Prick him down, Antony.
Lep. Upon condition Publius shall not live,
5 Who is your sister's son, Mark Antony.
Ant. He shall not live; look, with a spot I damn
him.
But, Lepidus, go you to Caesar's house;
Fetch the will hither, and we shall determine
How to cut off some charge in legacies.
10 Lep. What, shall I find you here?
Oct. Or here, or at the Capitol.
[Exit Lepidus.
Ant. This is a slight unmeritable man,
Meet to be sent on errands : is it fit,
The three-fold world divided, he should stand
is One of the three to share it?
Oct. So you thought him;
121
JULIUS CAESAR. [ACT IV. So. i.
And took his voice who should be prick 'd to
die,
In our black sentence and proscription.
Ant. Octavius, I have seen more days than you :
And though we lay these honours on this
man,
To ease ourselves of divers sland'rous loads, 20
He shall but bear them as the ass bears gold,
To groan and sweat under the business,
Either led or driven, as we point the way;
And having brought our treasure where we
will,
Then take we down his load, and turn him 25
off,
Like to the empty ass, to shake his ears,
And graze in commons.
Oct. You may do your will ;
But he's a tried and valiant soldier.
Ant. So is my horse, Octavius; and for that
I do appoint him store of provender: so
It is a creature that I teach to fight,
To wind, to stop, to run directly on,
His corporal motion govern'd by my spirit.
And, in some taste, is Lepidus but so;
He must be taught and train'd and bid go 85
forth ;
A barren-spirited fellow ; one that feeds
On abjects, orts and imitations,
Which, out of use and staled by other men,
Begin his fashion : do not talk of him,
ACT IV. Sc. ii.] JULIUS CAESAR.
40 But as a property. And now, Octavius,
Listen great things: Brutus and Cassius
Are levying powers : we must straight make
head:
Therefore let our alliance be combin'd,
Our best friends made, our means stretch'd;
45 And let us presently go sit in council,
How covert matters may be best disclos'd,
And open perils surest answered.
Oct. Let us do so : for we are at the stake,
And bay'd about with many enemies;
so And some that smile have in their hearts, 1
fear,
Millions of mischiefs. [Exeunt,
SCENE II.
Camp near Sardis. Before Brutus'* s tent.
Drum. Enter Brutus, Lucilius, Lucius, and
Soldiers; Titinius and Pindarus meeting
them.
Bru. Stand, ho!
Lucil. Give the word, ho ! and stand.
Bru. "What now, Lucilius ! is Cassius near?
Lucil. He is at hand ; and Pindarus is come
& To do you salutation from his master.
He greets me well. Your master, Pin-
darus,
In his own change, or by ill officers,
1x54 JULIUS CAESAR. [ACT IV. So. ii.
Hath given me some worthy cause to wish
Things done, undone : but, if he be at hand,
I shall be satisfied.
Pin. I do not doubt to
But that my noble master will appear
Such as he is, full of regard and honour.
Bru. He is not doubted. A word, Lucilius,
How he received you : let me be resolved.
Lucil. With courtesy and with respect enough; 15
But not with such familiar instances,
Nor with such free and friendly conference,
As he hath used of old.
Bru. Thou hast described
A hot friend cooling : ever note, Lucilius,
When love begins to sicken and decay, 20
It useth an enforced ceremony.
There are no tricks in plain and simple faith ;
But hollow men, like horses hot at hand,
Make gallant show and promise of their
mettle :
But when they should endure the bloody spur, 25
They fall their crests, and, like deceitful
jades,
Sink in the trial. Comes his army on?
Lucil. They mean this night in Sardis to be
quarter 'd;
The greater part, the horse in general,
Are come with Cassius.
Bru, Hark-! he is arriv'd. so
[Low march within.
ACT IV. Sc. ii.] JULIUS CAESAR. 125
March gently on to meet him.
Enter Cassius and his powers.
Cas. Stand, ho!
Bru. Stand, ho ! Speak the word along.
First Sol. Stand!
85 Sec. Sol. Stand!
Third Sol. Stand!
Cas. Most noble brother, you have done me wrong.
Bru. Judge me, you gods ! wrong I mine enemies?
And, if not so, how should I wrong a brother?
40 Cas, Brutus, this sober form of yours hides
wrqngs ;
And when you do them
Bru. Cassius, be content ;
Speak your griefs softly : I do know you well.
Before the eyes of both our armies here,
Which should perceive nothing but love from
us,
45 Let us not wrangle : bid them move away ;
Then in my tent, Cassius, enlarge your griefs,
And I will give you audience.
Cas. Pindarus,
Bid our commanders lead their charges off
A little from this ground.
BO Bru. Lucilius, do you the like ; and let no man
Come to our tent till we have done our con-
ference.
Let Lucius and Titinius guard our door.
\Exeunt,
126 j CTLIUS CAESAR. [ACT IV. So, iii
III.
Brutus^s tent.
Enter Brutus and Cassius.
Cas. That you have wrong'd me doth appear in
this:
You have condemn 'd and noted Lucius Pella
For taking bribes here of the Sardians ;
Wherein my letters, praying on his side
Because I knew the man, were slighted off. 5
Bru. You wrong'd yourself to write in such a
case.
Gas. In such a time as this it is not meet
That every nice offence should bear his com-
ment
Bn. Let me tell you, Cassius, you yourself
Are much condemn 'd to have an itching 10
palm;
To sell and mart your offices for gold
To undeservers.
fias. I an itching palm!
You know that you are Brutus that speaks
this,
Or, by the gods, this speech were else your
last.
Bru. The name of Cassius honours this corrup- 15
tion,
And chastisement doth therefore hide his
head.
ACT IV. Sc. iii.] JULIUS CAESAR. 127
Cas. Chastisement!
Bru. Kemember March, the ides of March re-
member:
Did not great Julius bleed for justice' sake?
ao What villain touch 'd his body, that did stab,
And not for justice? What, shall one of us,
That struck the foremost man of all this world
But for supporting robbers, shall we now
Contaminate our fingers with base bribes,
25 And sell the mighty space of our large.
honours
For so much trash as may be grasped thus?
I had rather be a dog, and bay the moon,
Than such a Roman.
Cas. Brutus, bait not me;
I'll not endure it: you forget yourself,
so To hedge me in ; I am a soldier, I,
Older in practice, abler than yourself
To make conditions.
Bru. Go to ; you are not, Cassius.
Cas. I am.
B~u. I say you are not.
$ Cas. Urge me no more, I shall forget myself;
Have mind upon your health, tempt me no
farther.
Bru. Away, slight man!
Cas. Is 't possible? ,
Bru. Hear me, for I will speak.
Must I give way and room to your rash
choler?
128 JULIUS CAESAR. [ACT IV. Sc. iii
Shall I be frighted when a madman stares? 40
Gas. ye gods, ye gods ! must I endure all this?
Bru. All this! ay, more: fret till your proud
heart break ;
Go show your slaves how choleric you are,
And make your bondmen tremble. Must I
. budge?
Must I observe you? must I stand and crouch 45
Under your testy humour? By the gods,
You shall digest the venom of your spleen,
Though it do split you ; for, from this day
forth,
I'll use you for my mirth, yea, for my
laughter,
When you are waspish.
Cas. Is it come to this? 60
Bru. You say you are a better soldier:
Let it appear so ; make your vaunting true,
And it shall please me well: for mine own
part,
I shall be glad to learn of noble men.
Cas. You wrong me every way ; you wrong me r 55
Brutus ;
I said, an elder soldier, not a better:
Did I say "better"?
Bru. If you did, I care not.
Cas. When Caesar liv'd, he durst not thus have
mov'd me.
Bru. Peace, peace ! you durst not so have tempted
him.
ACT IV. Sc. iii.] JULIUS CAESAR. 129
60 Cas. I durst not!
Bru. No.
Cas. What, durst not tempt him !
Bru. For your life you durst not.
Cas. Do not presume too much upon my love ;
I may do that I shall be sorry for.
66 Bru. You have done that you should be sorry
for.
There is no terror, Cassius, in your threats,
For I am arm'd so strong in honesty
That they pass by me as the idle wind,
Which I respect not. I did send to you
TO For certain sums of gold, which you denied
me:
For I can raise no money by vile means:
By heaven, I had rather coin my heart,
And drop my blood for 'drachmas, than 'to
wring
From the hard hands of peasants their vile
trash
n By any indirection : 1 did send
To you for gold to pay my legions,
Which you denied me: was that done like
Cassius?
Should I have answer'd Caius Cassius so?
When Marcus Brutus grows so covetous,
o To lock such rascal counters from his friends,
Be ready, gods, with all your thunderbolts;
Dash him to pieces!
Cas. I denied you not.
^SO JULIUS CAESAR. [ACT IV. Sc. iii
Bru. You did.
Cas. I did not : he was but a fool that brought
My answer back. Brutus hath riv'd my st
heart :
A friend should bear his friend's infirmities,
But Brutus makes mine greater than they are.
Bru. I do not, till you practise them on me.
Cas. You love me not.
Bru. I do not like your faults.
Cas. A friendly eye could never see such faults. 90
Bru. A flatterer's would not, though they do
appear
As huge as high Olympus.
Cas. Come, Antony, and young Octavius, come,
Kevenge yourselves alone on Cassius,
For Cassius is aweary of the world; 95
Hated by one he loves; brav'd by his brother;
Check'd like a bondman; all his faults
observ'd,
Set in a note-book, learn'd, and conn'd by iOte,
To cast into my teeth. 0, I could weep
My spirit from mine eyes! There is my 100
dagger,
And here my naked breast ; within, a heart
Dearer than Plutus' mine, richer than gold:
If that thou be'st a Eoman, take it forth-,
I, that denied thee gold, will give my heart:
Strike, as thou didst at Caesar; for, I know, 105
When thou didst hate him worst, thou
lovedst him better
ACT IV. Sc. iii.] JULIUS CAESAR. 131
Than ever thou lovedst Cassius.
Bru. Sheathe your dagger:
Be angry when you will, it shall have scope;
Do what you will, dishonour shall be humour,
cio Cassius, you are yoked with a lamb
That carries anger as the flint bears fire ;
Who, much enforced, shows a hasty spark,
And straight is cold again.
Cas. Hath Cassius liv'd
To be but mirth and laughter to his Brutus,
us When grief and blood ill-temper'd vexeth
him?
Bru. When I spoke that, I was ill-temper'd too.
Cas. Do you confess so much? Give me your
hand.
Bru. And my heart too.
Cas. Brutus!
Bru. What's the matter?
Cas. Have not you love enough to bear with me,
120 When that rash humour which my mother
gave me
Makes me forgetful?
Bru. Yes, Cassius; and, from henceforth,
When you are over earnest with your Brutus,
He'll think your mother chides, and leave
you so.
Poet. [ Within.'] Let me go in to see the generals;
125 There is some grudge between ? em, 'fc is not
meet
They be alone.
132 JULIUS CAESAR. [ACT IV. So. iii.
Lucil. [Within.'] You shall not come to them.
Poet. [Within.] Nothing but death shall stay me.
Enter Poet, followed by Lucilius , Titinius , and
Lucius.
Cas. How now! what's the matter?
Poet. For shame, you generals! what do you ia>
mean?
Love, and be friends, as two such men should
be;
For I have seen more years, I'm sure, than ye.
Gas. Ha, ha ! how vilely doth this cynic rhyme !
Bru. Get you hence, sirrah; saucy fellow, hence!
Cas. Bear with him, Brutus ; 'tis his fashion. 135
Bru. I'll know his humour, when he knows his
time:
What should the wars do with these jigging
fools?
Companion, hence!
Cas. Away, away, be gone!
[Exit Poet.
Bru. Lucilius and Titinius, bid the commanders
Prepare to lodge their companies to-night. 140
Cas. And come yourselves, and bring Messala
with you
Immediately to us.
[Exeunt Lucilius and Titinius.
Bru. Lucius, a bowl of wine!
[Exit Lucius.
Cas. 1 did not think you could have been sc
angry.
ACT IV. Sc. iii.] JULIUS CAESAR. 133
Bru. Cassius, I am sick of many griefs.
145 Cas. Of your philosophy you make no use,
If you give place to accidental evils.
Bru. No man bears sorrow better. Portia is
dead.
Cas. Ha! Portia!
Bru. She is dead,
iso Cas. How 'scaped I killing when I cross'd you so?
insupportable and touching loss !
Upon what sickness?
Bru. Impatient of my absence,
And grief that young Octavius with Mark
Antony
Have made themselves so strong: for with
her death
155 That tidings came; with this she fell dis-
tract,
And, her attendants absent, swallow'd fire.
Cas. And died so?
Bru. Even so.
Cas. ye immortal gods!
Re-enter Lucius , with wine and taper.
Bru. Speak no more of her. Give me a bowl of
wine.
In this I bury all unkindness, Cassius.
[Drinks.
160 Cas. My heart is thirsty for that noble pledge.
Fill, Lucius, till the wine o'erswell the cup;
1 cannot drink too much of Brutus' love.
[Drinks
134 JULIUS CAESAR. [ACT IV. So. iii.
Bru. Come in, Titinius! [Exit Lucius.
Re-enter Titinius, with Messala.
Welcome, good Messala.
Now sit we close about this taper here, ies
And call in question our necessities.
Cas. Portia, art thou gone?
Bru. No more, I pray you.
Messala, I have here received letters,
That young Octavius and Mark Antony
Come down upon us with a mighty power, m
Bending their expedition toward Philippi.
Mes. Myself have letters of the self-same tenour.
Bru. With what addition?
Mes. That by proscription and bills of outlawry,
Octavius, Antony, and Lepidus, IT.
Have put to death an hundred senators.
Bru. Therein our letters do not well agree;
Mine speak of seventy senators that died
By their proscriptions, Cicero being one.
Gas. Cicero one!
Mes. Cicero is dead, is
And by that order of proscription.
Had you your letters from your wife, my
lord?
Bru. No, Messala.
Mes. Nor nothing in your letters writ of her?
Bru. Nothing, Messala.
Mes. That, methinks, is strange. 185
Bru. Why ask you? hear you aught of her in
yours?
ACT IV Sc. iii.] JULIUS CAESAR. 135
Mes. No, my lord.
Bru. Now, as you are a Roman, tell me true.
Mes. Then like a Roman bear the truth I tell :
190 For certain she is dead, and by strange
manner.
Bru. Why, farewell, Portia. We must die,
With meditating that she must die once,
I have the patience to endure it now.
Mes. Even so great men great losses should
endure.
195 Cas. I have as much of this in art as you,
But yet my nature could not bear it so.
Bru. Well, to our work alive. What do you
think
Of marching to Philippi presently?
Cas. I do not think it good.
Bru. Your reason?
Cas. This it is 2
300 'Tis better that the enemy seek us :
So shall he waste his means, weary his soldiers,
Doing himself offence ; whilst we, lying still,
Are full of rest, defence, and nimbleness.
Bru. Good reasons must, of force, give place to
better.
*X)5 The people 'twixt Philippi and this ground
Do stand but in a forc'd affection;
For they have grudg'd us contribution:
The enemy, marching along by them,
By them shall make a fuller number up,
136 JULIUS CAESAR. [ACT IV. So. iii.
Come on refreshed, new-added, and en- 210
courag'd;
Erom which advantage shall we cut him off,
If at Philippi we do face him there,
These people at our back.
Cas. Hear me, good brother.
Bru. Under your pardon. You must note beside,
That we have tried the utmost of our friends, 215
Our legions are brim-full, our cause is ripe :
The enemy increaseth every day ;
We, at the height, are ready to decline.
There is a tide in the affairs of men,
Which, taken at the flood, leads on to for- 220
tune:
Omitted, all the voyage of their life
Is bound in shallows and in miseries.
On such a full sea are we now afloat;
And we must take the current when it serves 9
Or lose our ventures.
Cas. Then, with your will, go on ; i&s
We'll along ourselves, and meet them at
Philippi.
Bru. The deep of night is crept upon our talk,
And nature must obey necessity ;
Which we will niggard with a little rest.
There is no more to say?
Cas. No more. Good night: srac
Early to-morrow will we rise, and hence.
Bru. Lucius! [Enter Lucius.] My gown. [Exit
Lucius.] Farewell, good Messala?
ACT IV. Sc. iii.] JULIUS CAESAR. 137
Good night, Titinius. Noble, noble Cassius,
Good night, and good repose.
Cas. my dear brother !
> This was an ill beginning of the night :
Never come such division 'tween our souls!
Let it not, Brutus.
Bru. Every thing is well.
Cas. Good night, my lord.
Bru. . Good night, good brother,
Tit. Mes. Good night, Lord Brutus.
Bru. Farewell, every one.
[Exeunt all but Brutus.
Re-enter Lucius, with the gown.
240 Give me the gown. Where is thy instru-
ment?
Luc. Here in the tent.
Bru. What, thou speak 'st drowsily?
Poor knave, I blame thee not; thou art o'er-
watched.
Call Claudius and some other of my men ;
I'll have them sleep on cushions in my tent.
345 Luc. Varro and Claudius !
Enter Varro and Claudius.
Var. Calls my lord?
Bru. I pray you, sirs, lie in my tent and sleep,
It may be I shall raise you by and by
On business to my brother Cassius.
so Var. So please you, we will stand and watch your
pleasure.
138 JULIUS CAESAR. [ACT IV. Sc. iii.
Bru. I will not have it so: lie down, good sirs;
It may be I shall otherwise bethink me.
Look, Lucius, here's the book I sought for so;
I put it in the pocket of my gown.
Varro and Claudius lie down.
Luc. I was sure your lordship did not give it me, 255
Bru. Bear with me, good boy I am much for-
getful.
Canst thou hold up thy heavy eyes awhile,
And touch thy instrument a strain or two? v ,
Luc. Ay, my lord, an 't please you.
Bru. It does, my boy:
I trouble thee too much, but thou art willing. 260
Luc. It is my duty, sir.
Bru. I should not urge thy duty past thy might;
I know young bloods look for a time of rest.
Luc. I have slept, my lord, already.
Bru. It was well done; and thou shalt sleep 265
again;
I will not hold thee long : if I do live,
I will be good to thee.
\Music, and a song.
This is a sleepy tune. murd'rous slumber 3
Lay'st thou thy leaden mace upon my boy,
That plays thee music? Gentle knave, good 276
night;
I will not do thee so much wrong to wake
thee:
If thou dost nod, thou break'st thy instru-
ment;
ACT IV. Sc. iii.] JULIUS CAESAR. 139
Til take it from thee N ; and, good boy, good
night.
Let me see, let me see; is not the leaf turn'l
down
2?b Where I left reading? Here it is, I think.
Enter Hie Ghost of Caesar.
How ill this taper burns! Ha! who comes
here?
I think it is the weakness of mine eyes
That shapes this monstrous apparition.
It comes upon me. Art thou any thing?
280 Art thou some god, some angel, or some
devil,
That mak'st my blood cold and my hair to
stare?
Speak to me what thou art.
Ghost. Thy evil spirit, Brutus.
Bru. Why com'st thou?
Ghost. To tell thee thou shalt see me at Philippi.
285 Bru. Well ; then I shall see thee again?
Ghost. Ay, at Philippi.
Bru. Why, I will see thee at Philippi, then.
[Exit Ghost.
Now I have taken heart thou vanishest :
"111 spirit, I would hold more talk with thee.
290 Boy, Lucius! Varro! Claudius! Sirs, awake!
Claudius !
Luc. The strings, my lord, are false.
Bru. He thinks he still is at his instrument.
140 JULIUS CAESAR. [ACT IV. So. iii.
Lucius, awake!
Luc. My lord? 295
Bru. Didst thou dream, Lucius, that thou so
criedst out?
Luc. My lord, I do not know that I did cry.
Bru. Yes, that thou didst: didst thou see any
thing?
Luc. Nothing, my lord.
Bru. Sleep again, Lucius. Sirrah Claudius! soo
[To Varro.~\ Fellow thou, awake!
Var. My lord?
Clau. My lord?
Bru. Why did you so cry out, sirs, in your sleep?
Var. Clau. Did we, my lord?
Bru. Ay : saw you any thing? sos
Var. No, my lord, I saw nothing.
Clau. Nor I, my lord.
Bru. Go and commend me to my brother Cassius;
Bid him set on his powers betimes before,
And we will follow.
Var. Clau. It shall be done, my lord.
. ACT FIFTH.
SCENE I.
The plains of Phihppi.
Enter Octavius, Antony, and their Army.
Oct. Now, Antony, our hopes are answered :
You said the enemy would not come down,
But keep the hills and upper regions;
It proves not so: their battles are at hand;
They mean to warn us at Philippi here,
Answering before we do demand of .them.
Ant. Tut, 1 am in their bosoms, and I know
Wherefore they do it : they could be content
To visit other places; and come down
10 With fearful bravery, thinking by this face
To fasten in our thoughts that they have
courage ;
But 'tis not so.
Enter a messenger.
Mess. Prepare you, generals:
The enemy comes on in galfant show;
Their bloody sign of battle is hung out,
15 And something to be done immediately.
Ant. Octavius, lead your battle softly on,
ui
142 JULIUS CAESAR. [ACT V. So, i
Upon the left hand of the even field.
Oct. Upon the right hand I; keep thou the left.
Ant. Why do you cross me in this exigent?
Oct. I do not cross you; but I will do so. 20
\March.
Drum. Enter Brutus, Cassius, and their Army ;
Lucilius, Titinius, Messala, and others.
B y u. They stand, and would have parley.
Cas. Stand fast, Titinius: we must out and talk.
Oct. Mark Antony, shall we give sign of battle?
Ant. No, Caesar, we will answer on their charge.
Make forth; the generals would have some 25
words.
Oct. Stir not until the signal.
Bru. Words before blows: is it so, countrymen?
Oct. Not that we love words better, as you do.
Bru. Good words are better than bad strokes,
Octavius.
Ant. In your bad strokes, Brutus, you give good so
words :
Witness the hole you made in Caesar's heart,
Crying "Long live! hail, Caesar!"
Cas. Antony,
The posture of your blows are yet unknown ;
But for your words, they rob the Hybla bees,
And leave them honeyless.
Ant. . Not stingless too 85
Bru. 9 yes, and soundless too;
For you have stol'n their buzzing, Antony,
And very wisely threat before you sting.
ACT V. Sc. i.] JULIUS CAESAR. 143
Ant. Villains, you did not so, when your vile
daggers
40 Hack'd one another in the sides of Caesar:
You show'd your teeth like apes, and fawn'd
like hounds,
And bow'd like bondmen, kissing Caesar's
feet;
Whilst damned Casca, like a cur, behind
Struck Caesar on the neck. you flatterers!
45 Cas. Flatterers! Now, Brutus, thank yourself:
This tongue had not offended so to-day,
If Cassius might have rul'd.
Oct. Come, come, the cause : if arguing make us
sweat,
The proof of it will turn to redder drops,
so Look ;
I draw a sword against conspirators ;
When think you that the sword goes up
again?
Never, till Caesar's three and thirty wounds
Be well aveng'd; or till another Caesar
55 Have added slaughter to the sword of traitors.
Bru. Caesar, thou canst not die by traitors'
hands,
Unless thou bring 'st them with thee.
Oct. So I hope;
I was not born to die on Brutus' sword.
Bru. 5 if thou wert the noblest of thy strain,
eo Young man, thou couldst not die more
honourable.
144: JULIUS CAESAR. [ACT V. Sc. i.
Cas. A peevish schoolboy, worthless of such
honour,
Join'd with a masker and a reveller!
Ant. Old Cassius still!
Oct. Come, Antony, away!
Defiance, traitors, hurl we in your teeth:
If you dare fight to-day, come to the field ; 65
If not, when you have stomachs.
[Exeunt Octavius, Antony, and their army.
Cas. Why, now, blow wind, swell billow and
swim bark !
The storm is up, and all is on the hazard.
Bru. Ho, Lucilius! hark, a word with you.
Lucil. [Standing forth.] My lord?
[Brutus and Lucilius converse apart.
Cas. Messala!
Mes. [Standing forth.'} What says my general? TO
Cas. Messala,
This is my birth-day ; as this very day
Was Cassius born. Give me thy hand,
Messala :
Be thou my witness that against my will,
As Pompey was, am I compell' d to set 75
Upon one battle all our liberties.
You know that I held Epicurus strong
And his opinion : now I change my mind,
And partly credit things that do presage.
Coming from Sardis, on our former ensign so
Two mighty eagles fell, and there they
perch'd.
ACT V. Sc. i.J JULIUS CAESAR. 145
Gorging and feeding from our soldiers' hands ,
Who to Philippi here consorted us :
This morning are they fled away and gone;
85 And in their steads do ravens, crows and
kites,
Fly o'er our heads and downward look on us,
As we were sickly prey: their shadows seem
A canopy most fatal, under which
Our army lies, ready to give up the ghost.
90 Mes. Believe not so.
Cas: I but believe it partly ;
For I am fresh of spirit and resolv'd
To meet all perils very constantly.
Bru. Even so, Lucilius.
Cas. Now, most noble Brutus,
The gods to-day stand friendly, that we may,
95 Lovers in peace, lead on our days to age !
But since the affairs of men rest still incer-
tain,
Let's reason with the worst that may befall.
If we do lose this battle, then is this
The very last time we shall speak together :
100 What are you then determined to do?
Bru. Even by the rule of that philosophy
By which I did blame Cato for the death
Which he did give himself, J. know not how,
But I do find it cowardly and vile,
105 For fear of what might fall, so to prevent
The time of life: arming myself with
patience
146 JULIUS CAESAR. [ACT V. Sc. i.
To stay the providence of some high powers
That govern us below.
Gas. Then, if we lose this battle,
You are contented to be led in triumph
Thorough the streets of Eome? no
Bru. No, Cassius, no: think not, thou noble
Eoman,
That ever Brutus will go bound to Eome ;
He bears too great a mind. But this same
day
Must end that work the ides of March begun ;
And whether we shall meet again I know not. 115
Therefore our everlasting farewell take:
For ever, and for ever, farewell, Cassius!
If we do meet again, why, we shall smile;
If not, why then, this parting was well made.
Oas. For ever, and for ever, farewell, Brutus ! ia
If we do meet again, we'll smile indeed;
If not, 'tis true this parting was well made.
Bru. Why, then, lead on. 0, that a man might
know
The end of this day's business ere it come! ;
But it sufficeth that the day will end, 125
And then the end is known. Come, ho!
away ! . [Exeunt.
ACT V. So. ii.] JULIUS CAESAR. 14?
SCENE II.
The same. TJie field of battle.
Alarum. Enter Brutus and Messala.
Bru. Bide, ride, Messala, ride, and give these bills
Unto the legions on the other side.
[Loud alarum.
Let them set on at once ; for I perceive
But cold demeanour in Octavius' wing,
And sudden push gives them the overthrow.
Ride, ride, Messala : let them all come down.
[Exeunt
SCENE III.
Another part of the field.
Alarums. Enter Cassius and Titinius.
Cas. 0, look, Titinius, look, the villains fly!
Myself have to mine own turn'd enemy:
This ensign here of mine was turning back ;
I slew the coward, and did take it from him.
8 Tit. Cassius, Brutus gave the word too early ;
Who, having some advantage on Octavius,
Took it too eagerly: his soldiers fell to spoil,
Whilst we by Antony are all enclos'd.
Enter Pindarus.
148 JULIUS CAESAR. [ACT V. So. lit
Pin. Fly further off, my lord, fly further off;
Mark Antony is in your tents, my lord: jo
Fly, therefore, noble Cassius, fly far off.
Cas. This hill is far enough. Look, look,
Titinius;
Are those my tents where I perceive the fire?
Tit. They are, my lord.
Cas. Titinius, if thou lovest me,
Mount thou my horse, and hide thy spurs in w
him,
Till he have brought thee up to yonder.
troops,
And here again ; that I may rest assured
Whether yond troops are friend or enemy.
Tit. I will be here again, even with a thought.
[Exit.
Cas. Go, Pindarns, get higher on that hill; 20
My sight was ever thick ; regard Titinius,
And tell me what thou not'st about the field.
\Pindarus ascends the hill.
This day I breathed first : time is come round,
And where I did begin, there shall I end;
My life is run his compass. Sirrah, what 25
news?
Pin. [Above.~\ my lord!
Cas. What news?
Pin. [Above.~] Titinius is enclosed round about
With horsemen, that make to him on the spur ;
Yet he spurs on. Now they are almost on so
him.
ACT V. Sc. iii.] JULIUS CAESAR. 149
Now, Titinius! Now some light. 0, he
lights too.
He's ta'en. [Shout.] And, hark! they shout
for joy.
Cos. Come down, behold no more.
O, coward that I am, to live so long,
To see my best friend ta'en before my face!
Pindarus descends.
Come hither, sirrah :
In Parthia did I take thee prisoner ;
And then I swore thee, saving of thy life,
That whatsoever I did bid thee do,
40 Thou shouldst attempt it. Come now, keep
thine oath ;
Now be a freeman: and with this good
sword,
That ran through Caesar's bowels, search
this bosom.
Stand not to answer: here, take thou the
hilts;
And, when my face is cover'd, as 'tis now,
45 Guide thou the sword. [Pindarus stabs him."]
Caesar, thou art reveng'd,
Even with the sword that kill'd thee.
[Dies.
Pin. So, I am free ; yet would not so have been,
Durst I have done my will. Cassius,
Far from this country Pindarus shall run,
o Where never Roman shall take note of him.
[Exit.
150 JULIUS CAESAR. [ACT V So. iii
Re-enter Titinius with Messala.
ifes> It is but change, Titinius : for Octavius
Is overthrown by noble Brutus' power,
As Cassius' legions are by Antony.
Tit. These tidings will well comfort Cassius.
Mes. Where did you leave him?
Tit. All disconsolate, 65
With Pindarus his bondman, on this hill.
Mes. Is not that he that lies upon the ground?
Tit. He lies not like the living. my heart!
Mes. Is not that he?
Tit. No, this was he, Messala,
But Cassius is no more. setting sun, eo
As in thy red rays thou dost sink to night,
So in his red blood Cassius' day is set ;
The sun of Kome is set! Our day is gone;
Clouds, dews, and dangers come; our deeds
are done !
Mistrust of my success hath done this deed, es
wfcs. Mistrust of good success hath done this
deed.
hateful error, melancholy's child,
Why dost thou show to the apt thoughts of
men
The things that are not? error, soon
conceiv'd,
Thou never com'st unto a happy birth, T&
But kill'st the mother that engender 'd thee!
Tit. What, Pindarus! where art thou, Pindarus?
Mes. Seek him, Titinius, whilst I go to meet
ACT V. Sc. iii.] JULIUS CAESAR. 151
The noble Brutus, thrusting this report
75 Into his ears ; 1 may say, thrusting it ;
For piercing steel and darts envenomed
Shall be as welcome to the ears of Brutus
As tidings of this sight.
Tit. Hie you, Messala,
And I will seek for Pindarus the while.
[Exit Messala.
o Why didst tnou send me forth, brave Cassius?
Did I not meet thy friends? and did not they
Put on my brows this wreath of victory,
And bid me give it thee? Didst thou not
hear their shouts?
Alas, thou hast misconstrued every thing!
35 But, hold thee, take this garland on thy
brow;
Thy Brutus bid me give it thee, and I
Will do his bidding. Brutus, come apace,
And see how I regarded Caius Cassius.
By your leave, gods: this is a Boman'a
part:
so Come, Cassius' sword, and find Titinius'
heart. [Kills himself.
Alarum. Re-enter Messala, with Brutus, young
Cato, Strata, Volumnius, and Lucilius.
Bru. Where, where, Messala, doth his body lie?
Mes. Lo, yonder, and Titinius mourning it.
Bru. Titinius' face is upward.
Cato. He is slain.
152 JULIUS CAESAR. [ACT V. Sc. iii.
Bru. . Julius Caesar, thou art mighty yet !
Thy spirit walks abroad, and turns our swords 95
In our own proper entrails. [Low alarums.
Cato. Brave Titinius!
Look, whether he have not crown 'd dead
Cassius !
Bru, Are yet two Eomans living such as these?
The last of all the Romans, fare thee well !
It is impossible that ever Eome 100
Should breed thy fellow. Friends, I owe
moe tears
To this dead man than you shall see me pay.
I shall find time, Cassius, I shall find time
Come, therefore, and to Thasos send his
body:
His funerals shall not be in our camp, 105
Lest it discomfort us. Lucilius, come;
And come, young Cato ; let us to the field.
Labeo and Flavius, set our battles on :
'Tis three o'clock; and, Eomans, yet ere
night
We shall try fortune in a second fight. lie
[Exeunt,
ACT V. Sc. iv.l JULIUS CAESAR. 153
SCENE IV.
Another part of the field.
Alarum. Enter fighting , Soldiers of both armies ;
then Brutus, young Cato, Lucilius, and others.
Bru. Yet, countrymen, 0, yet hold up your
heads !
Cato. What bastard doth not? Who will go with
me?
I will proclaim my name about the field:
I am the son of Marcus Cato, ho!
5 A foe to tyrants, and my country's friend;
I am the son of Marcus Cato, ho!
Bru. And I am Brutus, Marcus Brutus, I;
Brutus, my country's friend; know me for
Brutus ! [Exit.
Lucil. young and noble Cato, art thou down?
10 Why, now thou diest as bravely as Titinius;
And mayst be honour'd, being Cato's son.
First Sol. Yield, or thou diest.
Lucil. Only I yield to die:
There is so much that thou wilt kill me
straight; {.Offering money.
Kill Brutus, and be honour'd in his death.
15 First Sol. We must not, A noble prisoner!
Sec. Sol Room, ho! Tell Antony, Brutus is
154 JULIUS CAESAR. [ACT V. Sc v.
First Sol. I'll tell the news. Here comes the
general.
Enter Antony.
Brutus is ta'en, Brutus is ta'en, my lord.
Ant. Where is he?
Lucil. Safe, Antony ; Brutus is safe enough :
I dare assure thee that no enemy
Shall ever take alive the noble Brutus :
The gods defend him from so great a shame !
When you do find him, or alive or dead,
He will be found like Brutus, like himself.
Ant. This is not Brutus, friend; but, I assure
A prize no less in worth : keep ins man safe ;
Give him all kindness : I had rather have
Such men my friends than enemies. Go on,
And see whether Brutus be alive or dead; so
And bring us word unto Octavius' tent
How every thing is chanced. [Exeunt.
SCE2STE V.
Another part of the field.
Enter Brutus, Dardanius, Clitus^ Strato, and
Volumnius.
Bru. Come, poor remains of friends, rest on this
rock.
Cli. Statilius show'd the torch-light, but, my
lord,
ACT V. Sc. v.j JULIUS CAESAR. 155
He came not back : he is or ta'en or slain.
JBru. Sit thee down, Clitus: slaying is the wordj
ft It is a deed in fashion. Hark thee, Clitus.
[ Whispering
Cli. What, I, my lord? No, not for all the world.
Bru. Peace then! no words.
Cli. I'll rather kill myself.
Bru. Hark thee, Dardanius. [ Whispering.
Dar. Shall I do such a deed?
Cli. Dardanius!
10 Dar. Clitus!
Cli. What ill request did Brutus make to thee?
Dar. To kill him, Clitus. Look, he meditates.
Cli. Now is that noble vessel full of grief,
That it runs over even at hfe eyes.
is Bru. Come hither, good Volumnius; list a word.
Vol. What says my lord?
Bru. Why, this, Volumnius:
The ghost of Caesar hath appear'd to me
Two several times by night; at Sardis once,
And, this last night, here in Philippi fields:
m I know my hour is come.
Vol. Not so, my lord.
Bru. Nay, I am sure it is, Volumnius.
Thou seest the world, Volumnius, how it goes;
Our enemies have beat us to the pit:
[Low alarums.
It is more worthy to leap in ourselves,
% Than tarry till they push us. Good Volum
nius,
156 JULIUS CAESAR. [ACT V. So. v.
Thou know'st that we two went to school
together :
Even for that our love of old, I prithee,
Hold thou my sword-hilts, whilst I run on it.
Vol. That's not an office for a friend, iny lord.
[Alarum still.
Cli. My, fly, my lord; there is no tarrying here. &
Bru. Farewell to you ; and you; and you, Volum-
nius.
Strato, thou hast been all this while asleep;
Farewell to thee too, Strato. Countrymen,
My heart doth joy that yet in all my life
I found no man but he was true to me. 85
I shall have glory by this losing day
More than Octavius and Mark Antony
By this vile conquest shall attain unto.
So fare you well at once; for Brutus' tongue
Hath almost ended his life's history: 40
Night hangs upon mine eyes; my bones
would rest,
That have but labour'd to attain this hour.
[Alarum. Cry within, "Fly, fly, fly!"
Cli. Fly, my lord, fly.
Bru. Hence ! I will follow.
[Exeunt Clitus, Dardanius, and Volumnius.
I prithee, Strato, stay thou by thy lord:
Thou art a fellow of a good respect ; 18
Thy life hath had some smatch of honour
in it:
Hold then my sword, and turn away thy face,
ACT V. Sc. v.] JULIUS CAESAR. 157
While I do run upon it. Wilt thou, Strato?
Stra. Give me your hand first. Fare you well,
my lord.
so Bru. Farewell, good Strato. [Runs on Ms
sword.] Caesar, now be still:
I kill'd not thee with half so good a will.
[Dies.
Alarum. Retreat. Enter Octavius, Antony,
Messala^ Lucilius, and the army.
Oct. What man is that?
Mes. My master's man. Strato, where is thy
master?
Stra. Free from the bondage you are in, Messala:
65 The conquerors can but make a fire of him ;
For Brutus only overcame himself,
And no man else hath honour by his death.
Lucil. So Brutus should be found. I thank thee,
Brutus.
That thou hast prov'd Lucilius' saying true.
oo Oct. All that serv'd Brutus, I will entertain them.
Fellow, wilt thou bestow thy time with me?
Stra. Ay, if Messala will prefer me to you.
Oct. Do so, good Messala.
Mes. How died my master, Strato?
65 Stra. I held the sword, and he did run on it.
Mes. Octavius, then take him to follow thee,
That did the latest service to my master.
Ant. This was the noblest Roman of them all:
All the conspirators, save only he,
*> Did that they did in envy of great Caesar \
158 JULIUS CAESAR. [ACT V. So. v.
He only, in a general honest thought
And common good to all, made one of them.
His life was gentle, and the elements
So mix'd in him that Nature might stand up
And say to all the world "This was a man!" 78
Oct. According to his virtue let us use him,
With all respect and rites of burial.
Within my tent his bones to-night shall lie,
Most like a soldier, order'd honourably.
So call the field to rest ; and let's away 80
To part the glories of this happy day.
[ Exeunt,
NOTES.
ABBREVIATIONS.
Clar. Clarendon Press Edition, by W. Aldis Wright
G. Globe Edition of Shakspere. References to othei
plays of Shakspere's than Julius Caesar are according tc
this edition.
Plut. Shakespeare's Plutarch, edited by W. W. Skeat.
ACT I.
I. i. This first scene indicates the existence of the two
main forces at work throughout the play, (1) the popularity
which is bearing Caesar to the summit of his ambition, and
(2) the hatred of the faction of the opposition. It is Shaks-
pere's custom thus to strike the key-note at the outset.
I. i. 3. Being mechanical. Being mechanics or artisans.
I. i. 10. In respect of. In comparison with.
I. i. 11. Cobbler. Originally, a "mender," then "clumsy
workman." In Shakspere's English the word has no ex-
clusive reference to shoes; hence the repetition of the ques-
tion by Marullus.
I. i. 12. Directly. Straightforwardly.
I. i. 15. Soles. For another instance of this familiar pun,
cf. Merchant of Venice, IV. i. 123, 24, " Not on thy sole, but
on thy soul, harsh Jew, Thou makest thy knife keen."
I. i. 18. Be not out. Do not fall out. The sense of the
punning phrase in the next line is, of course, "out at heels."
The favorite Elizabethan habit of punning is illustrated
again in awl in ver. 25, and in recover in ver. 27, below.
I. i. 28. Proper. Originally, "having the qualities appro-
priate to a man," later, "fine," "handsome."
I. i. 35-55. Cf . Plut.. p. 91. " But the triumph he made into
Rome for the same [i.e., the victory over Pompey's sons],
did as much offend the Romans, and more, than anything
159
160 NOTES.
that ever he had done before 5 because he had not overcome
captains that were strangers, nor barbarous kings, but had
destroyed the sons of the noblest man of Rome, whom
fortune had overthrown." Triumph is used in the special
Roman sense of the procession and religious ceremonies held
in honor of a victorious general on his return to the city
after some notable success.
I. i. 41. Pompey. The great Roman general who had
ultimately been overcome by Caesar at Pharsalia in 48 B, c.
He had been the champion of the conservative party in
Rome.
I. i. 50. Replication. Echo.
I. i. 61. Sort. Rank.
I. i. 65. Whether. Pronounced "whe'er," a contraction
common in earlier English. Metal. Used in the meta-
phorical sense of "spirit," for which the spelling "mettle"
is now customary. Cf. I. ii. 307<
I. i. 69. Ceremonies. Decorations. Cf. trophies in ver. 73,
and scar/s in I. ii. 295.
I. i. 7.1. Feast of Lupercal, The Lupercalia, a feast cele-
brated by the Romans on the 15th of February in honor of
Lupercus, an old god of shepherds. In later times it was
associated with the legend of Romulus and the wolf, and
also with the worship of Pan, the Greek god of shepherds
Cf. note on I. ii. 1-9.
I. i. 74. The vulgar. The common people.
I. i. 77. Pitch. The height to which a falcon could fly.
I. ii. In this second scene the exposition of the situation
in Rome is more definite. Caesar himself comes upon the
stage surrounded by pomp and flattery, and the nature and
danger of the opposition is shown in the conversations of
Cassius, Brutus, and Casca.
Stage direction. Antony, for the course. Prepared for
running the course, undressed. On course, see next note.
I. ii. 1-9. Cf. Plut., p. 163. " The manner of this running
was thus. On that day there are many young men of noble
house, and those specially that be chief officers for that
year, who running naked up and down the city, anointed
with the oil of olive, for pleasure do strike them they meet
in their way with white leather thongs they have in their
NOTES. 161
hands." The thongs were cut from the 'aides of goats and
dogs sacririced by the priests of Lupercus. Antony was chief
of a new order of these priests.
I. ii. 12. Soothsayer. See Introduction, pp. 31, 32.
I. ii. 18. Ides of March. March 15th.
I. ii. 24. Stage direction. Sennet. A particular set o*
notes on a trumpet.
I. ii. 29. Quick. Lively. Cf. its use in the sense of "alive"
in " the quick and the dead " in the Apostles' Creed.
I. ii. 34. Show. Evidence. Cf. I. ii. 47. For the relative
as see Introduction, p. 38 (e).
I. ii. 35. Bear ... a hand. A figure from horsemanship ;
to "beararein" and so to "treat."
I. ii. 39. Merely. Entirely, altogether; an obsolete use.
Cf. Tempest, I. i. 59, " We are merely cheated of our lives
by drunkards. J>
I. ii. 40. Cf. Introduction, p. 37 (l.)(a).
I. ii. 41. Only proper. Belonging exclusively.
I. ii. 42. Soil. Stain. Behaviours. See Introduction, p. 37
(l.)0>).
I. ii. 44. Be you one. Be assured that you are one.
I. ii. 48. Mistook. See Introduction, p. 39 (4.;(c). Passion.
Feelings.
I. ii. 54. Just. True.
I. ii. 59. Where. Used loosely of occasion rather than of
place. Of the best respect. Of those most highly esteemed.
I. ii. 62. Had his eyes. By strict grammar, his refers to
Brutus and the phrase means " saw clearly." But Wright
prefers to take it as a loose phrase for "had their eyes,"
meaning " saw himself as these others see him."
I. ii. 69. Modestly. Etymologically, u with due measure,"
11 without exaggeration or diminution." Or the idea may
be that another man may fitting-ly enough speak of the qual-
ities on which it would not be modest for Brutus himself to
dwell.
I. ii. 71. Jealous on. Suspicious of.
I. ii. 72. Laugher. Buffoon. The Folios read laughter.
which may be correct in the sense of " object of laughter.' 1
I. ii. 72, 73. Did use to stale. Were used to make stale
with too frequent use.
162 NOTES.
I. ii. 74. Protester. One who makes strong profession ol
friendship.
I. ii. 76. Scandal. Slander.
I. ii. 77. Profess myself. Supply " a friend."
I. ii. 78. Rout. Used contemptuously for "company,"
I. ii. 87. Indifferently. Without emotion. The general
sense of ver. 86-87 seems to be that Brutus will not be dis-
turbed if he has to face the alternatives of honor and death
or dishonor and life. The explanation of indifferently as
"impartially," given by Wright and other editors, is contra-
dicted by ver. 88, 89.
I. ii. 88. Speed. Make prosperous.
I. ii. 91. Favour. Appearance. Cf. "ill-favored," etc.
I. ii. 95. Lief. Pronounce " lieve," to bring out the pun
with live. [Clar.]
I. ii. 100-115. Shakspere seems to have invented this inci-
dent. It may have been suggested by the mention of such
feats in swimming as we find attributed to Caesar in Plut.,
p. 86.
I. ii. 101. Chafing. " A play upon the two meanings of
* chafe,' which signifies both * to rub against' and 'to be
angry.' " [Clar.]
I. ii. 109. Hearts of controversy. Controversial hearts, op-
posing courage. See Introduction, p. 37 (1.) (a).
I. ii. 110. Arrive. Arrive at. See Introduction, p. 39 (6).
I. ii. 112, 115. Note the repetition of I.
I. ii. 114. On the metre of this line see Introduction,
p. 35, 5.
I. ii. 119. Fever. Plut. (p. 57) records that Caesar was in
Spain the first time he was seized with the "falling sick-
ness."
I. ii. 122. The inversion of the prose form of statement
here (" the colour fled from his lips ") has been taken to sug-
gest the figure of a soldier deserting his colors.
I. ii. 123. Whose bend. The direction of whose glance, i.e.,
whose glance.
I. ii. 124. His. Its. See Introduction, p. 37 (3.) (b).
I. ii. 135, 36. Colossus. Referring to the bronze statue of
Apollo at Rhodes, said to have been seventy cubits high.
Bestride is used because of the tradition that the figure stood
NOTES. 163
astride of the mouth of the harbor, so that ships passed
between its legs. As a matter of fact, it stood on one side.
I. ii. 142. For the metre, see Introduction, p. 34, 1.
I. ii. 146. 'Em. This form, which is very common in the
writing-s of some of the Elizabethan dramatists, is derived
not from t/iem, but from the middle English hem. Cf. III. ii. 5.
I. ii. 152. Great flood. The deluge of Greek mythology,
from which Deucalion and his wife Pyrrha alone survived.
I. ii. 155. Walls. The Folios read "walkes" which has
been defended as meaning "limits."
I. ii. 156. Rome. Shakspere seems to have pronounced
this "Room." The same pun occurs in K. John, III. i. 180,
44 That I have room with Rome to curse a while."
I. ii. 159. A Brutus once. The reference is to Lucius Ju-
nius Brutus, who was a leader in the expulsion of the
Tarquins and the establishment of a republic in Rome
Plutarch says Marcus Brutus claimed descent from him.
I. ii. 160. Eternal. For Shakspere's reasons for substitut-
ing this word for " infernal," see Introduction, p. 29.
I. ii. 162. Jealous. Doubtful, suspicious. Cf. I. ii. 71 and
note.
I. ii. 163. Aim. Guess.
I. ii. 166. So. If, provided that.
I. ii. 171. Chew. Meditate, ruminate.
I. ii. 174. These ... a*. See Introduction, p. 38 (3.) (e)
I. ii. 177. But. Even.
I. ii. 181. Proceeded. Happened. Worthy note. See Intro-
duction, p. 39 (6).
I. ii. 186. Ferret . . . eyes. A ferret has red eyes.
I. ii. 192-95. Cf. Plut, p. 97: "Caesar also had Cassius
in great jealousy, and suspected him much: whereupon he
said on a time to his friends, ' what will Cassius do, think
ye? I like not his pale looks.' Another time when Caesar's
friends complained unto him of Antonius and Dolabella, that
they pretended some mischief towards him: he answered
them again, 4 As for those fat men and smooth-combed
heads,' quoth he, ' I never reckon of them; but these pale-
visaged and carrion-lean people, I fear them most,' meaning
Brutus and Cassius."
I. ii. 194, Yond. An obsolete form of " yon."
164 NOTES.
I. ii. 197. Well-given. Well-disposed.
I. ii. 199. My name. The man bearing my name, i.e., I.
I. ii. 204. He hears no music. Cf . Merchant of Venice, V,
1. 83-88.
The man that hath no music in himself,
Nor is not moved with concord of sweet sounds,
Is fit for treasons, stratagems and spoils ;
Tne motions of his spirit are dull as night
And his affections dark as Erebus:
Let no such man be trusted.
For the frequency of such an opinion in Shakspere's day, cf.
Chappell, Old English Popular Music, I. 59: "During the
lon^ reign of Elizabeth, music seems to have been in univer-
sal cultivation as well as universal esteem. . . . He who felt
not, in some degree, its soothing influences, was viewed as a
morose, unsocial being, whose converse ought to be shunned
and regarded with suspicion and distrust."
I. ii. 208. Be. See Introduction, p. 39, (4.) (d).
I. ii. 209. Whiles. Probably an irregular adverbial geni-
tive of the noun "while." It is preserved with an excres-
cent/ "t" in our "whilst."
I. ii. 213. Caesar's deafness is not mentioned by Plutarch,
but appears to be imagined by Shakspere.
I. ii. 218. Sad. Serious.
I. ii. 221-84. Cf. Plut., pp. 163, 64.
I. ii. 230. Marry. Originally an oath by the Virgin Mary.
I. ii. 231. Gentler. Adjective for adverb. See Introduc-
tion, p. 39, (5.) (b).
I. ii. 239. Not . . . neither. See Introduction, p. 39, (5.) (a),
I. ii. 240. Coronets. See note on I. ii. 293.
I. ii. 248. Shouted. The 1st Folio reads " howted," but, as
Wright notes, the cry was one of applause.
I. ii. 253. Swounded. Swooned. A similar inserted "d"
appears in " sound," " expound," etc. For Caesar's liability
to the epilepsy described here, cf. Plut., pp. 57, 89, 95.
I. ii. 261. For the metre see Introduction, p. 34, 1 and 2.
I. ii. 271. Plucked me ope. Me is what is known as an
ethical dative = " for me. " Here it has no definite meaning,
but is used merely for vividness. See Introduction, p. 38,
(3.) (d). Ope is an obsolete form of " open."
NOTES. 165
L ii. 272. Doublet. See note on I. ii. 293.
I. ii. 273. An. If. Cf. ver. 290, below. A man of any occu-
pation. An artisan or tradesman like the rest of the crowd
Caesar was addressing. Wright thinks that there is also a
suggestion of the meaning, u a practical man, a man of
business."
I. ii. 293. Greek to me. In using this phrase, as in the
mention of doublet in ver. 272, above, Shakspere was thinking
of London rather than of Rome.
I. ii. 295. Scarfs. Cf. I. 1. 69, and note.
I. ii. 300. 7 am promised forth. I have accepted an invita-
tion to go out.
I. ii. 307. Quick. Lively. Cf. I. ii. 29, and note. Mettle,
Spirit, Cf. I. i. 65 and note, and I. ii. 320 and note.
I. ii. 310. Tardy. Slothful.
I. ii. 320. Metal. The literal sense of the word is more
clearly in the author's mind here than in I. i. 65 or I. ii. 307.
I. ii. 321. Disposed. "To" is omitted.
I. ii. 324. Bear me hard. Cherish a grudge against me,
hate me. Cf . II. i. 215 and III. i. 157.
I. ii. 326. Humour me. Win me to his purposes by playing
upon my humor.
I. ii. 327. Hands. Handwritings. Cf. Plut., p. 97, "Now
they that desired change, and wished Brutus only their
prince and governor above all other, they durst not come to
him themselves to tell him what they would have him to do,
but in the night did cast sundry papers into the Praetor's
seat, where he gave audience, and the most of them to this
effect: 'Thou sleepest, Brutus, and art not Brutus in-
deed.' Cf. I. iii. 142-46, note, and II. i. 46-50.
I. ii. 329. Tending to. Indicating.
I. ii. 332, 33. Sure . . . endure. A rhyming couplet fre-
quently marked the exit of an actor or the close of a scene
m the Elizabethan drama.
I. iii. Note the effectiveness of the contrast between the
superstitious panic of Casca in this scene and his affected
cynicism in the previous one. The action in I. ii. took place
on February 15th ; I. iii. is on the night before March 15th.
I. iii. 1. Brought. Escorted.
I. iii 3 Sway. Regular movement.
166 NOTES.
I. iii. 12. With. In their attitude towards.
I. iii. 13- Destruction. Note that the metre requires this
word to be pronounced with four syllables.
I. iii. 14. More wonderful. I.e., than the storm just
described.
I. iii. 15-28. For these portents cf. Pint., pp. 97, 98, or see
Introduction, p. 31. Cf. also Hamlet, I. i. 113 ff.
I. iii. 20. Against. Opposite.
I. iii. 21. Who. See Introduction, p. 38 (3.) (e). Glared.
The folios read glazed, which may be a variant form of the
same word. Wright quotes evidence of the modern dialect
use of glaze in the sense of : 'stare."
I. iii. 23. Upon a heap. Into a crowd.
I. iii. 26. Bird of night. The owl, whose hooting was re
garded as of ill omen.
I. iii. 30. These. Such and such. Cf. II. i. 31.
I. iii. 32. Climate. Country.
I. iii. 35. Clean from. Quite away from.
I. iii. 42. What night. What a night !
I. iii. 47. Me. See Introduction, p. 38 (3.) (c).
I. iii. 48. Unbraced. With clothes unfastened. Cf . II. i. 262.
I. iii. 49. Thunder-stone. The stone or bolt which was
supposed to fall with the lightning.
I. iii. 60. Put on. Actually suffer, not "pretend to suf-
fer." In. Into.
I. iii. 63, 64. After why, supply u we see," or some similar
phrase.
I. iii. 64. From quality and kind. Contrary to their dispo-
sition and nature. [Clar.] Cf. quality in ver. 68 below.
I. iii. 65. The reading in the text follows the Folios, and
seems to be defensible, taken as meaning that all kinds of
people are led to speculate about the strange happenings.
The common emendation is: "Why old men fool and
children calculate."
I. iii. 66. Their ordinance. What they are ordained to be.
I. iii. 67. Preformed faculties. Faculties originally created
for special purposes.
I. iii. 68. Quality. Nature, kind of thing. Cf. I. iii. 64,
and note.
t. \ii. 11. State. State of affairs.
NOTES. 167
I. iii. 75. It seems most natural to understand this as a
reference to the lion described by Casca in I. iii. 20-22, and
to suppose that Shakspere forgot that it was to Cicero, not
to Cassius, that Casca had mentioned it. Or we may sup-
pose the prodigy already a matter of common rumor.
I. iii. 81. Thews. Muscles.
I. iii. 82. Woe the while. Alas for these times!
1. iii. 83. With. Shakspere often uses "with" where we
should use "by"; e.g., u Marr'd, as you see, with traitors,"
III. ii. 206.
I. iii. 95. " Can forcibly confine spiritual strength."
I. iii. 114. My answer, etc. I shall be called on to answer
for my words.
I. iii. 117. Fleering. Grinning, mocking. For that, see
Introduction, p. 38, (3.) (e). Hold, my hand. Stop, here's my
hand on it.
I. iii. 118. Factious. Active in organizing a party (with-
out the evil implications of the modern usage).
I. iii. 123. Undergo. Undertake.
I. iii. 126. Pompey's porch. A porch attached to the theatre
built by Pompey on the Campus Martius. Cf. III. i. 12,
note.
I. iii. 128. Complexion of the element. The aspect of the
heavens.
I. iii. 129. Favour. Appearance. Cf. I. ii. 91 and note.
I. iii. 135. Incorporate. In one body with us, closely
united.
I. iii. 138. There's two, etc. See Introduction, p. 38, (4.) (a)
and cf . I. iii. 148.
I. iii. 142-46. Cf . Plut, p. 112 : " But for Brutus, his friends
and countrymen, both by divers procurements and sundry
rumours of the city, and by many bills also, did openly call
and procure him to do that he did. For under the image
of his ancestor Junius Brutus (that drave the kings out of
Rome) they wrote : * O, that it pleased the gods thou wert
now alive, Brutus ! ' and again, * that thou wert here among
us now ! ' His tribunal or chair, where he gave audience
during the time he was Praetor, was full of such bills:
* Brutus, thou art asleep, and art not Brutus indeed.' " Cf
i. ii. 327, note.
lt> NOTESo
I. iii. 144. The logical order is, '-' Where but Brutus may
find it."
I. iii. 148, 155. See Introduction, p. 38, (4.) (a).
I. iii. 152. Pompey's theatre. Cf. I. iii. 126, note.
I. iii. 157. Cf. Plut., p. 112.
I. iii. 159. Alchemy. The old science by which medieval
philosophers tried to turn base metals into gold.
I. iii. 162. Conceited. Conceived, formed an idea of.
ACT II.
The second act carries on the exposition of the main char-
acters and brings the development of the plot all but to the
climax.
II. i. The first scene elaborates still further the character
of Brutus, showing him in a variety of relations to his
attendant, to his friends, and to his wife ; and by means of
soliloquy, brings out clearly his attitude towards Caesar
and the proposed assassination.
II. i. 1. What. A mere exclamation, like when in ver. 5.
II. i. 12. General. The general public, the community.
II. i. 18. The abuse of greatness. The evil which greatness
Is liable to do.
II. i. 19. Remorse. Pity (here, as often in Elizabethan
English, without the sense of self-reproach for past ac-
tions).
II. i. 20. Affections. Passions in general. Swayed. Gov-
erned.
II. i. 21. Proof. Experience.
II. i. 23. Climber upward. Some editors put a hyphen
between these words to bring out more clearly the relation
of upward.
II. i. 26. Degrees. In the literal sense of " steps."
II. i. 28. Prevent. The etymological sense of u come be-
fore," "anticipate," is still present in the use of the word
here. Cf . V. i. 105. Quarrel. Cause of complaint.
II. i. 29. Colour. Plausible appearance. The general
sense is, " Since no plausible complaint can be based on his
present conduct, etc."
U. i. 3. These and these. Cf . I. iii. 30 and note.
NOTES. 169
II. i. 35. Closet. For the sense in which this word is
nsed. cf. II. i. 7.
II. i. 37. Cf. I. ii. 326-30.
II. i. 40. Ides. The Folios read "first," but the context
(e.g., ver. 59) shows that this must be a slip.
II. i. 44. Exhalations. Meteors.
II. i. 48. I follow Grant White in regarding- this line as
part of the soliloquy, not as the end of the letter. Brutus
takes up the letter phrase by phrase. Cf. ver. 51 and 55.
II. i. 50. Took. See Introduction, p. 39 (4.) (c).
II. i. 56. Thee. To thee, dative case.
II. i. 59. Fifteen. So the Folios. Most editors have fol-
lowed Theobald in changing this to "fourteen." But it
appears from ver. 101-110 and 192, 93 that it is past midnight,
and that the fifteenth might be regarded as begun, so that
Lucius might easily be supposed to use the phrase in the
text though Brutus in ver. 40 spoke of the ides as "to-
morrow."
II. i. 64. Motion. Motive, impulse.
II. i. 66. The Genius, etc. " The reasonable soul and the
t>odily powers." [Clar.]
II. i. 67. Man. The Folios read u a man," which disturbs
the metre and is not necessary for the sense.
II. i. 70. Your brother Cassius. Cassius had married
Junia, the sister of Brutus.
II. i. 72. Moe. The old comparative of "many."
II. i. 73, 74. Wright notes that Shakspere is here thinking
of the slouched hat of his own time rather than of the brim-
less ' ' pileus ' ' of the Romans. Cf . I. ii. 240, 272, 293, and notes.
II. i. 76. Favour. Cf. I. ii. 91, note, and I. iii. 129.
II. i. 83. Path. If this reading is correct, it must be a
verb meaning "walk." Coleridge emended to "put" and
omitted the comma, which is found only in the second of
the Folios.
II. i 84. Erebus. In Greek mythology, the region of
. nether darkness between Earth and Hades. It is often used
of the lower world in general.
II. i. 104. Fret. Mark with ornamental lines.
II. i. 107. Growing on. Tending towards, encroaching
on. Casca is pointing out that in the early spring the sun
170 NOTES.
rises to the south of east. The conversation is put in
merely to give time to Brutus and Cassius for a whispered
conference.
II. i. 108. Weighing. Taking into consideration. To what
is this participle related?
II. i. 117. Hence to Ms idle bed. Go to his bed and lie
there idle.
II. i. 119. By lottery. The implication is that the cruelties
of the tyrant will be purely capricious and undeserved.
II. i. 125. Secret. Having promised secrecy. Spoke. See
Introduction, p. 39 (4.) (c).
II. i. 129. Cautelous. Deceitful. The word cautel orig-
inally meant merely " caution " but became degraded to
" cunning," "deceit."
II. i. 130. Carrions. Decaying carcases : used contemp-
tuously of infirm old men.
II. i. 133. Even. All on a high level.
II. i. 134. Insuppressive. Not to be suppressed. Cf. As
You Like It, III. ii. 10, " The fair, the chaste and unexpress-
ive she." Mettle. Cf. I. i. 65, I. ii. 307, and notes.
II. i. 138. Guilty . . . bastardy. Each guilty of an act
that dishonors its origin.
II. i. 150. Break with him. Tell him of the matter. Cf.
the modern sense.
II. i. 156-91. Cf. Plut., p. 119: " All the conspirators, but
Brutus, . . . thought it good also to kill Antonius, because
he was a wicked man, and that in nature favoured tyranny :
besides also, for that he was in great estimation with sol-
diers, having been conversant of long time amongst them :
and especially having a mind bent to great enterprises, he
was also of great authority at that time, being Consul with
Caesar. But Brutus would not agree to it. First, for that
he said it was not honest : secondly, because he told them
there was hope of change in him. For he did not mistrust
but that Antonius, being a noble-minded and courageous
man, (when he should know that Caesar was dead), would
willingly help his country to recover her liberty, having
them an example unto him to follow their courage and
virtue." Cf. also Plut., p. 164.
II. i. 157. Of him. In him.
NOTES. 171
II. i. 158. Shrewd contriver. Mischievous schemer.
II. i. 164. Envy. Used in the more general sense of
e malice." Cf. envious in ver. 178, below.
II. i. 166. For the metre, see Introduction, p. 35, 5.
A. i. 169. Come by. Get at.
II, i. 171. Gentle. In Elizabethan English this word fre-
quently bears the earlier meaning of " well-born," and so
" honorable, 1 ' as here.
II. i. 175. Subtle. Working under the surface, dissem-
bling.
II. i. 178. Envious. Cf. note on ver. 164, above.
II. i. 187. The 1st Folio has a semi-colon after himself.
This punctuation, or that adopted in the text, implies the
sense, " All the harm he can do is to injure himself, i.e., he
can take thought, etc." If the comma or semi-colon after
himself be removed, himself becomes intensive instead of
reflexive, and we have a case of the split infinitive. Take
thought. Become melancholy. This use of thought in the
sense of " anxiety," "brooding," is common in Shaks-
perean English. Cf. Hamlet, III. i. 84, 85.
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought.
II. i. 188. " And it would be a good thing if he did so."
II. i. 190. Fear. Cause of fear.
II. i. 192. Clock. Note the anachronism. Stricken. See
Introduction, p. 39 (4.) (c).
II. i. 194. Whether. See Introduction, p. 34, 2.
II. i. 196. From. Away from, contrary to. Main. Strong,
or, perhaps, "general."
II. i. 197. Ceremonies. Religious rites. Contrast the use
in I. i. 69.
II. i. 198. Apparent. Seen by all, and so "undeniable."
II. i. 204. Unicorns . . . trees. Unicorns were supposed to
be captured by being induced to pursue the hunter, who
stepped behind a tree, into which the animal ran his horn
and remained fixed.
II. i. 205. Bears with glasses. Bears were supposed to be
fascinated by mirrors, so that the hunters got an opportu-
nity for deliberate attack.
172 NOTES.
II. i. 215. Bear . . . hard. Hate. Cf . I. ii. 324.
II. i. 218. By him. By his house.
II. i. 224. Fresh and merrily. Which is the modern idiom,
adjective or adverb?
II. i. 225. Put on. Wear the appearance of.
II. i. 227. Formal constancy. Absence of change in out-
ward form.
II. i. 230. Honey-heavy dew. The Folios have " honey-
heavy-dew," and Collier, followed by White and others,
emended to " heavy honey-dew." The general meaning is
clear.
II. i. 231. Nor no. See Introduction, p. 39, (5.) (a).
II. i. 233. Portia. For this scene with Portia, cf. Plut.,
p. 115.
II. i. 238. Stole. See Introduction, p. 39, (4.) (c).
II. i. 246. Wafture. Wave.
II. i. 248. Impatience. For the metrical value, see Intro-
duction, p. 36.
II. i. 250. Humour. A man's temperament or his mood
was supposed to be determined by the predominance of on&
of the four " humours," blood, choler, phlegm, and melan-
choly, which inhabited the body. From this idea of
44 mood" is derived the sense of "caprice." For another
use, cf. ver. 262, below.
II. i. 251. His. Its. See Introduction, p. 37, (3.) (b).
II. i. 254. Condition. Disposition.
II. i. 255. Dear my lord. The transposition is due to the
frequent close association of the possessive and the noun.
So we have often " good my lord "; in Romeo and Juliet,
III. v. 200, "sweet my mother"; and in Troilus and
Cressida, V. ii. 109, "poor our sex."
II. ii. 261. Physical. Wholesome.
II. i. 262. Unbraced. Cf. I. iii. 48. Humours. Moisture,
dampness.
II.. i. 266. Rheumy. Causing rheum or catarrh.
II. i. 268. Sick offense. Harmful cause of sickness. Cf.
"familiar instances" in IV. ii. 16, and see Introduction,
p. 37, (1.) (a).
II. i. 271. Charm. Conjure.
II. i. 275. Heavy. Sad.
NOTES. 173
II. i. 283. In sort or limitation. In a limited way, with
restrictions.
II. i. 284. Keep with. Live with.
II. i. 285. In the suburbs. In the outskirts, not in the
heart. It has been suggested that there is a further refer-
ence, viz., to the unsavory reputation which the suburbs
of London had in Shakspere's time.
II. i. 295. Cato^s daughter. Marcus Porcius Cato, sur-
named Uticensis, a patriot and Stoic philosopher, was one
of the most determined opponents of Caesar. He com-
mitted suicide at Utica in N. Africa after Caesar's victory
at Thapsus in 46 B.C. On this passage cf. Plut., pp. 115-16:
** * And for myself, I have this benefit moreover, that I am
the daughter of Cato, and wife of Brutus. This not wit h-
standing, I did not trust to any of these things before, until
that now I have found \>y experience that no pain or grief
whatsoever can overcome me.' With those words she
shewed him her wound on her thigh, and told him what
she had done to prove herself."
II, i. 299. Constancy. Firmness. Cf. II. i. 227 and II. iv. 6.
II. i. 308. Charactery of. What is charactered or writ-
ten on.
II. i. 312. Howl An exclamation of surprise at the signs
of sickness.
II. i. 313. Vouchsafe. " Condescend to accept." [Clar.]
II. i. 331. To whom. To him to whom. The Folios have
a comma after going, a punctuation which compels us to
give unfold a double object, (1) what it is, and (2) to whom
it must be done. Set on your foot. This seems to be equiva-
lent to some such colloquialism as "Go ahead."
II. ii. This scene serves to display the character of
Caesar, and to advance the plans of the conspirators. In
his stress upon Caesar's vanity and arrogance Shakspere
follows hints in Plutarch's account of Caesar in the last
year of his life. The general impression of Caesar given
by Shakspere differs from that given by Plutarch, not so
much on account of characteristics invented by Shakspere
as because the proportions are changed by the omission of
the narrative of Caesar's more heroic days which forms
the greater part of the 'Life by Plutarch. It is to be noted
174 NOTES,
also that the contrast between the character of Brutus as
shown in the previous scene and that of Caesar in the
present one is emphasized by the contrast of their wives
and their respective relations to them.
II. ii, 1. Have. See Introduction, p. 39, (4.) (b).
II. ii. 5. Present. Immediate.
II. ii. 6. Success. This word in older English is fre-
quently neutral, implying 1 merely "result." Hence jt is
often qualified by " good " or " ill."
IL ii. 10. Shall forth. See Introduction, p. 39, (4.) (e).
II. ii. 13. Stood on ceremonies. Put stress on religious
signs or omens. Cf . the uses of ceremonies in I. i. 69 and
II. i. 197.
II. ii. 14-25. See Introduction, p. 31.
II. ii. 16. Watch. Wright notes that here again Shaks-
pere is thinking of London rather than of Rome.
II. ii. 20. Right form of war. All the regular array of
battle.
II. ii. 23. Did neigh. The first Folio reads "do neigh,"
the others, " did neigh." The confusion of tenses may be
intentional, to indicate excitement. Note the variety of
tenses throughout the speech.
II. ii. 18-24. These omens are referred to by Shakspere
again in Hamlet, I. i. 113, ff. :
In tlie most high and palmy state of Rome,
A little ere the mightiest Julius fell,
The graves stood tenantless and the sheeted dead
Did squeak and gibber in the Roman streets.
For the chronological relation between Julius Caesar and
Hamlet, see Introduction, p. 25.
II. ii. 25. All use. Which sense of use is here employed?
II. ii. 42. Should be. Would be. The modern distinction
between " should" and "would," "shall" and "will"
dates from the seventeenth century, and is not observed by
Shakspere.
II. ii. 46. We are. The Folios read " We heare," but
nearly all modern editors emend to "we are" or "we
were."
II. ii. 56. Humour. Whim, caprice. Cf . II. i. 250 and note
NOTES. 175
II. ii, 73. Satisfaction. For metrical purposes this word
has here five syllables. Cf. impatience in II. i. 248 and see
Introduction, p. 36.
II. ii. 76. Statue. If statue is dissyllabic, this line is nine-
syllabled. But in Richard III., III. vii. 25,
But like dumb statues or breathing stones,
It has three syllables, and other writers of the time used
" statua." Hence editors have here read either " statue" "
or "statua." Cf. III. ii. 197.
II. ii. 89. Tinctures. It was a custom to preserve as
relics handerchiefs tinctured or stained with the blood of
noted persons. Cognizance. A heraldic term for a badge.
II. ii. 97. Apt to be rendered. Easily made.
II. ii. 103. Proceeding. Career.
II. ii. 104. And reason, etc. My reason (which might
have made me hesitate to speak thus) is subject to my
affection for you.
II. ii. 114. Strucken. See Introduction, p. 39, (4.) (c).
II. ii. 121. Hour's. The metre requires this word to be
dissyllabic here.
II. ii. 129. Yearns. Shudders.
II. iii. The chief effect of this short scene is to increase
the excitement before the culmination of the conspiracy, by
suggesting a possible way of escape for Caesar.
II. iii. 13. Out of, etc. Free from envious rivalry.
II. iii. 15. Contrive. Conspire.
II. iv. The part of the Soothsayer in this scene serves
the same dramatic purpose as that of Artemidorus in the
previous one. For the rest, the scene elaborates the char-
acter of Portia by exhibiting her wifely anxiety.
II. iv. 6. Constancy. Cf. II. i. 227, II. i. 299 and notes.
II. iv. 14. Sickly. What part of speech is this?
II. iv. 32. For the metre, see Introduction, p. 35, 5.
ACT III.
In this central act the plot reaches its climax and the
counter-plot begins.
III. i. In the first scene the movement is rapid and the
speeches short, whispered, and full of suppressed excite-
176 NOTES.
ment (except the lordly utterances of the unconscious
Caesar), up to the moment of the assassination. Then,
after a moment of consternation, the action pauses while
the chief persons utter themselves on the situation.
III. i. 8. Us ourself. This use of the plural is meant to
indicate Caesar's assumption of royalty. It is, of course,
English, not Roman. Served. We might expect a word
meaning "attended to," but it is difficult to get clear evi-
dence for this use elsewhere. Wright takes it as mean-
ing, "presented," as in the phrase " serve a summons,"
and Damon suggests that it is a metaphor from the table.
III. i. 12. Capitol. Shakespere evidently implies here,
as in Hamlet, III. ii. 108, 109, that the assassination took
place in the Capitol, though Plutarch says Caesar was
killed in one of the porches about the Theatre of Pompey.
It was here that the Senate was sitting, and here stood the
statue of Pompey which Shakspere transfers to the Capitol.
It will be remembered that in I. iii. 126 Shakspere uses
" Pompey 's porch" as the meeting place of the conspira-
tors. The stage-directions are modern.
III. i. 18. Makes to. Makes for, makes his way towards.
III. i. 19. Sudden. Quick.
III. i. 22. Constant. Firm. Cf. II. iv. 6 and note.
III. i. 28. Presently. At once. Cf. II. ii. 5 and note.
Prefer. Present.
III. i. 29. Addressed. Prepared.
III. i. 30. Is this line strictly grammatical?
III. i. 38. Pre-ordinance. About his own decrees Caesar
uses language usually associated with divine laws.
III. i. 39. Law. Johnson's emendation for " lane," the
reading of the Folios. Of children, i.e., liable to capricious
change. Fond to think. So foolish as to think.
III. i. 42. With. By. Cf . I. iii. 83 and note.
III. i. 47, 48. Ben Jonson quoted this passage in an
altered form and ridiculed it. " Many times he [Shaks-
pere] fell into those things, could not escape laughter, as
when he said in the person of Caesar, one speaking to him,
* Caesar, thou dost me wrong.' He replied: 'Caesar did
never wrong but with just cause,' and such like, which
were ridiculous." (Timber, ed. Schelling, p. 23.) This has
NOTES. 177
led some editors to emend the text in conformity with 1
Jonson's quotation, but no change seems necessary.
III. i. 51. Repealing. Recalling 1 . Cf. repeal in ver. 54,
above.
III. i. 57. Enfranchisement. The rights of a free citizen.
III. i. 59. Pray to move. Pray others to change.
III. i. 67. Apprehensive. Intelligent.
III. i. 69, 70. Holds . . . motion. These words are usually
understood to mean " maintains his place, unmoved by any
force."
III. i. 77. " Et tu, Brute! 9 This phrase is not found in
any of the classical authorities on the death of Caesar, and
its source is unknown. "Shakspeare may have taken it
from The True Tragedie of Richard Duke of Yorke, where
Edward exclaims to Clarence, * Et tu, Brute, wilt thou
stab Caesar too? '" [Clar.]
III. i. 80. Common pulpits. Those in the Forum, from
which orators addressed the people.
III. i. 91. Nor . . . no. See Introduction, p. 39, (5.) (a).
III. i. 94. Abide. Answer for.
III. i. 95. But we. See Introduction, p. 37, (3.) (a).
III. i. 100. Stand upon. Concern themselves with, put
stress upon.
III. i. 101, 2. The Folios give the speech to Casca, but
most editors agree in assigning it to Cassius, with whose
stoicism it is in accord.
III. i. 115. Pompey's "basis. On the base of Pompey's
statue. Cf. note on III. i. 12.
III. i. 120. See Introduction, p. 39, (4.) (e).
III. i. 121. Most bolde** *e Introduction, p. 37, (2.).
III. i. 131. Resolved. Informed.
III. i. 136. Thorough. The Shaksperean spelling of
" through " when dissyllabic. Untrod state. The unex-
plored road on which we have entered.
III. i. 140. So please him come. If it be so that it please
him to come. Cf. Cymbeline, IV. ii. 394, u So please you en
tertain me."
III. i. 142. Presently. Cf. III. i. 28 and note.
III. i. 143. " I know that he will be a good friend to our
cause."
178 NOTES.
III. i. 145, 46. My misgiving, etc. My fears u&aally turn
out to be only too well founded. Shrewdly is originally
" wickedly," but here it is merely intensive.
III. i. 152. Be let blood. Be bled, i.e., die. Rank. Too
full-blooded, therefore, " to be bled." There may also be
suggested the sense of " too nourishing," " increasing in
power too rapidly.'*
III. i. 157. Bear me hard. Bear me a grudge. Cf. i. U.
324, II. i. 215, and notes.
HI. i. 160. Apt. Fit, ready.
III. i. 161. Mean. Shakspere uses " means '* also.
III. i. 162. By . . . by. Note the play upon the two uses
of by, (1) of place, (2) of agent.
III. i. 171. Fire . . . fire. The first fire is dissyllabic.
III. i. 174. In strength of malice. This passage has been
suspected, and for malice editors have substituted " wel-
come," " amity," etc. But the phrase is parallel to the
previous admissions of Brutus implied in " bloody and
cruel "and to the contrast drawn above between their hands
and their hearts. The general sense is, " Our arms, though
their strength has just been manifested in what seems
malice, and our hearts in genuine brotherly affection, do
receive you."
III. i. 177. Voice. Often used in sense of "vote."
III. i. 191. Credit. The way in which I am to be esti-
mated, my repute.
III. i. 192. Conceit. Conceive of.
III. i. 196. Dearer. More intensely. This intensive use
of "dear" is frequent in Shakspere. Cf. Hamlet, IV. iii.
43, "We dearly grieve"; Richard II., I. iii. 151, "The
dateless limit of thy dear exile," where "dear" means
"keenly felt." The general idea in Shakspere's use of the
word is "coming home to one."
III. i. 202. Close. Agree. The literal sense is paralleled
?a the phrase, " to conclude an agreement."
III. i. 204. Bay'd. B /ought to bay.
III. i. 206. Sign'd in thy spoil. Bearing the marks of thy
destruction. For this use of signed, cf. Henry VIII., II. iv.
108, " you sign your place and calling." For spo#=ruin, cf.
1 Henry JV. III. iii. 11, "Company, villainous company.
NOTES. 179
hath been the spoil of me." Lethe. This is an unsolved puz-
zle. Some have avoided the difficulty by reading "death.'
Elsewhere (2 Henry IV., V. ii. 72, Twelfth Night, IV. i. 66;
Shakspere uses " Lethe " correctly as the name of the river
of oblivion, and White interprets the present passage thuSt
"crimsoned in the stream which bears thee to oblivion."
Others have supposed it to be from the Latin letuw, death,
the " h " being due to confusion with Z,et7ie, as it is in
the improper form let/mm and in the English adjective
lethal.
III. i. 207, 8. Hart . . . heart. This pun occurs also in Af
You Like It, III, ii, 260, and Twelfth Night, IV. i, 63.
III. i. 209. Strucken. See Introduction, p. 39 (4.) (c).
III. i. 213. Modesty. Moderation.
III. i. 216. PricWd. Marked: from the custom of marking
off names by pricking them with a metal point instead of
a pen.
III. i. 217. Shall we on. See Introduction, p. 39 (4.) (e)
and cf. ver. 236 and 291, below.
III. L 224. Full of good regard. " Capable of being placed
en a favorable light." ^Clar.j
III. i. 228. Produce. Exhibit. The use of to instead of
" in " is probably due to a recollection of the use of the LatiD
-oroduco in the sense of " bring forward."
III. i. 230. Order of hU funeral. Course of his funeral
ceremonies.
III. i. 242. Wrong. Harm.
III. i. 243. Fall. Befall, happen.
III. i. 268. For this use of with for " by " cf. I. iii. 83 and
note.
III. i. 271. Ate. The Greek goddess of vengeance.
. III. i. 273. Havoc. Said to be a cry in battle which
meant that no quarter was to be given. Let slip. I.e., from
the leash.
III. i. 283. Passion. Grief. Cf . I. ii. 40 and note.
III. i. 289. Rome. For the pun, cf. I. ii. 156.
III. i. 294. Issue. Result of the action.
III. ii. This scene contains in the oration of Antony the
force which sets in motion the return action of the drama,
hitherto, the conspirators have carried everything before
180 NOTES.
them. In the rest of the play we see Caesar's spirit accom
plishing its revenge.
III. ii. 13-70. Cf. Plut., p. 120. " When the people saw
him in the pulpit, although they were a multitude of rake-
hels of all sorts, and had a good will to make some stir; yet,
being ashamed to do it, for the reverence they bare unto
Brutus, they kept silence to hear what he would say.
When Brutus began to speak, they gave him quiet audience ;
howbeit, immediately after, they shewed that they were
not all contented with the murther." Shakspere may have
taken the hint for the style of this speech by Brutus from
the following: " But for the Greek tongue, they do note in
some of his epistles, that he counterfeited that brief com-
pendious manner of speech of the Lacedaemonians." Pluto,
p. 107.
IILii. 14. Lovers. Friends. Cf. II. iii. 9, and ver. 54,
below.
III. ii. 18. Censure. Judge.
III. ii. 31, 32. There is tears. See Introduction, p. 38,
(4.) (a).
Ill ii. 36. Rude. Barbarous.
IH. ii. 45. Extenuated. Made little of.
III. ii. 47. Enforced. Exaggerated.
III. ii. 59, 60. Note the dramatic contrast in these two
exclamations. The Second Citizen remembers that Brutus
is of a family already famous for its hatred of tyrants: the
Third Citizen fails entirely to seize the point either of the
murder or of Brutus's defense of it, and is ready to transfer
his allegiance from one Caesar to another. The whole
political moral of the drama, the hopelessness of destroying
tyranny while the people are willing to be tyrannized over,
is implied in this cry, " Let him be Caesar. "
III. ii. 66. Grace. Honor.
III. ii. 67. Tending to. Cf. I. ii. 329, and note.
III. ii. 70. Save I. See Introduction, p. 37, (3.) (a). Spoke.
See Introduction, p. 39, (4.) (c).
III. ii. 74. Beholding. An incorrect form of beholden,
4 * under obligation."
III. ii. 82 ff. Cf. Plut., p. 121 : "Afterwards, when Caesar^s
body was brought into the market place, Antonius making
NOTES 18 J
his funeral oration in praise of the dead, according to the
ancient custom of Rome, and perceiving that his words
moved the common people to compassion, he framed his elo-
quence to make their hearts yearn the more; and taking
Caesar's gown all bloody in his hand, he laid it open to the
sight of them all, showing what a number of cuts and holes
it had upon it. Therewithal the people fell presently into
such a rage and mutiny, that there was no more order kept
among the common people." And again, p. 165: " Whets he
saw that the people were very glad and desirous also to hear
Caesar spoken of, and his praises uttered, he mingled his
oration with lamentable words; and by amplifying of mat-
ters did greatly move their hearts and affections unto pity
and compassion." It was from such mere hints as these that
Shakspere elaborated Antony's speech. Note that while the
matter-of-fact speech of Brutus, aimed at the reason of the
citizens, is in prose, Antony's appeal to their feelings is in
verse.
III. ii. 83. Bury. Note the anachronism here, and in ver.
115 below.
III. ii. 98. General coffers. Public treasury.
III. ii. 112. To. What preposition is used after withhold
in modern English?
III. ii. 115. Coffin. Cf. note on ver. 83 above.
III. ii. 123. Dear. See Introduction, p. 39, (5.) (b) and cf.
III. i. 196, note. Abide. Pay for. Cf. III. i. 95.
III. ii. 137 ff. On Caesar's will, cf. Plut., pp. 102, 121.
III. ii. 142. Napkins. Handkerchiefs. This use is stil)
common in Scotland. Cf . II. ii. 88, 89, and note.
III. ii. 174. Hearse. Bier.
III. ii. 179 ft. Mantle. Antony's appeal to the emotions of
the crowd through Caesar's mantle and his wounds is based
upon Plut., pp. 121, 22, and 165.
III. ii. 182. The Nervii. For Caesar's victory over " the
Nervians, the stoutest warriors of all the Belgae," see
Plut., p. 61.
III. ii. 184. Envious. Malicious; Cf. II. i. 164, 178, and
lotes,
III. ii. 188. Resolved. Cf. HI. i. 131, and note.
HI. ii. 192. Most unkindest. See Introduction, p 37, (2.).
182 NOTES.
III. ii. 197. On the metre of this line see Introduction*
p. 36, and cf. II. ii. 76 and note.
III. ii. 206. With. Cf. I. iii. 83, note.
III. ii. 251. Drachmas. A drachma was equal to about
twenty cents in nominal value, but had a much greater
purchasing power.
III. ii. 268. Forms. Benches.
III. ii. 275. Upon a wish. As soon as wished for.
III. ii. 279. Belike. Probably.
III. iii. The chief function of this scene is to give the
effect of Antony's speech by a picture of the wild passion it
has stirred up in the mob. The episode of the death ot
Ginna is from Plut., pp. 102, 103, 122.
III. iii. 2. Things unluckily, etc. My imagination is bur-
dened with things that forbode ill-fortune.
III. iii. 12. You were best. It were best for you. But by
the time of Shakspere the dative you had come to be regarded
as a nominative, as we see by such analogous phrases as
"I were best not call," Cymbeline, IIL vi. 19.
ACT IV.
In this act we see the two opposing forces preparing for
the final struggle. As is often the case in tragedy, the
fourth act is the least essential to the action.
IV. i. The first scene introduces us to the triumvirate
who lead the party of revenge. Lepidus, the third member
of the triumvirate, is mentioned only to be set aside as of
no account. Antony and Octavius plan their campaign
together.
IV. i. 1. Prick'd. Cf. III. i. 216, and note.
IV. i. 4. PuUius. According to Plutarch, the person
alluded to here was Lucius Caesar, Antony's uncle,
IV. i. 6. Damn. Condemn to death.
IV. i. 12. UnmeritaUe. Without merit.
IV. i. 16. Voice. Cf. III. i. 177, note.
IV. i. 32. Wind. Wheel.
IV. i. 34. In some taste. To some extent, in a sense.
IV. i. 37. Abjects. Things thrown away. Orts. Broken
fragments. This is Staunton's emendation of the Folio
NOTES. i83
reading, " objects, arts," which is retained by Craik and
others. The sense is understood in much the same way in
either case, viz., that Lepidus takes up things and practices
which other men have rejected as outworn.
IV. i. 38. Staled. Cf. I. ii. 73.
IV. i. 39. Begin his fashion. "Are the newest fashion
with him." [Clar.]
IV. i. 40. A property. A chattel, a piece of the furniture
on the stage on which we are the actors.
IV. i. 41. Listen. See Introduction, p. 39, (6.).
IV. i. 44. This line is defective. The second Folio reads,
"and our best means stretched out."
IV. i. 47. Answered. Met.
IV. i. 48, 49. At the stake, etc. The figure ib from the
sport of bear-baiting, in which a bear was tied to a stake
and tormented by dogs. Cf. Macbeth, V. vii. 1, 2:
They have tied me to a stake; I cannot fly,
.But, bear-like, I must fight the course.
IV. ii. This scene merely leads up to the quarrel in
IV. iii.
IV. ii. 6. He greets me well. His greeting finds me in good
health.
IV. ii. 7. In his own change. By change in his own feel-
Ings towards me. It has been proposed to read " charge "
for change, with the sense of " by his direct command."
IV. ii. 12. Full of regard. Full of qualities worthy of
regard.
IV. ii. 14. According to the punctuation in the present
text, which here follows the first Folio, we supply ** as to "
before How. Some editors put a colon after Lucilius and a
comma after j/ou, thus making " How he received you " the
object of resolved. For resolved, cf . III. i. 131.
IV. ii. 16. Familiar instances. See Introduction, p. 37,
ft.) (a).
IV. ii. 23. Hot at hand. Restless when reined in.
IV. ii. 26. Fall. Used actively in the sense of " lower."
IV. ii. 40. Sober. Grave, serious.
IV, ii. 41. Content. Self-contained, calm.
IV. ii. 46. Enlarge. Enlarge upon, express fully.
184 NOTES.
IV. ii. 50-52. Craik emended Lucilius to " Lucius " in ver.
50, and Let Lucius to " Lucilius " in ver. 52. This improves
the metre in ver. 50, and represents Brutus as sending
Lucius with the message, while the two officers guard the
door. Note that it is Lucilius who is on guard at IV. iii.
127, below.
IV. iii. This scene, taken by itself, is perhaps the great-
est in the play. The human nature of the two main actors
in it is realized with an intensity which Shakspere usu-
ally achieves only in his greatest works. On the other
hand, as a part of the dramatic action, the scene is much
less important. The division between the generals fore-
warns us of disaster to the army in battle, but otherwise
the plot is hardly advanced by it.
IV. iii. 2. Noted. Marked for disgrace. The phrase is
from Plut., p. 185, "The next day after, Brutus, upon com-
plaint of the Sardians, did condemn and note Lucius Pella
for a defamed person, that had been a Praetor of the Ro-
mans, and whom Brutus had given charge unto: for that he
was accused and convicted of robbery and pilfery in his
office. This judgment much misiiked Cassius, because he
himself had seer 3tly (not many days before) warned two of
his friends, attainted and convicted of the like offences, and
openly had cleared them."
IV. iii. 5. Were. The first Folio reads " was." Slighted
off. Set aside without consideration.
IV. iii. 8. Nice. Foolish, trivial. His. See Introduction,
p. 37, (3.) (b), and cf, ver. 16, below.
IV. iii. 10. To have. For having. Itching. Covetous, as
implied in next line.
IV. iii. 13. Speaks. See Introduction, p. 38, (4.) (a).
IV. iii. 23. How does this statement agree with the rea
sons given by Brutus before the assassination?
IV. iii. 28. Bait. Many editors change this to "bay,"
but the change is not necessary.
IVc iii. 30. Hedge me in. Hamper me (by criticising and
interfering with my actions).
IV. iii. 32. Conditions. I.e., under which a campaign
should be conducted.
IV. iii. 45. Observe. Pay observance or reverence.
NOTES. j!85
IV. iii. 47. Spleen. The spleen was considered the seat of
the passions.
IV. iii. 73. Drachmas. Cf. III. ii. 251 and note.
IV. iii. 75. Indirection. Methods that are not straight-
forward.
IV. iii. 80. Rascal. Despicable. Counters. Used con-
temptuously for " coins.'*
IV. iii. 88. " Brutus does not mean to admit that he is
exaggerating, but only that he calls attention to the faults
of Cassius when they are practiced upon himself." [Clar.]
IV. iii. 102. Plutu8\ The Folios read " Pluto's," but the
god of wealth is obviously meant.
IV. iii. 109. Shall be humour. Shall be regarded as merely
caprice. Cf. II. i. 250, note, and IV. iii. 120, 136.
IV. iii. 110. Are yoked with. Have the same disposition as.
IV. iii. 115. Ill-tempered. With the humors badly tem-
pered or mixed. Cf. II. i. 250, note.
IV. iii. 129 ff. Cf. Plut., p. 134. "This Phaonius at that
time, in despite of the door-keepers, came into the chamber,
and with a certain scoffing and mocking gesture, which he
counterfeited of purpose, he rehearsed the verses which old
Nestor said in Homer:
My lords, I pray you hearken both to me,
For I have seen mo years than suchie three.
Cassius fell a-laughing at him, but Brutus thrust him out of
the chamber, and called him dog, and counterfeit Cynic."
IV. iii. 137. Jigging. " Jig" was used of a song as well as
oi^the tune and the dance which accompanied it.
IV. iii. 138. Companion. Used contemptuously as we
often use " fellow."
IV. iii. 152, 53. Upon. What preposition would be used
here in modern English? Cf. ver. 144, above. Impatient . . .
grief. Two constructions are confused here, but the sense
is clear. The grammatical looseness of the whole passage*
marks Brutus's strong emotion.
IV. iii. 166. Call in question. Discuss.
IV. iii. 184. Nor nothing. See Introduction, p. 39, (5.) (a),
IV. iii. 191. Why does Brutus here seem to pretend to
hear for the first time of Portia's death?
186 NOTES.
IV. iii. 195, 96. Cassius means that he also holds the Stoic
doctrines, but he cannot so naturally put them in practice.
IV. iii. 198. Presently. At once. Cf . III. i. 28, 143.
IV. iii. 202. Offence. Harm.
IV. iii. 214. Under your pardon. What is the modern
idiom?
IV. iii. 225. Twice before the opinion of Brutus had pre-
vailed over that of Cassius in letting Antony survive
Caesar, and in allowing him to address the people. In each
case the result was disastrous.
IV. iii. 226. Along. See Introduction, p. 39, (4.) (e).
IV. iii. 229. Niggard. Supply " sparingly."
IV. iii. 231. Hence. See Introduction, p. 39, (4.) (e).
IV. iii. 242. Knave. Used in the literal sense of u boy"
without any bad meaning. Cf . ver. 270, below. Overwatched.
Tired out with watching.
IV. iii. 276. The presence of a ghost was supposed to
make the lights burn blue.
IV. iii. 279. Upon. Towards. See Introduction, pp. 32, 83.
IV. iii. 281. Stare. Bristle.
IV. iii. 292. False. Out of tune.
IV. iii. 308. Set on. Cause to advance.
ACT V.
Here the return action, which was begun with Antony's
speech in the third act, culminates in the catastrophe of the
deaths of the greatest of the conspirators and the overthrow
of their army.
V. i. 3. Regions. A trisyllable. See Introduction, p. 36.
V. i. 4. Battles. Battalions. Cf . ver. 16, below, and 'V.
iii. 108.
V. i. 5. Warn. Challenge, summon to fight.
V. i. 7. Am in their bosoms. Know their intentions.
V. i. 10. With fearful bravery. Wright and others take
this to mean " with terrible display, thinking to intimidate
by ostentation. " But the common Shaksperean use of fearful
in the sense of "timorous " seems to suit the context better.
V. i. 14. Bloody sign. Cf. Plut., p. 139, " The next morn-
ing 1 , by break of day, the signal of battle was set out in
NOTES. 187
Brutus' and Cassius' camp, which was an arming scarlet
coat,"
V. i. 17, 18. This discussion about the leadership of the
right and left wings is narrated by Plutarch (p. 140) of
Brutus and Cassius, but is transferred by Shakspere to
Octavius and Antony.
V. i. 19. Exigent. Exigency, critical moment.
V. i. 24, 25. We will answer . . . foi-th. We will meet them
when they charge. Go forward.
V. i. 33. Are. See Introduction, p. 39, (4.) (b).
V. i. 34. Hybla. A town in Sicily noted for its honey.
The bees fed on the thyme which grew on the surrounding
hills.
V. i. 52. Up. Into the sheath.
V. i. 55. Have added another to the list of those slain by
the sword of traitors.
V. i. 59. Strain. Family, race.
V. i. 60. Honourable. See Introduction, p. 39, (5.) (b x
V. i. 61. Peevish. Childish. Octavius was only t\v j-
one.
V. i. 62. On Antony's reputation for gaiety cf. I. ii. 2U;
U. i. 188, 89; II. ii. 116.
V. i. 66. Stomachs. Hearts, courage. Cf. Henry V., IV.
Ui. 35, 36, "He which hath no stomach to this fight, Let him
depart."
V. i. 72. As. This word is often redundant in Shakspere
Cf. Romeo and Juliet, V. iii. 247, " That he should hither
come as this dire night."
V. i. 77. Held Epicurus strong. Held strongly the doc-
trines of Epicurus, and so was skeptical about omens and
the like. Cf. Pint., pp. 100, 136.
V. i. 80. Former. First. Cf. the phrase occurring in ear-
lier writers (e.g., Mandeville and More) "our former father
Adam," and Chaucer's "Former Age."
V. i. 92. Constantly. Cf . II. i. 299, III. i. 22, and notes.
V. i. 95. Lovers. Cf. III. ii. 14, note.
V. i. 97. With. About.
V. i. 101 ff. Brutus answers that he has determined to act
by the rule by which he blamed Cato's suicide, i.e., as he
says after the parenthesis, I know . . . of life, he intend*
188 NOTES.
to await the will oi* heaven. The ideas thus expressed
are inconsistent with Brutus's next speech. One may sup-
pose that the suggestion of the humiliation of a triumph
changes his resolution. But Wright has pointed out that
in the first speech Shakspere was misled by the bad punc-
tuation of the corresponding passage in North's Plutarch
(p. 140). According to the Greek text of Plutarch, Brutus
admits that as a young man he blamed Cato ; but that now,
in the midst of danger, he is of a different opinion.
V. i. 105. Prevent. Anticipate.
V. i. 106. Time. Period, limit.
V. i. 109. Triumph. Cf. I. i. 36-50, note.
V. i. 110. Thorough. Cf. III. i. 137, note.
V. ii. 1. Bills. Dispatches.
V. Hi. 4. It. The ensign or standard. In the previous
line, ensign, is used for "standard-bearer," but in V. i. 80
here for " standard."
iii. 18. Fond. Cf. I. ii. 194, note.
ii. 19. With a thought. Cf. "Upon a wish," III. ii. 275
anr note.
V. iii. 25. Compass. Circular course.
V. iii. 38. Saving of thy life. Two interpretations are pos-
sible: (1) " When I saved thy life" ; (2) "Except for risking
thy life, thou shouldst attempt, etc." The former is that
usually accepted, and seems to fit the context better.
V. iii. 41, 42. Cf. Plut., p. 103, " For he [Cassias], being
overcome in battle at the journey of Philippes, slew himself
with the same sword with the which he strake Caesar.'*
Search. Probe, pierce.
V. iii. 51. Change. Exchange ; gain and loss on one side
corresponding to loss and gain on the other.
V. iii. 65, 66. Success. Good success. Cf . II. ii. 6 and note.
V. iii. 68. Apt. Receptive.
V. iii. 96. Proper. Merely repeats and emphasizes
"own."
V. iii. 101. Moe. Cf. II. i. 72, note.
V. iii. 104. Thasos. An island off the coast of Thrace.
Cf. Plut., p. 144, "So when he was come thither, after he had
lamented the death of Cassius, calling him the last of all the
Romans, being unpossible that Rorm should ever breed
NOTES. 189
again so noble and valiant a man as he, he caused his body
to be buried, and sent it to the city of Thassos, fearing lest
his funerals within his camp should cause great disorder."
V. iii. 108. Battles. Cf. V. i. 4, note.
V. iii. 110. Second fight. This second battle was in fact
twenty days later.
V. v. 2. Torch-light. Cf. Plut., p. 150, "Furthermore,
Brutus thought that there was no great number of men
slain in battle: and to know the truth of it, there was one
called Statilius, that promised to go through his enemies,
for otherwise it was impossible to go see their camp : and
from thence, if all were well, that he would lift up a torch-
light in the air, and then return again with speed to him.
The torch light was lift up as he had promised, for Statilius
went thither. Now Brutus seeing Statilius tarry long after
that, and that he came not again, he said, 'If Statilius be
alive, he will come again.' But his evil fortune was such
that, as he came back, he lighted in his enemies' hands and
was slain."
V. v. 27. That our love. Cf. the modern idiom " that love
Of ours."
V. v. 28. It. Note that the antecedent of it is the first
part of the compound " sword-hilts."
V. v. 45. Respect. Cf. I. ii. 59.
V. v. 46. Smatch. Smack.
V. v. 60. Entertain. Take into my service.
V. v. 62. Prefer. Sometimes used by Shakspere in the
sense of " recommend," but here rather " hand over."
V. v. 69. Save only he. See Introduction, p. 37, (3.) (a).
V. v, 71, 72. In a general ... to all. With general honor-
able intentions and for the sake of the common good of all
This free use of prepositions has been frequently exempli
fied throughout the play. See Word Index for instances.
V. v. It is important to notice the stress laid by Sbaks-
pere on the testimony borne by the enemies of Brutus to the
latter 's honorable character. A mistake in judgment led
him to the assassination of Caesar, and the inevitable Nem-
esis followed in the form of physical disaster. But there
was no stain on his conscience, and there is no moral catas-
trophe as in Maabeth.
WOKD INDEX.
Abide, III. i. 94; III. ii. 123.
abjects, IV i. 37.
abuse, II. i. 18.
addressed, lll.i.29
affections, II. i. 20.
against, I. iii. 20.
aim, I. ii. 163.
alchemy, I. iii. 159.
an, I.ii. 273.
answer, I. iii. 114; V. i. 24.
answered, IV. i. 47.
Antony's reputation, V. i. C2. Cf.
I. ii. 204; II. i. 188-9; II. ii. 116.
apparent, .II. i. 198.
apprehensive, III. i. 67.
apt, II. ii. 97; III. i. 160; V. iii. 68.
are, II. ii. 46 ; V. i. 33.
arrive, I. ii. 110.
as, V. i. 72.
Ate, III. i. 271.
away, III. i. 119.
awl, I. i. 18, 25.
Bait, IV. iii. 28.
basis, III. i. 115.
bastardy, II. i. 138.
battles, V. i. 4, 16; V. iii, 10a
bay'd, III. i. 204.
be you one, I. ii. 44.
bear ... a hand, I. ii. 35.
bear . . . hard, I. ii. 324; It, i. 215;
III. i. 157.
bears, II. i. 205.
begin his fashion, IV. i. 5*9
behaviours, I. ii. 42.
beholding, III. ii.7,4.
belike, III. ii. 279.
bend, I. ii. 123.
bills, V. ii. 1.
bird of night, I. ia 26.
bosoms, V. i. 7.
break with, II. i. 150.
brother Cassius, II. i. 70.
brought, I. iii. 1.
Brutus (Lucius Junius), I. Ii. ld$
Brutus on suicide, V. i. 101.
Brutus, thou sleep'st, II. i. 4&
bury, III.ii.83.
but, I.ii. 177; I. iii. 144; III. i. 95
by ... by, III. i. 162.
by him, II. i. 218.
Call in question, IV. iii. 16ft.
Capitol, III. i. 12.
carrions, II. i. 130.
Casca, I. iii.
Cato, II. i. 295.
cautelous, II. i. 129.
censure, III. ii. 18.
ceremonies, II. i. 197; II. it it
ceremony, I. i. 69.
chafing, I. ii. 101.
change, IV. ii. 7; V. iii. 51.
charactery, II. i. 308,
charm, II. i. 271.
chew, I.ii. 171.
clean from, I. iii. 35.
clock, II. i. 192.
close, III. i. 202.
closet, II. i. 35.
climate, I. iii. 32.
climber upward, II. i. 23.
cobbler, I. i. 11.
coffin, III. ii. 115.
cognizance, II. ii. 89.
Colossus, I. ii. 136.
colour, I. ii. 122; II. i. 29.
come by, II. i. 169:
common pulpits, III. i. 80,
companion, IV. iii. 138.
190
WORD INDEX.
191
compass, V. ill. 25.
complexion, I. iii. 128.
conceit, III. i. 192.
conceited, I. iii. 162.
condition, II. i. 254.
conditions, IV. iii. 32.
constancy, II. iv. 6.
constant, III. i. 22.
constantly, V. i. 92.
content, IV. il. 41.
contrive, II. iii. 15.
contriver, II. i. 158.
coronet, 1. 11. 240.
coarse, I. ii. 1-9.
credit, III. i. 191.
Damn, IV. i. 6.
deafness, Caesar *s, 1. 11. 213.
dear, III. Ii. 123.
dear my lord, II. L 255.
dearer, III. i. 196.
death of Portia, IV. Hi. 191.
degrees, II. i. 26.
did neigh, II. ii. 23.
difference, I. it. 40.
disposed, I. IL321.
doublet, I. ii. 272.
drachmas , III. ii. 251 ; IV . HI. 78.
Element, I. lit 128.
enforced, III. ii. 47.
enlarge, IV. ii. 46.
entertain, V. v. 60.
envious, II. i. 178; IIL IL 184,
envy, II. 1. 164.
Epicurus, V. 1.77.
Erebus, II. i. 84.
Et tu, Brute! III. i. 77.
eternal, I. ii. 160.
even, II. i. 133.
exhalations, II. i. 44.
exigent, V. i. i9.
extenuated, III. It 45.
eyes, had his, I. ii. 62.
Factious, I. HI. 118.
fell, III. 1.243; IV. a 28.
falling sickness, I. Ii. 119.
false, IV. iii. 292.
familiar instances, IV. ii. 16.
favour, I. ii 91 ; I. iii. 129; II. L 75
fear, II. i. 190.
fearful, V. i. 10.
ferret . . . eyes, I. ii. 186.
fever, I. ii. 119.
fifteen, II. i. 59.
fire, III. i. 171.
fleering, I. iii. 117.
flood, I.il. 152.
fool, I. Hi. 65.
formal, II. i. 227.
former, V. I. 80.
forms, III. II. 268.
forth, III. i. 119.
fret, II. 1. 104.
from, II. I. 196.
full of regard, IV. ii. 12.
General, II. 1. 12; IIL li. 98.
Genius, II. i. 66.
gentle, II. i. 171.
glared, I. iii. 21.
good regard, III. i. 224.
grace, III. iL 66.
greets me well, IV. li. 6.
growing on, IL L 107.
Hands, I. li. 327.
hart, III. i. 207-8.
hats, II. i. 73.
have, II. ii. 1.
havoc, III. L 273.
heap, I. iii. 23.
hearse, III. ii. 174.
heart, III. i. 207-8.
hearts of controversy, I. il. 1091
heavy, II. i. 275.
hedge, IV. iii. 30.
hence, IV. iii. 231.
his, I. ii. 124; II. 1. 251; IV/iiL &
hold, my hand, I. Iii. 117.
holds . . . motion, III. i. 69.
honey-heavy dew, II. i. 238.
hot at hand, IV. it, 23.
how, II. i. 312.
192
WORD INDEX.
humour (noun), II. i. 250; II. ii. 56;
IV.iii.109.
Humour (verb), I. it. 326.
humours, II. i. 262.
Hybla, V. I. 34.
I y I, 11. 112, 115.
Ides, I. ii. 19; II. I. 40.
idle, II. i. 117.
Ill-tempered, IV. ill. 115
impatient, IV. iii. 152.
in, I. iii. 60: V. v. 71-2.
incorporate, I. iii. 135.
indifferently, I. ii. 87.
indirection, IV. iii. 75.
instances, IV. ii. 18.
msuppressive, II. i. 134.
Is (with plural subject), I. iii. 148,
155; III. ii. 31-2.
issue, III. i. 294.
it, V. iii. 4; V. v. 28.
Jealous, I. 11.71, 162.
jigging, IV. iii. 137.
Jonson, III. i. 47-8.
just, I. ii. 54.
Keep with, II. 1. 284.
kind, I. iii. 64.
knave, IV. iii. 242.
Laugher, I. ii. 72.
law of children, III. 1. 39
iet blood, III. i. 152.
lethe, III. i. 206.
liable, II. Ii. 104.
lief, I.ii.95.
limitation, II. 1.283.
Uon, I. iii. 75.
lottery, II. i. 119.
tovers, III. ii. 14.
Lucius, IV. ii. 50-3,
Lupercal, I.L7L
Main, II. i. 196.
marry, I. ii, 230.
me, I. 11.271; I. UL f?.
<nean, III. i. 161
mechanical, I. f . I.
merely, I. ii. 39
metal, I. i. 65; I. ii, 320.
mettle, II. i. 134; IV, il.2
misgiving, III. i. 145.
mistook, 1. 11. 48.
modestly, I. ii. 69; III. i.2ia
moe, II. i. 72; V iii. 101.
most boldest, III. i. 121.
most unkindest, III. ii. 192.
motion, II. i. 64.
much, II. i. 188.
music, I. ii. 204.
Name, I. ii. 199.
napkins, III. ii. 142,
Nervii, III. ii. 182-
nice, IV. iii. 8.
niggard, IV. iiJ. 229.
nor ... no, III. t. 91; IV. Ill <&
not ... neither, I. Ii. 239
noted, IV. iii. 2,
Observe, IV. iii. 45.
occupation, 1. ii. 273,
o'erwatched, IV. iii. 242
of, II. i/ 157.
offence, IV. ill. 202,
on, III. i. 217.
ope, I. ii. 271.
order, III. i 230.
ordinance, I. iii. $6
orts, IV. i. 37,
out, I.i.18.
Passion, I. ii. 48; IH. i. 2&
path, II. i. 83.
peevish, V. i. 61.
physical, II. i. 261.
pitch, I. i. 77.
Plutus, IV iii. 102.
Pompey, I. i. 41.
Pompey's porch, I. iii. 126
Pompey's theatre, I. iii. 18$,
portents, II. ii. 24.
Portia's death, IV. iii. i91
practise, IV.UL8S
WORD INDEX.
its
pray to move, in. I. 59.
prefer, III. 1. 28; V. v. 62.
preformed, I. ill. 67.
pre-ordlnance, III. 1. 38.
present, II. it ft.
presently, III. J. 28, 142; IV. HL 198.
prevent, II. i. 28; V. i. 105.
prick'd, III. i. 216; IV. i. 1.
priests of Lupercus, I. ii. 1-9.
proceeded, I. il. 181.
proceeding, II. 11. 103.
produce, III. 1. 228.
profess,, I. il. 77.
promls'd forth, L il. 800.
proof, II. 1.21.
proper, I. i. 28; 1. 11. 41; V. 11L 98
property, IV. i. 40.
protester, I. IL 74,
Publlus, IV. L 4.
put on, I. ill. 60; II. i. 225.
Quality, I. 111.64,68.
quarrel, II. 1. 28.
quick, I. ii. 29,307,
Rank, III. i. 152.
rascal, IV. Hi. 80.
rears, III. i. 30.
recover, 1. 1. 27.
regard, III. i. 224; IV. II. 12
regions, V. L3.
remorse, II. i. 19.
repealing, III. i. 51.
replication, 1.1.50.
resolved, III. i. 131; III. ii. 188;
IV. 11. 14.
respect, 1. 1. 10; I. 11. 59: V. v. 45,
retentive, I. lit 95.
rheumy, II. i. 266.
right form, II. 11. 20.
Rome, I. ii. 156, III. L 289.
rout s L 11.78.
rude, III. 11.36.
Sad, I. ii. 218.
save, HL ii. 70; V. V. 6
saving, V.iu.38.
scandal, I. 11. 76.
scarfs, 1. 11. 295; cf. I. i. 69, not*
search, V. Hi. 42.
second flght, V. 111. 110.
secret, II. 1. 125.
sennet, I. ii. 25, stage direction.
served, III. 1. 8.
set on, II. 1. 331: IV ill. 308.
should, II. ii. 42.
shouted, I. ii.248
show, I. ii. 34.
shrewd, II. 1.158.
shrewdly, HI. i. 146.
sick offence, II. 1. 268.
sign'd, III. 1.206.
slaughter, V.i.55.
Blighted off, IV. lit ft
smatch, V. v. 46.
so, 1. 11.166.
so please him, III. L Mft
sober, IV. ii. 40.
soil, 1. 11. 42.
soles, I. Lift.
soothsayer, I. il. 11
sort, 1.1.61; II. L 288.
speaks, IV. Hi. 13.
speed, I. li. 88.
spleen, IV.1JL47.
spoil, IILi.208.
spoke, II. L 125.
stake, IV. 1.48.
stand upon, III. 1. 100.
stare, IV. iii. 281.
state, I. iii. 71; ILL 67.
statue, II. IL 76; III.il. 197.
Stole, IV. iii. 15.
stomachs, V. L 66.
stood on ceremonies, II. 11. 13.
strain, V.I. 59.
strength of malice, HL 1. 174*
strength of spirit, I. Iii. 95
stricken, II. L 192.
strucken, III. 1.209.
subtle, II. i. 175.
suburbs, II. L 285.
success, II. ii 6; V. Hi. 65.
supporting robbers, IV ill 2&
WORD INDEX.
away, I.iii 3.
wayed, II. i. 20.
trimming, I. ii. 100-115.
gwounded, I. ii. 253.
Thought, II. i.187.
tardy, I. ii. 310.
taste, IV A. 34.
teeth of emulation, II. in. 13.
tending to, I. ii. 329; III. ii.67,
Thasos, V. iiio 104.
that our love, V. v. 27.
thee, II. i. 56.
there's two, I. ill. 138.
these, I.ii. 174; I. iii. 30.
these and these, II. i. 31.
thews, I. iii. 81.
thorough, III. i. 136; V.I 110.
thunder-stone, I. iil. 49
time of life, V. i. 106
tinctures, II. li.ay
to, III. iL 112.
to friend. Ill i .4c
to have, XV m. *0.
torch-light, V v. 2
triumph, i.i. 35-55 '' , tot*
ti opines, . i. 7&
CJnbraced, I iii. 48 LI. i. 262.
under your pardon, IV. iii. 214.
undergo, 1. iii. 123.
unicorns, -II. 1.204.
unluckily, III. iil. 2.
unmeritable, IV. i. 12.
up, V. i. 52.
upon* IV. Hi. 152
upon a wlsh 9 IB ii m
upon me, IV. iii. 279.
use (noun), II. ii. 25.
use (verb), I. ii. 72.
Voice, III. 1.177; IV.tlfc
vouchsafe, II i. 313,
vulgar, I. i. 74.
Wafture, II. t 34tt
walls, L ii. 155.
warn, V i- 5.
watch. Tt. a 16-
we have, i. iL 'ti&l
weighing^ Ii. *, -08.
I well-given, I ft iyj
what, II. i. i
what night, .. iii. 4x
when^ <I. L \, note; 'IL t i
vrner^. i t> 59,
^iitttxier i. .. j&
whiles, L ii 209.
who, I. iii. 21.
whom, II. i. 331.
why, I. iii. 63-4.
wind, IV. i. 32.
with, I. iii. 12, 83; III. I 42, 268
III. ii.206; V.i. 97.
with a thought, V.iii. 19.
woe the while, I. iii. 82
wonderful, I. iii. 14.
wrong, III. i. 242.
Yearns, II. ii. 129.
yoked, IV. iii. 110.
yond, I. iL 194.
yon were best, III. iii. 12,
APPENDIX
APPENDIX
(Adapted largely from the Teacher's Manual for the
Study of English Classics, by George L. Marsh)
HELPS TO STUDY
THE DRAMA
In what did the drama originate?
Describe briefly the miracle plays, or l ' mysteries, "
telling where they were performed, by whom, and what,
in general, was their subject matter (pp. 12, 13).
What elements were contained in the miracle plays that
had an influence toward the development of comedy?
What were moralities? Interludes!
What foreign influences contributed to the development
of the Elizabethan drama (pp. 15, 16) ?
Name several of Shakspere 's predecessors in the drama.
Who was the greatest of them?
Describe briefly the theater of Shakspere 's day (pp.
22, 23). The characteristics of a Shaksperean audience.
Did Shakspere write his plays for posterity or to please
un Elizabethan audience?
SHAKSPERE 's CAREER
When and where was Shakspere born?
What can you say as to his education (p. 18) ? His
occupations before he went to London?
What do we know about his early years in London?
What were his first dramatic efforts (p. 20) ? What
other literary work, besides the writing of plays, did
he do?
Learn the general characteristics of Shakspere 's work
during each of the four periods into which it is divided,
197
198 APPENDIX
and the names of representative plays of each period
(pp. 24-27).
Perry Pictures 73-75 have to do with Shakspere and
his home.
JULIUS CAESAR EXTERNAL FACTS
What is the probable date of composition of Julius
Caesar? Its chronological relation to the series of Shak-
spere 's greatest tragedies? When was it first published?
What is the source of its plot? Describe Shakspere ; s
general method in handling this source (pp. 31-33).
PROGRESS OF THE PLOT
What is the dramatic purpose of I, i (note, p. 159) ?
In I, ii, what is the effect of the soothsayer's warning?
What is the purpose and effect of the flourishes and
shouts while Brutus and Cassius are speaking?
What does Antony 's appearance at the beginning of the
scene indicate as to his importance in the play ?
Is Cassius supposed to hear Caesar's remarks about
him (11. 192 ff.) ? How should the characters be ar-
ranged on the stage at this time?
State in outline what is accomplished in I, iii.
What is the dramatic purpose and effect of the por-
tents?
In II, i, what is the purpose of lines 101-11 (note, p.
170)?
Whose judgment is better as to Antony, Cassius 's or
Brutus 's (p. 77)? What later conflict of judgment
resembles this (III, i, 232) ?
Why is it intimated in lines 193, 194, that Caesar may
not come to the Capitol on the Ides of March?
In II, ii, why is a second account of the prodigies
given ?
APPENDIX 199
What striking bit of dramatic irony and blindness is
there near the end of this scene?
What is the effect on an auditor of Caesar 's attitude
toward the conspirators?
What is the dramatic effect of II, iii (note, p. 175; ?
What two purposes does II, iv, serve?
For III, i, plan an arrangement of characters on the
stage (up to the assassination) and decide what persons
are addressed in the different short speeches at the be-
ginning (pp. 94, 95).
Are the speeches of Cassius and Brutus (11. 111-16)
natural at that time? Why did Shakspere write them?
In III, ii, what does Brutus try to do in his speech?
Point out the main divisions of Antony's speech, show-
ing what he accomplishes in each.
When does his voice first become sarcastic in referring
to the conspirators as " honorable men I"
How are we prepared before this scene for the elo-
quence he shows here?
Describe Antony 's course with regard to Caesar 's will.
Was it more effective than if he had read the will di-
rectly ?
From this scene what do you decide as to Shakspere 's
opinion of the common people?
What purpose can you assign for III, iii (note, p.
182)?
What is the purpose of IV, i? Of IV, ii?
How is the plot advanced by the trouble between Brutus
and Cassius in IV, iii? State clearly the reasons for the
trouble and the reasons for the reconciliation.
Is Cassius convinced by Brutus 's reasons for meeting
their opponents at Philippi? Why does he yield?
What dramatic device in this scene shows that Caesar 's
spirit dominates the action which is to result in the fall
of the conspirators?
200 APPENDIX
In V, i, what does the first speech of Octavius indicate
as to the wisdom of Brutus 's decision in the previous
scene ?
Trace as clearly as possible the progress of the battle
through this act.
Is there any point where the play could very well end
before it does?
THE PLOT AS A WHOLE
What incident begins the real complication of the play ?
How does Shakspere point out this incident?
What incident (in this case a speech) begins the resolu-
tion of the play marks the beginning of the fall of the
conspirators?
Is that part of the play which precedes the speech of
Antony, or that which follows it, the more interesting?
What are the real causes of Caesar's downfall? Of
Brutus 's?
Criticize or justify the naming of the play.
What dramatic use is made of the supernatural?
Point out examples of dramatic irony and dramatic
blindness.
THE CHARACTERS
Perry Pictures 1190, 1191, 1265, are of personages of
this play.
What characteristics of Brutus and Cassius respectively
are shown in I, ii?_
What idea do you get of Casca?
What attitude of Brutus toward Caesar is indicated
in II, i?
What is indicated as to Brutus 's character in his rela-
tions with his servant and his wife? Is Brutus 's action
when he hears of the death of his wife unfeeling? How
can you account for it?
APPENDIX 201
Describe the character of Portia. Contrast the rela-
tions of Brutus and Portia with those of Caesar and Cal-
purnia.
Point out the various ways in which the character of
Caesar is belittled. Does this belittlement indicate Shak-
spere's real attitude toward Caesar, or is. there a dramatic
purpose in it?
What indication do we find as to Cicero *s character
in II, i?
Is there any truth in Antony's characterization of him-
self (III, ii, 225* ff.) ? Does he mean it to be taken as
true?
Which appears to greater advantage in the quarrel of
Brutus and Cassius?
How is Cassius 's superiority to Brutus as a man of af-
fairs shown in the play?
What groups of characters are there?
What character do you find who is portrayed chiefly
by the influence which he exerts on others?
THE FORM OF THE PLAY
What is the regular meter of Julius Caesar?
Find examples for yourself of each of the variations
described on pages 34-36.
In what places do you find rhyme used?
In I, i, why do the tribunes speak in verse, the com-
moners in prose? Why does Casca speak in prose in I, ii;
in verse in I, iii? In III, ii, why does Brutus speak in
prose, Antony in verse?
THEME SUBJECTS
1. Shakspere 's life (pp. 17-28).
2. The drama before Shakspere (pp. 9-17).
3. The stage of Shakspere 's time (pp. 22-24; with
202 APPENDIX
illustration of how different parts of this play were pre-
sumably staged).
4. The true history at the basis of Julius Caesar.
5. Julius Caesar and its direct source (pp. 31-33,
40-42, and various passages in the notes).
6. Shakspere's opinion of the common people (as
illustrated in his treatment of the mob in this play; cf.
Coriolanus and II Henry VI).
7. Defense or criticism of the treatment of Caesar 9 s
character in this play. (See pp. 173, 174.)
8. The use of prodigies and portents (p. 63, etc.; cf.
the strange happenings on the night of Duncan's murder
in Macbeth).
9. The treatment of Cicero in this play. (Why is so
inadequate a notion of his greatness given? Compare
f ,he treatment of Caesar himself.)
K). A contrast of Brutus and Cassius:
(a) As patriots.
(b) As political and military leaders.
(c) As men.
11. Brutus in his domestic relations (pp. 80-83, etc.).
12. Character sketches of Casca, Calpurnia, Portia,
A.ntony.
13. Comparison of the Antony of this play with Shak-
spere's latter portrait of him in Antony and Cleopatra,
14. Paraphrases of Antony's funeral oration, and the
quarrel scene (pp. 110-18, 125-31).
15. The staging of the ghost scene (p. 139).
16. The uses of verse and prose in this play.
17. Narrative themes on the following subjects:
The trouble between Caesar and Pompey (men-
tioned on p. 47).
The offering of the crown to Caesar (pp. 58-60).
APPENDIX 203
The origin and progress of the conspiracy
against Caesar (pp. 51 ff., 70 ff., etc.).
The events of the Ides of March (pp. 84 ff.).
What happened just after the murder of Caesar
(pp. 98-107) f
Caesar's funeral (pp. 108-19). '
The quarrel of Brutus and Cassius (pp. 125-31).
The Battle of Philippi.
The story of Portia. (Elaborate from hints on
p. 133, and previously.)
18. Why the conspiracy failed.
SELECTIONS FOB CLASS BEADING
Passages particularly worth reading aloud or acting in
the classroom are as follows :
1. The tribune's rebuke of the commoners (pp.
46-48).
2. Cassius sounds Brutus (pp. 50-56).
3. Caesar's opinion of Cassius and of Antony (pp.
57, 58).
4. Casca on the offer of the crown (pp. 58-61).
5. Casca and Cassius on the prodigies (pp. 62-68).
6. Brutus muses over the conspiracy (pp. 70-74).
7. The conspiracy is completed (pp. 75-80).
8. Brutus and Portia (pp. 80-83).
9. The assassination of Caesar (pp. 94-98).
10. Antony and the conspirators (pp. 100-106).
11. Brutus to the citizens (pp. 108-10).
12. Antony and the mob (pp. 110-18).
13. The quarrel of Brutus and Cassius (pp. 125-31).
14. Brutus on the night before Philippi (pp. 136-40).
15. Misgivings before the battle (-pp. 144-46).
16. The death of Cassius (pp. 148, 149, 152).
17. The death of Brutus (pp. 154-58).
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