Julius Caesar (Simply Shakespeare Series)

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An Introduction to Julius Caesar: Explains the story’s background

Characters: Briefly describes key people who will appear in each act

Things to Watch For: Summarizes how important characters react to events taking place

is the solution to their problem. Icons for Easy Understanding

Icons preceding each study point appear in the play’s text. They’re cross-references that guide readers between the play’s action and the explanatory notes.

Historical and Social Context: Discusses how widely held ideas in Shakespeare’s time are reflected in the play’s action

Staging: Explains how Shakespeare’s Globe Theatre was suited for the play

Language: Includes brief discussion of puns, plays on words, and poetic images

JULIUS CAESAR

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Added features

Soothsayer Beware the ides of March!

Caesar

Caesar Who is that man?

What man is that?

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Shakespeare

The Bard’s original poetic phrases are printed side-by-side and line-by-line with the modern translation on each facing page. While Shakespeare’s immortal plays have endured, the English language has changed—which is why today’s students often find Shakespeare’s idiom difficult to comprehend.

Soothsayer Beware the ides of March.

Caesar Set him before me; let me see his face.

Simply

With a Modern Line-for-Line Translation

Caesar Who is it in the crowd who calls me? I heard a voice shriller than all the music cry “Caesar!” Speak! Caesar turns to hear.

Brutus A soothsayer who tells you to beware of the Brutus A soothsayer bids you beware the ides of March.

Shakespeare

Original Shakespearean Text

Caesar Who is it in the press that calls on me? I hear a tongue shriller than all the music Cry ‘Caesar!’ Speak: Caesar is turn’d to hear.

Shakespeare

ides of March.

Caesar Bring him to me. Let me see his face.

Cassius Fellow, come from the throng; look upon Caesar. Cassius Fellow, come out of the crowd. Look at Caesar What say’st thou to me now? Speak once again. Caesar.

Original Shakespearean Text

Soothsayer Beware the ides of March.

Caesar What did you say to me now? Say it again.

With a Modern Line-for-Line Translation Soothsayer Beware the ides of March.

Caesar He is a dreamer. Let us leave him. Pass. [Exeunt all except Brutus and Cassius] Cassius Will you go see the order of the course?

Caesar He’s a dreamer. Let’s leave him. Pass. [All except Brutus and Cassius exit]

Brutus Not I.

Cassius Will you go see how the race is going?

Cassius

Brutus Not I.

I pray you, do.

Brutus 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. Cassius 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. Brutus Cassius, Be not deceiv’d: if I have veil’d my look, I turn the trouble of my countenance Merely upon myself. Vexed I am Of late with passions of some difference, Conceptions only proper to myself, Which give some soil, perhaps, to my behaviours; But let not therefore my good friends be griev’d – Among which number, Cassius, be you one – Nor construe any further my neglect, Than that poor Brutus, with himself at war, Forgets the shows of love to other men.

Cassius Please, do. Brutus I’m not the sort for games. I lack Antony’s quick spirit. Don’t let me interfere with your pleasure, Cassius. I’ll leave you. Cassius Brutus, I’ve been observing you lately. You don’t look at me with the same gentleness and fondness that you used to. You seem stiff and strange toward your friend who loves you. Brutus Cassius, don’t be deceived. If I’ve turned away from you, I turn my frowns upon myself. I’ve been upset lately with conflicting emotions—concerns that I cannot share with anyone. That’s affected my behavior, perhaps. But I don’t want my good friends to be upset— among which you, Cassius, are one. Don’t think that my neglect of you has any other reason than that I’m at war with myself and neglect my usual friendliness to others.

Cassius Then, Brutus, I’ve greatly misinterpreted your feelings, and so I’ve kept my important thoughts buried in my heart. Tell me, good Cassius Then, Brutus, I have much mistook your passion; Brutus, can you see your face?

JULIUS CAESAR

By means whereof this breast of mine hath buried Thoughts of great value, worthy cogitations. Tell me, good Brutus, can you see your face? Brutus No, Cassius; for the eye sees not itself But by reflection, by some other things.

Brutus No, Cassius. The eye can’t see itself except by reflection in some other things. Cassius That’s right. And it’s very sad, Brutus, that you have no such mirrors that will reflect your own hidden worthiness that you might see it for yourself. I’ve heard many of the most respected

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Original Shakespearean Text With a Modern Line-for-Line Translation

JULIUS CAESAR

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© Copyright 2002 by Barron’s Educational Series, Inc. All rights reserved. No part of this book may be reproduced in any form, by photostat, microfilm, xerography, or any other means, or incorporated into any information retrieval system, electronic or mechanical, without the written permission of the copyright owner. All inquiries should be addressed to: Barron’s Educational Series, Inc. 250 Wireless Boulevard Hauppauge, New York 11788 http://www.barronseduc.com ISBN-13: 978- 0-7641-2089-3 ISBN-10: 0-7641-2089-1 Library of Congress Catalog Card No. 2001043289 Library of Congress Cataloging-in-Publication Data Shakespeare, William, 1564–1616. Julius Caesar / edited and rendered into modern English by Phyllis A. Corzine. p. cm. — (Simply Shakespeare) Includes bibliographical references. Summary: Presents the original text of Shakespeare’s play side by side with a modern version, with discussion questions, role-playing scenarios, and other study activities. ISBN 0-7641-2089-1 1. Caesar, Julius—Juvenile drama. 2. Rome—History—53–44 B.C.— Juvenile drama. 3. Heads of state—Juvenile drama. 4. Children’s plays, English. [1. Shakespeare, William, 1564–1616. Julius Caesar. 2. Plays. 3. English literature—History and criticism.] I. Corzine, Phyllis, 1943– II. Title. PR2808.A25 2002 822.3'3—dc21 2001043289 PRINTED IN CHINA 9 8 7

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Simply Shakespeare Titles in the Series Hamlet Julius Caesar Macbeth Romeo and Juliet The Tempest Twelfth Night

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Contents Introduction William Shakespeare, 1564–1616 Shakespeare’s Theater The Sound of Shakespeare Publishing Shakespeare

Julius Caesar

6 6 8 10 12

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Introduction to the Play Julius Caesar’s Sources The Text of Julius Caesar The Play The Characters

15 17 18 19 20

Act I Pre-Act Notes Text of Act I and Modern Version Post-Act Activities

22 22 24 64

Act II Pre-Act Notes Text of Act II and Modern Version Post-Act Activities

66 66 68 110

Act III Pre-Act Notes Text of Act III and Modern Version Post-Act Activities

112 112 114 160

Act IV Pre-Act Notes Text of Act IV and Modern Version Post-Act Activities

162 162 164 204

Act V Pre-Act Notes Text of Act V and Modern Version Post-Act Activities

206 206 208 242

Additional Resources

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Introduction William Shakespeare, 1564–1616 Who was William Shakespeare? This simple question has challenged scholars for years. The man behind vivid, unforgettable characters like Hamlet, Romeo and Juliet, and King Lear is a shadow compared to his creations. Luckily, official records of Shakespeare’s time have preserved some facts about his life. Shakespeare was born in April 1564 in Stratford-upon-Avon, England. His father, John Shakespeare, was a prominent local merchant. Shakespeare probably attended grammar school in Stratford, learning basic Latin and Greek and studying works by ancient Roman writers. In 1582, when Shakespeare was 18, he married Anne Hathaway. Eventually, the couple had three children—but, like many families in their day, they were forced to endure a tragic loss when Hamnet, their only son, died at age 11. No records document Shakespeare’s life from 1585 to 1592, when he was between the ages of 21 and 28. In his writings, Shakespeare seems to know so much about so many things that it’s tempting to make guesses about how he supported his young family during this period. Over the years, it’s been speculated that he worked as a schoolteacher, a butcher, or an actor—and even that he did a little poaching as a young man. Thanks to some London theater gossip left behind by a professional rival, we know that Shakespeare was living in London as a playwright and an actor by 1592. Meanwhile, Anne and the children stayed in Stratford. This must have been a thrilling time for Shakespeare. In 1592, England was becoming a powerful nation under its great and clever queen, Elizabeth I. English explorers and colonists crossed seas to search strange new worlds. London was a bustling, exciting center of commerce, full of travelers from abroad. And though many Europeans still looked down on English culture, they admitted that London’s stages boasted some of the best plays and actors to be found. Travelers from all over admired the dramas of Christopher Marlowe, Thomas Kyd, and the new name on the scene, William Shakespeare.

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William Shakespeare, 1564–1616

Nevertheless, the life of the theater had its hazards. London’s actors, playwrights, and theatrical entrepreneurs chose a risky and somewhat shady line of work. Religious leaders condemned the theater for encouraging immorality and idleness among the London populace. London’s city leaders, fearful of crowds, closed the theaters in times of unrest or plague. Luckily, the London troupes had some powerful “fans”—members of the nobility who acted as patrons, protecting the troupes from their enemies. Queen Elizabeth herself loved plays. Special performances were regularly given for her at court. By 1594, two theatrical companies had emerged as the most popular. Archrivals, The Lord Admiral’s Men and The Lord Chamberlain’s Men performed at the Rose and the Theatre, respectively. However, The Lord Chamberlain’s Men had an ace: Shakespeare was both a founding member and the company’s main playwright. The company’s fine lead actor was Richard Burbage, the first man to play such roles as Hamlet, Othello, and Macbeth. With a one-two punch like that, it’s not surprising that The Lord Chamberlain’s Men soon emerged as London’s top troupe. By 1597, Shakespeare had written such works as Romeo and Juliet, The Merchant of Venice, and A Midsummer Night’s Dream. His finances grew with his reputation, and he was able to buy land and Stratford’s second-largest house, where Anne and the children moved while he remained in London. Then as now, owning property went a long way. Like many acting companies to this day, The Lord Chamberlain’s Men got involved in a bitter dispute with their landlord. However, they owned the actual timbers of the Theatre building—which turned out to be useful assets. Eventually the exasperated troupe hired a builder to secretly take apart the Theatre, then transported its timbers across London to the south bank of the River Thames. There, they used the Theatre’s remains to construct their new home—The Globe. At The Globe, many of Shakespeare’s greatest plays first came to life. From 1599 until his death in 1616, the open-air Globe served as Shakespeare’s main stage. Audiences saw the first performances of Hamlet, Macbeth, Twelfth Night, and King Lear there. (In winter, Shakespeare’s company performed at London’s Blackfriars, the indoor theater that housed the first performance of The Tempest.) In 1603, after the death of Queen Elizabeth, Shakespeare’s troupe added a new triumph to its résumé. Changing its name to The King’s Men, it became the official theatrical company of England’s new monarch, James I. The company performed frequently at court and state functions for its powerful new patron.

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Around 1611–1612, Shakespeare returned permanently to Stratford. Unfortunately, we know little about his domestic life there. Where Shakespeare is concerned, there’s no “tell-all” biography to reveal his intimate life. Was he happily wed to Anne, or did he live for so long in London to escape a bad marriage? Do the sonnets Shakespeare published in 1609 tell us a real-life story of his relationships with a young man, a “Dark Lady,” and a rival for the lady’s love? What were Shakespeare’s political beliefs? From his writings, it’s clear that Shakespeare understood life’s best and worst emotions very deeply. But we’ll never know how much of his own life made its way into his art. He died at the age of 53 on April 23, 1616, leaving behind the almost 40 plays and scores of poems that have spoken for him to generations of readers and listeners. Shakespeare is buried in Holy Trinity Church in Stratford, where he lies under a stone that warns the living—in verse—never to disturb his bones.

Shakespeare’s Theater Going to a play in Shakespeare’s time was a completely different experience than going to a play today. How theaters were built, who attended, what happened during the performance, and who produced the plays were all quite unlike most theater performances today. Theaters in Shakespeare’s time were mainly outside the walls of the city of London—and away from the authorities in London. In those times, many religious authorities (especially radical Protestants) condemned plays and playgoing. They preached that plays, being stage illusions, were acts of deception and therefore sinful. The city authorities in London agreed that the theaters encouraged immorality. Despite this, theaters did exist in and around the city of London. They were, however, housed in neighborhoods known as Liberties. Liberties were areas that previously had religious functions and therefore were under the control of the crown, not the city of London. Luckily for playgoers, the monarchs Elizabeth and James were more tolerant of the amusements offered by the stage than the London authorities. Who enjoyed what the stage had to offer? Almost all of London society went to the theater. Merchants and their wives, prostitutes, lawyers, laborers, and visitors from other countries would attend. Once you were at the theater, your social station dictated what you could pay and where you sat. If you could only afford a pence (about a penny), you would stand in the yard immediately surrounding the stage.

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(These members of Shakespeare’s audience were called “groundlings.”) As many as a thousand other spectators might join you there. In the yard everyone would be exposed to the weather and to peddlers selling fruit and nuts. Your experience would probably be more active and less quiet than attending a play today. Movement was not uncommon. If you wanted a better or different view, you might rove about the yard. If you paid another pence, you could move into a lower gallery. The galleries above and surrounding the stage on all sides could accommodate up to 2,000 more people. However, because the galleries were vertical and surrounded the stage, no matter where you sat, you would never be more than 35 feet away from the stage. The galleries immediately behind the stage were reserved for members of the nobility and royalty. From behind the stage a noble could not only see everything, but—more importantly—could be seen by others in the audience! Queen Elizabeth and King James were less likely to attend a theater performance, although they protected theater companies. Instead, companies performed plays for them at court. The Globe’s stage was similar to the other outdoor theaters in Shakespeare’s time. These stages offered little decoration or frills. Consequently, the actors and the text carried the burden of delivering the drama. Without the help of scenery or lighting, the audience had to imagine what was not represented on the stage (the storms, shipwrecks, and so forth). The Globe’s stage was rectangular—with dimensions of about 27 by 44 feet. At the back of the stage was a curtained wall containing three entrances onto the stage. These entrances led directly from the tiring (as in “attiring”) house, where the actors would dress. The middle entrance was covered by a hanging tapestry and was probably used for special entrances—such as a ceremonial procession or the delivery of a prologue. Unlike the yard, the stage was covered by a canopied roof that was suspended by two columns. This canopy was known as the heavens. Its underside was covered with paintings of the sun, moon, stars, and sky and was visible to all theatergoers. Hell was the area below the stage with a trapdoor as the entrance. Immediately behind and one flight above the stage were the dressing rooms, and above them lay the storage area for props and costumes. Indoor theaters were similar to outdoor theaters in many respects. They featured a bare stage with the heavens, a trapdoor leading to hell, and doors leading to the tiring house. Builders created indoor theaters from preexisting space in already constructed buildings. These theaters were smaller, and because they were in town they were also more

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Introduction

expensive. Standing in the yard of an outdoor theater cost a pence. The cheapest seat in an indoor theater was sixpence. The most fashionable and wealthy members of London society attended indoor theaters as much to see as to be seen. If you were a gallant (a fashionable theatergoer), you could pay 24 pence and actually sit on a stool at the edge of the stage—where everyone could see you. The actors’ costumes were also on display. Whether plays were performed indoors or outdoors, costumes were richly decorated. They were one of the main assets of a theater company and one of the draws of theater. However, costumes didn’t necessarily match the period of the play’s setting. How spectacular the costumes looked was more important than how realistic they were or if they matched the period setting. These costumes were worn on stage only by men or boys who were a part of licensed theater companies. The actors in the companies were exclusively male and frequently doubled up on parts. Boys played female roles before their voices changed. Some actors were also shareholders—the most important members of a theater company. The shareholders owned the company’s assets (the play texts, costumes, and props) and made a profit from the admissions gathered. Besides the shareholders and those actors who did not hold shares, other company members were apprentices and hired men and musicians. The actors in Shakespeare’s day worked hard. They were paid according to the house’s take. New plays were staged rapidly, possibly with as little as three weeks from the time a company first received the play text until opening night. All the while, the companies appeared to have juggled a large number of new and older plays in performance. In lead roles, the most popular actors might have delivered as many as 4,000 lines in six different plays during a London working week! Working at this pace, it seems likely that teamwork was key to a company’s success.

The Sound of Shakespeare Shakespeare’s heroes and heroines all share one quality: They’re all great talkers. They combine Shakespeare’s powerful imagery and vocabulary with a sound that thunders, trills, rocks, and sings. When Shakespearean actors say their lines, they don’t just speak lines of dialogue. Often, they’re also speaking lines of dramatic poetry that are written in a sound pattern called iambic pentameter. When

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The Sound of Shakespeare

these lines don’t rhyme and are not grouped in stanzas, they’re called blank verse. Though many passages in Shakespeare plays are written in prose, the most important and serious moments are almost always in iambic pentameter. As Shakespeare matured, the sound of his lines began to change. Late plays like The Tempest are primarily in a wonderfully flowing blank verse. Earlier works, such as Romeo and Juliet, feature much more rhymed iambic pentameter, often with punctuation at the end of each line to make the rhymes even stronger. Terms like “iambic pentameter” sound scarily technical—like part of a chemistry experiment that will blow up the building if you measure it wrong. But the Greeks, who invented iambic pentameter, used it as a dance beat. Later writers no longer used it as something one could literally shimmy to, but it was still a way to organize the rhythmic noise and swing of speech. An iamb contains one unaccented (or unstressed) syllable and one accented (stressed) syllable, in that order. It borrows from the natural swing of our heartbeats to go ker-THUMP, ker-THUMP. Five of these ker-thumping units in a row make a line of iambic pentameter. Dance or rock music needs a good, regular thumping of drums (or drum machine) and bass to get our feet tapping and bodies dancing, but things can get awfully monotonous if that’s all there is to the sound. Poetry works the same way. With its ten syllables and five kerthumps, a line like “he WENT to TOWN toDAY to BUY a CAR” is perfect iambic pentameter. It’s just as regular as a metronome. But it isn’t poetry. “In SOOTH/ I KNOW/ not WHY/ I AM/ so SAD” is poetry (The Merchant of Venice, Act 1, Scene 1). Writers like Shakespeare change the iambic pentameter pattern of their blank verse all the time to keep things sounding interesting. The melody of vowels and other sound effects makes the lines even more musical and varied. As it reaches the audience’s ears, this mix of basic, patterned beat and sound variations carries powerful messages of meaning and emotion. The beating, regular rhythms of blank verse also help actors remember their lines. Why did Shakespeare use this form? Blank verse dominated through a combination of novelty, tradition, and ease. The Greeks and Romans passed on a tradition of combining poetry and drama. English playwrights experimented with this tradition by using all sorts of verse and prose for their plays. By the 1590s, blank verse had caught on with some of the best new writers in London. In the hands of writers like the popular Christopher Marlowe and the up-and-coming Will Shakespeare, it was more than just the latest craze in on-stage sound.

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Blank verse also fit well with the English language itself. Compared to languages like French and Italian, English is hard to rhyme. It’s also heavily accentual—another way of saying that English really bumps and thumps. The words and sounds coming from the stage were new and thrilling to Shakespeare’s audience. England was falling in love with its own language. English speakers were still making up grammar, spelling, and pronunciation as they went along—giving the language more of a “hands-on” feel than it has today. The grammar books and dictionaries that finally fixed the “rules” of English did not appear until after Shakespeare’s death. The language grew and grew, soaking up words from other languages, combining and making new words. Politically, the country also grew in power and pride. Shakespeare’s language reflects this sense of freedom, experimentation, and power. When he put his words in the beat of blank verse and the mouths of London’s best actors, it must have sounded a little like the birth of rock and roll—mixing old styles and new sounds to make a new, triumphant swagger.

Publishing Shakespeare Books of Shakespeare’s plays come in all shapes and sizes. They range from slim paperbacks like this one to heavy, muscle-building anthologies of his collected works. Libraries devote shelves of space to works by and about “the Bard.” Despite all that paper and ink, no printed text of a Shakespeare play can claim to be an exact, word-by-word copy of what Shakespeare wrote. Today, most writers work on computers and can save their work electronically. Students everywhere know the horror of losing the only copy of something they’ve written and make sure they always have a backup version! In Shakespeare’s time, a playwright delivered a handwritten copy of his work to the acting company that asked him to write a play. This may have been his only copy—which was now the property of the company, not the writer. In general, plays were viewed as mere “entertainments”—not literary art. They were written quickly and were often disposed of when the acting companies had no more use for them. The draft Shakespeare delivered was a work in progress. He and the company probably added, deleted, and changed some material—stage directions, entrances and exits, even lines and character names—dur-

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ing rehearsals. Companies may have had a clean copy written out by a scribe (a professional hand-writer) or by the writer himself. Most likely they kept this house copy for future performances. No copies of Shakespeare’s plays in his own handwriting have survived. Acting companies might perform a hit play for years before it was printed, usually in small books called quartos. However, the first published versions of Shakespeare’s plays vary considerably. Some of these texts are thought to be of an inferior, incomplete quality. Because of this, scholars have speculated that they are not based on authoritative, written copies, but were re-created from actors’ memories or from the shorthand notes of a scribe working for a publisher. Shakespearean scholars often call these apparently faulty versions of his plays “bad quartos.” Why might such texts have appeared? Scholars have guessed that they are “pirated versions.” They believe that acting companies tried to keep their plays out of print to prevent rival troupes from stealing popular material. However, booksellers sometimes printed unauthorized versions of Shakespeare’s plays that were used by competing companies. The pirated versions may have been done with help from actors who had played minor roles in the play, memorized it, and then sold their unreliable, memorized versions. (In recent years, this theory has been challenged by some scholars who argue that the “bad” quartos may be based on Shakespeare’s own first drafts or that they reliably reflect early performance texts of the plays.) “Good” quartos were printed with the permission of the company that owned the play and were based on written copies. However, even these authorized versions were far from perfect. The printers had to work either by deciphering the playwright’s handwriting or by using a flawed version printed earlier. They also had to memorize lines as they manually set type on the press. And they decided how a line should be punctuated and spelled—not always with foolproof judgment! The first full collection of Shakespeare’s plays came out in 1623, seven years after his death. Called the “First Folio,” this collection included 36 plays compiled by John Heminge and Henry Condell, actor-friends of Shakespeare from The King’s Men troupe. To develop the First Folio texts, Heminge, Condell, and their coeditors probably worked with a mix of handwritten and both good and bad printed versions of their friend’s plays. Their 1623 version had many errors, and though later editions of that text corrected some mistakes, they also added new ones. The First Folio also contained no indications of where acts and scenes began and ended. The scene and

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Introduction

act divisions that appear standard in most modern editions of Shakespeare actually rely on the shrewd guesses of generations of editors and researchers. Most modern editors of Shakespeare depend on a combination of trustworthy early publications to come up with the most accurate text possible. They often use the versions in the First Folio, its later editions, and other “good,” authorized publications of single plays. In some cases, they also consult “bad” versions or rely on pure guesswork to decide the most likely reading of some words or lines. Because of such uncertainties, modern editions of Shakespeare often vary, depending on editors’ research and choices.

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Julius Caesar Introduction to the Play In 1599, theater-loving Londoners were treated to a new venue. Newly erected on the Thames River’s south bank stood a theater called The Globe—the home of Shakespeare’s Chamberlain’s Men. At The Globe, audiences could truly find the whole world. They were transported to the corrupt court of Denmark (Hamlet), witnessed witchcraft in Scotland (Macbeth), and were dizzied by love on the Adriatic coast (Twelfth Night). With The Tragedy of Julius Caesar—which was possibly one of the first plays to be staged in Shakespeare’s new theater— they were captured by the sights and sounds of ancient Rome. Today many readers and viewers (especially Americans) might vaguely think of the name “Caesar” as something that goes with pizza chains or salad dressing. When we think of ancient Rome, we’re more likely to imagine the imperial, corrupt society that followed after Julius Caesar’s death. This is the Rome that serves as the setting for movies like Spartacus and Gladiator. But Shakespeare’s audience probably knew the rough outlines of Roman history much better than the average 21st-century playgoer. Educated people of Shakespeare’s time were expected to study Latin and Greek and to have a general knowledge of classical culture. The Roman playwrights Seneca and Plautus were popular, admired influences on Elizabethan drama. And many Elizabethans (whose land had once been conquered by the same Caesar of Shakespeare’s play) believed that the English people themselves were the descendants of early Romans. Shakespeare and his audience may have been fascinated by Caesar’s life and death for another reason. In his tragedy, Shakespeare shows the dissent that arises when one man becomes dictator—the sole ruler who ignores other branches of government, thereby turning Rome’s senators into mere puppets. After Roman nobles assassinate Caesar in the name of liberty, Rome falls into mob rule, which leads to a bloody civil war. For Elizabethans watching the play, Shakespeare’s portrait of Rome may have been a neutral way to examine some difficult issues from their country’s own past. Throughout much of the 15th century,

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Julius Caesar

England had been plagued by civil war. Powerful families battled for the English crown, which finally fell into the hands of the Tudors—the family whose line led to Elizabeth, Shakespeare’s queen. Shakespeare himself had dramatized these wars in his “history plays” about the English kings Henry VI and Richard III. However, the politics and power struggles of English history were still touchy subjects in Shakespeare’s day. Powerful figures in Shakespeare’s England were sure history had proved their “right” to lead and dominate. Because Caesar, Brutus, and Marc Antony were safely removed in remote history, they provided Shakespeare with rich material for safely exploring the conflicts between political power and morality— between “might” and “right.” In Julius Caesar, the key figure in this struggle is Brutus. Although he’s called the “noblest Roman of them all” at the end of the play, Shakespeare shows us a Brutus who is actually quite flawed. Despite his honorable intentions, Brutus’s actions have disastrous results. In private, he is a man of integrity and high ideals, but he cannot translate these ideals into his public actions. Instead, he deteriorates. Shakespeare shows that there is only a thin line between Brutus’s heroic goals and his far less admirable pride. His pride—his character flaw—makes him a tragic figure. It also leads him to behave arrogantly and foolishly, and it makes him a poor leader of his fellow conspirators and soldiers. Caesar, Marc Antony, and even Cassius all lack the personal morality of this “noblest Roman,” but they all show shrewder judgment of political affairs. Nevertheless, none of these men are flawless, and all four overreach. Antony is left standing at the end of the play, but Shakespeare’s audience knew that he would soon be defeated in a power stuggle with Octavius. The play’s end leaves audiences with an uncomfortable sense that Rome may be in worse shape now than when the play began. Brutus’s heroic ambitions have led to slaughter, not freedom. Shakespeare carefully draws parallels among the Romans, showing unexpected similarities among political rivals. Caesar, Brutus, and Antony all reach heights of pride and power, repeat the same mistakes, and then fall. It seems that each man fails to learn the lessons of history. Julius Caesar was probably written in 1599. Not long thereafter, Shakespeare began writing Hamlet. Many readers have noticed similarities between the plays, and scholars often consider Julius Caesar to be a kind of pivot between the history plays and the great tragedies that would follow, beginning with Hamlet and including Macbeth, Othello,

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Julius Caesar’s Sources

and King Lear. In both Hamlet and Julius Caesar, the main character is a man of integrity who cannot escape the evil that surrounds him. Both men feel they must set things right by shedding blood, but neither is cut out for their violent task. Like Hamlet, Julius Caesar shows that murder must be revenged, and both plays feature the murder victim’s ghost. (Hamlet also includes clear references to Caesar’s assassination.) Still, Julius Caesar is more than just a warm-up for Shakespeare’s most famous play. It tells a gripping tale on its own, bringing long-gone giants of ancient Rome to vivid life on stage. With superb dramatic skill, Shakespeare shows the meaning of history by giving it an unforgettable, human face.

Julius Caesar ’s Sources When scholars study the models for Shakespeare’s plots, they often find themselves tracking down hard-to-find sources. Shakespeare took inspiration from many now-obscure works. Their authors might well be completely forgotten today if not for their role in inspiring such plays as Romeo and Juliet or Twelfth Night. For Julius Caesar, however, Shakespeare turned to a writer whose prestige still equals his own. This was Plutarch (c. 45–c. 130 A.D.), a Greek philosopher, biographer, and historian. Plutarch lived and wrote in Rome. His biographical portraits of the great leaders of ancient Greece and Rome have been influential for centuries. For Shakespeare, Plutarch’s writings inspired not only Julius Caesar, but also Antony and Cleopatra, Coriolanus, and Timon of Athens, as well as minor moments in other plays. To write Julius Caesar, Shakespeare drew on Plutarch’s portraits of Caesar, Brutus, and Marc Antony. He consulted an English translation by Thomas North titled Lives of the Noble Grecians and Romans and published in 1579. Shakespeare found character traits, historical events, and even some of his play’s language in North’s Plutarch. But he was not faithful to Plutarch’s account if it got in the way of good drama. According to Plutarch, the events covered in Shakespeare’s play unfolded over three years. Shakespeare compresses this action into six separate days. Comparing Shakespeare’s play and Plutarch’s Lives, we can see how shrewdly Shakespeare refocused and reshaped the events. He selected and amplified the details that fueled his play’s dramatic excitement—and omitted historical facts that might make the account more accurate but would slow the drama.

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Shakespeare also developed characters who are less well drawn in Plutarch, especially Casca. He also added material, such as the content of Marc Antony’s and Brutus’s speeches after Caesar’s assassination. (Plutarch notes that the speeches took place, but he explains that they were given on separate days and doesn’t relate what either man said.) Shakespeare’s imaginative re-creation of the speeches beautifully illuminates the differences in Brutus’s and Anthony’s characters while providing a sharp portrayal of the volatile Roman mob. Caesar’s life was a popular topic in Shakespeare’s day and his play was not the only one of the time to show Caesar’s violent end. Shakespeare undoubtedly knew some or all of the other plays, but scholars have found no evidence that they were major influences on his own portrait of the Roman dictator’s character.

The Text of Julius Caesar Julius Caesar was first published in the First Folio of 1623. Because the text seems to be of very high editorial quality, most Shakespeare scholars think the First Folio version derives from a “promptbook”—an official playhouse copy that was used by Shakespeare’s company and transcribed from the playwright’s own manuscript. All modern editions of the play are based on this version, with variations based on the choices of individual editors. In Act 4, Scene 3 of Julius Caesar, we are told of Portia’s death twice. Some editors believe that this was unintentional and that Shakespeare meant to have deleted one of the passages containing this information. However, others argue that the duplicated information is deliberate. It is possible, for example, that Shakespeare intended it to show the deterioration of Brutus’s character. (Under this theory, Brutus pretends that he did not already know about Portia’s death, so that he can impress others with the calmness of his reaction to the news.) A performance of Julius Caesar was first documented in September 1599, when a Swiss visitor to England recorded a performance in his diary. The visitor, Thomas Platter, describes seeing a play about Caesar in a theater that sounds very much like the newly constructed Globe. Most scholars think Platter saw one of the first performances of Shakespeare’s tragedy and believe that Shakespeare wrote the play earlier that year.

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Julius Caesar Original text and modern version

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Characters Julius Caesar General of the Roman army Octavius Caesar Marcus Antonius M. Aemilius Lepidus Cicero Publius Popilius Lena

}

}

triumvirs after Julius Caesar’s death

senators of Rome

Marcus Brutus Cassius Casca Trebonius

conspirators against Caesar

Caius Ligarius Decius Brutus Metellus Cimber Cinna

Flavius and Marullus tribunes, who are elected representatives of the people Artemidorus a teacher A Soothsayer a fortune-teller Cinna a poet Another Poet Lucilius Titinius Messala Young Cato Volumnius

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Brutus’s and Cassius’s friends

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Varro Clitus Claudius Strato

Brutus’s servants or officers

Lucius Dardanius Pindarus Commoners of Rome plebeians Calpurnia Caesar’s wife Portia Brutus’s wife The Ghost of Caesar Senators, Guards, Servants, Attendants, etc.

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Julius Caesar

All the World’s a Stage

Introduction

Get ready to be transported back to Rome in 44 B.C. Up until the time the play opens, Rome had been ruled by a triumvirate—power was divided between three men: Pompey, Julius Caesar, and Crassus. Each man was chosen for different reasons. Pompey was a great politician, Julius Caesar was a famous general, and Crassus was a wealthy individual. Caesar was a brilliant general of the Roman army, who conquered much land for Rome. He had also embarked upon some important social and political reforms. Caesar had many loyal followers and many critics. Some people didn’t like the idea of the military hero having so much power. Still, as long as the triumvirate was in place, things were acceptable. Then Crassus died, and Pompey and Julius Caesar struggled for power. When Pompey died, Julius Caesar was the sole survivor of the triumvirate. Should all power be in the hands of one man? Earlier Roman emperors had been overthrown—ancestors of Brutus, an honored and respected member of the Roman Senate, had been involved. Caesar’s critics felt Rome should not return to rule by a single man. When the play opens, watch to see who supports Caesar and who does not.

My Words Fly Up

What's in a Name?

Characters

Don’t be confused by the number of characters whose names begin with C. The title character is Julius Caesar, whom you will meet in Scene 2. You will also meet Brutus, Cassius, Casca, Cicero, Cinna, and Calpurnia, among others. Those C names will drive you crazy, but you need to keep them straight. Julius Caesar and Calpurnia are married. Calpurnia has a small role in Act 1; you’ll see more of her in Act 2. Brutus and Cassius, two important characters, are not only good friends but also brothers-in-law. Cassius was married to Junia, Brutus’s sister. In Scene 2, you’ll discover a lot about Brutus and Cassius because they stop and talk rather than going to the Feast of Lupercal. Then Casca joins them. He relates the events that have taken place at the festival, and his sarcastic comments and blunt speech make the conflict clear. In Scene 3 Casca meets Cicero, a member of the Roman Senate who was known for his brilliant oratory. He was widely respected by many Romans. Again Casca’s direct remarks are unambiguous statements about the general tone in Rome.

Come What May

Things to Watch For

Which side are people on, and what issues drive them? Is it principles or power? Is it friendship and long personal history? Sometimes people’s motives are not simple and clear. A character may think he 22

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has decided because of a specific principle, but you may discover that actually other reasons drive him. Often you may understand more about complex motives than the characters do. When events reach this kind of crisis, no character’s life will stay the same. So compare Brutus and Cassius, Brutus and Caesar, and Caesar and Cassius. Who is rising, and who is falling? How do the characters feel about this shifting of fortunes? Is it possible to prevent the rise and fall? What can be done?

All Our Yesterdays

Historical and Social Context

Would you be worried if someone told you something terrible would happen to you one month from now? That will happen to Caesar in this act. A soothsayer, or someone who can predict the future, warns him to “Beware the ides of March.” Caesar has to decide how to react. To understand the timeline, we need to know more about the Roman calendar. At this time, the middle of the month was called the ides. The play opens on the Feast of Lupercal, a fertility festival held on February 15 (the ides of February). The soothsayer is referring to March 15. So the danger will not occur for another month. Will Caesar take this warning seriously?

The Play’s the Thing

Staging

How would you stage a play that has a total of 38 characters (20 men, 2 women, and a boy) plus nonspeaking parts and people in crowd scenes. Shakespeare did not have a cast of thousands. The answer was the routine practice of doubling parts. In other words, one actor would play more than one role. On September 21, 1599, Thomas Platter saw the play Julius Caesar performed at the Globe Theater by a total of 15 players. They obviously divided up all 38 speaking parts among themselves. Everyone participated in the crowd scenes except players with speaking parts.

My Words Fly Up

Language

Elizabethan audiences loved language. In the opening scene, Shakespeare used a number of puns. A pun is a “play on words” that takes advantage of the way some words sound the same but have different meanings. Shakespeare’s audience would catch these puns right away. Scene 1 uses some enjoyable puns. When Marullus asks the cobbler what profession he is, he responds with “a mender of bad soles.” The pun plays with the words soles and souls. Later the cobbler says “I meddle with no trademan’s matters nor women’s matters; but withal I am indeed, sir, a surgeon to old shoes.” The pun involves the word withal, which could also mean “with awl” (a tool that a cobbler would use) and “with all.”

What's in a Name?

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Rome. A street. Enter Flavius, Marullus and certain Commoners.

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Flavius 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 Of your profession? Speak, what trade art thou? 1st Commoner Why, sir, a carpenter. Marullus Where is thy leather apron, and thy rule? What dost thou with thy best apparel on? You, sir, what trade are you?

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2nd Commoner Truly, sir, in respect of a fine workman, I am but, as you would say, a cobbler. Marullus But what trade art thou? Answer me directly. 2nd Commoner A trade, sir, that I hope I may use with a safe conscience; which is, indeed, sir, a mender of bad soles.

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Marullus What trade, thou knave? thou naughty knave, what trade? 2nd Commoner Nay, I beseech you, sir, be not out with me: yet, if you be out, sir, I can mend you.

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Marullus What meanest thou by that? Mend me, thou saucy fellow? 2nd Commoner Why, sir, cobble you.

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A street in Rome. Flavius, Marullus, and Commoners enter. Flavius Go on home, you idle creatures! Go home! Do you think this is a holiday? Don’t you know, being artisans, that you shouldn’t walk around on a workday without a sign of your profession? Speak! What trade are you? 1st Commoner Why sir, I’m a carpenter. Marullus Where’s your leather apron and your ruler? Why are you wearing your best clothing? You, sir! What trade are you? 2nd Commoner Truly, sir, as far as a skilled worker goes, I am just, as you would say, a cobbler. Marullus But what trade are you? Answer me directly! 2nd Commoner A trade, sir, that I hope I can follow with a clear conscience. I am, indeed, sir, a mender of bad soles. Marullus What’s your trade, you knave! You good-for-nothing knave! What trade are you? 2nd Commoner No, please, sir, don’t be out of sorts with me. But if you should be out of sorts, sir, I can mend you. Marullus What do you mean by that? Mend me, you smartaleck fellow? 2nd Commoner Why sir, cobble you.

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Flavius Thou art a cobbler, art thou?

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2nd Commoner Truly, sir, all that I live by is with the awl: I meddle with no tradesman’s matters, nor women’s matters; but withal I 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. Flavius But wherefore art not in thy shop today? Why dost thou lead these men about the streets?

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2nd Commoner 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. Marullus Wherefore rejoice? What conquest brings he home? What tributaries follow him to Rome, To grace in captive bonds his chariot wheels? You blocks, you stones, you worse than senseless things! O 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 battlements, To towers and windows, yea, to chimney-tops, Your infants in your arms, and there have sat The livelong day, with patient expectation, To see great Pompey pass the streets of Rome: And when you saw his chariot but appear, Have you not made an universal shout, That Tiber trembled underneath her banks 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, That comes in triumph over Pompey’s blood? Be gone! Run to your houses, fall upon your knees, Pray to the gods to intermit the plague That needs must light on this ingratitude.

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Act I, Scene I

Flavius So, you are a cobbler—a mender of shoes—are you? 2nd Commoner Truly, sir, I make all my living with the awl. I don’t meddle with tradesman’s matters, or women’s matters. But withal I am, indeed, sir, a surgeon to old shoes. When they are in great danger, I recover them. As fine men as ever walked upon cowhide have walked on my handiwork. Flavius But why aren’t you in your shop today? Why do you lead these men around the streets? 2nd Commoner Truly, sir, to wear out their shoes, so I’ll get myself more work. But actually, sir, we’re taking a holiday to see Caesar, and to celebrate his triumphal parade. Marullus Why celebrate? What conquest does he bring home? What captives to be richly ransomed follow him to Rome, chained to his chariot wheels? You blockheads, you thick skulls! You worse than stupid things! Oh, you hard hearts, you cruel men of Rome! Didn’t you know Pompey? How many times, how often, have you climbed up to walls and battlements, to towers and windows, yes, even to chimneytops, with your infants in your arms, and there you’ve sat the livelong day, patiently waiting to see great Pompey pass through the streets of Rome. And when you saw his chariot appear, didn’t you all shout together, so loud that the Tiber trembled underneath her banks to hear the echoes your shouts made in her curved shoreline? And now you put on your best clothes? And now you pick this as a holiday? And now you throw flowers in his path, who comes in triumph over Pompey’s sons? Be gone! Run to your houses and fall on your knees and pray to the gods to withhold the plague that should fall on you for this ingratitude!

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Flavius Go, go, good countrymen, and for this fault Assemble all the poor men of your sort; 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]

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See where their basest mettle be not 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. Marullus May we do so? You know it is the feast of Lupercal.

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Flavius 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 thick. These growing feathers pluck’d from Caesar’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]

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Flavius Go, go, good countrymen. And for this sin assemble all the poor men of your kind and take them to the banks of the Tiber. Weep your tears into the waters until the lowest stream rises to the highest shore.

[Commoners exit] See how even their low natures are moved. They vanish, tongue-tied in their guiltiness. You go down that way toward the Capitol. I’ll go this way. If you find any statues of Caesar decked out with ornaments, take them off. Marullus Should we do that? You know it’s the feast of Lupercal. Flavius That doesn’t matter. Let there be no statues hung with decorations in honor of Caesar. I’ll go around and drive the commoners from the streets. You do the same, wherever you see them gathered. If we pluck these growing feathers from Caesar’s wings, it will make him fly at an ordinary height. Otherwise, he’ll soar too high and keep us all in servile fearfulness.

[Marullus and Flavius exit]

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A public place. Enter Caesar, Antony, Calpurnia, Portia, Decius, Cicero, Brutus, Cassius, Casca, a Soothsayer, and a crowd. Caesar Calpurnia! Casca

Peace, ho! Caesar speaks.

Caesar

Calpurnia!

Calpurnia Here, my lord. 5

Caesar Stand you directly in Antonius’ way When he doth run his course. Antonius! Antony Caesar, my lord?

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Caesar 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. Antony I shall remember: When Caesar says, ‘do this,’ it is perform’d. Caesar Set on, and leave no ceremony out.

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Soothsayer Caesar! Caesar Ha! Who calls? Casca Bid every noise be still; peace yet again!

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A public place. Caesar, Antony, Calpurnia, Portia, Decius, Cicero, Brutus, Cassius, Casca, and a Soothsayer enter, along with a crowd. Caesar Calpurnia! Casca Quiet! Caesar speaks! Caesar Calpurnia! Calpurnia Here, my lord. Caesar Stand directly in Antony’s way when he runs the race. Antony! Antony Caesar, my lord? Caesar Don’t forget in your speed, Antony, to touch Calpurnia. For our elders say that barren women touched in this holy race will shake off their curse of sterility. Antony I will remember. When Caesar says, “do this,” it’s done! Caesar Go ahead, now, and leave no ceremony out. Soothsayer Caesar! Caesar Ha! Who calls? Casca Tell everyone to be quiet. Silence, again!

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Julius Caesar

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Caesar Who is it in the press that calls on me? I hear a tongue shriller than all the music Cry ‘Caesar!’ Speak: Caesar is turn’d to hear. Soothsayer Beware the ides of March. Caesar

What man is that?

Brutus A soothsayer bids you beware the ides of March. Caesar Set him before me; let me see his face. 25

Cassius Fellow, come from the throng; look upon Caesar. Caesar What say’st thou to me now? Speak once again. Soothsayer Beware the ides of March. Caesar He is a dreamer. Let us leave him. Pass. [Exeunt all except Brutus and Cassius] Cassius Will you go see the order of the course?

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Brutus Not I. Cassius

I pray you, do.

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Brutus 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.

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Cassius 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. Brutus Cassius, Be not deceiv’d: if I have veil’d my look, I turn the trouble of my countenance Merely upon myself. Vexed I am

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Caesar Who is it in the crowd who calls me? I heard a voice shriller than all the music cry “Caesar!” Speak! Caesar turns to hear. Soothsayer Beware the ides of March! Caesar Who is that man? Brutus A soothsayer who tells you to beware of the ides of March. Caesar Bring him to me. Let me see his face. Cassius Fellow, come out of the crowd. Look at Caesar. Caesar What did you say to me now? Say it again. Soothsayer Beware the ides of March. Caesar He’s a dreamer. Let’s leave him. Pass. [All except Brutus and Cassius exit] Cassius Will you go see how the race is going? Brutus Not I. Cassius Please, do. Brutus I’m not the sort for games. I lack Antony’s quick spirit. Don’t let me interfere with your pleasure, Cassius. I’ll leave you. Cassius Brutus, I’ve been observing you lately. You don’t look at me with the same gentleness and fondness that you used to. You seem stiff and strange toward your friend who loves you. Brutus Cassius, don’t be deceived. If I’ve turned away from you, I turn my frowns upon myself. I’ve been upset lately

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Of late with passions of some difference, Conceptions only proper to myself, Which give some soil, perhaps, to my behaviours; But let not therefore my good friends be griev’d – Among which number, Cassius, be you one – Nor construe any further my neglect, Than that poor Brutus, with himself at war, Forgets the shows of love to other men. Cassius Then, Brutus, I have much mistook your passion; By means whereof this breast of mine hath buried Thoughts of great value, worthy cogitations. Tell me, good Brutus, can you see your face? Brutus No, Cassius; for the eye sees not itself But by reflection, by some other things.

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Cassius ’Tis just; And it is very much lamented, Brutus, That you have no such mirrors as will turn Your hidden worthiness into your eye, That you might see your shadow. I have heard, Where many of the best respect in Rome, Except immortal Caesar, speaking of Brutus, And groaning underneath this age’s yoke, Have wish’d that noble Brutus had his eyes. Brutus Into what dangers would you lead me, Cassius, That you would have me seek into myself For that which is not in me? Cassius Therefore, good Brutus, be prepar’d 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. And be not jealous on me, gentle Brutus: Were I a common laugher, or did use To stale with ordinary oaths my love

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with conflicting emotions—concerns that I cannot share with anyone. That’s affected my behavior, perhaps. But I don’t want my good friends to be upset—among which you, Cassius, are one. Don’t think that my neglect of you has any other reason than that I’m at war with myself and neglect my usual friendliness to others.

Cassius Then, Brutus, I’ve greatly misinterpreted your feelings, and so I’ve kept my important thoughts buried in my heart. Tell me, good Brutus, can you see your face? Brutus No, Cassius. The eye can’t see itself except by reflection in some other things. Cassius That’s right. And it’s very sad, Brutus, that you have no such mirrors that will reflect your own hidden worthiness that you might see it for yourself. I’ve heard many of the most respected men in Rome (except immortal Caesar!) speaking of Brutus and complaining about the tyranny of the times, and wishing that noble Brutus could see himself.

Brutus What dangers would you lead me into, Cassius, that you want me to look inside myself for something that’s not in me? Cassius Well, good Brutus, be prepared to listen. Since you know you can’t see yourself except by reflection, then I’ll be your looking glass. Without exaggeration I’ll show you things about yourself that you don’t know of. Don’t be suspicious of me, gentle Brutus. If I were a common joker, or offered my friendship to anyone who comes along, or if you think I fawn

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To every new protester; if you know That I do fawn on men and hug them hard, 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]

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Brutus What means this shouting? I do fear the people Choose Caesar for their king. Cassius Ay, do you fear it? Then must I think you would not have it so.

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Brutus I would not, 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, 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 The name of honour more than I fear death. Cassius I know that virtue to be in you, Brutus, As well as I do know your outward 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, 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: 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,

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on men and pretend to be friends, and afterward slander them, or if you think that I profess to be the friend of everybody when I’m drinking—then consider me a dangerous man.

[Trumpets and shouts are heard] Brutus What’s all the shouting about? I’m afraid the people have chosen Caesar as their king! Cassius Ah, do you fear it? Then I must think you wouldn’t have it so. Brutus I wouldn’t, Cassius. Yet I love him very much. But why do you keep me here so long? What is it that you want to tell me? If it has to do with the general welfare, then put honor in front of one eye and death in front of the other and I’ll look on both impartially. For, the gods bless me, I love my honor more than I fear death.

Cassius I know that virtue is in you, Brutus, as well as I know your face. Well, honor is the subject of my story. I can’t tell what you and other men think of this life. But as for myself, I would just as soon not exist as to live in awe of another human like myself. I was born free as Caesar. So were you. We both have eaten as well; and we can both endure the winter’s cold as well as he. Once on a raw and windy day, when the troubled Tiber was pounding against its shores, Caesar said to me, “Cassius, do you dare to jump into this turbulent water with me and swim to that point yonder?” As soon as he said it, even though I was dressed, I plunged in

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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. 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 Did I the tired Caesar. And this man 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 How he did shake; ’tis true, this god did shake; His coward lips did from their colour fly, 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 Romans Mark him and write his speeches in their books, Alas, it cried, ‘Give me some drink, Titinius,’ 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, And bear the palm alone. [Flourish and shout]

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Brutus Another general shout? I do believe that these applauses are For some new honours that are heap’d on Caesar. Cassius Why, man, he doth bestride the narrow world Like a Colossus, and we petty men Walk under his huge legs, and peep about To find ourselves dishonourable graves.

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and urged him to follow. So indeed he did. The water roared, and we swam vigorously, throwing the water aside in our excitement over the race. But before we could arrive at the proposed point, Caesar cried, “Help me Cassius, or I’ll sink.” Our great ancestor, the hero Aeneas, carried his father, old Anchises, upon his shoulder from the burning city of Troy. Like him, I carried the tired Caesar from the waves of the Tiber. And this man is now become a god! And Cassius is a wretched creature, and must bow if Caesar so much as carelessly nods at him! He had a fever when he was in Spain, and when the fit of fever came over him, I saw how he shook. It’s true, this god did shake! His cowardly lips lost their color. And that same eye, whose glance awes the world, lost its luster. I heard him groan. Yes, and that tongue of his that urges Romans to listen to his words, and to write his speeches in their books, alas, it cried, “Give me a drink, Titinius,” like a sick girl. Ye gods, it amazes me that such a weak man should be able to rise above everyone in this majestic world and become the sole ruler.

[Flourish of trumpets and shouts] Brutus Another roar from the crowd? I do believe that this applause must be for some new honors heaped on Caesar. Cassius Why, man, he bestrides the narrow world like a Colossus, and we petty men walk under his huge legs, and peep around to find ourselves lowly graves. Sometimes men

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Men at some time are masters of their fates: 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 walks encompass’d but one man? Now is it Rome indeed, and room enough, When there is in it but one only man. O, you and I have heard our fathers say, There was a Brutus once that would have brook’d Th’ eternal devil to keep his state in Rome As easily as a king. Brutus That you do love me, I am nothing jealous; What you would work me to, I have some aim: How I have thought of this, and of these times, I shall recount hereafter. For this present, 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. 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.

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are masters of their fates. The fault, dear Brutus, is not in our stars, but in ourselves, that we are underlings. Brutus and Caesar: what is it in that name “Caesar”? Why should that name be spoken more than yours? Write them together. Yours is as fair a name. Say them. Yours sounds just as pleasing. Weigh them. Yours is as heavy. Conjure with them. “Brutus” will summon a spirit as soon as “Caesar.” Now in the names of all the gods at once, what food does this Caesar eat that he is grown so great? It is a shameful time. Rome, you no longer produce men of noble blood! When was there an age, since the great flood, that Rome did not have more than one great man? When could they say of Rome—until now—that her wide walkways encircled just one man? Now is it “Rome” indeed, and room enough, when there’s only one man in it? Oh, you and I have heard our fathers say, there was once a man named Brutus who would as soon have tolerated the eternal devil to reign in Rome as to tolerate a king.

Brutus That you love me, I don’t doubt. I have some idea what it is you would have me do. Some other time I’ll tell you what I think of this, and of these times. For now, I ask you kindly, I’d rather you not try to persuade me further. I’ll consider what you’ve said. I’ll listen patiently to what more you have to say and I’ll find a time suitable to discuss such important things. Until then, my noble friend, think about this: Brutus would rather be a villager than to claim himself a son of Rome under the oppressive conditions that this time is likely to bring on us.

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Cassius I am glad That my weak words have struck but thus much show Of fire from Brutus. [Enter Caesar and his train] 185

Brutus The games are done and Caesar is returning. Cassius As they pass by, pluck Casca by the sleeve, And he will, after his sour fashion, tell you What hath proceeded worthy note today.

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Brutus 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: 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. Cassius Casca will tell us what the matter is. Caesar Antonius! Antony

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Caesar Let me have men about me that are fat, Sleek-headed men, and such as sleep a-nights. Yond Cassius has a lean and hungry look; He thinks too much: such men are dangerous. Antony Fear him not, Caesar, he’s not dangerous. He is a noble Roman, and well given.

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Caesar Would he were fatter! But I fear him not: Yet if my name were liable to fear, 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,

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Cassius I’m glad that my few words have sparked this much interest from you, Brutus.

[Caesar and his attendants enter] Brutus The games are done and Caesar is returning. Cassius As they pass by, pluck Casca by the sleeve. He’ll tell you, after his sour fashion, anything noteworthy that happened today. Brutus I’ll do so. But look, Cassius. Caesar’s face is flushed with anger. And all the rest look like they’ve been reprimanded. Calpurnia’s cheek is pale. Cicero’s eyes have that fiery look that we’ve seen in him in the Capitol, when senators have opposed him in a debate.

Cassius Casca will tell us what happened. Caesar Antony! Antony Caesar? Caesar I want men around me who are fat, and bald, and sleep well at night. That Cassius has a lean and hungry look. He thinks too much. Such men are dangerous. Antony Don’t be afraid of him, Caesar. He’s not dangerous. He’s a noble Roman, and well intentioned. Caesar I wish he were fatter! But I don’t fear him. Yet if I myself were inclined to be afraid, I don’t know a man I’d as soon avoid as that lean Cassius. He reads a great deal. He’s a great observer, and he can see through the behavior of men. He doesn’t love plays, as you do, Antony. He doesn’t listen to

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As thou dost, Antony; he hears no music. Seldom he smiles, and smiles in such a sort As if he mock’d himself, and scorn’d his spirit That could be mov’d to smile at any thing. Such men as he be never at heart’s ease Whiles they behold a greater than themselves, And therefore are they very dangerous. 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. [Exeunt Caesar and his train] Casca You pull’d me by the cloak. Would you speak with me? Brutus Ay, Casca. Tell us what hath chanc’d today, That Caesar looks so sad.

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Casca Why, you were with him, were you not? Brutus I should not then ask Casca what had 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.

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Brutus What was the second noise for? Casca Why, for that too. Brutus They shouted thrice: what was the last cry for? Casca Why, for that too. Brutus Was the crown offer’d him thrice?

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Casca Ay, marry, was’t, and he put it by thrice, every time gentler than other; and at every putting-by mine honest neighbours shouted. Cassius Who offered him the crown?

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music. He seldom smiles, and when he does it’s as if he were mocking himself and scorning his spirit for being moved to smile at anything. Such men as he are never at peace as long as there’s someone greater than themselves. Therefore, they are very dangerous. I’m telling you what should be feared, not what I truly do fear. For always, I am Caesar. Come over here on my right side, for this ear is deaf. Tell me truly what you think of him.

[Caesar and his attendants exit] Casca You pulled me by the cloak. Do you want to speak with me? Brutus Yes, Casca. Tell us what happened today that makes Caesar look so unhappy. Casca Why, you were with him, weren’t you? Brutus If I were, I wouldn’t be asking you what happened. Casca Why, a crown was offered to him. And when it was offered to him, he brushed it aside with the back of his hand, like this. And then the people started shouting. Brutus What was the second noise for? Casca Why, for that same thing. Brutus They shouted three times. What was the last cry for? Casca Why, for that same thing. Brutus Was the crown offered to him three times? Casca Yes, by heaven, it was. And he brushed it aside three times, each time more gently than the other. And at every brushing aside, my honest neighbors, the crowd, shouted. Cassius Who offered him the crown?

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Casca Why, Antony. 240

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Brutus Tell us the manner of it, gentle Casca. Casca I can as well be hang’d as tell the manner 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, ’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 offered 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 offered it the third time. He put it the third time by; and still as he refus’d it, the rabblement hooted, and clapp’d their chopt hands, and threw up their sweaty night-caps, and uttered such a deal of stinking breath because Caesar refus’d the crown, that it had, almost, choked Caesar; for he swounded, and fell down at it. And for mine own part, I durst not laugh, for fear of opening my lips and receiving the bad air. Cassius 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. Brutus ’Tis very like; he hath the falling-sickness.

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Cassius No, Caesar hath it not; but you, and I, And honest Casca, we have the falling-sickness. 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, according as he pleas’d and displeas’d them, as they use to do the players in the theatre, I am no true man.

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Brutus What said he when he came unto himself? Casca Marry, before he fell down, when he perceiv’d the common herd was glad he refus’d the crown, he pluck’d me ope his doublet, and offer’d them his throat to cut. And I had been a man of any occupation, if I would not have taken him

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Casca Why, Antony. Brutus Tell us how it happened, noble Casca. Casca I’ll be hanged if I can tell you what happened exactly. It was just foolishness. I didn’t pay it much attention. I saw Mark Antony offer him a crown. But it wasn’t a crown, either, it was one of those coronets of laurel. And, as I told you, Caesar brushed it aside once. But really, to my thinking, he would have liked to have had it. Then Antony offered it to Caesar again. Then he brushed it aside again. But to my thinking, he was very unwilling to take his fingers off it. And then Antony offered it the third time. Caesar brushed it aside the third time. And as he refused it, the rabble hooted and clapped their rough hands, and threw up their sweaty night-caps in the air, and breathed out such a great deal of stinking breath because Caesar refused the crown, that it almost choked Caesar. He fainted and fell down. For my own part, I didn’t dare laugh for fear of opening my lips and breathing the bad air. Cassius But wait, please. What? Did Caesar faint? Casca He fell down in the marketplace and foamed at the mouth and couldn’t speak. Brutus It’s very likely. He has epilepsy—what common folk call the falling sickness. Cassius No, Caesar doesn’t have it. But you, and I, and honest Casca, we have the falling sickness! Casca I don’t know what you mean by that, but I’m sure Caesar fell down. If the rag-tag crowd didn’t clap for him and hiss him, according to whether he pleased or displeased them, as they do for the players in the theater, I’m not a truthful man. Brutus What did he say when he came to? Casca Well, before he fell down, when he saw the mob was glad he refused the crown, he opened his jacket and offered them his throat to cut. And if I’d been a workingman and had the tool, I wish I’d go to hell among the rogues if I wouldn’t

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at a word, I would I might go to hell among the rogues. And so he fell. When he came to himself again, he said, if he had done or said anything amiss, he desir’d their worships to think it was his infirmity. Three or four wenches, where I stood, cried, ‘Alas, good 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. Brutus And after that, he came, thus sad, away? Casca Ay. Cassius Did Cicero say anything?

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Casca Ay, he spoke Greek. Cassius To what effect?

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Casca Nay, and I tell you that, I’ll ne’er look you i’ th’ face again. But those that understood 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: 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. Cassius Will you sup with me tonight, Casca? Casca No, I am promis’d forth.

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Cassius Will you dine with me tomorrow? Casca Ay, if I be alive, and your mind hold, and your dinner worth the eating. Cassius Good. I will expect you. Casca Do so. Farewell, both. [Exit Casca]

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Brutus What a blunt fellow is this grown to be! He was quick mettle when he went to school.

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have taken him at his word. And so he fell. When he came to himself again, he said, if he had done or said anything wrong, he hoped their worships would think it was because of his infirmity. Three or four women, where I stood, cried, “Alas, good soul,” and forgave him with all their hearts. But don’t pay any attention to them. If Caesar had stabbed their mothers, they would have done no less. Brutus And after that, he came away unhappy like this? Casca Yes. Cassius Did Cicero say anything? Casca Yes, he spoke Greek. Cassius To what effect? Casca If I could tell you that, I’d never look you in the face again. But those who understood him smiled at one another and shook their heads. But for my part, it was Greek to me. I can tell you more news, too. Marullus and Flavius are put to death for pulling scarves off Caesar’s statues. Farewell. There was more foolishness, if I could remember it. Cassius Will you have dinner with me tonight, Casca? Casca No, I have other plans. Cassius Will you dine with me tomorrow? Casca Yes, if I’m still alive, and you still want me to, and your dinner is worth the eating! Cassius Good. I’ll expect you. Casca Do so. Farewell, both of you. [Casca exits] Brutus What a blunt fellow he’s become! He had a lively spirit when he went to school.

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Cassius So is he now in execution Of any bold or noble enterprise, 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. Brutus And so it is. For this time I will leave you. Tomorrow, 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. Cassius I will do so: till then, think of the world. [Exit Brutus]

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Well, Brutus, thou art noble; yet I see Thy honourable mettle may be wrought From that it is dispos’d: therefore ’tis 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, 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 Rome holds of his name; wherein 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]

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Cassius He still has when he’s carrying out any bold or noble undertaking. But he puts on this crude manner. His rudeness is a sauce for his clever wit, which gives men the stomach to swallow his words with a better appetite.

Brutus And so it is! I’ll leave you for now. Tomorrow, if you want to speak with me, I’ll come to your home. Or if you’d rather, come to my home, and I’ll wait there for you. Cassius I’ll do so. Till then, think about this situation. [Brutus exits] Well, Brutus, you are noble. But I see your honorable character can be shaped into something else. Therefore, it’s good that noble minds should keep with their own kind. For who’s so strong that can’t be seduced? Caesar bears hard feelings for me. But he loves Brutus. If I were Brutus now and he were Cassius, then Cassius could not persuade Brutus. Tonight I’ll throw notes through his window in different handwritings, as if they came from different citizens. The notes will all refer to the high opinion that Rome has of him and make mention of Caesar’s ambition. And after this, Caesar should hold tightly to his seat, for we’ll shake him out of it, or endure worse days to come.

[Cassius exits]

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A street. Thunder and lightning. Enter Casca and Cicero. Cicero Good even, Casca: brought you Caesar home? Why are you breathless? and why stare you so?

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Casca Are you not mov’d, when all the sway of earth Shakes like a thing unfirm? O Cicero, I have seen tempests, when the scolding winds Have riv’d the knotty oaks; and I have seen Th’ ambitious ocean swell and rage and foam, To be exalted with the threat’ning clouds: But never till tonight, never till now, 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. Cicero Why, saw you any thing more wonderful?

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Casca A common slave, 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) Against the Capitol I met a lion, Who glazed upon me, and went surly by, Without annoying me. And there were drawn Upon a heap a hundred ghastly women,

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A street. Thunder and lightning. Casca and Cicero enter. Cicero Good evening, Casca. Did you escort Caesar home? Why are you breathless? And why do you stare so? Casca Aren’t you frightened when the earth shakes as if it were not solid? Oh Cicero, I’ve seen tempests when the lashing winds have split knotty oaks. And I’ve seen the driving ocean swell and rage and foam, trying to reach the threatening clouds above. But never until tonight, never until now, did I go through a tempest that dropped fire. Either there is a civil war in heaven, or else the world, too disrespectful toward the gods, has angered them into sending destruction.

Cicero Have you seen anything else that’s cause for wonder? Casca A common slave, you know him well by sight, held up his left hand, which burst into flame and burned like twenty torches together. And yet his hand didn’t feel the fire and remained unscorched. Besides—I haven’t put my sword away since—I met a lion near the Capitol. It stared at me and then went snarling by, without bothering me. And there gathered a crowd of a hundred women, all aghast and

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Transformed with their fear, who swore they saw Men, all in fire, walk up and down the streets. And yesterday the bird of night did sit, Even at noonday, 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’; For I believe, they are portentous things Unto the climate that they point upon. Cicero Indeed, it is a strange-disposed time: But men may construe things, after their fashion, Clean from the purpose of the things themselves. Comes Caesar to the Capitol tomorrow? Casca He doth; for he did bid Antonius Send word to you he would be there tomorrow.

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Cicero Good night then, Casca: this disturbed sky Is not to walk in. Casca

Farewell, Cicero [Exit Cicero]

[Enter Cassius] Cassius Who’s there? Casca Cassius 45

A Roman. Casca, by your voice.

Casca Your ear is good. Cassius, what night is this! Cassius A very pleasing night to honest men. Casca Who ever knew the heavens menace so? Cassius Those that have known the earth so full of faults. For my part, I have walk’d about the streets,

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transformed with fear, who swore they saw men, all on fire, walk up and down the streets. And yesterday the bird of night sat at noonday in the marketplace, hooting and shrieking. When these extraordinary events happen at once, don’t let someone say, “This and that are the reasons . . . they’re all natural events.” For I believe they are bad omens for this time and this place.

Cicero Indeed, it is a strange time. But men may interpret things according to their own ideas, quite different from the real meaning of the things themselves. Is Caesar coming to the Capitol tomorrow? Casca He is. He told Antony to send word to you that he would be there tomorrow. Cicero Good night then, Casca. We shouldn’t be walking about in this stormy weather. Casca Farewell, Cicero. [Cicero exits] [Cassius enters] Cassius Who’s there? Casca A Roman. Cassius It’s Casca, by the sound of your voice. Casca Your ear is good. Cassius, what a night this is! Cassius A very pleasant night to honest men. Casca Who has ever known the heavens to be so menacing? Cassius Those who have known that the earth is so full of faults. For my part, I’ve walked around the streets submitting

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Submitting me unto the perilous night, And, thus unbraced, Casca, as you see, Have bar’d my bosom to the thunder-stone; 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 When the most mighty gods by tokens send Such dreadful heralds to astonish us.

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Cassius 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, 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, Why birds and beasts from quality and kind, Why old men, fools, and children calculate, Why all these things change from their ordinance, Their natures, and pre-formed faculties, To monstrous quality, why, you shall find That heaven hath infus’d them with these spirits To make them instruments of fear and warning 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; A man no mightier than thyself, or me, In personal action, yet prodigious grown, And fearful, as these strange eruptions are. Casca ’Tis Caesar that you mean, is it not, Cassius?

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myself to this perilous night. And with my robe opened, Casca, as you see, I’ve bared my bosom to the thunderbolt. And when the forked blue lightning seemed to slice the breast of heaven, I placed myself in its path.

Casca But why did you tempt the heavens so? It’s proper that men should fear and tremble when the most mighty gods, by these signs, send such dreadful messengers to astonish us. Cassius You’re dull, Casca. And you lack those sparks of life that should be in a Roman, or else you’re not using them. You look pale, and stare, and act fearful, and cast about in a state of wonder when you see the strange restlessness of the heavens. But if you would consider the true reason why all these fires; why all these gliding ghosts; and why birds and beasts behave against their nature; why old men, fools, and children prophesy; why all these things change from their normal order, change their nature and their inborn habits to this unnatural condition—Why, then you shall find that heaven has put these spirits in them as signs of fear and warning about this unnatural state of affairs. Now I can name for you a man, Casca, who’s like this dreadful night that thunders, lightnings, opens graves, and roars like the lion in the Capitol. A man no mightier than you or me, in personal action, yet grown so great and ominous, so fearful, like these strange happenings are.

Casca It’s Caesar you mean, isn’t it, Cassius?

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Cassius Let it be who it is: for Romans now 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 tomorrow Mean to establish Caesar as a king; And he shall wear his crown by sea and land, In every place, save here in Italy. Cassius I know where I will wear this dagger then; Cassius from bondage will deliver Cassius: Therein, ye gods, you make the weak most strong; Therein, ye gods, you tyrants do defeat. Nor stony tower, nor walls of beaten brass, Nor airless dungeon, nor strong links of iron, 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 I can shake off at pleasure. Casca So can I: So every bondman in his own hand bears The power to cancel his captivity. Cassius And why should Caesar be a tyrant then? Poor man! I know he would not be a wolf, But that he sees the Romans 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 For the base matter to illuminate So vile a thing as Caesar! But, O grief, Where hadst thou led me? I, perhaps, speak this

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Cassius Let it be who it is. Romans still have muscles and limbs like their ancestors. But woe the times! Our fathers’ minds are dead, and we’re governed by our mothers’ spirits. Our tolerance of this tyranny shows us to be womanish. Casca Indeed, they say that tomorrow the senators intend to establish Caesar as king. And he’ll wear his crown by sea and land, everywhere, except here in Italy. Cassius I know where I’ll wear this dagger then. Cassius will deliver Cassius from bondage. With this, you gods, you make the weak strong. With this, you gods, you defeat tyrants. No stone towers, or walls of beaten brass, or airless dungeons, or chains of iron can contain the strong spirit. But life, weary of these worldly bonds, never lacks the power to end itself. If I know this, I know all I need to know, that the tyranny that I bear I can shake off at my pleasure.

Casca So can I. Every slave has the power in his own hands to end his captivity. Cassius And why should Caesar be a tyrant then? Poor man! I know he wouldn’t be a wolf except that he sees the Romans are just sheep. He wouldn’t be a lion if Romans weren’t deer. Those who want to make a mighty fire quickly should start with weak straws. What trash is Rome, what rubbish, and what garbage, when it serves as the kindling to illuminate so vile a thing as Caesar! But, oh grief, where have you led me?

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Before a willing bondman; then I know My answer must be made. But I am arm’d, And dangers are to me indifferent. 120

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 As who goes furthest.

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Cassius There’s a bargain made. Now know you, Casca, I have mov’d already Some certain of the noblest-minded Romans To undergo with me an enterprise Of honourable-dangerous consequence; And I do know, by this they stay for me 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.

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[Enter Cinna] Casca Stand close awhile, for here comes one in haste. Cassius ’Tis Cinna. I do know him by his gait. He is a friend. Cinna, where haste you so? Cinna To find out you. Who’s that? Metellus Cimber? 140

Cassius No, it is Casca, one incorporate To our attempts. Am I not stay’d for, Cinna? Cinna I am glad on’t. What a fearful night is this! There’s two or three of us have seen strange sights. Cassius Am I not stay’d for? Tell me.

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I, perhaps, speak this before a willing slave. Then I know I’ll have to answer for it. But I’m armed, and dangers don’t mean anything to me. Casca You speak to Casca, a man who’s no mocking tell-tale. Take my hand. Mount a rebellion to set these grievances right, and I’ll set this foot of mine as far along that path as whoever goes the farthest. Cassius You’ve got a bargain. I want you to know, Casca, that I’ve already persuaded some of the noblest-minded Romans to join with me in this honorable but dangerous enterprise. And I know they’re waiting for me at the porch of Pompey’s theater. But now, this is such a fearful night that there’s no one stirring or walking about the streets. And the face of the sky looks like the work we have at hand—most bloody, fiery, and most terrible.

[Cinna enters] Casca Stand aside a moment. Here comes someone in a hurry. Cassius It’s Cinna. I know him by his walk. He’s a friend. Cinna, where are you going in such a hurry? Cinna To find you. Who’s that? Metellus Cimber? Cassius No, it’s Casca, one who’s joined our plans. Are they waiting for me, Cinna? Cinna I’m glad of it. What a fearful night this is! There’s two or three of us who’ve seen some strange sights. Cassius Are they waiting for me? Tell me!

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Cinna Yes, you are. O Cassius, if you could But win the noble Brutus to our party – Cassius 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 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? Cinna All but Metellus Cimber, and he’s gone To seek you at your house. Well, I will hie, And so bestow these papers as you bade me. Cassius That done, repair to Pompey’s theatre. [Exit Cinna]

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Come, Casca, you and I will yet ere day See Brutus at his house: three parts of him Is ours already, and the man entire Upon the next encounter yields him ours. Casca O, he sits high in all the people’s hearts: And that which would appear offence in us His countenance, like richest alchemy, Will change to virtue and to worthiness. Cassius 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 will awake him and be sure of him. [Exeunt]

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Cinna Yes, they are. Oh Cassius, if you could just win the noble Brutus over to our group— Cassius Be content. Good Cinna, take this paper and make sure you lay it in Brutus’s chair, where he can’t help but find it. And throw this in at his window. Stick this up with wax on Brutus’s statue. When you’ve done all this, go to Pompey’s porch, where you’ll find us. Are Decius Brutus and Trebonius there? Cinna All but Metellus Cimber, and he’s gone to look for you at your house. Well, I’ll hurry up and place these papers as you asked. Cassius When you’re done, go to Pompey’s theater. [Cinna exits] Come Casca. You and I will see Brutus at his house before day comes. Three parts of him are ours already. When we meet him again, we’ll get the whole man entirely. Casca Oh, the people hold him in high esteem. What would appear offensive in us will be transformed, like magic, into virtue and worthiness if he’s with us. Cassius You understand clearly why we have a great need of Brutus and his reputation. Let’s go. It’s after midnight. Before dawn comes we’ll wake him and make sure he’s with us.

[Exit]

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Comprehension

Check What You Know

1. What is the setting of Scene 1 (month, day, year, and place)? What are two reasons for all the people in the streets? 2. Why are Flavius and Marullus trying to disperse the crowds? What late Roman do these two men admire? Why don’t they admire Julius Caesar? 3. Why does Caesar want Antony to touch his wife Calpurnia as he runs by during the race? 4. What is the soothsayer’s warning to Caesar? What is Caesar’s reaction? 5. Why didn’t Brutus go to the games like everyone else? Why didn’t Cassius go? After the first shout from the crowd, what does Brutus fear? 6. Cassius relates two stories about Caesar. One happened when the two of them went swimming, and the other happened when Caesar was in Spain. Why did Cassius tell these stories? 7. How does Cassius feel about Caesar ruling Rome? How does Brutus feel? 8. Who tells Brutus and Cassius what happened at the games? 9. How does Caesar feel about Cassius? Why does he feel that way? 10. How many times was Caesar offered the crown? Who offered it to him? Why did he refuse it the way he did? What was the crowd’s reaction? 11. What new physical condition of Caesar’s is revealed? 12. What famous Roman spoke at the festivities? What did the expression “It was Greek to me” mean then, and what does it mean today? 13. According to Cassius, how does Caesar feel toward him? How does Caesar feel about Brutus? 14. What does Cassius plan to do that night to try and influence Brutus? ©Hulton/Archive

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Post-Act

Activities & Role-Playing

Classes or Informal Groups

The Crowd Reacts The crowd scene does not actually appear in the play; we only learn about it from Casca’s speech. Role-play what you think happened. Be sure to include Caesar’s three refusals of the crown. Make sure that the crowd reacts correctly. How does Caesar react to the crowd? Two Brothers-in-Law Brutus and Cassius are obviously close friends as well as brothers-in-law. In Scene 2 we see them discussing a very serious matter, but they probably have other things in common as well. Role-play a scene between the two of them before the play begins. Create the discussion on a variety of topics, such as sports, politics, women, and religion, to name a few.

Discussion

Classes or Informal Groups

1. Why would Flavius and Marullus be so daring as to take down the decorations that were put up to honor Caesar? 2. Why must Cassius see how Brutus feels about Caesar’s use of power? 3. How does Cassius try to convince Brutus that Caesar needs to be stopped before he gets any more power? 4. Why doesn’t Caesar like Cassius? 5. What kind of person is Casca? How reliable a source of information is he? 6. Why would Caesar refuse the crown three times? Did he not want the power? 7. Why would the crowd react the way it did to his refusal of the crown? Did they not want him to have the power? 8. Why is it so important for Cassius to get Brutus to join the conspiracy? Couldn’t he still organize other people even if Brutus doesn’t join?

Suggestions for Writing

Improve Your Skills

1. Many of the characters have names that begin with the letter C. Make a chart for each character in Act 1. Include the character’s relationship with others, marital status, political views (pro- or anti-Caesar), and important speeches. 2. Write the letter that Cassius throws in Brutus’s window at the end of Scene 2. How will he try to convince Brutus to join the conspiracy?

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Julius Caesar

All the World’s a Stage

Introduction

All the signs are there—trouble is definitely brewing in Rome. Not only is the political situation full of conflict, there are storms, portents, and unnatural occurrences. It may well be that the problem that has arisen is so serious that it threatens all of the world, not just the city of Rome. The stage is set for the conspiracy. It has been a month since the Feast of Lupercal, and Cassius has been hard at work getting his group together. He doesn’t know it yet, but Brutus has spent the past month thinking about his involvement in this conspiracy. What makes it hard for Brutus is that he really likes Julius Caesar as a person, but he fears what Caesar might turn into once he gets total power. Brutus is a key figure in this conspiracy. His presence will lend credibility and respectability to the cause because he is such a noble figure. In fact, watch how many times the word noble is used in reference to Brutus. The conspirators meet and discuss the details of the assassination in Scene 1. Look for these specifics. Have they thought of everything? Are they missing any important details?

My Words Fly Up

What's in a Name?

Characters

Get ready to observe two married couples in this act. Scene 1 involves Brutus and his wife, Portia. Scene 2 involves Caesar and Calpurnia. What are these marriages like? Are they alike or different? Do the couples love each other? Watch Portia in the scene with her husband. She clearly knows her husband very well, for she knows that he hasn’t been himself lately (for the past month!). Watch how they work out their differences. Then watch Calpurnia in the scene with her husband. How much influence does she have over him? Remember the contrasts from Act 1. Watch these contrasts in Act 2.

Come What May

Things to Watch For

The big day—the ides of March—is here! Can you feel the tension increasing? All the action of Act 2 occurs on this day. You will see different characters reacting to its events. Scene 1 takes place at the home of Brutus, where the final plans for the conspiracy take shape. Scene 2 occurs at the home of Caesar. What is he thinking about the fact that today is the ides of March? Scene 3 introduces the new character of Artemidorus, who could throw a monkey wrench into the whole works if he can reveal his news about the conspiracy. Scene 4 shifts back to the home of Brutus, where Portia is a nervous wreck.

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Pre-Act

All Our Yesterdays

Historical and Social Context

How superstitious are you? The Elizabethans had a great interest in superstition, and Shakespeare reflected this in the character of Julius Caesar. It’s been one month since the soothsayer gave his warning. If you’re superstitious like Caesar, you’ll have to think twice before going out. Augurers were priests who offered advice and counsel to people in high places. It is only right that Caesar would consult them to see what he should do on this day. What’s more, Elizabethans also put great emphasis on dreams, and Calpurnia’s dream would be enough to frighten anyone! People who are superstitious often see “signs” of things to come in the everyday world. There is no way to know whether Shakespeare himself believed in such signs and portents, but he was very willing to use them for dramatic effect in his plays. In Act 1 and again in Act 2, thunder and lightning resound, graves open, and ghosts shriek. The disorder in Rome and the ominous plot to assassinate Caesar are reflected in the ominous disorder in nature.

The Play’s the Thing

Staging

In this play, the audience needs to see the homes of Brutus and Julius Caesar, two wealthy and prominent Romans. With minimal props and scenery, the stage must be transformed into these lavish homes. Think about what these two homes might look like. How would Julius Caesar’s home be different from the home of Brutus? How would you depict the coming of day during the first scene? Act 2 begins before the sun comes up. How would you use light and sound to show daybreak? Remember that these men are sneaking around, hoping not to be seen. Dawn is breaking, and a “new day” will begin. This “new day” has different meanings to individual characters, and that may influence how you use sound and lighting.

My Words Fly Up

Language

What does the word noble mean—especially in this play? How noble are these men? The word noble is often used to describe Brutus. Has this trait of nobility transferred to the other conspirators? Watch the use of language in Scene 1, when the conspirators discuss the assassination. Are they using noble words? Notice the words in Scene 2, the home of Julius Caesar. Do Caesar and Calpurnia use the same words as the conspirators? Do their words have a different sound? Are their words more noble?

What's in a Name?

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Rome. Brutus’s orchard. Enter Brutus.

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Brutus 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 so soundly. When, Lucius, when? Awake, I say! What, Lucius! [Enter Lucius] Lucius Call’d you, my lord? Brutus Get me a taper in my study, Lucius: When it is lighted, come and call me here. Lucius I will, my lord. [Exit]

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Brutus It must be by his death; and for my part, 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? – that? And then, I grant, we put a sting in him, That at his will he may do danger with. Th’ abuse of greatness is when it disjoins Remorse from power; and, to speak truth of Caesar,

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Rome. Brutus’s orchard. Brutus enters. Brutus What ho! Lucius! I can’t tell by the stars how near it is to daylight. Lucius, I say! I wish one of my faults was sleeping so soundly. What, Lucius, what? Awake, I say. What, Lucius! [Lucius enters]

Lucius You called, my lord? Brutus Put a candle in my study for me, Lucius. When it’s lit, come and call me here. Lucius I will, my lord. [Lucius exits] Brutus It must be by his death. For my part, I have no personal reason to cut him off—except for the welfare of the public. He’ll be crowned. How that might change his nature, that’s the question. It’s the sunny day that brings out the snakes, and that means you have to walk carefully. Crown Caesar? That? Well then, I admit, we’ll put a sting in him that he may do some harm with if he wishes. Greatness is abused if pity is separated from power. And to tell the truth about Caesar,

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I have not known when his affections sway’d More than his reason. But ’tis a common proof, That lowliness is young ambition’s ladder, Whereto the climber upward turns his face; But when he once attains the upmost round, 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, 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. [Enter Lucius]

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Lucius 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. Brutus Get you to bed again; it is not day. Is not tomorrow, boy, the ides of March? Lucius I know not, sir. Brutus Look in the calendar, and bring me words. Lucius I will, sir. [Exit]

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Brutus The exhalations whizzing in the air Give so much light that I may read by them. [Reads]

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Act II, Scene I

I’ve never known him to allow his feelings to sway him more than his reason. But it’s a common experience that humility is like a ladder for the young ambitious man, who looks up to it while climbing. But when he reaches the top, he turns his back on the ladder and looks into the clouds, scorning that thing by which he ascended. Caesar might do that. So in case he might, he must be prevented. But since the argument doesn’t apply to what he is now, it must be looked at this way: that what he is, allowed to grow, would lead to this or that extreme. Therefore, think of him as a serpent’s egg, which when hatched, according to its nature, would grow poisonous. Therefore, kill him in the shell.

[Lucius enters] Lucius The candle burns in your private room, sir. While I was searching the window for a flint to light it, I found this paper, sealed up like this. And I’m sure it wasn’t there when I went to bed. Brutus Get yourself to bed again. It isn’t day yet. Isn’t tomorrow the ides of March, boy? Lucius I don’t know, sir. Brutus Look at the calendar and come back and tell me. Lucius I will, sir. [Lucius exits] Brutus The meteors speeding across the sky give so much light that I can read by them. [He reads] “Brutus, you’re sleeping. Wake up and see yourself. Should Rome, etc., etc. Speak! Strike! Set things right!” [Reads] “Brutus, you’re

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‘Brutus, thou sleep’st; awake, and see thyself. Shall Rome, etc. Speak, strike, redress!’

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Brutus, thou sleep’st; awake! . . . Such instigations have been often dropp’d Where I have took them up. ‘Shall Rome, 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 To speak, and strike? O Rome, I make thee promise, If the redress will follow, thou receivest Thy full petition at the hand of Brutus. [Enter Lucius] Lucius Sir, March is wasted fourteen days.

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Brutus ’Tis good. Go to the gate; somebody knocks. [Exit Lucius]

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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 Like a phantasma, or a hideous dream: The genius and the mortal instruments And then in council; and the state of man, Like to a little kingdom, suffers then The nature of an insurrection. [Enter Lucius]

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Lucius Sir, ’tis your brother Cassius, Who doth desire to see you.

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Act II, Scene I

sleeping. Wake up! . . .” Such suggestions have been often dropped where I’ve picked them up. “Should Rome, etc.” I must piece it together: Should Rome stand in awe of one man? What, Rome? My ancestors drove the despot Tarquin from the streets of Rome when he was called a king. “Speak! Strike! Set things right!” Am I being asked to speak out and to strike out against Caesar? Oh Rome, I make you a promise: if a remedy will come from my actions, then your request will be answered in full at the hand of Brutus.

[Lucius enters] Lucius Sir, March has gone fourteen days. Brutus Good. Go to the gate. Somebody is knocking. [Lucius exits] I haven’t slept since Cassius first aroused me against Caesar. All the time between first thinking of a dreadful thing and then acting it out is like a hallucination or a hideous dream. The soul and the mortal body argue between themselves. And the state of a man, like a little kingdom, suffers as if it were in civil war.

[Lucius enters] Lucius Sir, it’s your brother-in-law Cassius who wants to see you.

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Brutus

Is he alone?

Lucius No, sir, there are more with him. Brutus 75

Do you know them?

Lucius No, sir, their hats are pluck’d about their ears, And half their faces buried in their cloaks, That by no means I may discover them By any mark of favour. Brutus

Let ’em enter. [Exit Lucius]

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They are the faction. O conspiracy, Sham’st thou to show thy dangerous brow by night, When evils are most free? O, then by day Where wilt thou find a cavern dark enough To mask thy monstrous visage? Seek none, conspiracy; 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. [Enter the Conspirators, Cassius, Casca, Decius, Cinna, Metellus Cimber and Trebonius]

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Cassius I think we are too bold upon your rest: Good morrow, Brutus. Do we trouble you? Brutus I have been up this hour, awake all night. Know I these men that come along with you?

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Cassius Yes, every man of them; and no man here But honours you; and every one doth wish You had but that opinion of yourself Which every noble Roman bears of you. This is Trebonius.

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Brutus Is he alone? Lucius No, sir, there are more with him. Brutus Do you know them? Lucius No, sir. Their hats are pulled down around their ears, and half their faces are buried in their cloaks, so there’s no way that I can see who they are by their appearance. Brutus Let them enter. [Lucius exits] They are the group of schemers. Oh Conspiracy, are you ashamed to show your dangerous face even at night, when evil runs free? Well then, when it’s daylight where will you find a cave dark enough to hide your monstrous face? Don’t look for one, Conspiracy. Hide your face behind smiles and friendly cheerfulness. Because if you go around with your true face showing, not even hell itself is dark enough to hide you from being discovered and stopped.

[The conspirators Cassius, Casca, Decius, Cinna, Metellus Cimber, and Trebonius enter] Cassius I think we’re interrupting your rest. Good morning, Brutus. Are we bothering you? Brutus I’ve been up this past hour and awake all night. Do I know these men who are with you? Cassius Yes, every man of them. And every one holds you in high esteem and wishes that you had the same opinion of yourself that every noble Roman has of you. This is Trebonius.

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Brutus

He is welcome hither.

Cassius This, Decius Brutus. 100

Brutus

He is welcome too.

Cassius This, Casca; this, Cinna; and this, Metellus Cimber. Brutus They are all welcome. What watchful cares do interpose themselves Betwixt your eyes and night? 105

Cassius Shall I entreat a word? Decius Here lies the east: doth not the day break here? Casca No. Cinna O, pardon, sir, it doth; and yon grey lines That fret the clouds are messengers of day.

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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 He first presents his fire; and the high east Stands, as the Capitol, directly here. Brutus Give me your hands all over, one by one. Cassius And let us swear our resolution.

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Brutus No, not an oath. If not the face of men, 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, As I am sure they do, bear fire enough To kindle cowards and to steel with valour The melting spirits of women, then, countrymen,

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Act II, Scene I

Brutus He is welcome here. Cassius This, Decius Brutus. Brutus He is welcome, too. Cassius This, Casca; this, Cinna; and this, Metellus Cimber. Brutus They’re all welcome. What cares have interfered with your sleep and kept you awake all night? Cassius May I have a word with you? Decius That way is the east. Doesn’t the day break there? Casca No. Cinna Oh, pardon sir, but it does. And those gray lines that lace through the cloud are the messengers of day. Casca You’ll have to admit that you’re both deceived. Here, where I point my sword, the sun rises, where it is now growing very light toward the south, since the season of the year is early. Some two months from now, the sun will first show his fire higher toward the north. And due east stands, as the Capitol does, in that direction. Brutus All of you give me your hands again, one by one. Cassius And let us swear our resolution. Brutus No, not an oath. If not the look of men’s faces, the decision reached in our souls, the cursedness of the times—if these are weak motives, then we should break it off now. And every man can go back to his idle bed and let haughty tyranny continue on, till every man is picked off by chance. But do these reasons—as I’m sure they do—bear enough fire to kindle cowards and to steel with courage even the melting spirits of women? Then countrymen, do we need any spur

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What need we any spur but our own cause To prick us to redress? what other bond 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, Old feeble carrions, and such suffering souls 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 performance 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. Cassius But what of Cicero? Shall we sound him? I think he will stand very strong with us. Casca Let us not leave him out. Cinna

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No, by no means.

Metellus O, let us have him, for his silver hairs Will purchase us a good opinion, 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. Brutus O, name him not; let us not break with him; For he will never follow any thing That other men begin. Cassius

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Casca Indeed he is not fit.

Then leave him out.

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Act II, Scene I

but our own cause to prick us to action? What other bond do we need than that we are Romans meeting privately, and have given our word, and will not go back on it? And what other oath than a man’s personal honor pledged to another man of honor, that this thing will be done, or we’ll die trying? Priests and cowards, and deceitful men, old feeble corpselike men, and such suffering souls who welcome wrongs— they swear. Untrustworthy men will swear themselves to evil causes. But don’t stain the virtue of our undertaking, nor the unconquerable strength of our spirits, to think that our cause or our performance needs to have an oath. If any man were to break the smallest part of any promise that has passed his lips, then every drop of blood in every noble Roman would be contaminated.

Cassius But what of Cicero? Should we sound him out? I think he’ll stand very strong with us. Casca Let’s not leave him out. Cinna No, by no means. Metellus Oh, let’s have him. His silver hairs will purchase us a good opinion, and buy men’s support for our deeds. They will say that his judgment ruled us. Our youth and wildness won’t be noticed, but hidden behind his gravity.

Brutus Oh, let’s not ask him. Let’s not tell him our secret. He’ll never follow anything that other men begin. Cassius Then leave him out. Casca Indeed, he’s not fit.

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Decius Shall no man else be touch’d but only Caesar?

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Cassius 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 As to annoy us all; which to prevent, Let Antony and Caesar fall together. Brutus Our course will seem too bloody, Caius Cassius, To cut the head off and then hack the limbs, Like wrath in death and envy afterwards; For Antony is but a limb of Caesar. Let’s 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. O, that we then could come by Caesar’s spirit, 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. 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 Our purpose necessary, and not envious; Which so appearing to the common eyes, We shall be call’d purgers, not murderers. And for Mark Antony, think not of him; For he can do no more than Caesar’s arm When Caesar’s head is off. Cassius Yet I fear him; For the ingrafted love he bears to Caesar –

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Decius Should any other man be touched, only Caesar? Cassius Decius, well spoken. I don’t think it’s appropriate that Mark Antony, so well beloved of Caesar, should outlive him. We’ll find him to be a shrewd contriver. And you know, if he made the most of his situation, he might well stretch so far that it could injure us all. To prevent that, let Antony and Caesar die together. Brutus Our act will seem too bloody, Caius Cassius, if we cut the head off and then hack the limbs, as if we first killed in anger, and then killed in malice afterward. Antony is but a limb of Caesar. Let’s be sacrificers, but not butchers, Caius. We all stand up against the spirit of Caesar, and there’s no blood in the spirit of men. Oh, if only we could kill Caesar’s spirit and not dismember Caesar! But, alas, Caesar must bleed for it. And, noble friends, let’s kill him boldly, but not angrily. Let’s carve him as a dish fit for the gods, not hack him like a carcass fit for hounds. Like clever masters who stir up their servants to an act of rage, and afterward scold them, let our hearts stir us to action. This will make our purpose seem necessary, not malicious. And when this becomes apparent to the eyes of common men, we’ll be called ones who purify and cleanse, not murderers. And as for Mark Antony, forget about him. He can do no more than Caesar’s arm can do when Caesar’s head is cut off.

Cassius Yet I’m afraid of him. Because of the deep-seated love he bears for Caesar—

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Brutus Alas, good Cassius, do not think of him: 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. Trebonius There is no fear in him; let him not die; For he will live, and laugh at this hereafter. [Clock strikes]

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Brutus Peace! count the clock. Cassius

The clock hath stricken three.

Trebonius ’Tis time to part.

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Cassius But it is doubtful yet Whether Caesar will come forth today or no; For he is superstitious grown of late, 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 today. Decius 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, 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; For I can give his humour the true bent, And I will bring him to the Capitol. Cassius Nay, we will all of us be there to fetch him. Brutus By the eighth hour: is that the uttermost?

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Brutus Alas, good Cassius, forget about him. If he loves Caesar, all that he can do is to harm himself: sink into despair and die for Caesar. But he won’t do that much. He likes sports, and wild living, and the company of people. Trebonius There’s nothing to fear from him. Don’t let him die. He’ll live and laugh at this later. [A clock strikes] Brutus Listen! Count the hours. Cassius The clock has struck three. Trebonius It’s time to part. Cassius But it’s still doubtful if Caesar will come out today or not. He’s become superstitious lately—quite different from the strong opinion he once held about fantasy, and dreams, and omens. These omens, the unusual terror of this night, and the persuasion of his fortune-tellers may keep him from the Capitol today.

Decius Don’t fear that. If he’s resolved to stay away, I can persuade him to come. He loves to hear that unicorns can be tricked into charging at trees, and bears are fooled by mirrors, and elephants can fall into holes, and lions can be caught in nets, and men can be tricked by flatterers. But when I tell him how he hates flatterers, he agrees, not seeing that he is then being flattered the most. Let me work. I can manipulate his mood. I’ll bring him to the Capitol.

Cassius No, we’ll all of us be there to fetch him. Brutus By eight o’clock. Is that the latest?

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Cinna Be that the uttermost, and fail not then. 225

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Metellus Caius Ligarius doth bear Caesar hard, Who rated him for speaking well of Pompey: I wonder none of you have thought of him. Brutus Now good Metellus, go along by him: He loves me well, and I have given him reasons; Send him but hither, and I’ll fashion him. Cassius The morning comes upon’s: we’ll leave you, Brutus. And friends, disperse yourselves; but all remember What you have said, and show yourselves true Romans.

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Brutus Good gentlemen, look fresh and merrily. Let not our looks put on our purposes, But bear it as our Roman actors do, With untir’d spirits and formal constancy. And so good morrow to you every one. [Exeunt all but Brutus]

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Boy! Lucius! Fast asleep? It is no matter; Enjoy the honey-heavy dew of slumber: Thou hast no figures nor no fantasies Which busy care draws in the brains of men; Therefore thou sleep’st so sound. [Enter Portia] Portia

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Brutus, my lord!

Brutus Portia, what mean you? Wherefore rise you now? It is not for your health thus to commit Your weak condition to the raw cold morning. Portia Nor for yours neither. You’ve ungently, Brutus, Stole from my bed; and yesternight at supper You suddenly arose, and walk’d about,

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Cinna Let that be the latest, and don’t fail to be there. Metellus Caius Ligarius bears hard feelings against Caesar, because Caesar berated him for speaking well of Pompey. I’m surprised that none of you have thought of him. Brutus Well, good Metellus, go by his house. He loves me well, and he has reason to. Send him to me, and I’ll persuade him. Cassius The morning is coming on. We’ll leave you, Brutus. And friends, go your separate ways. But all remember what you’ve said, and show yourselves to be true Romans. Brutus Good gentlemen, look fresh and cheerful. Don’t let our looks show our intentions. But carry ourselves the way our Roman actors do, with tireless spirits and dignified decorum. And so good morning to you, every one.

[All exit except Brutus] Boy! Lucius! Fast asleep? It’s no matter. Enjoy the honeyheavy dew of sleep. You have no ghosts or fantasies that worry puts in the brains of men. That’s why you sleep so soundly.

[Portia enters] Portia Brutus, my lord! Brutus Portia, what do you want? Why are you up so early? It’s not good for your health to expose yourself in your weak condition to the raw cold morning. Portia Not for yours either. You’ve roughly slipped from my bed, Brutus. And last night at supper you suddenly rose and walked around, musing and sighing, with your arms crossed.

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Musing and sighing, with your arms across; 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, But with an angry wafture 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, Which sometime hath 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, I should not know you Brutus. Dear my lord, Make me acquainted with your cause of grief. Brutus I am not well in health, and that is all.

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Portia Brutus is wise, and, were he not in health, He would embrace the means to come by it. Brutus Why, so I do. Good Portia, go to bed.

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Portia 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 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, 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,

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And when I asked you what the matter was, you stared at me harshly. I urged you to answer. Then you scratched your head and stamped your foot impatiently. Yet I insisted, but you didn’t answer, but with an angry wave of your hand you gave the sign for me to leave you. So I did, fearing to make your impatience worse, which seemed too hot already. And I hoped it was just an effect of your mood, which troubles every man sometimes. It won’t let you eat, or talk, or sleep. And if it worked as much change to your body as it has to your mind, I wouldn’t know you Brutus. Dear lord, tell me the cause of your grief.

Brutus I’m not in good health, that’s all. Portia Brutus is wise. If he were sick, he’d do something about it. Brutus Why, so I am. Good Portia, go to bed. Portia Is Brutus sick, and is it healthy to walk around unwrapped, sucking up the bad air of the damp morning? What, is Brutus sick? And will he leave his wholesome bed to risk the vile contagious air of the night, and tempt the unhealthy, unclean air to add to his sickness? No, my Brutus. You have some sickness within your mind, which by the right and virtue of my place as your wife I should know of. Upon my knees I’m pleading with you, by my once-praised beauty, by all your vows of love, and that great vow of marriage that makes us one, that you open up to me, yourself, your other

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That you unfold to me, your self, your half, Why you are heavy, and what men tonight Have had resort to you; for here have been Some six or seven, who did hide their faces Even from darkness.

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Portia I should not need, if you were gentle Brutus. Within the bond of marriage, tell me, Brutus, Is it excepted I should know no secrets That appertain to you? Am I your self 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 the suburbs Of your good pleasure? If it be no more, Portia is Brutus’ harlot, not his wife.

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Kneel not, gentle Portia.

Brutus You are my true and honourable wife, As dear to me as are the ruddy drops That visit my sad heart. Portia 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. 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 a strong proof of my constancy, Giving myself a voluntary wound Here, in the thigh: can I bear that with patience, And not my husband’s secrets? Brutus O ye gods, Render me worthy of this noble wife! Hark, hark! one knocks. Portia, go in awhile; And by and by thy bosom shall partake

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half, why you are so sad. Tell me who those men were who spoke with you tonight. Some six or seven were here, who hid their faces even from the darkness.

Brutus Don’t kneel, gentle Portia. Portia I wouldn’t need to, if you were gentle Brutus. Tell me, Brutus, is it part of the bond of marriage that I shouldn’t know secrets that pertain to you? Am I your self, but as it were, just in part or with limitations? I can only keep you company at meals, comfort your bed, and talk to you sometimes? Do I live in the outer edges of your good pleasure? If it’s no more than that, then Portia is Brutus’ harlot, not his wife. Brutus You’re my true and honorable wife, as dear to me as the blood that runs through my sad heart. Portia If that were true, then I should know this secret. I grant I am a woman. But withal, a woman whom Lord Brutus took to wife. I grant I am a woman. But withal a woman of high reputation, Cato’s daughter. Do you think that with such a father and such a husband I am no stronger than any other woman? Tell me your secrets. I won’t disclose them. I’ve proven my constancy, voluntarily wounding myself, here, in the thigh. Can I bear that with patience, and not my husband’s secrets?

Brutus Oh ye gods, make me worthy of this noble wife! Listen! Listen! Someone knocks. Portia, go inside awhile. Soon you’ll share the secrets of my heart. I’ll explain all my

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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] [Enter Lucius and Ligarius] Lucius, who’s that knocks? Lucius Here is a sick man that would speak with you.

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Brutus Caius Ligarius, that Metellus spake of. Boy, stand aside. Caius Ligarius, how? Ligarius Vouchsafe good morrow from a feeble tongue. Brutus O, what a time have you chose out, brave Caius, To wear a kerchief! Would you were not sick!

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Ligarius I am not sick if Brutus have in hand Any exploit worthy the name of honour. Brutus Such an exploit have I in hand, Ligarius, Had you a healthful ear to hear of it.

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Ligarius By all the gods that Romans bow before, I here discard my sickness. Soul of Rome! Brave son, deriv’d from honourable loins! Thou, like an exorcist, hast conjur’d up My mortified spirit. Now bid me run, And I will strive with things impossible, Yea, get the better of them. What’s to do? Brutus A piece of work that will make sick men whole. Ligarius But are not some whole that we must make sick?

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meetings to you, and the meaning of my sad looks. Now leave me quickly.

[Portia exits] [Lucius and Ligarius enter] Lucius, who’s that knocking? Lucius Here’s a sick man who wants to speak with you. Brutus Caius Ligarius, that Metellus spoke of. Boy, you go on. Caius Ligarius, how are you? Ligarius Accept this “good morning” from a feeble tongue. Brutus Oh, what a time you’ve chosen, brave Caius, to be sick. I wish you weren’t. Ligarius I’m not sick if Brutus has an honorable plan in mind. Brutus I have such a plan in mind, Ligarius, if you have a healthy ear to hear about it. Ligarius By all the gods that Romans bow down before, I give up my sickness. Soul of Rome! Brave son, descended from honorable ancestors! You, like an exorcist, have restored my deadened spirits. Now tell me to run, and I’ll take on impossible tasks, and yes, achieve them. What’s to be done?

Brutus A piece of work that will make sick men whole. Ligarius But aren’t some whole that we must make sick?

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Brutus That must we also. What it is, my Caius, I shall unfold to thee, as we are going To whom it must be done. Ligarius 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.

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Follow me then. [Exeunt]

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Brutus We must do that also. I’ll explain what it is, my Caius, as we’re on our way to the person to whom it must be done. Ligarius Set your foot on the path, and with a heart newly fired I’ll follow you. To do what, I don’t know. But it’s enough that Brutus leads me on. Brutus Follow me then. [They exit]

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Caesar’s house. Thunder and lightning. Enter Caesar in his night-gown. Caesar Nor heaven nor earth have been at peace tonight: Thrice hath Calpurnia in her sleep cried out, ‘Help, ho! they murder Caesar!’ Who’s within? [Enter a Servant] Servant My lord? 5

Caesar Go bid the priests do present sacrifice, And bring me their opinions of success. Servant I will, my lord. [Exit] [Enter Calpurnia] Calpurnia What mean you, Caesar? Think you to walk forth? You shall not stir out of your house today.

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Caesar Caesar shall forth. The things that threaten’d me Ne’er look’d but on my back; when they shall see The face of Caesar, they are vanished. Calpurnia Caesar, I never stood on ceremonies, Yet now they fright me. There is one within, Besides the things that we have heard and seen,

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Caesar’s house. Thunder and lightning. Caesar enters in his nightclothes. Caesar Neither heaven nor earth have been at peace tonight. Three times Calpurnia cried out in her sleep, “Help ho! They murder Caesar!” Who’s there? [A Servant enters] Servant My lord? Caesar Go, tell the priests to make a sacrifice right now, and bring me their opinions of success. Servant I will, my lord. [Servant exits] [Calpurnia enters] Calpurnia What are you planning, Caesar? Do you think you’ll go out? You shall not stir out of your house today. Caesar Caesar shall go forth. The things that have threatened me never saw anything but my back. When they see the face of Caesar, they’ll disappear. Calpurnia Caesar, I never paid attention to omens. But now they frighten me. There is someone inside who—besides the

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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 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. O Caesar, these things are beyond all use, And I do fear them. Caesar What can be avoided Whose end is purpos’d by the mighty gods? Yet Caesar shall go forth; for these predictions Are to the world in general as to Caesar. Calpurnia When beggars die, there are no comets seen; The heavens themselves blaze forth the death of princes.

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Caesar 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 fear, Seeing that death, a necessary end, Will come when it will come. [Enter a Servant] What say the augurers?

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Servant They would not have you to stir forth today. Plucking the entrails of an offering forth, They could not find a heart within the beast. Caesar The gods do this in shame of cowardice: Caesar should be a beast without a heart If he should stay at home today for fear. No, Caesar shall not. Danger knows full well

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things that we have heard and seen—reports the most horrid sights seen by the night watchmen. A lioness has given birth in the streets, and graves have yawned open and the corpses come out. Up in the clouds fierce fiery warriors fight in ranks and squadrons, in the regular formations of war, which drizzled blood down upon the Capitol. The noise of battle echoed through the air. Horses neighed and dying men groaned. Ghosts shrieked and screeched in the streets. Oh Caesar, these things are so unnatural, and I do fear them!

Caesar What can be avoided if the mighty gods have determined it will be so? Yet Caesar shall go forth. These predictions are as much for the world in general as they are for Caesar. Calpurnia When beggars die, no comets are seen. But the heavens themselves blaze forth the death of princes. Caesar Cowards die many times before their deaths. The valiant taste of death just once. Of all the wonders that I’ve yet heard, it seems to me most strange that men should fear death, seeing that death, a necessary end, will come when it will come. [A Servant enters] What do the fortune-tellers say? Servant They think you should not go out today. When they opened up the entrails of a sacrificial animal, they could not find a heart within the beast. Caesar The gods do this to shame cowardice. Caesar would be a beast without a heart if he stayed at home today for fear. No, Caesar will not. Danger knows full well that Caesar is

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That Caesar is more dangerous than he. We are two lions litter’d in one day, And I the elder and more terrible, And Caesar shall go forth. Calpurnia Alas, my lord, Your wisdom is consum’d in confidence. Do not go forth today: 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 today. Let me upon my knee prevail in this. Caesar Mark Antony shall say I am not well, And for thy humour I will stay at home. [Enter Decius]

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Here’s Decius Brutus; he shall tell them so. Decius Caesar, all hail! Good morrow, worthy Caesar. I come to fetch you to the Senate House.

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Caesar And you are come in very happy time To bear my greeting to the senators, And tell them that I will not come today: Cannot is false; and that I dare not, falser; I will not come today. Tell them so, Decius. Calpurnia Say he is sick.

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Caesar Shall Caesar send a lie? Have I in conquest stretch’d mine arm so far, To be afeard to tell greybeards the truth? Decius, go tell them Caesar will not come. Decius Most mighty Caesar, let me know some cause, Lest I be laugh’d at when I tell them so.

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Caesar The cause is in my will: I will not come; That is enough to satisfy the Senate.

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more dangerous than he is. We are two lions born on the same day. And I am the elder and more terrible. Caesar shall go forth. Calpurnia Alas, my lord, your wisdom is drowned in your confidence. Don’t go out today. 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’ll say you’re not well today. Upon my knees I beg, let me have my way in this.

Caesar Very well, Mark Antony will say I’m not well, and to make you happy I’ll stay at home. [Decius enters] Here’s Decius Brutus. He’ll tell them so. Decius Caesar, all hail! Good morning, worthy Caesar. I’ve come to fetch you to the Senate House. Caesar And you’ve come at a very convenient time to bear my greetings to the Senators. Tell them that I’ll not come today. “Cannot” is false. And that I dare not is even falser. Just say, I will not come today. Tell them so, Decius. Calpurnia Say he is sick. Caesar Should Caesar send a lie? Have I stretched my arm out so far in conquests, and then be afraid to tell old graybeards the truth? Decius, go tell them Caesar will not come. Decius Most mighty Caesar, let me know some reason, in case I’m laughed at when I tell them so. Caesar The reason is in my will: I will not come. That is enough to satisfy the Senate. But for your private

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But for your private satisfaction, Because I love you, I will let you know: Calpurnia here, my wife, stays me at home. She dreamt tonight 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 portents And evils imminent; and on her knee Hath begg’d that I will stay at home today. Decius This dream is all amiss interpreted; It was a vision fair and fortunate: Your statue spouting blood in many pipes, 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. Caesar And this way have you well expounded it. Decius 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 come, 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.’ 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. Caesar How foolish do your fears seem now, Calpurnia! I am ashamed I did yield to them. Give me my robe, for I will go.

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satisfaction, because I love you, I’ll tell you. Calpurnia here, my wife, keeps me at home. She dreamt last night that she saw my statue, like a fountain with a hundred spouts, running pure blood. And many vigorous Romans came smiling, and washed their hands in it. These she believes are warnings and portents of imminent evils. On her knees she’s begged that I stay at home today.

Decius This dream is all misinterpreted. It’s a favorable and fortunate vision. Your statue spouting blood from many pipes, in which so many smiling Romans wash, signifies that great Rome will be revived by you, and that great men will beg you for relics and mementos because they honor you. This is what Calpurnia’s dream signifies.

Caesar This is a good interpretation of it. Decius It is, especially when you hear what I have to tell you. Listen: the Senate has concluded that they’ll give a crown today to mighty Caesar. If you send them word you won’t come, they may change their minds. Besides, it might be cause for ridicule, for someone to say, “Dismiss the Senate till another time, when Caesar’s wife has better dreams.” If Caesar hides himself, won’t they whisper, “Look, Caesar is afraid”? Pardon me, Caesar, for speaking so bluntly. My dear, dear love for your future makes me tell you this. My love for you takes precedence over my good judgment.

Caesar How foolish your fears seem now, Calpurnia. I’m ashamed I gave in to them. Give me my robe. I will go.

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[Enter Publius, Brutus, Ligarius, Metellus, Casca, Trebonius and Cinna] And look where Publius is come to fetch me. Publius Good morrow, Caesar. 115

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Caesar Welcome, Publius. What, Brutus, are you stirr’d so early too? Good morrow, Casca. Caius Ligarius, Caesar were ne’er so much your enemy As that same ague which hath made you lean. What is’t a clock? Brutus

Caesar, ’tis strucken eight.

Caesar I thank you for your pains and courtesy [Enter Antony] See! Antony, that revels long a-nights, Is notwithstanding up. Good morrow, Antony. Antony So to most noble Caesar. 125

Caesar Bid them prepare within. I am to blame to be thus waited for. Now, Cinna; now, Metellus; what, Trebonius: I have an hour’s talk in store for you; Be near me, that I may remember you.

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Trebonius Caesar, I will: [Aside] and so near will I be, That your best friends shall wish I had been further. Caesar Good friends, go in, and taste some wine with me; And we, like friends, will straightway go together.

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Brutus [Aside] That every like is not the same, O Caesar! The heart of Brutus yearns to think upon. [Exeunt]

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[Publius, Brutus, Ligarius, Metellus, Casca, Trebonius, and Cinna enter] And look here, Publius is come to fetch me. Publius Good morning, Caesar. Caesar Welcome, Publius. What, Brutus, are you up so early too? Good morning, Casca. Caius Ligarius, Caesar was never so much of an enemy as that sickness that has made you so thin. What time is it?

Brutus Caesar, it’s struck eight o’clock. Caesar Thank you for your pains and courtesy. [Antony enters] Look! Antony, who stays out reveling all night, is up nevertheless. Good morning, Antony! Antony The same to you, most noble Caesar. Caesar Tell them to get ready inside. I’m to blame for making you wait. Now, Cinna; now, Metellus; what, Trebonius: I have an hour’s talk in store for you. Stay near me, so I remember you’re here. Trebonius Caesar, I will. [aside] I’ll be so near that your best friends will wish I’d been farther away. Caesar Good friends, let’s go in. Have some wine with me. Then we’ll leave together, like friends, right afterward. Brutus [aside] Not everyone who is “like” a friend is the same as a real friend, Oh Caesar! The heart of Brutus grieves to think about it. [They exit]

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A street near the Capitol. Enter Artemidorus, reading a paper.

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Artemidorus Caesar, beware of Brutus; take heed of Cassius; come not near Casca; have an eye to Cinna; trust not Trebonius; mark well Metellus Cimber; Decius Brutus loves thee not; thou hast wrong’d Caius 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, Artemidorus. 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, O Caesar, thou may’st live; If not, the Fates with traitors do contrive. [Exit]

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A street near the Capitol. Artemidorus enters, reading a paper. Artemidorus “Caesar, beware of Brutus; take heed of Cassius; come not near Casca; have an eye to Cinna; trust not Trebonius; mark well Metellus Cimber; Decius Brutus loves you not; you have wronged Caius Ligarius. There is just one mind in all these men. And it is turned against Caesar. If you’re not immortal, be watchful. Feeling too secure brings on conspiracy. May the mighty gods defend you! Your friend, Artemidorus.” I’ll stand here until Caesar passes. I’ll give him this note as if I were giving him a petition. My heart aches that virtue can’t exist without creating envious rivals. If you read this, Oh Caesar, you may live. If not, the Fates conspire with traitors. [Artemidorus exits]

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Before the house of Brutus. Enter Portia and Lucius. Portia I prithee, boy, run to the Senate House. Stay not to answer me, but get thee gone. Why dost thou stay? Lucius 5

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To know my errand, madam.

Portia I would have had thee there and here again Ere I can tell thee what thou should’st do there. O constancy, be strong upon my side; Set a huge mountain ’tween my heart and tongue! I have a man’s mind, but a woman’s might. How hard it is for women to keep counsel! Art thou here yet? Lucius Madam, what should I do? Run to the Capitol, and nothing else? And so return to you, and nothing else?

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Portia 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. Hark, boy, what noise is that? Lucius I hear none, madam.

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Portia Prithee, listen well. I heard a bustling rumour, like a fray, And the wind brings it from the Capitol. Lucius Sooth, madam, I hear nothing.

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In front of the house of Brutus. Portia and Lucius enter. Portia Please, boy, run to the Senate House. Don’t stay here to answer me. Go on! What are you waiting for? Lucius To know my errand, madam. Portia I would have had you there and back again before I could tell you what you should do there. Oh steadfastness, be strong within me. Set a huge mountain as a barrier between my heart and my tongue! I have a man’s mind, but a woman’s strength. How hard it is for women to keep secrets! Are you still here? Lucius Madam, what should I do? Run to the Capitol, and nothing else? And then return to you, and nothing else? Portia Yes, bring me word, boy, if your lord looks well. He was sick when he went out. Take careful notice of what Caesar does, and what petitioners approach him. Listen, boy . . . What is that noise? Lucius Truly, madam, I hear nothing. Portia Please, listen carefully; I heard a loud, clashing noise, almost like a riot, carried on the wind from the vicinity of the Senate. Lucius My lady, in all honesty, I hear nothing.

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[Enter the Soothsayer] Portia Come hither, fellow. Which way hast thou been? 25

Soothsayer At mine own house, good lady. Portia What is ’t a clock? Soothsayer

About the ninth hour, lady.

Portia Is Caesar yet gone to the Capitol? 30

Soothsayer Madam, not yet. I go to take my stand, To see him pass on to the Capitol. Portia Thou hast some suit to Caesar, hast thou not? Soothsayer 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.

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Portia Why, know’st thou any harm’s intended towards him? Soothsayer 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, 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. Portia I must go in. Ay me, how weak a thing The heart of woman is! O Brutus, The heavens speed thee in thine enterprise! [Aside] Sure, the boy heard me. Brutus hath a suit That Caesar will not grant. [Aside] O, I grow faint. Run, 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]

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Act II, Scene IV

[Soothsayer enters] Portia Come here, fellow. Where have you been? Soothsayer At my own house, good lady. Portia What time is it? Soothsayer About the ninth hour, lady. Portia Has Caesar gone to the Capitol yet? Soothsayer Not yet, madam. I’m on my way to find a place to stand, so I can see him pass on his way to the Capitol. Portia You have some petition for Caesar, haven’t you? Soothsayer That I have, madam, if it pleases Caesar to be so good to himself as to hear me. I’ll beg him to befriend himself. Portia Why—do you know of some harm that’s intended for him? Soothsayer None that I know for sure, but much that I fear may happen. Good morning to you. The street is narrow here. The throng of Senators, praetors, and common petitioners that follows Caesar will crowd a feeble man almost to death. I’ll get myself to a place that’s less crowded. There I’ll speak to great Caesar as he comes along.

Portia I must go in. Ah me, how weak a thing the heart of a woman is! Oh Brutus, may the heavens aid you in your enterprise! [to herself] Surely the boy heard me! Brutus has a petition that Caesar will not grant. [to herself] Oh, I grow faint. Run, Lucius, and give my greetings to my lord. Say I’m cheerful. Then come back again and tell me what he says to you. [They exit]

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Julius Caesar

Comprehension

Check What You Know

1. For a month, Brutus has been thinking about Caesar and has come to a decision. Why has he decided to join the conspiracy? 2. Lucius brings Brutus a letter he has found. How does Brutus interpret it? 3. Cassius believes Antony should also be killed. Here is the first of three disagreements in the play between Brutus and Cassius. What does Cassius want to do regarding Antony? Why does he feel that way? 4. What does Brutus want to do regarding Antony? Why does he feel that way? What do they decide to do regarding Antony? 5. What kind of wife is Portia? How does she know that something is bothering her husband? How does she convince Brutus to tell her what is wrong? 6. Who is the last conspirator to visit Brutus? 7. What has Calpurnia done in her sleep? 8. What does Calpurnia tell Caesar regarding going to the Capitol? What is Caesar’s first reply? 9. What advice do the augurers give Caesar about going to the Capitol? Why do they give him that advice? 10. What suggestion does Calpurnia make to Caesar about a possible reason he might give for his absence? 11. Who enters for the express purpose of bringing Caesar to the Capitol that day? At this point, what is Caesar’s decision about going? 12. Caesar confesses to Decius about Calpurnia’s dream. What exactly was her dream? Decius reinterprets the dream. What does he say it means?

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13. What else does Decius say to Caesar to get him to come to the Capitol that day? What is Caesar’s final decision about going to the Capitol? 14. Who is Artemidorus? What is he planning to give to Caesar? 15. Why is Portia so nervous in Scene 4? Why does she keep giving her servant different orders?

Activities & Role-Playing

Classes or Informal Groups

Can You Convince Him? Imagine that the conspirators arrive at Brutus’s house only to find that he has decided not to join them. Role-play this scene. What arguments could the conspirators use to try to convince Brutus to join them? The Cover-Up Artemidorus has learned of the plot and plans to tell Caesar. But suppose that the conspirators find out what Artemidorus is going to do before he speaks to Caesar. They don’t want to kill Artemidorus—that seems to be wrong for a group of men who are fighting for noble ideas. Instead, they decide to talk him into covering the plot up. Role-play a scene where the conspirators visit the home of Artemidorus. What would they say or do?

Discussion

Classes or Informal Groups

1. Why would Brutus join the conspiracy to kill Caesar, a man he loves and respects? 2. What are the strengths and weaknesses of Brutus and Portia’s marriage? 3. How superstitious is Caesar? How do his superstitions affect his decisions? 4. What are the strengths and weaknesses of Caesar and Calpurnia’s marriage? 5. Why did Brutus tell Portia about the conspiracy? Was it better that she knew about it, or would it have been better that she never found out?

Suggestions for Writing

Improve Your Skills

1. Write the scene in which Brutus tells Portia about the conspiracy. What would he tell her? How could he explain his motivations to her? How would she react? Would she try to change his mind? 2. Imagine that the word got out in Rome that Caesar was not going to come to the Capitol on the ides of March after all. Write a letter from a Roman citizen in which you try to convince Caesar to change his mind and come.

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Julius Caesar

All the World’s a Stage

Introduction

The ides of March have come, and you’ll soon find out what happens. Is the soothsayer right? Should Caesar “Beware the ides of March”? In the last act you saw that the conspirators have made their plans for the big day, although you didn’t hear all the specific details. Remember that Decius assured everyone that he will get Caesar to the Capitol. The suspense is building. The plot to assassinate Caesar has been discovered—you know that Artemidorus has written a letter to Caesar, telling him all about it. In fact, that letter names all eight conspirators. Portia also knows what is going to happen; Brutus clearly revealed the plans to her. At the end of Act 2 she was a nervous wreck, shouting confusing instructions to her servant and trying to keep herself from becoming hysterical.

My Words Fly Up

What's in a Name?

Characters

So far, you haven’t seen much of Mark Antony. He’s been portrayed as someone who loves good company, sports, and even plays! Still, the conspirators respect him as a dangerous foe and a courageous fighter. In fact, Cassius proposed to assassinate Antony, too. Brutus argued that down. Now Mark Antony will come to the fore. In this act he gives the pivotal funeral speech, one of the greatest speeches in all of Shakespeare’s plays. Poor Cinna. You will meet Cinna the poet—a character who has the same name as one of the conspirators. Sometimes it pays to have the same name as a famous person. Cinna the poet isn’t so lucky. Rome had two classes of people in Caesar’s time, patricians (the very rich) and plebeians (the very poor). Patricians were very powerful, while plebeians were not. Plebeians were easily swayed by other people—or that is how they are represented here. The crowd that listens to the two funeral speeches in Scene 2 is made up mainly of plebeians.

Come What May

Things to Watch For

Watch for the number of ways that hands appear in Julius Caesar. The conspirators do something with their hands as a sign of their act. Antony will shake hands with everyone. Casca shouts, “Speak hands for me!” before the assassination begins. Act 3 is full of some of Shakespeare’s finest speeches and soliloquies. In fact, words cause actions. At one point Mark Antony says “Cry havoc and let loose the dogs of war,” and there is no doubt that what is to come will be horrible. Some of the speeches may be hard to understand at first, but they are important and well worth rereading.

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All Our Yesterdays

Historical and Social Context

Have you ever been a part of a crowd at a rock concert, a football game, or another sports event? If so, you may have felt yourself carried away by the emotion of the group. Mob action is even more extreme, and its actions can be swift and terrifying. The result is often chaos. The mob after the funeral speeches is out of control. Nothing can stop it. For more than 100 years before the time of Shakespeare, England had gone through terrible periods of civil war as family members fought each other for control of the throne. Even during Elizabeth’s reign there were constant worries about power struggles within the royal families. Religious differences were one of the forces driving England’s problems, and on more than one occasion mobs of Protestants and Catholics had confronted each other in bloody battle. The general attitude toward mobs is clear in several scenes in Julius Caesar. You’re about to see the most important mob scene of all.

The Play’s the Thing

Staging

The assassination scene can be tricky to stage. To carry out their plan, the conspirators must be physically close to Caesar, but on stage the crowd can block the audience. And how can you realistically get all the conspirators to stab Caesar in front of a crowded Roman Senate? What would other senators say and do? Shakespeare does not give you any indication. The two funeral speeches could be presented on a grand scale. Here you could use a large number of extras to make up the crowd. Both Brutus and Antony need to speak from a raised area so that everyone else can see and hear—including the audience. Where could the two orators stand in this scene? How would you have the mob behave—what will people do after Antony’s speech? You need to create a scene of total chaos.

My Words Fly Up

Language

The two funeral speeches in Scene 2 are a study in contrasts. Note that Brutus’s speech is written in prose, not in poetry. This is a sharp contrast to his speeches in the rest of the play. Why do you think Shakespeare wrote this speech in prose? Antony’s speech, on the other hand, is written in the familiar iambic pentameter, as is the rest of the play. Both speeches use excellent rhetorical devices. Notice how many times Brutus uses parallel ideas, stating four ideas and then answering them with four responses. He also uses rhetorical questions throughout his speech. Antony is the master of repetition. He skillfully repeats phrases throughout his speech, cleverly abiding by the conditions that the conspirators placed upon him, but relying on the crowd to pick up his real meaning. His ironic use of the words ambitious and honorable is brilliant.

What's in a Name?

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Rome. Before the Capitol. Enter Caesar, Brutus, Cassius, Casca, Decius, Metellus, Trebonius, Cinna, Antony, Lepidus, Artemidorus, Publius, Popilius, and the Soothsayer. Caesar The ides of March are come. Soothsayer Ay, Caesar, but not gone. Artemidorus Hail, Caesar! Read this schedule. 5

Decius Trebonius doth desire you to o’er-read, At your best leisure, this his humble suit. Artemidorus O Caesar, read mine first; for mine’s a suit That touches Caesar nearer. Read it, great Caesar. Caesar What touches us ourself shall be last serv’d. Artemidorus Delay not, Caesar. Read it instantly.

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Caesar What, is the fellow mad? Publius

Sirrah, give place.

Cassius What, urge you your petitions in the street? Come to the Capitol. [Caesar goes up to the Senate House, the rest following] Popilius I wish your enterprise today may thrive.

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Rome. The Capitol. Caesar, Brutus, Cassius, Casca, Decius, Metellus, Trebonius, Cinna, Antony, Lepidus, Artemidorus, Publius, Popilius, and the Soothsayer enter. Caesar The ides of March have come. Soothsayer Yes, Caesar. But not gone. Artemidorus Hail, Caesar! Read this paper. Decius Trebonius desires you to read over this, his humble petition, at your leisure. Artemidorus Oh Caesar, read mine first. Mine is a petition that touches Caesar more closely. Read it, great Caesar! Caesar What touches Caesar himself will be the last to be considered. Artemidorus Don’t delay, Caesar. Read it right now. Caesar What, is the fellow mad? Publius You man, make way! Cassius What, do you put forward your petitions in the street? Come to the Capitol! [Caesar goes to the Senate, with the others following] Popilius I hope your enterprise will go well today.

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Cassius What enterprise, Popilius? Popilius

Fare you well. [Leaves him and joins Caesar]

Brutus What said Popilius Lena? Cassius He wish’d today our enterprise might thrive. I fear our purpose is discovered. 20

Brutus Look how he makes to Caesar: mark him. Cassius Casca, be sudden, for we fear prevention. Brutus, what shall be done? If this be known, Cassius or Caesar never shall turn back, For I will slay myself.

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Brutus Cassius, be constant: Popilius Lena speaks not of our purposes; For look, he smiles, and Caesar doth not change. Cassius Trebonius knows his time; for look you, Brutus, He draws Mark Antony out of the way. [Exeunt Antony and Trebonius]

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Decius Where is Metellus Cimber? Let him go, And presently prefer his suit to Caesar. Brutus He is address’d. Press near and second him. Cinna Casca, you are the first that rears your hand.

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Caesar Are we all ready? What is now amiss That Caesar and his senate must redress? Metellus Most high, most mighty, and most puissant Caesar, Metellus Cimber throws before thy seat An humble heart, –

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Cassius What enterprise, Popilius? Popilius Farewell. [Popilius leaves him and joins Caesar] Brutus What did Popilius Lena say? Cassius He said he wishes our enterprise goes well today. I fear our plans have been discovered. Brutus Look how he makes his way to Caesar. Watch him. Cassius Casca, hurry! We fear we’ll be stopped! Brutus, what should be done? If this plot becomes known, either Cassius or Caesar will never leave here, for I will slay myself. Brutus Cassius, be calm. Popilius Lena isn’t talking about our plan. Look, he smiles, and Caesar’s face doesn’t change. Cassius Trebonius remembers his timing in our plan. Look, Brutus. He’s drawing Mark Antony out of the way. [Antony and Trebonius exit] Decius Where is Metellus Cimber? He should go and immediately present his petition to Caesar. Brutus He’s ready to address him. Press in close and second his petition. Cinna Casca, you be the first to raise your hand. Caesar Are we all ready? What is wrong that Caesar and his senate must remedy? Metellus Most high, most mighty, and most powerful Caesar. Metellus Cimber lays a humble heart before your seat—

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Caesar I must prevent thee, Cimber. These couchings 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 That will be thaw’d from the true quality With that which melteth fools – I mean sweet words, Low-crooked curtsies, and base spaniel fawning. 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. Metellus Is there no voice more worthy than my own, To sound more sweetly in great Caesar’s ear For the repealing of my banish’d brother? Brutus I kiss thy hand, but not in flattery, Caesar, Desiring thee that Publius Cimber may Have an immediate freedom of repeal. Caesar What, Brutus?

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Cassius Pardon, Caesar; Caesar, pardon: As low as to thy foot doth Cassius fall, To beg enfranchisement for Publius Cimber. Caesar I could be well mov’d, if I were as you; If I could pray to move, prayers would move me; 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 unnumber’d sparks, They are all fire, and every one doth shine; But there’s but one in all doth hold his place. So in the world: ’tis furnish’d well with men, And men are flesh and blood, and apprehensive;

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Act III, Scene I

Caesar I must stop you, Cimber. These lowly bowings might inflame ordinary men and turn constitutional decrees into something to be easily changed, like the rules of children’s games. But don’t be so foolish as to think that Caesar is so rebellious and easily turned against that law. My true firmness will not be melted by those things that melt fools. By that I mean sweet talk, low bowing, and fawning like a dog. Your brother is banished by lawful decree. If you bend and pray and fawn for him, I’ll drive you away like a dog. Know that Caesar does not deal wrongly with people, nor will I issue decrees unless I have reason for what I do.

Metellus Is there no voice here worthier than mine, that would speak more persuasively in great Caesar’s ear, for repealing my brother’s banishment? Brutus I kiss your hand, but not in flattery, Caesar. I ask that Publius Cimber’s sentence be repealed immediately. Caesar What! Brutus? Cassius Pardon, Caesar. Caesar, pardon. Cassius falls at your feet to beg pardon for Publius Cimber. Caesar I could be easily moved, if I were like you. If I were able to pray for favors as you do, then praying could move me. But I am as constant as the North Star, whose true-fixed and permanent quality has no equal in the heavens. The skies are painted with innumerable sparks. They are all fire, and every one shines. But there’s just one of all of them that holds its place. So it is in the world. It’s well furnished with men. And men are flesh and blood, and have intelligence. Yet of all the

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Yet in the number I do know but one That unassailable holds on his rank, 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. Cinna O Caesar –

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Caesar

Hence! Wilt thou lift up Olympus?

Decius Great Caesar – Caesar

Doth not Brutus bootless kneel?

Casca Speak hands for me! [They stab Caesar] Caesar Et tu, Brute? Then fall Caesar! [He dies] 85

Cinna Liberty! Freedom! Tyranny is dead! Run hence, proclaim, cry it about the streets. Cassius Some to the common pulpits, and cry out, ‘Liberty, freedom, and enfranchisement.’

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Brutus People and senators, be not affrighted. Fly not; stand still; ambition’s debt is paid. Casca Go to the pulpit, Brutus. Decius

And Cassius too.

Brutus Where’s Publius? Cinna Here, quite confounded with this mutiny. 95

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Metellus Stand fast together, lest some friend of Caesar’s Should chance –

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number that I know, I know just one who unswervingly holds his position, unshaken, and I am he. Let me show a little example in this situation. I was constant that Cimber should be banished, and I remain constant to keep him so.

Cinna Oh Caesar— Caesar Be gone! Would you try to lift up Mount Olympus? Decius Great Caesar— Caesar Surely Brutus does not kneel so uselessly? Casca Hands, speak for me! [They stab Caesar] Caesar And you, Brutus? Then fall Caesar! [He dies] Cinna Liberty! Freedom! Tyranny is dead! Run, proclaim the news! Cry it out in the streets! Cassius Some of you go to the public pulpits and cry out, “Liberty, freedom, and emancipation!” Brutus People and senators, don’t be afraid. Don’t run. Stay here. Ambition has gotten what it deserves. Casca Go to the podium, Brutus. Decius And Cassius, too. Brutus Where’s Publius? Cinna Here, quite astonished by this tumult. Metellus Stand close together, in case some friend of Caesar’s should happen—

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Brutus Talk not of standing. Publius, good cheer; There is no harm intended to your person, Nor to no Roman else. So tell them, Publius. 100

Cassius And leave us, Publius, lest that the people Rushing on us, should do your age some mischief. Brutus Do so; and let no man abide this deed But we the doers. [Enter Trebonius] Cassius Where is Antony?

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Trebonius Fled to his house amaz’d. Men, wives, and children stare, cry out, and run, As it were doomsday. Brutus Fates, we will know your pleasures. That we shall die, we know; ’tis but the time And drawing days out, that men stand upon. Casca Why, he that cuts off twenty years of life Cuts off so many years of fearing death.

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Brutus Grant that, and then is death a benefit: So are we Caesar’s friends, that have abridg’d 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, Let’s all cry, ‘Peace, freedom, and liberty!’ Cassius Stoop then, and wash. How many ages hence Shall this our lofty scene be acted over, In states unborn, and accents yet unknown!

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Brutus How many times shall Caesar bleed in sport, That now on Pompey’s basis lies along, No worthier than the dust!

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Brutus Don’t talk about standing. Publius, good cheer. No harm is intended to you. Nor to any other Roman. Tell them so, Publius. Cassius And leave us, Publius, in case the people pushing around us should cause harm to someone of your age. Brutus Do so. No man should suffer for this deed but we who have done it. [Trebonius enters] Cassius Where is Antony? Trebonius Fled to his house, astounded. Men, wives, and children stare, cry out, and run, as if it were doomsday. Brutus Fates, we will learn what you have in store. We know that we will die. It’s the time—and making our number of days stretch longer—that men consider important. Casca Why, he who cuts off twenty years of life cuts off that many years of fearing death. Brutus If that were true, then death is a benefit. So we are Caesar’s friends, since we have shortened his time of fearing death. Stoop, Romans, stoop. Let us bathe our hands in Caesar’s blood up to the elbows, and smear our swords. Then we’ll walk out to the market-place and, waving our red weapons over our heads, let’s all cry, “Peace, freedom, and liberty!” Cassius Stoop then, and wash. How many ages in the future will this lofty scene be acted out again, in states not yet born, and in languages not yet known? Brutus How many times will Caesar bleed on the stage, as entertainment—he who now lies on the pedestal of Pompey’s statue, of no more worth than dust!

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Cassius So oft as that shall be, So often shall the knot of us be call’d The men that gave their country liberty. 130

Decius What, shall we forth? Cassius Ay, every man away. Brutus shall lead, and we will grace his heels With the most boldest and best hearts of Rome. [Enter a Servant] Brutus Soft, who comes here? A friend of Antony’s.

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Servant Thus, Brutus, did my master bid me kneel; Thus did Mark Antony bid me fall down; And, being prostrate, thus he bade me say: Brutus is noble, wise, valiant, and honest; Caesar was mighty, bold, royal, and loving: Say I love Brutus, and I honour him; Say I fear’d Caesar, honour’d him, and lov’d him. If Brutus will vouchsafe that Antony 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 Through the hazards of this untrod state, With all true faith. So says my master Antony.

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Brutus Thy master is a wise and valiant Roman; I never thought him worse. Tell him, so please him come unto this place, He shall be satisfied; and, by my honour, Depart untouch’d.

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Servant

I’ll fetch him presently. [Exit Servant]

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Cassius As often as that happens, so just as often will the group of us be called the men who gave their country liberty. Decius Well, shall we go out now? Cassius Yes, every man will go. Brutus will lead, and we—the boldest and best hearts of Rome—will follow on his heels.

[A Servant enters] Brutus Look! Who’s coming? A friend of Antony’s. Servant Like this, Brutus, my master told me to kneel. Like this, Mark Antony told me to fall down. And he told me that when I was prostrate before you to say, “Brutus is noble, wise, valiant, and honorable. Caesar was mighty, bold, royal, and loving. Say I love Brutus, and I honor him. Say I feared Caesar, honored him, and loved him. If Brutus will promise that it is safe for Antony to come to him, and will explain why Caesar has deserved to lie in death, then Mark Antony will not love Caesar dead as well as he loves Brutus living. He will follow the fortunes and affairs of noble Brutus faithfully through the hazards of this new state of affairs.” So says my master Antony.

Brutus Your master is a wise and valiant Roman. I’ve never thought him to be any less than that. Tell him, if he wishes to come here, I’ll give him an explanation, and by my honor he’ll depart untouched. Servant I’ll fetch him immediately. [Servant exits]

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Brutus I know that we shall have him well to friend. Cassius I wish we may: but yet have I a mind That fears him much; and my misgiving still Falls shrewdly to the purpose. [Enter Antony] 160

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Brutus But here comes Antony. Welcome, Mark Antony. Antony O mighty Caesar! dost thou lie so low? Are all thy conquests, glories, triumphs, spoils, 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’s hour; nor no instrument 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, 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 off, The choice and master spirits of this age. Brutus O Antony, beg not your death of us. 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; And pity to the general wrong of Rome – As fire drives out fire, so pity pity – Hath done this deed on Caesar. For your part, To you our swords have leaden points, Mark Antony:

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Brutus I know that we’ll have him as a good friend. Cassius I hope we will. But I have a suspicion that he’s not to be trusted. And my misgivings are usually right.

[Antony enters] Brutus Here comes Antony. Welcome, Mark Antony. Antony Oh mighty Caesar! Do you lie so low? Are all your conquests, glories, triumphs, spoils shrunk to this little measure? Farewell. I don’t know, gentlemen, what you intend, who else must bleed, who else is ready for the sword. If it is I myself, there is no hour so fit as the hour of Caesar’s death. No weapon is half the worth as your swords, made rich with the most noble blood of all this world. I beg you, if you bear me ill will, fulfill your pleasure now while your bloody hands reek and smoke. If I live a thousand years, I will not find myself so ready to die. No place will please me so much, no manner of death, as here by Caesar, and by you cut down—you, the best and finest spirits of this age.

Brutus Oh Antony, don’t beg to die by our hands. Even though we must now appear bloody and cruel, by the appearance of our hands and by this act you see we’ve committed. You see only our hands and this bloody business they’ve done. You don’t see our hearts. They are full of pity. But as fire drives out fire, so pity drives out pity—and pity for the general wrongs done to Rome has done this deed to Caesar. For you, our swords have blunt points, Mark Antony. Our arms, as

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Our arms in strength of malice, and our hearts Of brothers’ temper, do receive you in With all kind love, good thoughts, and reverence. 190

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Cassius Your voice shall be as strong as any man’s In the disposing of new dignities. Brutus Only be patient till we have appeas’d The multitude, beside themselves with fear, And then we will deliver you the cause Why I, that did love Caesar when I struck him, Have thus proceeded. Antony I doubt not of your wisdom. Let each man render me his bloody hand. First, Marcus Brutus, will I shake with you; Next Caius Cassius, do I take your hand; Now, Decius Brutus, yours; now yours, Metellus; Yours, Cinna; and, my valiant Casca, yours; Though last, not least in love, yours, good Trebonius. Gentlemen all – alas, what shall I say? My credit now stands on such slippery ground, That one of two bad ways you must conceit me, Either a coward, or a flatterer. That I did love thee, Caesar, O, ’tis true! 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? 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; Here didst thou fall; and here thy hunters stand, Sign’d in thy spoil, and crimson’d in thy lethe. O world, thou wast the forest to this hart;

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strong as when they struck out to kill, and our hearts, which have a brother’s feelings, receive you with kind love, good thoughts, and respect. Cassius Your voice will carry as much weight as any of ours in deciding who will receive the new honors. Brutus Just be patient until we have appeased the multitude of people who are beside themselves with fear. Then we will explain the reason why I, who loved Caesar when I struck him, have done this. Antony I don’t doubt your wisdom. Let each man give me his bloody hand. First, Marcus Brutus, I will shake with you. Next Caius Cassius, I take your hand. Now, Decius Brutus, yours. Now yours, Metellus; yours, Cinna. And my valiant Casca, yours. Though last, but not least in love, yours, good Trebonius. Gentlemen all—alas, what shall I say? My worth now stands on such slippery ground that you must judge me in one of two bad ways—either as a coward or as a flatterer. That I did love you, Caesar—oh, it’s true! If your spirit looks upon us now, won’t it grieve you dearer than your death to see your Antony making his peace, shaking the bloody fingers of your foes—most noble Caesar—in the presence of your corpse? If I had as many eyes as you have wounds, weeping as fast as they stream forth your blood, it would become me better than to settle on terms of friendship with your enemies. Pardon me, Julius! Here were you driven, a hunted animal, a brave hart. Here you fell. And here your hunters stand, marked with the signs of your death, crimson in your river of death. Oh world, you were a forest for this

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And this indeed, O world, the heart of thee. How like a deer, strucken by many princes, Dost thou here lie! 225

Cassius Mark Antony – Antony Pardon me, Caius Cassius: The enemies of Caesar shall say this; Then, in a friend, it is cold modesty.

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Cassius I blame you not for praising Caesar so; 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 you? Antony Therefore I took your hands, but was indeed Sway’d from the point by looking down on Caesar. Friends am I with you all, and love you all, Upon this hope, that you shall give me reasons Why, and wherein, Caesar was dangerous. Brutus Or else were this a savage spectacle. Our reasons are so full of good regard, That were you, Antony, the son of Caesar, You should be satisfied. Antony That’s all I seek; 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. Brutus You shall, Mark Antony.

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Cassius Brutus, a word with you. 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?

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hart. And this indeed, oh world, was your heart. How like a deer, struck by many princes, you lie here! Cassius Mark Antony— Antony Pardon me, Caius Cassius. The enemies of Caesar will say this much. Therefore, from a friend, it is cold moderation. Cassius I don’t blame you for praising Caesar so. But what agreement do you mean to have with us? Will you be marked down as one of our friends, or shall we go on and not depend on you? Antony That’s the reason I took your hands, but I was indeed swayed for a moment by looking down on Caesar. I am friends with all of you, and love you all. And I hope that you will give me reasons why, and in what way, Caesar was dangerous. Brutus Yes, we will, or else this would be a savage spectacle. Our reasons are so legitimate that if you, Antony, were the son of Caesar, you would be satisfied. Antony That’s all I want—and I also ask that I may produce his body in the marketplace, and on the speaker’s platform, as becomes a friend, speak at his funeral ceremony.

Brutus You shall, Mark Antony. Cassius Brutus, a word with you. You don’t know what you’re doing. Don’t consent to let Antony speak at his funeral. Don’t you know how much the people may be moved by what he will say?

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Brutus By your pardon: 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 Have all true rites and lawful ceremonies. It shall advantage more than do us wrong. Cassius I know not what may fall; I like it not.

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Brutus Mark Antony, here, take you Caesar’s body. 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 In the same pulpit whereto I am going, After my speech is ended. Antony I do desire no more.

Be it so;

Brutus Prepare the body, then, and follow us. [Exeunt all except Antony]

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Antony O pardon me, thou bleeding piece of earth, 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 (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; Blood and destruction shall be so in use, And dreadful objects so familiar,

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Brutus By your pardon: I myself will speak first, and give the reason for Caesar’s death. I’ll proclaim that Antony will speak with our agreement and permission, and that we want Caesar to have all the proper rites and lawful ceremonies. It will help us more than harm us.

Cassius I don’t know what might happen. I don’t like it. Brutus Mark Antony, here, you take Caesar’s body. In your funeral speech you’ll not blame us, but speak all the good you can think of about Caesar. And say you do it by our permission, or else you’ll not have any hand at all in his funeral. And you’ll speak from the same place where I’m going to speak, after my speech has ended.

Antony So be it. I desire nothing more. Brutus Prepare the body, then, and follow us. [All exit except Antony] Antony Oh pardon me, you bleeding piece of earth, that I’m meek and gentle with these butchers. You are the ruins of the noblest man who ever lived in the tide of history. Woe to the hand that shed this precious blood! Over your wounds (which like dumb mouths open their ruby lips to beg that my tongue should speak for them) I now prophesy that a curse shall fall upon men. Domestic fury and fierce civil war will trouble all parts of Italy. Blood and destruction will be so common, and dreadful events so familiar, that mothers will

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That mothers shall but smile when they behold Their infants quartered with the hands of war, All pity chok’d with custom of fell deeds; And Caesar’s spirit, ranging for revenge, With Ate by his side come hot from hell, Shall in these confines with a monarch’s voice Cry havoc and let slip the dogs of war, That this foul deed shall smell above the earth With carrion men, groaning for burial. [Enter a Servant]

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You serve Octavius Caesar, do you not? Servant I do, Mark Antony. Antony Caesar did write for him to come to Rome.

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Servant He did receive his letters, and is coming, And bid me say to you by word of mouth – O Caesar! Antony 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?

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Servant He lies tonight within seven leagues of Rome. Antony Post back with speed, and tell him what hath chanc’d. Here is a mourning Rome, a dangerous Rome, No Rome of safety for Octavius yet; 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; According to the which thou shalt discourse To young Octavius of the state of things. Lend me your hand. [Exeunt, with Caesar’s body]

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just smile when they see their infants butchered by the hands of war, all pity choked by seeing so many terrible deeds. And Caesar’s spirit will search for revenge, while at his side is Ate, the goddess of strife, who’s come hot from hell. In these lands, with a regal voice he’ll cry Havoc! and let loose the dogs of war, so that this foul deed will stink above the earth covered with rotting bodies, groaning for burial.

[A Servant enters] You serve Octavius Caesar, don’t you? Servant I do, Mark Antony. Antony Caesar wrote to him to come to Rome. Servant He did receive his letters and is coming. And he told me to say to you in person—Oh Caesar! [seeing the body] Antony Your heart is big. Go somewhere and weep. Grief, I see, is catching. Because my eyes, seeing those tears of sorrow in yours, begin to water. Is your master coming? Servant He sleeps tonight within about twenty miles of Rome. Antony Ride back quickly, and tell him what has happened. This is a mourning Rome, a dangerous Rome, not a Rome of safety for Octavius yet. Hurry and tell him so. But stay awhile. Don’t go back until I’ve carried this corpse into the marketplace. With my funeral speech, I’ll test how the people have taken the cruel act of these bloody men. According to the outcome, you can tell young Octavius the state of things. Lend me your hand.

[Exit with Caesar’s body]

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The Forum. Enter Brutus and Cassius, with a throng of Plebeians. Plebeians We will be satisfied: let us be satisfied.

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Brutus Then follow me, and give me audience, friends. Cassius, go you into the other street, And part the numbers. 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. 1st Pleb

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I will hear Brutus speak.

2nd Pleb I will hear Cassius, and compare their reasons, When severally we hear them rendered. [Exit Cassius, with some of the Plebeians] 3rd Pleb The noble Brutus is ascended: silence!

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Brutus Be patient till the last. Romans, countrymen, and lovers, hear me for my cause, and be silent, that you may hear. Believe me for mine honour, and have respect to mine honour, that you may believe. Censure me in your wisdom, and wake your senses, that you may the better judge. If there be any in this assembly, any dear 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

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The Forum. Brutus and Cassius enter with a crowd of Roman commoners (Plebeians) Plebeians We demand an explanation! Give us an explanation! Brutus Then follow me, and let me be heard, friends. Cassius, you go into the other street and divide the crowd. Those who want to hear me speak, let them stay here. Those who want to follow Cassius, go with him. The reasons for Caesar’s death will be given publicly.

1st Plebeian I’ll hear Brutus speak. 2nd Plebeian I’ll hear Cassius, and we’ll compare their reasons when we’ve heard them given separately. [Cassius exits with some of the Plebeians] 3rd Plebeian The noble Brutus has ascended the podium. Silence! Brutus Be patient until you hear me out! Romans, countrymen, and friends. Hear me state my case. Be silent so you can hear. Believe me, for the sake of my honor, and keep in mind my honor, so you can believe me. Judge me in your wisdom. And be fully attentive, so you may judge better. If there is anyone in this assembly who is a dear friend of Caesar’s, to him I say that Brutus’s love of Caesar was no less than his. If then that friend demands why Brutus rose against Caesar, this is my

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Caesar, this is my answer: Not that I loved Caesar less, but that I loved Rome more. Had you rather Caesar were living, and die all slaves, than that Caesar were dead, to live all free men? As Caesar loved me, I weep for him; as he was fortunate, I rejoice at it; as he was valiant, I honour him; but, as he was ambitious, I slew him. There is tears, for his love; joy, for his fortune; honour, for his valour; and death, for his ambition. Who is here so base, that would be a bondman? If any, speak; for him have I offended. Who is here so rude, that would not be a Roman? If any, speak; for him have I offended. Who is here so vile, that will not love his country? If any, speak; for him have I offended. I pause for a reply. All None, Brutus, none.

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Brutus Then none have I offended. I have done no more to Caesar than you shall do to Brutus. The question of his death is enroll’d in the Capitol; his glory not extenuated, wherein he was worthy; nor his offences enforc’d, for which he suffered death. [Enter Mark Antony with Caesar’s body]

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Here comes his body, mourned by Mark Antony, 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 Rome, I have the same dagger for myself, when it shall please my country to need my death. All Live, Brutus! live! live! 1st Pleb Bring him with triumph home unto his house. 2nd Pleb Give him a statue with his ancestors. 3rd Pleb Let him be Caesar.

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4th Pleb Caesar’s better parts Shall be crown’d in Brutus.

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answer: Not that I loved Caesar less, but that I loved Rome more. Would you rather that Caesar were living, and all die slaves, than that Caesar were dead, to all live free men? As Caesar loved me, I weep for him. As he was fortunate, I rejoice at it. As he was valiant, I honor him. But as he was ambitious, I killed him. There are tears, for his love; joy, for his fortune; honor, for his valor; and death, for his ambition. Who here is so low that he would be a slave? If anyone, speak, for I have offended him. Who here is so barbarous that he would not be a Roman? If anyone, speak, for I have offended him. Who here is so vile that he will not love his country? If anyone, speak, for I have offended him. I pause for a reply. All None, Brutus, none! Brutus Then I have offended none. I have done no more to Caesar than you would have done to Brutus. The reasons for his death are on record in the Capitol. His glory is not diminished, of which he was worthy. Nor are his offenses magnified, for which he suffered death. [Mark Antony enters with Caesar’s body] Here comes his body, mourned by Mark Antony. Though he had no hand in his death, he will receive the benefit of his dying, a place in the commonwealth of our state, as you all will have. With this I depart. And as I killed my best friend for the good of Rome, I have the same dagger for myself, when it will please my country to need my death. All Long live Brutus! Live! Live! 1st Plebeian Take him in triumph home to his house! 2nd Plebeian Give him a statue alongside his ancestors! 3rd Plebeian Let him be Caesar! 4th Plebeian Caesar’s better qualities will be crowned in Brutus!

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1st Pleb We’ll bring him to his house with shouts and clamours. Brutus My countrymen – 2nd Pleb 55

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Peace! Silence! Brutus speaks.

1st Pleb Peace, ho! Brutus Good countrymen, let me depart alone, And, for my sake, stay here with Antony. 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. 1st Pleb Stay, ho! and let us hear Mark Antony.

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3rd Pleb Let him go up into the public chair. We’ll hear him. Noble Antony, go up. Antony For Brutus’ sake, I am beholding to you. 4th Pleb What does he say of Brutus? 3rd Pleb He says, for Brutus’ sake He finds himself beholding to us all.

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4th Pleb ’Twere best he speak no harm of Brutus here! 1st Pleb This Caesar was a tyrant. 3rd Pleb Nay, that’s certain. We are blest that Rome is rid of him. 2nd Pleb Peace! let us hear what Antony can say.

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Antony You gentle Romans – All

Peace, ho! let us hear him.

Antony Friends, Romans, countrymen, lend me your ears; I come to bury Caesar, not to praise him. The evil that men do lives after them,

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1st Plebeian We’ll bring him to his house with shouts and cheers! Brutus My countrymen— 2nd Plebeian Peace! Silence! Brutus speaks. 1st Plebeian Be still, ho! Brutus Good countrymen, let me depart alone. And for my sake, stay here with Antony. Give respect to Caesar’s corpse, and respect Antony’s speech praising Caesar’s glories, which he has our permission to make. I beg you, that not a single man depart, except I alone, until Antony has spoken. [Brutus exits] 1st Plebeian Stay, ho! Let’s hear Mark Antony. 3rd Plebeian Let him go up onto the podium. We’ll hear him. Noble Antony, go up. Antony For Brutus’s sake, I am beholden to you. 4th Plebeian What does he say of Brutus? 3rd Plebeian He says, for Brutus’s sake he finds himself beholden to us all. 4th Plebeian It’s best he doesn’t speak against Brutus here! 1st Plebeian This Caesar was a tyrant. 3rd Plebeian Yes, that’s for certain. We’re blest that Rome is rid of him. 2nd Plebeian Quiet! Let’s hear what Antony will say. Antony You gentle Romans— All Quiet, ho! Let’s hear him! Antony Friends, Romans, countrymen—lend me your ears! I come to bury Caesar, not to praise him. The evil that men do lives after them. The good is often buried with their bones.

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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. Here, under the 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; But Brutus says he was ambitious, And Brutus is an honourable man. He hath brought many captives home to Rome, Whose ransom did the general coffers fill: Did this in Caesar seem ambitious? When that the poor have cried, Caesar hath 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 I thrice presented him a kingly crown, Which he did thrice refuse. Was this ambition? Yet Brutus says he was ambitious, And sure he is an honourable man. I speak not to disprove what Brutus spoke, But here I am to speak what I do know. You all did love him once, not without cause; What cause withholds you then to mourn for him? O judgment, thou art fled to brutish beasts, And men have lost their reason. Bear with me. My heart is in the coffin there with Caesar, And I must pause till it come back to me. 1st Pleb Methinks there is much reason in his sayings. 2nd Pleb If thou consider rightly of the matter, Caesar has had great wrong.

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So let it be with Caesar. The noble Brutus has told you that Caesar was ambitious. If it were so, it was a grievous fault, and Caesar has answered grievously for it. Here, by permission of Brutus and the rest—for Brutus is an honorable man; so are they all, all honorable men—I come to speak at Caesar’s funeral. He was my friend, faithful and just to me. But Brutus says he was ambitious, and Brutus is an honorable man. Caesar brought many captives home to Rome, whose ransoms filled the general treasury. Did this seem ambitious in Caesar? When the poor have cried, Caesar has wept for them. Ambition should be made of sterner stuff! Yet Brutus says he was ambitious, and Brutus is an honorable man. You all saw that on the feast of Lupercal I three times presented him with a kingly crown, which he three times refused. Was this ambition? Yet Brutus says he was ambitious, and surely, he is an honorable man. I do not speak to disprove what Brutus spoke. But I am here to speak what I do know. You all loved him once, not without cause. What cause, then, keeps you from mourning for him? Oh judgment, you have fled to brutish beasts, and men have lost their reason. Bear with me. My heart is in the coffin there with Caesar, and I must pause until it comes back to me.

1st Plebeian I think there’s much reason in what he says. 2nd Plebeian If you consider the matter clearly, Caesar has had a great wrong done to him.

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3rd Pleb Has he, masters? I fear there will a worse come in his place. 4th Pleb Mark’d ye his words? He would not take the crown; Therefore ’tis certain he was not ambitious. 1st Pleb If it be found so, some will dear abide it.

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2nd Pleb Poor soul! His eyes are red as fire with weeping. 3rd Pleb There’s not a nobler man in Rome than Antony. 4th Pleb Now mark him; he begins again to speak.

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Antony But yesterday the word of Caesar might Have stood against the world; now lies he there, And none so poor to do him reverence. O masters! if I were dispos’d to stir Your hearts and minds to mutiny and rage, I should do Brutus wrong, and Cassius wrong, Who, you all know, are honourable men. I will not do them wrong; I rather choose 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 Caesar; I found it in his closet; ’tis his will. Let but the commons hear this testament, 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, Bequeathing it as a rich legacy Unto their issue. 4th Pleb We’ll hear the will. Read it, Mark Antony. All The will, the will! We will hear Caesar’s will!

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Antony Have patience, gentle friends; I must not read it. It is not meet you know how Caesar lov’d you.

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3rd Plebeian Has he, fellows? I fear that worse will come in his place. 4th Plebeian Did you hear his words? He wouldn’t take the crown. Therefore it’s certain he wasn’t ambitious. 1st Plebeian If that’s found to be true, some will pay dearly for it. 2nd Plebeian Poor soul! His eyes are red as fire with weeping! 3rd Plebeian There’s not a nobler man in Rome than Antony. 4th Plebeian Now listen to him. He begins to speak again. Antony Just yesterday the word of Caesar could have stood against the world. Now he lies there, and no one is so lowly that they would do him reverence. Oh, gentlemen! If I were disposed to stir your hearts and minds to disorder and violence, I would do Brutus wrong, and Cassius wrong, who, you all know, are honorable men. I won’t do them wrong. I rather choose to wrong the dead, to wrong myself and you, than to wrong such honorable men. But here’s a document with the seal of Caesar. I found it in his private room. It’s his will. If the common people were to hear this testament— which, pardon me, I don’t mean to read—they would go and kiss dead Caesar’s wounds. They would dip their handkerchiefs in his sacred blood, yes, and beg a hair from his head for a memento. And when they died, they would mention it in their wills, bequeathing it as a rich legacy to their heirs.

4th Plebeian We’ll hear the will. Read it, Mark Antony. All The will, the will! We’ll hear Caesar’s will! Antony Have patience, gentle friends. I must not read it. It’s not fitting that you know how Caesar loved you. You aren’t

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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. ’Tis good you know not that you are his heirs; For if you should, O, what would come of it? 4th Pleb Read the will! We’ll hear it, Antony! You shall read us the will, Caesar’s will!

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Antony Will you be patient? Will you stay awile? 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. 4th Pleb They were traitors. Honourable men! All The will! – The testament!

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2nd Pleb They were villains, murderers! The will! Read the will! Antony 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? All Come down. 2nd Pleb Descend. [Antony comes down] 3rd Pleb You shall have leave. 4th Pleb A ring; stand round.

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1st Pleb Stand from the hearse! stand from the body! 2nd Pleb Room for Antony, most noble Antony! Antony Nay, press not so upon me; stand far off. All Stand back! Room! Bear back!

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wood; you aren’t stones. You’re men! And being men, hearing the will of Caesar will inflame you. It will make you enraged. It’s good that you don’t know you’re his heirs. For if you did, oh, what would come of it? 4th Plebeian Read the will! We’ll hear it, Antony! You must read us the will, Caesar’s will! Antony Will you be patient? Will you wait awhile? I’ve overstepped myself in telling you of it. I fear I wrong the honorable men whose daggers have stabbed Caesar. I do fear it! 4th Plebeian They were traitors! Honorable men! All The will! The testament! 2nd Plebeian They are villains, murderers! The will! Read the will! Antony You will compel me then to read the will? Then form a ring around the corpse of Caesar. Let me show you him who made the will. Shall I come down? Will you give me permission? All Come down! 2nd Plebeian Descend! [Antony comes down from the podium] 3rd Plebeian You have permission. 4th Plebeian A ring! Stand around! 1st Plebeian Stand back from the coffin! Stand back from the body! 2nd Plebeian Make room for Antony, most noble Antony! Antony No, don’t crowd me so. Stand far back. All Stand back! Make room! Get back!

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Antony 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; ’Twas on a summer’s evening in his tent, That day he overcame the Nervii. Look, in this place ran Cassius’ dagger through: See what a rent the envious Casca made: 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 resolv’d If Brutus so unkindly knock’d or no; For Brutus, as you know, was Caesar’s angel. Judge, O 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, 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. O, what a fall was there, my countrymen! Then I, and you, and all of us fell down, Whilst bloody treason flourish’d over us. O, 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 Our Caesar’s vesture wounded? Look you here! Here is himself, marr’d, as you see, with traitors. 1st Pleb O piteous spectacle! 2nd Pleb O noble Caesar!

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3rd Pleb O woeful day! 4th Pleb O traitors! villains! 1st Pleb O most bloody sight!

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Antony If you have tears, prepare to shed them now. You all know this cloak. I remember the first time Caesar ever put it on. It was on a summer’s evening in his tent, that day he defeated the Nervii tribe in battle. Look, this is the place where Cassius’s dagger ran through. See what a tear the envious Casca made. Through this, the well-beloved Brutus stabbed. And as he pulled his cursed steel out, look how the blood of Caesar followed it, as if it were rushing out of doors to see if it were Brutus who so unkindly knocked. For Brutus, as you know, was Caesar’s angel. Judge, oh you gods, how dearly Caesar loved him. This was the unkindest cut of all. For when the noble Caesar saw him stab, the ingratitude— stronger than traitors’ arms—quite destroyed him. Then his mighty heart burst. And with his cloak covering up his face, at the base of Pompey’s statue (which all the while ran blood) great Caesar fell. Oh what a fall was that, my countrymen! Then I, and you, and all of us fell down, while bloody treason triumphed over us. Oh, now you weep. And I can see you feel the force of pity. These are gracious teardrops. Kind souls, do you weep just seeing Caesar’s wounded cloak? Then look here! Here he is himself, mutilated, as you see, by traitors.

1st Plebeian Oh piteous spectacle! 2nd Plebeian Oh noble Caesar! 3rd Plebeian Oh woeful day! 4th Plebeian Oh traitors! Villains! 1st Plebeian Oh most bloody sight!

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2nd Pleb We will be revenged. 210

All Revenge! About! Seek! Burn! Fire! Kill! Slay! Let not a traitor live. Antony Stay, countrymen. 1st Pleb Peace there! Hear the noble Antony. 2nd Pleb We’ll hear him, we’ll follow him, we’ll die with him.

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Antony Good friends, sweet friends, let me not stir you up To such a sudden flood of mutiny. They that have done this deed are honourable. 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, 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 speech 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, 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. 1st Pleb

We’ll burn the house of Brutus.

3rd Pleb Away then! Come, seek the conspirators. Antony Yet hear me, countrymen. Yet hear me speak. All Peace, ho! Hear Antony, most noble Antony.

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2nd Plebeian We’ll be revenged! All Revenge! Out and about! Find them! Burn! Fire! Kill! Slay! Let not one traitor live! Antony Wait, countrymen! 1st Plebeian Quiet there! Hear the noble Antony. 2nd Plebeian We’ll hear him! We’ll follow him! We’ll die with him! Antony Good friends, sweet friends. Don’t let me stir you up to such a sudden flood of rioting. They who have done this deed are honorable. Alas, I don’t know what private grievances they have that made them do it. They are wise and honorable, and will, no doubt, give you their reasons. I’ve not come, friends, to steal away your hearts. I’m no orator, as Brutus is. But, as you all know me, I’m a plain blunt man who loved my friend. And they know that full well who gave me permission to speak of him in public. For I have neither wit, nor a way with words, nor a position to give authority to my words, nor the gestures and fluency of speech to stir men’s blood. I only speak right out. I tell you what you yourselves already know. I show you sweet Caesar’s wounds—poor, poor dumb mouths—and have them speak for me. But if I were Brutus, and Brutus were Antony, then there would be an Antony who would stir up your spirits and put a tongue in every wound of Caesar that would move the stones of Rome to rise and riot!

All We’ll riot! 1st Plebeian We’ll burn the house of Brutus. 3rd Plebeian Away, then! Come, let’s find the conspirators! Antony Wait, hear me, countrymen. Hear me speak. All Peace, ho! Hear Antony, most noble Antony.

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Antony Why, friends, you go to do you know not what. 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.

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Antony Here is the will, and under Caesar’s seal. To every Roman citizen he gives, To every several man, seventy-five drachmas. 2nd Pleb Most noble Caesar! We’ll revenge his death. 3rd Pleb O royal Caesar!

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Antony Hear me with patience. All Peace, ho!

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Antony 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 for ever: common pleasures, To walk abroad and recreate yourselves. Here was a Caesar! when comes such another? 1st Pleb 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. 2nd Pleb Go fetch fire. 3rd Pleb Pluck down benches. 4th Pleb Pluck down forms, windows, any thing. [Exeunt Plebeians with the body]

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Antony Now let it work. Mischief, thou art afoot, Take thou what course thou wilt! How now, fellow?

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Antony Why, friends, you go not knowing what you’re going to do! Why has Caesar so deserved your love? Alas! You don’t know. Then I must tell you. You’ve forgotten the will I told you about. All That’s true. The will! Let’s stay and hear the will! Antony Here’s the will, under Caesar’s seal. To every Roman citizen—to each individual man—he gives seventy-five drachmas. 2nd Plebeian Most noble Caesar! We’ll revenge his death. 3rd Plebeian Oh royal Caesar! Antony Hear me with patience! All Peace, ho! Antony Moreover, he has left you all his walkways, his private arbors, his newly planted orchards, on this side of the Tiber. He has left them to you and to your heirs forever. Public parks, in which to walk around and enjoy yourselves. Here was a Caesar! When will come such another? 1st Plebeian Never! Never! Come, away! Away! We’ll burn his body in the holy place, and with the firebrands from that fire, we’ll burn the traitor’s houses. Take up the body! 2nd Plebeian Go fetch fire. 3rd Plebeian Pull down benches. 4th Plebeian Pull down benches, shutters, anything! [Plebeians exit with the body] Antony Now let it work. Mischief, you are afoot. Take what course you will! How, now, fellow?

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[Enter a Servant] Servant Sir, Octavius is already come to Rome. Antony Where is he? Servant He and Lepidus are at Caesar’s house. 270

Antony And thither will I straight to visit him. He comes upon a wish. Fortune is merry, And in this mood will give us any thing. Servant I heard him say Brutus and Cassius Are rid like madmen through the gates of Rome.

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Antony Belike they had some notice of the people, How I had mov’d them. Bring me Octavius. [Exeunt]

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[A Servant enters] Servant Sir, Octavius is already here in Rome. Antony Where is he? Servant He and Lepidus are at Caesar’s house. Antony I’ll go straight there to visit him. He comes just as I was wishing for him. Fortune smiles on us, and in this mood she will give us anything. Servant I heard him say that Brutus and Cassius were riding like madmen through the gates of Rome. Antony Most likely they saw some of the people and how I had moved them to anger. Take me to Octavius. [Exit]

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A street. Enter Cinna the poet, and after him the Plebeians. Cinna I dreamt tonight that I did feast with Caesar, And things unlucky charge my fantasy. I have no will to wander forth of doors, Yet something leads me forth. 5

1st Pleb What is your name? 2nd Pleb Whither are you going? 3rd Pleb Where do you dwell? 4th Pleb Are you a married man or a bachelor? 2nd Pleb Answer every man directly.

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1st Pleb Ay, and briefly. 4th Pleb Ay, and wisely. 3rd Pleb Ay, and truly, you were best.

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Cinna What is my name? Whither am I going? Where do I dwell? Am I a married man or a bachelor? Then, to answer every man directly and briefly, wisely and truly: wisely I say, I am a bachelor. 2nd Pleb That’s as much as to say they are fools that marry. You’ll bear me a bang for that, I fear. Proceed, directly. Cinna Directly, I am going to Caesar’s funeral.

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A street. Cinna the poet enters, followed by the Plebeians. Cinna I dreamt last night that I feasted with Caesar. These things that have happened fill my imagination with dark fears. I have no wish to go out of doors, but something leads me out. 1st Plebeian What’s your name? 2nd Plebeian Where are you going? 3rd Plebeian Where do you live? 4th Plebeian Are you a married man or a bachelor? 2nd Plebeian Answer every man directly. 1st Plebeian Yes, and briefly. 4th Plebeian Yes, and wisely. 3rd Plebeian Yes, and you’d best answer truthfully. Cinna What is my name? Where am I going? Where do I live? Am I a married man or a bachelor? Then to answer every man directly and briefly, wisely and truthfully: wisely I say, I’m a bachelor. 2nd Plebeian That’s as much as to say that they who marry are fools. You’ll get a whack from me for that, I fear. Proceed, directly. Cinna Directly, I’m going to Caesar’s funeral.

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1st Pleb As a friend or an enemy? Cinna As a friend. 2nd Pleb The matter is answered directly. 4th Pleb For your dwelling, briefly. Cinna Briefly, I dwell by the Capitol.

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3rd Pleb Your name, sir, truly. Cinna Truly, my name is Cinna. 1st Pleb Tear him to pieces! He’s a conspirator. Cinna I am Cinna the poet, I am Cinna the poet.

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4th Pleb Tear him for his bad verses, tear him for his bad verses. Cinna I am not Cinna the conspirator. 1st Pleb It is no matter, his name’s Cinna; pluck but his name out of his heart, and turn him going.

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3rd Pleb Tear him, tear him! Come, brands, ho! firebrands! To Brutus’, to Cassius’; burn all! Some to Decius’ house, and some to Casca’s; some to Ligarius’. Away! go!

[Exeunt all the Plebeians, dragging off Cinna]

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1st Plebeian As a friend or an enemy? Cinna As a friend. 2nd Plebeian That question was answered directly! 4th Plebeian And where you live, briefly. Cinna Briefly, I live by the Capitol. 3rd Plebeian Your name, sir, truthfully. Cinna Truthfully, my name is Cinna. 1st Plebeian Tear him to pieces! He’s a conspirator! Cinna I’m Cinna the poet! Cinna the poet! 4th Plebeian Tear him to pieces for his bad verses! Tear him for his bad verses! Cinna I’m not Cinna the conspirator! 1st Plebeian It doesn’t matter, his name’s Cinna. Tear his name out of his heart, and turn the rest of him loose. 3rd Plebeian Tear him! Tear him! Come on, some firebrands! Ho! Firebrands! To Brutus’s, to Cassius’s. Burn them all. Some go to Decius’s house, and some to Casca’s. Some go to Ligarius’s. Away! Go! [All the Plebeians exit, dragging off Cinna]

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Comprehension

Check What You Know

1. What are Caesar’s first words to the soothsayer? What is the soothsayer’s response? 2. Who gets Antony out of the way? 3. Who begs Caesar’s attention on some matter? What has happened to this person’s brother? What does Caesar say that tells you he is not going to change his mind? 4. What are Caesar’s last words? What do they mean? 5. Once word spreads that Caesar has been killed, how do the people react? 6. What do all the conspirators do that tells you they are not ashamed of what they have done? 7. What request does Antony make after he meets with the conspirators? 8. What conditions for the speech does Brutus establish that Antony must agree to follow? 9. After the conspirators leave, Antony reveals his true feelings. What are they? 10. How does the crowd react to Brutus before he speaks? 11. How does Brutus explain the reasons for killing Caesar? 12. Did he convince the crowd at the end of his speech? How do they feel about the conspirators? How do they feel about Antony? 13. Antony’s funeral oration is one of the greatest speeches in the English language. He skillfully repeats two words throughout the speech. What are they? Which word refers to the conspirators? Which refers to Caesar? Does the crowd understand what Antony means by these two words? 14. Antony mentions Caesar’s will, but he doesn’t read it right away. Why not? What did Caesar leave to every Roman citizen? ©Bettmann/CORBIS

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15. What does the crowd want to do at the end of Antony’s speech? 16. Which Cinna is in Scene 3? Why does the crowd attack him?

Activities & Role-Playing

Classes or Informal Groups

Order in the Senate The assassination of Caesar takes place right in the middle of the Roman Senate. We know what the conspirators and Caesar said during this scene. What would the rest of the Senate say and do? Role-play the scene with various members of the Roman Senate. Whose side are you on? In Act 3, the Roman crowd clearly switches its allegiance from Brutus to Antony. Clearly Brutus had the power to convince them that the conspirators killed Caesar for a good cause. It is also clear that Antony had the power to convince them that the conspirators killed Caesar for a bad cause. Divide into two groups, one that is pro-Brutus and one that is proAntony. Set up arguments to help support your person and his reasoning.

Discussion

Classes or Informal Groups

1. Why do you think Caesar didn’t take the time to listen to Artemidorus? 2. How superstitious is Caesar? Why doesn’t he follow his instincts now? 3. Antony presents a new problem for the conspirators. Why does Cassius distrust him so much? Why is Brutus willing to give him the benefit of the doubt? What is the final decision regarding Antony? 4. How good a judge of character is Antony? Didn’t he take a big risk by coming and talking to the conspirators? Why did he do it? 5. Why is the crowd so against Antony before he starts? Why are they so willing to agree with him during his speech? 6. What is your opinion of Julius Caesar once the will is read?

Suggestions for Writing

Improve Your Skills

1. What would have been going through Caesar’s mind on this day, the ides of March? Write a diary entry that Caesar might have written before going to the Senate and right before he dies. 2. Antony successfully rouses the people against the conspirators. We see this happen in Scene 3. Write a scene that might have occurred after the funeral speeches but before Scene 3. Have some citizens discuss what they have heard. What would they be thinking? What plans would they make? 161

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All the World’s a Stage

Introduction

Some time has passed between Acts 3 and 4, although Shakespeare doesn’t tell you how much. Act 4 has a lot of work to do. We need to know what has happened to the conspirators and to those who supported the murdered Caesar. We also need to know what has happened to Rome now that Caesar is dead. Have you heard the word stoic? Stoicism was a philosophical belief founded by Zeno of Citium about 300 B.C. Stoics believed that to be wise a man should be free from passion, unmoved by joy or grief, and submissive to natural law. Today there are no Stoics, but we still use the word. People described as stoic are usually unemotional and can tolerate both physical and emotional pain without letting anyone know how they feel. You will see people in Act 4 who follow the beliefs of the Stoics.

My Words Fly Up

What's in a Name?

Characters

With Caesar’s death, a new triumvirate now rules Rome. You will see the second triumvirate—Antony, Octavius, and Lepidus—in action in Scene 1. This is Rome’s second attempt at this form of government. Do you remember the members of the first one? They were Julius Caesar, Pompey, and Crassus. The second triumvirate operates the government a little differently than the first. Notice what these three men are doing in the scene. Would you like them running your country? Why would they act this way?

Come What May

Things to Watch For

Watch for the use of “tides” in this act. Nature has a way of moving in patterns, like high and low tides, and there is a natural ebb and flow to the events in life as well. Things can go well for one side; then the “tide turns.” In this act you’ll see that the tides have turned for both the conspirators and for the people who supported Julius Caesar.

All Our Yesterdays

Historical and Social Context

Brutus and Cassius have fled to what is present-day Turkey. They are miles from Rome, yet they have to maintain an army to prepare to fight Antony and Octavius. What would you do in this case? Armies can be raised in different ways. During Roman times, an army could take over an area and force the conquered people to join and fight on its side. Generals could also pay people to fight for them. However, if a general did that,

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he had to pay them the money he promised. Part of Brutus’s and Cassius’s problem revolves around having enough money to maintain the army. Two cities are mentioned in this act: Sardis and Philippi. When Brutus and Cassius discuss their military strategy, it sounds like these two towns are relatively close together. Philippi was actually hundreds of miles from Sardis. Moving the army would have been a major undertaking.

The Play’s the Thing

Staging

There’s nothing like a ghost to keep the audience interested. The ghost of Caesar appears to Brutus in this act. How might you stage this sudden appearance? In this act you may find yourself reevaluating Brutus’s character. For instance, in Act 4, the death of Portia is reported. Brutus shares this news with Cassius, yet later in the scene when Messala reports her death, Brutus accepts the news almost as if he is hearing it for the first time. Some commentators say that this is an error in the script—that Shakespeare changed his mind and wrote an alternative report but that for some reason both were included in the published manuscript. However, other commentators disagree. They say that Brutus first sounds heartbroken about the news so that he can manipulate Cassius and maintain control over the course of the war. Then, when Messala reports Portia’s death, Brutus uses the cool, controlled language of the Stoic. The others are so impressed with his self-control that they put their trust in his decisions. The language Brutus uses in both situations ensures that he will be the person in charge of the war. As you read this section, see what you think.

My Words Fly Up

Language

What a difference an act makes! Remember the brilliant eloquence of the funeral speeches in the previous act? Get ready for some “down and dirty” language in this act. In Act 4, the armies of the new triumvirate and of the conspirators are preparing for battle. And some things have changed. Earlier in the play, Cassius valued Brutus’s sense of honor—partly because it showed that the assassination plan was guided by high principles, not just by a selfish desire for power. In Act 4, however, you may find that Cassius has changed his mind. In the same way, at first Brutus valued Cassius’s pragmatic nature because it enabled the assassination to be conceived of and carried out—otherwise Brutus might have thought about it but would never have acted. Now that the war is not going so well, the differences between the two men are causing problems. Compare the language they use with the language of the funeral oratories in Act 3.

What's in a Name?

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Antony’s house. Enter Antony, Octavius and Lepidus. Antony These many then shall die; their names are prick’d. Octavius Your brother too must die; consent you, Lepidus? Lepidus I do consent – Octavius 5

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Prick him down, Antony.

Lepidus Upon condition Publius shall not live, Who is your sister’s son, Mark Antony. Antony 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. Lepidus What, shall I find you here? Octavius Or here or at the Capitol. [Exit Lepidus]

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Antony This is a slight unmeritable man, Meet to be sent on errands. Is it fit, The three-fold world divided, he should stand One of the three to share it?

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Antony’s house. Antony, Octavius, and Lepidus enter. Antony These men, then, shall die. Their names are marked. Octavius Your brother, too, must die. Do you consent to that, Lepidus? Lepidus I do consent— Octavius Mark him down, Antony. Lepidus Upon condition that Publius must die—who’s your sister’s son, Mark Antony. Antony He shall not live. Look, with a mark I condemn him. But Lepidus, go to Caesar’s house. Bring the will here, and we’ll see if we can cut out some of the legacies. Lepidus Will I still find you here? Octavius Here, or at the Capitol. [Lepidus exits] Antony He’s an unimpressive man, not worthy of honor, suitable to be sent on errands. Do you think it’s fitting that he should be one of the three to share in the three-fold division of the world?

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Julius Caesar

Octavius So you thought him, And took his voice who should be prick’d to die In our black sentence and proscription. 20

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Antony 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, 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 off, Like to the empty ass, to shake his ears, And graze in commons. Octavius You may do your will; But he’s a tried and valiant soldier. Antony So is my horse, Octavius, and for that I do appoint him store of provender: 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 forth: A barren-spirited fellow; one that feeds On objects, arts, and imitations, Which, out of use and stal’d by other men, Begin his fashion. Do not talk of him 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; And let us presently go sit in council, How covert matters may be best disclos’d, And open perils surest answered.

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Act IV, Scene I

Octavius You thought so, and took his word on who should be marked to die on our black list. Antony Octavius, I’ve seen more days than you. We lay these honors on this man, to share the burden of the slanders we’re going to get. But he’ll carry these honors like an ass carries gold, groaning and sweating with the labor, either led or driven, as we point the way. Once he’s brought our treasure where we want it, then we’ll take off his load and turn him loose, like an unburdened ass, to shake his ears and graze in the common meadows.

Octavius Do as you wish. But he’s a tried and valiant soldier. Antony So is my horse, Octavius, and for that I provide him with food. He’s a creature that I teach to fight, to turn, to stop, to run directly onward, his bodily motions governed by my will. And, in some ways, Lepidus is the same. He must be taught, and trained, and told to go forward. He’s an unimaginative fellow who doesn’t appreciate objects of art and artistic creations until they’ve been popularized by others and gone out of fashion. Just think of him as something to be used. And now, Octavius, let’s talk about important things. Brutus and Cassius are recruiting armies. We must hurry to raise an army. Our alliance must be strengthened, friends made, and our resources stretched as far as they’ll go. Then let’s immediately convene a council to discuss how unseen dangers may best be brought out in the open, and how open dangers best answered.

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Octavius Let us do so: for we are at the stake, And bay’d about with many enemies; And some that smile have in their hearts, I fear, Millions of mischiefs. [Exeunt]

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Act IV, Scene I

Octavius Let’s do so. We’re tied to a stake, and our many enemies are baying around us like hounds. And I fear that some of those who smile at us have evil in their hearts. [Exit]

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Camp near Sardis. Before Brutus’s tent. Drum. Enter Brutus, Lucilius and the soldiers. Titinius and Pindarus meet them. Brutus Stand ho! Lucilius Give the word, ho! and stand. Brutus What now, Lucilius, is Cassius near? 5

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Lucilius He is at hand, and Pindarus is come To do you salutation from his master. Brutus He greets me well. Your master, Pindarus, In his own change, or by ill officers, Hath given me some worthy cause to wish Things done undone: but if he be at hand, I shall be satisfied. Pindarus I do not doubt But that my noble master will appear Such as he is, full of regard and honour.

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Brutus He is not doubted. A word, Lucilius; How he receiv’d you, let me be resolv’d. Lucilius With courtesy and with respect enough, But not with such familiar instance, Nor with such free and friendly conference, As he hath us’d of old.

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Brutus Thou hast describ’d A hot friend cooling. Ever note, Lucilius,

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A military camp near Sardis. In front of Brutus’s tent. Drums. Brutus and Lucilius enter with their soldiers. Titinius and Pindarus meet them. Brutus Halt, ho! Lucilius Give the password, ho! Halt! Brutus What now, Lucilius, is Cassius near? Lucilius He’s almost here, and Pindarus has come to give you greetings from his master. Brutus This is a good man he’s sent to greet me. Your master, Pindarus, either by his own change of heart or by some unfit officers, has given me good cause to wish that some things we’ve done could be undone. But if he’s nearly here, I’ll get an explanation. Pindarus I don’t doubt that my noble master will show himself as always, full of worthiness and honor. Brutus I don’t doubt him. A word, Lucilius. How did he receive you, I want to know. Lucilius With courtesy and with respect enough. But not with the usual familiarity, nor with free and friendly conversation like he used to. Brutus You’ve described a once warm friend who’s cooling. You’ll always find, Lucilius, that when love begins to sicken

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When love begins to sicken and decay 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, They fall their crests, and like deceitful jades Sink in the trial. Comes his army on? Lucilius They mean this night in Sardis to be quarter’d; The greater part, the horse in general, Are come with Cassius. [Enter Cassius and his Powers] Brutus Hark! he is arriv’d. March gently on to meet him.

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Cassius Stand ho! Brutus Stand ho! Speak the word along. 1st Soldier Stand! 2nd Soldier Stand! 3rd Soldier Stand!

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Cassius Most noble brother, you have done me wrong. Brutus Judge me, you gods; wrong I mine enemies? And if not so, how should I wrong a brother? Cassius Brutus, this sober form of yours hides wrongs; And when you do them –

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Brutus 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, Let us not wrangle. Bid them move away; Then in my tent, Cassius, enlarge your griefs, And I will give you audience.

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Act IV, Scene II

and decay it starts using a forced formality. There are no tricks in plain and simple friendships. But insincere men, like horses fired up at the starting line, make a gallant show and promise of their spirit. But when they ought to endure the bloody spur, they drop their heads, and like deceitful nags, they fail in the test. Is his army coming?

Lucilius They plan to camp tonight in Sardis. The greater part of them, all the cavalry, has come with Cassius.

[Cassius enters with his troops] Brutus Listen! He’s arrived. March slowly on to meet him. Cassius Halt, ho! Brutus Halt, ho! Pass the word along. 1st Soldier Halt! 2nd Soldier Halt! 3rd Soldier Halt! Cassius Most noble brother, you’ve done me wrong! Brutus Judge me, you gods! Do I wrong my enemies? And if not, then how could I wrong a brother? Cassius Brutus, this solemn manner of yours hides wrongs. And when you do them— Brutus Cassius, calm down! Speak your grievances quietly. You and I are friends. Let’s not quarrel in front of both of our armies, who should see nothing but love between us. Tell the men to move away. Then come in my tent, Cassius, and expand on your grievances, and I’ll listen to you.

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Cassius Pindarus, Bid our commanders lead their charges off A little from this ground. 55

Brutus Lucius, do you the like; and let no man Come to our tent till we have done our conference. Lucilius and Titinius guard our door. [Exeunt]

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Act IV, Scene II

Cassius Pindarus, tell our commanders to lead the troops away a little from this ground. Brutus Lucius, you do likewise. And let no man come to our tent until we’re done talking. Lucilius and Titinius, guard our door. [Exit]

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The same.

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Cassius 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, was slighted off. Brutus You wrong’d yourself to write in such a case. Cassius In such a time as this it is not meet That every nice offence should bear his comment.

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Brutus Let me tell you, Cassius, you yourself Are much condemn’d to have an itching palm, To sell and mart your offices for gold To undeservers. Cassius I an itching palm! You know that you are Brutus that speaks this, Or, by the gods, this speech were else your last. Brutus The name of Cassius honours this corruption, And chastisement doth therefore hide his head. Cassius Chastisement!

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Brutus Remember March, the ides of March remember. Did not great Julius bleed for justice’ sake? What villain touch’d his body, that did stab, And not for justice? What, shall one of us,

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The same setting. Cassius and Brutus in the tent of Brutus. Cassius You’ve wronged me in this way. You’ve condemned and disgraced Lucius Pella for taking bribes here from the Sardians. You rudely disregarded the letters that I wrote taking his side because I knew him. Brutus You wronged yourself to write in such a case. Cassius At a time like this it’s not fit that every trivial offense should bear such criticism. Brutus Let me tell you, Cassius, that you yourself are often condemned for having an itching palm, and selling and trading your offices for gold to undeserving men. Cassius I! An itching palm! You know that only you, Brutus, could say this! Or, by the gods, this speech would be your last! Brutus And because it’s the name of Cassius that approves this corruption, punishment isn’t forthcoming! Cassius Punishment! Brutus Remember March, the ides of March? Remember? Didn’t great Julius bleed for justice’s sake? What villain touched his body, who stabbed, and not for justice? What

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That struck the foremost man of all this world But for supporting robbers, shall we now Contaminate our fingers with base bribes, 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.

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Cassius Brutus, bait not me; I’ll not endure it. You forget yourself, To hedge me in. I am a soldier, I, Older in practice, abler than yourself To make conditions.

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Brutus

Go to! you are not, Cassius.

Cassius I am. Brutus I say you are not. Cassius Urge me no more, I shall forget myself; Have mind upon your health; tempt me no farther. 40

Brutus Away, slight man! Cassius Is’t possible? Brutus Hear me, for I will speak. Must I give way and room to your rash choler? Shall I be frighted when a madman stares?

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Cassius O ye gods, ye gods! Must I endure all this?

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Brutus 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 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.

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Act IV, Scene III

then, should one of us—who struck down the foremost man of all this world for supporting thieves—should we now contaminate our fingers with base bribes, and sell our highest offices for the amount of cash that I can hold in my hand like this? I’d rather be a dog, and bay at the moon, than be such a Roman! Cassius Brutus, don’t antagonize me! I won’t endure it. You forget yourself, to try to pen me in. I’m a soldier, I, more experienced, and more able than you to set conditions.

Brutus Go! You’re not, Cassius! Cassius I am! Brutus I say you’re not! Cassius Don’t press me any further, or I’ll forget myself. Be mindful of your health! Don’t tempt me farther. Brutus Get away, you shallow man! Cassius Is this possible? Brutus Listen! I’ll tell you something! Must I give way to your rash temper? Should I be afraid when a madman glares? Cassius Oh, ye gods, ye gods! Must I endure all this? Brutus All this? Yes, and more! You can fret until your prideful heart breaks. Go show your slaves your ugly temper. Make your slaves tremble. Must I budge? Must I watch you? Must I stand and cower under your testy humor? By the gods, you’ll swallow the poison of your spleen, even if it makes you sick. For from now on, I’ll use you for my amusement. Yes, I’ll laugh when you’re vile tempered!

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Cassius

Is it come to this?

Brutus 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. 60

Cassius You wrong me every way; you wrong me, Brutus. I said, an elder soldier, not a better: Did I say better? Brutus

If you did, I care not.

Cassius When Caesar liv’d, he durst not thus have mov’d me. 65

Brutus Peace, peace! you durst not so have tempted him. Cassius I durst not? Brutus No. Cassius What? durst not tempt him? Brutus

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For your life you durst not.

Cassius Do not presume too much upon my love. I may do that I shall be sorry for. Brutus 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 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 By any indirection. I did send To you for gold to pay my legions, Which you denied me: was that done like Cassius?

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Act IV, Scene III

Cassius Has it come to this? Brutus You say you’re a better soldier. Then prove it. Make your boasting come true. It’ll please me well. For my part, I’ll be glad to learn from noble men. Cassius You wrong me in every way. You wrong me, Brutus. I said I’m a more experienced soldier, not a better one. Did I say better? Brutus If you did, I don’t care. Cassius When Caesar lived, he would not have dared to provoke me like this! Brutus Shut up! You wouldn’t have dared to provoke him so! Cassius I dare not? Brutus No! Cassius What? I wouldn’t dare to provoke him? Brutus Not for your life, you wouldn’t dare! Cassius Don’t presume too much upon my friendship. I may do something I’ll be sorry for. Brutus You’ve already done something you should be sorry for. There’s no terror, Cassius, in your threats. I’m armed so strong in honesty that they pass by me as the idle wind, which I ignore. I sent to you asking for certain sums of gold, which you denied me. I can raise no money by vile means. By heaven, I’d rather hammer my heart into coins and drain my blood for drachmas than to wring the vile coins from the roughened hands of peasants by force. I sent to you for gold to pay my legions, and you denied me. Was that like

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Should I have answer’d Caius Cassius so? When Marcus Brutus grows so covetous, To lock such rascal counters from his friends, Be ready, gods, with all your thunderbolts, Dash him to pieces! Cassius

I denied you not.

Brutus You did.

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Cassius I did not. He was but a fool That brought my answer back. Brutus hath riv’d my heart. A friend should bear his friend’s infirmities; But Brutus makes mine greater than they are. Brutus I do not, till you practise them on me. Cassius You love me not. Brutus

I do not like your faults.

Cassius A friendly eye could never see such faults. 100

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Brutus A flatterer’s would not, though they do appear As huge as high Olympus. Cassius Come, Antony, and young Octavius, come, Revenge yourselves alone on Cassius, For Cassius is aweary of the world: 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 rote, To cast into my teeth. O, I could weep My spirit from mine eyes! There is my dagger, And here my naked breast; within, a heart Dearer than Pluto’s mine, richer than gold: If that thou be’st a Roman, take it forth. I, that denied thee gold, will give my heart: Strike, as thou didst at Caesar; for I know, When thou didst hate him worst, thou lov’dst him better Than ever thou lov’dst Cassius.

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Act IV, Scene III

Cassius? Would I have answered Caius Cassius so? When Marcus Brutus grows so greedy as to keep such worthless pieces of metal from his friends, then be ready, gods, with all your thunderbolts, and dash him to pieces! Cassius I didn’t deny you. Brutus You did! Cassius I didn’t. He was just a fool who brought my answer back to you. Brutus has broken my heart. A friend should bear with his friend’s shortcomings. But Brutus makes mine greater than they are. Brutus I don’t, until you try to practice them on me. Cassius You don’t love me. Brutus I don’t like your faults. Cassius A friendly eye would never see such faults. Brutus A flatterer’s wouldn’t, even if they appeared as huge as high Mount Olympus. Cassius Come, Antony! Young Octavius, come! Revenge yourselves on Cassius alone. For Cassius is weary of this world. Hated by the one he loves. Defied by his brother. Scolded like a slave. All his faults observed, set down in a notebook, memorized, and then thrown in my teeth. Oh, I could weep my soul from my eyes! There’s my dagger, and here’s my naked breast. Within it is a heart more valuable than the mine of the god of wealth, richer than gold. If you are a Roman, take it out. I, who denied you gold, will give my heart. Strike, as you did at Caesar. For I know, when you hated him worst, you loved him better than you ever loved Cassius.

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Brutus Sheathe your dagger. Be angry when you will, it shall have scope; Do what you will, dishonour shall be humour. O 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.

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Cassius Hath Cassius liv’d To be but mirth and laughter to his Brutus, When grief and blood ill-temper’d vexeth him? Brutus When I spoke that, I was ill-temper’d too. Cassius Do you confess so much? Give me your hand. Brutus And my heart too.

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O Brutus!

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What’s the matter?

Cassius Have not you love enough to bear with me, When that rash humour which my mother gave me Makes me forgetful? 135

Brutus Yes, Cassius; and from henceforth When you are over-earnest with your Brutus, He’ll think your mother chides, and leave you so. [Enter a Poet followed by Lucilius, Titinius and Lucius]

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Poet Let me go in to see the generals. There is some grudge between ’em; ’tis not meet They be alone. Lucilius You shall not come to them. Poet Nothing but death shall stay me. Cassius How now? What’s the matter?

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Act IV, Scene III

Brutus Sheathe your dagger. Be angry whenever you will. Your anger can have free play. Do what you want. I’ll humor your insults. Oh Cassius, you’re partners with a lamb, a gentle man, who carries anger like the flint carries fire. Strike the flint and it will show a quick spark, but right away is cold again. Cassius Has Cassius lived to be just the source of laughter to his Brutus, when grief and hot-blooded temper bothers him? Brutus When I said that I was ill-tempered, too. Cassius Do you admit as much? Then give me your hand. Brutus And my heart, too. Cassius Oh, Brutus! Brutus What’s the matter? Cassius Don’t you have enough love to bear with me when that rash humor that I got from my mother makes me forget myself? Brutus Yes, Cassius, and from now on when you’re upset with your Brutus, he’ll think your mother is scolding, and leave you be. [A Poet enters, followed by Lucilius, Titinius, and Lucius] Poet Let me go in to see the generals. There’s some grudge between them. It’s not good that they’re alone together. Lucilius You cannot go to them. Poet Nothing but death will stop me. Cassius How now? What’s the matter?

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Poet For shame, you generals! What do you mean? Love, and be friends, as two such men should be; For I have seen more years, I’m sure, than ye. Cassius Ha, ha! how vilely doth this cynic rhyme! Brutus Get you hence, sirrah! Saucy fellow, hence! Cassius Bear with him, Brutus; ’tis his fashion.

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Brutus I’ll know his humour, when he knows his time. What should the wars do with these jigging fools? Companion, hence! Cassius

Away, away, be gone! [Exit Poet]

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Brutus Lucilius and Titinius, bid the commanders Prepare to lodge their companies tonight. Cassius And come yourselves, and bring Messala with you Immediately to us. [Exeunt Lucilius and Titinius] Brutus

Lucius, a bowl of wine! [Exit Lucius]

Cassius I did not think you could have been so angry. 160

Brutus O Cassius, I am sick of many griefs. Cassius Of your philosophy you make no use, If you give place to accidental evils. Brutus No man bears sorrow better. Portia is dead. Cassius Ha? Portia?

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Brutus She is dead.

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Act IV, Scene III

Poet For shame, you generals! What do you mean? Love and be friends, as two such men should be. For I’ve seen more years, I’m sure, than ye. Cassius Ha, ha! How vilely this crude philosopher rhymes! Brutus Get out of here, fellow! Impudent fellow, go on! Cassius Bear with him, Brutus. It’s his peculiar fashion. Brutus I’ll accept his peculiarities when he learns the right time to display his craft. What should wars have to do with these rhyming fools? Go on, friend! Cassius Away, away, be gone! [Poet exits] Brutus Lucilius and Titinius, tell the commanders to set up their camp for the night. Cassius And come yourselves, and bring Messala with you to us right away. [Lucilius and Titinius exit] Brutus Lucius, a bowl of wine! [Lucius exits] Cassius I didn’t think you could have been so angry. Brutus Oh Cassius, I’m sick with many griefs. Cassius You’re not practicing your philosophy of stoicism if you allow yourself to be bothered with chance evils. Brutus No man bears sorrow better. Portia is dead. Cassius Ha! Portia? Brutus She’s dead.

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Cassius How ’scap’d I killing, when I cross’d you so? O insupportable and touching loss! Upon what sickness? 170

Brutus Impatient of my absence, And grief that young Octavius with Mark Antony Have made themselves so strong; for with her death That tidings came. With this she fell distract, And, her attendants absent, swallow’d fire. Cassius And died so?

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Brutus

Even so.

Cassius

O ye immortal gods!

[Enter Lucius with wine and taper] Brutus Speak no more of her. Give me a bowl of wine. In this I bury all unkindness, Cassius. 180

Cassius My heart is thirsty for that noble pledge. Fill, Lucius, till the wine o’erswell the cup. I cannot drink too much of Brutus’ love. [Exit Lucius] [Enter Titinius and Messala] Brutus Come in, Titinius. Welcome, good Messala. Now sit we close about this taper here, And call in question our necessities.

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Cassius Portia, art thou gone?

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Brutus 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, Bending their expedition toward Philippi.

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Act IV, Scene III

Cassius How did I escape being killed when I angered you so? Oh insupportable and terrible loss! With what sickness did she die? Brutus Anxiety over my absence, and worry about the alliance between young Octavius and Mark Antony, and that they’ve become so strong. News of her death arrived along with news of their alliance. With this she fell into a state of distraction. While her attendants were absent, she swallowed hot coals. Cassius And died this way? Brutus Yes. Cassius Oh, immortal gods! [Lucius enters with wine and candles] Brutus Let’s not speak anymore of her. Give me a bowl of wine. I’ll bury all my unkindness in this, Cassius. Cassius My heart is thirsty to make that same noble pledge. Lucius, fill the cup with wine until it overflows. I can’t drink too much of Brutus’s love. [Lucius exits] [Titinius and Messala enter] Brutus Come in, Titinius. Welcome, good Messala. Let’s gather around this candle here and discuss what we must do. Cassius Portia, are you gone? Brutus No more, please. Messala, I’ve received letters that young Octavius and Mark Antony are marching on us with a mighty army, turning their fast-moving forces toward Philippi.

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Messala Myself have letters of the self-same tenor. Brutus With what addition?

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Messala That by proscription and bills of outlawry Octavius, Antony, and Lepidus Have put to death an hundred senators. Brutus Therein our letters do not well agree. Mine speak of seventy senators that died By their proscriptions, Cicero being one. Cassius Cicero one? [The following passage may be printed in some editions of the play. It appears to be a first draft which Shakespeare intended to delete. The news of Portia’s death has already been announced and discussed earlier. Some experts think both passages should stand.]

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Messala Cicero is dead, And by that order of proscription. Had you your letters from your wife, my lord? Brutus No, Messala. Messala Nor nothing in your letter writ of her?

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Brutus Nothing, Messala. Messala

That, methinks, is strange.

Brutus Why ask you? Hear you aught of her in yours? Messala No, my lord. Brutus Now as you are a Roman, tell me true. 210

Messala Then like a Roman bear the truth I tell; For certain she is dead, and by strange manner. Brutus Why, farewell, Portia. We must die, Messala. With meditating that she must die once, I have the patience to endure it now.

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Act IV, Scene III

Messala I have letters with the same information. Brutus Anything in addition? Messala That Octavius, Antony, and Lepidus have issued bills and warrants ordering a hundred senators put to death. Brutus On that point our letters don’t agree. Mine speak of seventy senators that died by their warrants, Cicero being one. Cassius Cicero one?

Messala Cicero is dead, and by that order they issued. Have you had letters from your wife, my lord? Brutus No, Messala. Messala Nothing in your letters about her? Brutus Nothing, Messala. Messala That seems strange. Brutus Why do you ask? Did you hear something about her in yours? Messala No, my lord. Brutus Now, as you’re a Roman, tell me the truth. Messala Then bear the truth that I tell you like a Roman. For certain, she is dead, and in a strange way. Brutus Why, farewell, Portia. We must die, Messala. By meditating upon how she must die sometime, I have the patience to endure it now.

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Messala Even so great men great losses should endure. Cassius I have as much of this in art as you, But yet my nature could not bear it so. Brutus Well, to our work alive. What do you think Of marching to Philippi presently?

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Cassius I do not think it good. Brutus

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Cassius This it is: ’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. Brutus Good reasons must of force give place to better. 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, Come on refresh’d, new-added, and encourag’d; From which advantage shall we cut him off If at Philippi we do face him there, These people at our back. Cassius

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Your reason?

Hear me, good brother.

Brutus Under your pardon. You must note beside That we have tried the utmost of our friends, 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 fortune; Omitted, all the voyage of their life Is bound in shallows and in miseries.

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Act IV, Scene III

Messala Great men should endure great losses in this way. Cassius I have as much practice in the art of stoicism as you, but I don’t have the temperament to bear it so well. Brutus Well, back to the work of the living. What do you think of marching to Philippi immediately? Cassius I don’t think it’s a good idea. Brutus Your reason? Cassius It’s this: It’s better that the enemy come to us. In this way he’ll waste his resources and weary his soldiers, doing himself harm. Meanwhile, we, remaining still, are well rested, fresh, and full of strength for fighting. Brutus Good reasons must by necessity give way to better ones. The people between here and Philippi are friendly only because they have to be. They’ve only grudgingly given us help. The enemy troops, marching along through them, will grow larger by adding recruits from among them. They’ll be encouraged and refreshed with the reinforcements. We can cut off this advantage if we face the enemy at Philippi, with these people at our backs.

Cassius Listen, good brother. Brutus Pardon—You must also note that we’ve received everything our friends can give. Our legions are at full strength, and our cause is ripe. The enemy increases every day. We—now at our height—are ready to decline. There is a tide in the affairs of men, which, if taken at the flood, leads on to fortune. If missed, then all the voyage of their life is spent in shallows and in miseries. We’re now afloat on such

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On such a full sea are we now afloat, And we must take the current when it serves, Or lose our ventures. 250

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Cassius Then, with your will, go on; We’ll along ourselves, and meet them at Philippi. Brutus 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? Cassius No more. Good night. Early tomorrow will we rise, and hence. Brutus Lucius! [Enter Lucius] My gown. [Exit Lucius]

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Farewell, good Messala. Goodnight, Titinius. Noble, noble Cassius, Goodnight, and good repose. Cassius O my dear brother, This was an ill beginning of the night. Never come such division ’tween our souls! Let it not, Brutus. [Enter Lucius with the gown] Brutus

Everything is well.

Cassius Goodnight, my lord. Brutus

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Goodnight, good brother.

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Act IV, Scene III

a full sea, and we must take the current when it’s here, or lose our chances. Cassius Then, if that’s your will, go ahead. We’ll go along ourselves and meet them at Philippi. Brutus The night’s crept upon us as we talked. We must obey nature’s necessities and take a little rest. Is there any more to discuss? Cassius No more. Good night. We’ll rise early tomorrow and leave. Brutus Lucius! [Lucius enters] My gown. [Lucius exits] Farewell, good Messala. Goodnight, Titinius. Noble, noble Cassius, good night and sleep well. Cassius Oh my dear brother, that was a terrible beginning to the evening. Never let such a division come between our souls! Don’t let it, Brutus.

[Lucius enters with the gown] Brutus Everything is fine. Cassius Goodnight, my lord. Brutus Goodnight, good brother.

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Titinius and Messala Goodnight, Lord Brutus. Brutus

Farewell, every one. [Exeunt all but Brutus]

Give me the gown. Where is thy instrument? Lucius Here in the tent. 275

Brutus What, thou speak’st drowsily? Poor knave, I blame thee not; thou art o’er-watch’d. Call Claudius and some other of my men; I’ll have them sleep on cushions in my tent. Lucius Varro and Claudius! [Enter Varro and Claudius] Varro Calls my lord?

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Brutus 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. Varro So please you, we will stand and watch your pleasure.

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Brutus I will not have it so; lie down, good sirs; It may be I shall otherwise bethink me. [Varro and Claudius lie down] Look, Lucius, here’s the book I sought for so; I put it in the pocket of my gown. Lucius I was sure your lordship did not give it me.

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Brutus Bear with me, good boy, I am much forgetful. Canst thou hold up thy heavy eyes awhile, And touch thy instrument a strain or two? Lucius Ay, my lord, an’t please you.

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Act IV, Scene III

Titinius and Messala Goodnight, Lord Brutus. Brutus Farewell, everyone. [All exit except Brutus and Lucius] Give me the gown. Where is your musical instrument? Lucius Here in the tent. Brutus What? You speak so sleepily? Poor boy, I don’t blame you. You’ve been up too long. Call Claudius and another of my men. I’ll have them sleep on cushions in my tent. Lucius Varro and Claudius! [Varro and Claudius enter] Varro Did you call, my lord? Brutus Please, sirs, lie in my tent and sleep. I may wake you by and by to go on business to my brother Cassius. Varro As you please, sir. We’ll stand and wait until you need us. Brutus I won’t have that. Lie down, good sirs. It may be that I’ll change my mind. [Varro and Claudius lie down] Look, Lucius, here’s the book I was looking for! I put it in the pocket of my gown. Lucius I was sure your lordship didn’t give it to me. Brutus Bear with me, good boy. I’m very forgetful. Can you keep your sleepy eyes open awhile and play a song or two on your instrument? Lucius Yes, my lord, if it pleases you.

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Brutus It does, my boy. I trouble thee too much, but thou art willing. 295

Lucius It is my duty, sir. Brutus I should not urge thy duty past thy might; I know young bloods look for a time of rest. Lucius I have slept, my lord, already.

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Brutus It was well done, and thou shalt sleep again; I will not hold thee long. If I do live, I will be good to thee. [Music and a song]

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This is a sleepy tune. O murd’rous slumber! Layest thou thy leaden mace upon my boy, That plays thee music? Gentle knave, good night; I will not do thee so much wrong to wake thee. If thou dost nod, thou break’st thy instrument; I’ll take it from thee; and, good boy, good night. Let me see, let me see; is not the leaf turn’d down Where I left reading? Here it is, I think. [Enter the Ghost of Caesar]

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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? 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. Brutus

Why com’st thou?

Ghost To tell thee thou shalt see me at Philippi.

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Act IV, Scene III

Brutus It does, my boy. I’m troubling you too much, but you’re willing. Lucius It’s my duty, sir. Brutus I shouldn’t urge you to do your duty beyond your strength. I know young people need time for rest. Lucius I’ve slept already, my lord. Brutus That’s good—and you’ll sleep again. I won’t keep you long. If I live through this, I’ll be good to you.

[Music and song] This is a sleepy tune. Oh murderous sleep! Have you laid your leaden club upon my boy, who plays you music? Gentle boy, good night. I’ll not do you wrong by waking you. But if you nod, you’ll break your instrument. I’ll take it from you. And good boy, good night. Now, let me see, let me see. Isn’t the leaf turned down where I left off reading? Here it is, I think.

[The Ghost of Caesar enters] How dim this candle burns! Ha! Who’s there? I think it’s the weakness of my eyes that makes me see this monstrous apparition. It’s coming toward me. What thing are you? Are you some god, some angel, or some devil, that makes my blood cold and my hair stand on end? Speak to me and tell me what you are. Ghost Your evil spirit, Brutus. Brutus Why do you come? Ghost To tell you that you will see me at Philippi.

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Brutus Well; then I shall see thee again? Ghost Ay, at Philippi. Brutus Why, I will see thee at Philippi then. [Exit Ghost]

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Now I have taken heart thou vanishest. Ill spirit, I would hold more talk with thee. Boy! Lucius! Varro! Claudius! Sirs, awake! Claudius! Lucius The strings, my lord, are false. Brutus He thinks he still is at his instrument. Lucius, awake!

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Lucius My lord? Brutus Didst thou dream, Lucius, that thou so criedst out? Lucius My lord, I do not know that I did cry. Brutus Yes, that thou didst. Didst see anything? Lucius Nothing, my lord.

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Brutus Sleep again, Lucius. Sirrah Claudius! Fellow thou, awake! Varro

My lord!

Claudius

My lord!

Brutus Why did you so cry out, sirs, in your sleep! 340

Both Did we, my lord? Brutus

Ay. Saw you any thing?

Varro No, my lord, I saw nothing.

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Act IV, Scene III

Brutus Well. Then I will see you again? Ghost Yes, at Philippi. Brutus Why, I’ll see you at Philippi then. [Ghost exits] Now that I’ve regained my courage, you’ve vanished. Evil spirit, I want to talk more with you. Boy! Lucius! Varro! Claudius! Sirs, awake! Claudius! Lucius The strings, my lord, are badly tuned. Brutus He thinks he’s still playing his instrument. Lucius, awake! Lucius My lord? Brutus Did your dream make you cry out so, Lucius? Lucius My lord, I don’t know that I did cry out. Brutus Yes, that you did. Did you see anything? Lucius Nothing, my lord. Brutus Go back to sleep, Lucius. Claudius, fellow! Awake. Varro My lord! Claudius My lord! Brutus Sirs, why did you cry out in your sleep? Both Did we, my lord? Brutus Yes. Did you see anything? Varro No, my lord, I saw nothing.

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Claudius 345

Nor I, my lord.

Brutus Go and commend me to my brother Cassius. Bid him set on his powers betimes before, And we will follow. Both

It shall be done, my lord. [Exeunt]

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Act IV, Scene III

Claudius Nor I, my lord. Brutus Go, give my greetings to my brother Cassius. Tell him to get his army moving early in the morning, before me. We’ll follow. Both It will be done, my lord. [Exit]

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Julius Caesar

Comprehension

Check What You Know

1. Who are the members of the second triumvirate? How well do they get along? 2. What are these three men doing in Scene 1? Which two people are mentioned as ones who should be killed? 3. Where have Brutus and Cassius fled? Why have they chosen these places? Who is following them? 4. What has happened to Brutus’s and Cassius’s relationship by the time the two meet in Scene 2? 5. Where do the two go to discuss matters? Why? 6. What does Brutus accuse Cassius of? 7. What is Brutus angry about concerning Cassius? 8. What reason does Cassius give for his behavior? 9. What has happened to Portia? Why is this news sad to Cassius? 10. According to reports, how many senators have been put to death? By whom? Why? 11. The third disagreement between Brutus and Cassius is about military strategy. What does Brutus want to do? What are his reasons? 12. What does Cassius want to do? What are his reasons? 13. What is the final decision regarding military strategy? 14. What does Lucius do to calm Brutus? 15. Who visits Brutus later that night? What does this visitor say to him? Who else sees this visitor? ©Hulton/Archive

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Post-Act

Activities & Role-Playing

Classes or Informal Groups

Military Strategy Brutus and Cassius are shown making plans for the upcoming battle. Imagine that more people were involved with the plans. Pretend that you are a group of military advisors for the conspirators. What are your options now? Are there other choices for the armies? Present some possible military plans and back them up with good reasons. There Was This Ghost . . . The night before the battle, a ghost visits Brutus. He says he is Brutus’s evil spirit, says twice that he will see Brutus again on the battlefield, then disappears. Although no one else sees the ghost, some of Brutus’s supporters cry out in their sleep. Is the ghost really there? Or is it a creation of Brutus’s imagination, caused by Brutus’s guilt over the assassination of Caesar? Also, what does the ghost mean by his dire prediction—that he will appear again to Brutus during the battle or that he will truly see Brutus in the afterlife? Discuss the significance of the ghost at this point in the play.

Discussion

Classes or Informal Groups

1. What does the second triumvirate plan to do about Caesar’s will? Why would they do that? 2. Why would the relationship between Brutus and Cassius have deteriorated so much? What factors could have led to this change? 3. What are the two men revealing about friendship? 4. Why would Portia commit suicide? 5. What has happened to Rome since the assassination of Julius Caesar? Is Rome better or worse? 6. Cassius has twice given in to Brutus when their opinions differed. Why does Cassius give in again when it comes to military strategy? Would you choose this strategy? Whose military strategy makes more sense to you? 7. What is the purpose of the appearance of Caesar’s ghost?

Suggestions for Writing

Improve Your Skills

1. Portia has not seen Brutus since he fled Rome the day of Caesar’s assassination. Write a letter that Portia might have written to her husband before she committed suicide. 2. Now that Antony is part of the second triumvirate, he clearly has specific likes and dislikes when it comes to people. Write a diary entry for Antony where he reveals some of his thoughts about ruling Rome. 205

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Julius Caesar

All the World’s a Stage

Introduction

Are you ready for the final action? Everything has been building to this final act. The conspirators, mainly Brutus and Cassius, are preparing for the final battle. They have resolved their differences and now must get ready to face Antony and Octavius. Did the assassination of Julius Caesar accomplish the goals of each of the participants? Brutus and Cassius had different reasons for participating in the conspiracy. Cassius had personal reasons for killing Caesar, but Brutus was doing it for the greater good. He felt he was protecting Rome from a possible tyrant. But look what is left. The second triumvirate—Antony, Octavius, and Lepidus—has proven to be a ruthless group. You first saw them as they created a list of people to be killed, including Lepidus’s brother and Antony’s nephew. Later you learned that the triumvirate put many senators to death, including Cicero. Is Rome better off now?

My Words Fly Up

What's in a Name?

Characters

One of the lines in the last scene refers to Brutus as “the noblest Roman of them all.” In fact, the word noble has been used often throughout the play to describe Brutus. Is he noble? What do you think that means? Certainly the conspirators desperately wanted Brutus to join their group. They felt his presence would lend more credibility to the cause. Have you seen Brutus demonstrate this “nobleness” in the play? Julius Caesar is not the hero/protagonist in this play. Many would agree that Brutus is the hero. His struggle is the one you watch carefully. See how he resolves the remaining issues.

Come What May

Things to Watch For

Watch for the number of different farewells that occur in this last act. Some things come to their inevitable ends. Cassius tells you that the day of the battle is his birthday, a day that will bring his life full circle—he will either win and begin a new life, or he will die, which is the end of all life. Also watch for the different farewells. Brutus and Cassius say goodbye to each other before the final battle, not knowing what the outcome might be. In the final speeches of Cassius (Scene 3) and Brutus (Scene 5), both men make a reference to the ides of March and the assassination of Julius Caesar. Their lives have come to the only possible end—whether they win or lose. The ides of March was, in a day, the beginning, and now this battle may bring their lives to a close. What began with a death may now end with more death.

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Pre-Act

All Our Yesterdays

Historical and Social Context

Would you want to talk to your enemy before a battle? The first scene might seem a bit unusual to you. Here Brutus and Cassius actually meet and talk to Antony and Octavius. It might seem odd, but ancient warfare had a kind of code or set of rules. A parley, a kind of meeting with the enemy, was typical. Watch how these four men handle it! Cassius was a follower of Epicurus. The Epicureans believed very strongly in materialistic pursuits. They also believed that the gods did not get involved in human affairs, which meant that omens and signs were not significant and should be ignored. In Act 5 you’ll see that Cassius is beginning to wonder if he should pay more attention to omens, such as the kinds of birds that are following his army. Brutus was a Stoic, a person who believed that man was superior to any possible changes in his fortune. Stoics believed that nothing could interfere with their peace of mind. In Act 5 Brutus will, at least for a while, try to face whatever happens with patience and strength, rather than giving in to fear. Young Cato, who appears in this act, was also a Stoic. He is also the brother of Portia, Brutus’s wife.

The Play’s the Thing

Staging

This act includes scenes of chaotic fighting and intimate scenes of private acts. How would you try to convey these contrasting ideas? You need to visualize crowds of soldiers fighting, yet you need to get people out of the way for the final scenes between Cassius and Brutus. The deaths of Cassius and of Brutus need to have the right settings. Both men end their lives with important speeches. The irony of the circumstances that lead to Cassius’s death must be clearly shown. You also will need to show Brutus as he deals with the death of Cassius.

My Words Fly Up

Language

In the flurry of activities, pay attention to the language in these scenes. The parley between Brutus and Cassius and Antony and Octavius might be a noble scene with the two sides conducting a civilized discussion. Instead, they fight like little kids. Remember the fight between Brutus and Cassius in Act 4 when the two of them acted that way. The four of them aren’t much better. Also watch how much the characters talk and how much they do. This final act isn’t all action; the characters save some of their most important speeches for right before the action.

What's in a Name?

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The Plains of Philippi. Enter Octavius, Antony and their Army.

5

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Octavius 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. Antony Tut, I am in their bosoms, and I know Wherefore they do it. They could be content To visit other places, and come down With fearful bravery, thinking by this face To fasten in our thoughts that they have courage; But ’tis not so. [Enter a Messenger]

15

Messenger Prepare you, generals. The enemy comes on in gallant show; Their bloody sign of battle is hung out, And something to be done immediately. Antony Octavius, lead your battle softly on Upon the left hand of the even field. Octavius Upon the right hand I. Keep thou the left.

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The Plains of Philippi. Octavius, Antony, and their army enter. Octavius Well, Antony. Our hopes are answered. You said the enemy wouldn’t come down, that they’d stay up in the hills and upper ground. It turns out that’s not so. Their armies are at hand. They mean to meet us here at Philippi, answering our challenge even before we demand it of them. Antony Hah, I can see into their hearts, and I know why they do it. They’d be happier elsewhere. They come here with a show of bravery to hide their fear, thinking that this pretense will make us believe that they have courage. But it’s not so.

[A Messenger enters] Messenger Generals, prepare yourselves. The enemy is coming on with a bold show, their battle standards flying. Something must be done immediately. Antony Octavius, lead your army slowly on upon the left side of the level battlefield. Octavius I’ll go on the right side. You keep on the left.

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Antony Why do you cross me in this exigent? Octavius I do not cross you; but I will do so. [Drum. Enter Brutus, Cassius, and their Army; Lucilius, Titinius, Messala, and others] Brutus They stand, and would have parley. Cassius Stand fast, Titinius; we must out and talk. Octavius Mark Antony, shall we give sign of battle?

25

Antony No, Caesar, we will answer on their charge. Make forth; the generals would have some words. Octavius Stir not until the signal. Brutus Words before blows: is it so, countrymen? Octavius Not that we love words better, as you do.

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Brutus Good words are better than bad strokes, Octavius. Antony In your bad strokes, Brutus, you give good words; Witness the hole you made in Caesar’s heart, Crying, ‘Long live! hail, Caesar!’

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Cassius Antony, The postures of your blows are yet unknown; But for your words, they rob the Hybla bees, And leave them honeyless. Antony

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Not stingless too.

Brutus O yes, and soundless too; For you have stol’n their buzzing, Antony, And very wisely threat before you sting. Antony Villains! you did not so when your vile daggers Hack’d one another in the sides of Caesar: You show’d your teeth like apes, and fawn’d like hounds,

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Act V, Scene I

Antony Why do you cross me in this emergency? Octavius I don’t cross you. But I’ll do as I said. [Drums. Brutus, Cassius, and their army enter, along with Lucilius, Titinius, Messala, and others] Brutus They halt and want to parley. Cassius Stand fast, Titinius. We must go out and talk with them. Octavius Mark Antony, shall we give the sign to begin the battle? Antony No, Caesar, we’ll respond when they charge. Go on. The generals want to have a few words. Octavius Don’t move until the signal. Brutus So, it’s words before blows, countrymen? Octavius Not that we love words better, as you do. Brutus Good words are better than the bad strokes of your weapons, Octavius. Antony You gave good words, Brutus, along with your bad strokes. Witness the hole you made in Caesar’s heart, while crying, “Long live! Hail, Caesar!” Cassius Antony, the skill of your blows is not yet known. But as for your sweet words, they rob the honeybees of Hybla, and leave them honeyless. Antony But not stingless too. Brutus Oh yes, and soundless, too. For you’ve stolen their buzzing, Antony, and very wisely threaten before you sting. Antony Villains! You didn’t do that when your vile daggers hacked one another in the sides of Caesar. You showed your teeth like apes, and fawned like hounds, and bowed like

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45

50

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And bow’d like bondmen, kissing Caesar’s feet; Whilst damned Casca, like a cur, behind Struck Caesar on the neck. O you flatterers! Cassius Flatterers? Now, Brutus, thank yourself This tongue had not offended so today, If Cassius might have rul’d. Octavius Come, come, the cause. If arguing make us sweat, The proof of it will turn to redder drops. 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 Have added slaughter to the sword of traitors. Brutus Caesar, thou canst not die by traitors’ hands, Unless thou bring’st them with thee. Octavius So I hope. I was not born to die on Brutus’ sword. Brutus O, if thou wert the noblest of thy strain, Young man, thou could’st not die more honourable.

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Cassius A peevish school-boy, worthless of such honour, Join’d with a masker and a reveller. Antony Old Cassius still!

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Octavius Come, Antony; away! Defiance, traitors, hurl we in your teeth. If you dare fight today, come to the field; If not, when you have stomachs. [Exeunt Octavius, Antony, and their Army] Cassius Why now, blow wind, swell billow, and swim bark! The storm is up, and all is on the hazard.

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slaves, kissing Caesar’s feet. While damned Casca, like a dog, struck Caesar on the neck from behind. Oh you flatterers! Cassius Flatterers? Now, Brutus, thank yourself for this. That tongue would not have offended us so today if Cassius had had his way. Octavius Come, come. Let’s get to the business at hand. If arguing makes us sweat, the test of this business will turn to redder drops. Look, I draw my sword against the conspirators. When do you think that this sword will be sheathed again? Never, until Caesar’s thirty-three wounds are fully avenged. Or until the swords of traitors have added another Caesar—myself—to the slaughter. Brutus Caesar, you can’t die by traitor’s hands, unless you bring them with you. Octavius I hope so. I wasn’t born to die on Brutus’s sword. Brutus If you were the noblest of your line, young man, you couldn’t die a more honorable death. Cassius Octavius—a petulant schoolboy, unworthy of such honor, allied with a carouser and pleasure-seeker! Antony Still the same old Cassius! Octavius Come, Antony. Let’s leave! We hurl defiance in your teeth, traitors. If you dare fight today, come to the battlefield. If not, then come when you have the stomachs for it.

[Octavius, Antony, and their armies exit] Cassius Well now, blow wind, swell waves, and swim little boat! The storm’s up and all is at stake.

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Brutus Ho, Lucilius, hark, a word with you. 75

Lucilius My lord? Cassius Messala. Messala What says my general?

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Cassius 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 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 Two mighty eagles fell, and there they perch’d, Gorging and feeding from our soldiers’ hands, Who to Philippi here consorted us. This morning are they fled away and gone, 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. Messala Believe not so.

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Cassius I but believe it partly, For I am fresh of spirit, and resolv’d To meet all perils very constantly. Brutus Even so, Lucilius.

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Cassius Now, most noble Brutus, The gods today stand friendly, that we may, Lovers in peace, lead on our days to age! But since the affairs of men rests still incertain,

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Brutus Ho, Lucilius! Listen. I’ll have a word with you. Lucilius My lord? Cassius Messala. Messala What says my general? Cassius Messala, this is my birthday. On this very day, Cassius was born. Give me your hand, Messala. You be my witness that against my will—like Pompey—I’m forced to risk all our country’s liberties upon one battle. You know that I used to strongly believe in Epicurus, and his belief that the gods don’t send signs and omens. Now I change my mind. I partly believe that some things do foretell the future. When we were coming from Sardis, two mighty eagles descended on our banners at the front of the column. They perched there, gorging and feeding from our soldiers’ hands, and accompanied us here to Philippi. This morning they are flown away and gone. In their place ravens, crows, and kites fly over our heads, looking down on us as if we were sickly prey. Their shadows seem like a canopy of death, under which our army lies, ready to give up the ghost.

Messala Don’t believe it. Cassius I only partly believe it, for I feel fresh of spirit, and I’m resolved to meet all perils with perseverance. Brutus Yes, Lucilius. Cassius Now, most noble Brutus. May the gods be friendly to us today, so that we may live out our days to old age as close friends in peace. But since the affairs of men are always

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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: What are you then determined to do? 110

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Brutus Even by the rule of that philosophy By which I did blame Cato for the death Which he did give himself, I know not how, But I do find it cowardly and vile, For fear of what might fall, so to prevent The time of life, arming myself with patience To stay the providence of some high powers That govern us below. Cassius Then, if we lose this battle, You are contented to be led in triumph Through the streets of Rome? Brutus No, Cassius, no: think not, thou noble Roman, That ever Brutus will go bound to Rome; 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. 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. Cassius For ever, and for ever, farewell, Brutus. If we do meet again, we’ll smile indeed; If not, ’tis true this parting was well made. Brutus Why then, lead on. O, that a man might know The end of this day’s business ere it come! But it sufficeth that the day will end, And then the end is known. Come, ho! away! [Exeunt]

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uncertain, let’s discuss what we’ll do if the worst befalls us. If we lose this battle, then this is the very last time we’ll speak together. What are you determined to do then? Brutus I believe in the rule of the Stoic philosophy, by which I blamed Cato for committing suicide. I don’t know why, but I find it cowardly and vile, for fear of what might happen, to cut short my natural time of life. I’ll arm myself with patience to accept the providence of the high powers that govern us here below.

Cassius Then, if we lose this battle, you’re contented to be led in a triumphal procession through the streets of Rome? Brutus No, Cassius, no. Don’t think, you noble Roman, that Brutus will ever go in chains to Rome. He bears too great a mind. But this day must end that work that the ides of March began. And I don’t know whether we’ll meet again. Therefore, let’s take our everlasting farewell. Forever and forever, farewell, Cassius. If we do meet again, why, we’ll smile. If not, well, then this parting was well taken.

Cassius Forever and forever, farewell, Brutus. If we do meet again, we’ll smile indeed. If not, it’s true, this parting was well taken. Brutus Well then, lead on. Oh, that a man might know the end of this day’s business before it comes. But it suffices that the day will end, and then the end is known. Come, ho! Away!

[Exit]

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The same. The field of battle. Enter Brutus and Messala.

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Brutus Ride, ride, Messala, ride, and give these bills Unto the legions on the other side. 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]

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Philippi. The field of battle. Brutus and Messala enter. Brutus Ride, ride, Messala! Give these orders to the legions on the other side of the field. Let them attack at once, for I see the troops in Octavius’s wing lack spirit. A sudden push could overthrow them. Ride, ride, Messala. Let them all attack.

[Exit]

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Another part of the field. Enter Cassius and Titinius. Cassius O, 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. 5

Titinius O 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]

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Pindarus Fly further off, my lord fly further off! Mark Antony is in your tents, my lord. Fly, therefore, noble Cassius, fly far off! Cassius This hill is far enough. Look, look, Titinius! Are those my tents where I perceive the fire? Titinius They are, my lord.

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Cassius Titinius, if thou lov’st me, Mount thou my horse, and hide thy spurs in him, Till he have brought thee up to yonder troops And here again, that I may rest assur’d Whether yond troops are friend or enemy.

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Titinius I will be here again, even with a thought. [Exit]

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Another part of the field. Cassius and Titinius enter. Cassius Oh, look, Titinius, look, these villains are fleeing. I have to turn into my own enemy. This standard-bearer here of mine was turning back. I killed the coward and took the standard from him. Titinius Oh Cassius, Brutus gave the word too early. He had an advantage over Octavius, but took it too eagerly. His soldiers began looting, while we’re all surrounded by Antony’s troops. [Pindarus enters] Pindarus Fall back, my lord, fall farther back! Mark Antony has reached your camp, my lord! Fall back, therefore, noble Cassius, fall farther back! Cassius This hill is far enough. Look, look, Titinius! Are those my tents where I see the fire? Titinius They are, my lord. Cassius Titinius, if you love me, mount my horse and give him the spur until he’s brought you to yonder troops and back here again, so I can rest assured whether those troops are friend or enemy. Titinius I’ll be back again as quickly as a thought. [Exit]

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Cassius Go, Pindarus, get higher on that hill; My sight was ever thick. Regard Titinius, And tell me what thou not’st about the field. [Exit Pindarus]

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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 news? Pindarus [at a distance] O my lord! Cassius What news?

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Pindarus Titinius is enclosed round about With horsemen, that make to him on the spur, Yet he spurs on. Now they are almost on him. Now, Titinius; now some light. O, he lights too! He’s ta’en! [Shout] And, hark! they shout for joy.

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Cassius Come down; behold no more. O, coward that I am, to live so long, To see my best friend ta’en before my face! [Enter Pindarus]

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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, Thou shouldst attempt it. Come now, keep thine oath. Now be a freeman; and with this good sword,

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Cassius Go, Pindarus, and get higher on that hill. My eyesight always was poor. Look and tell me what you see on the battlefield. [Pindarus exits] This is the day on which I breathed my first breath. Time has come around, and where I began, there shall I end. My life has run full circle. Fellow, what news? Pindarus [at a distance] Oh, my lord! Cassius What news? Pindarus Titinius is encircled with horsemen that are spurring toward him, but he spurs on. Now they’re almost on him. Now, Titinius! Now some dismount. Oh, he dismounts too! He’s taken! [Shout]

And listen! They shout for joy. Cassius Come down. Don’t watch any more. Oh, coward that I am, to live so long, to see my best friend taken before my eyes! [Pindarus enters] Come here, fellow. I took you prisoner in Parthia. And then I made you swear that if I spared your life you would do whatever I told you to do. Come now, keep your oath. Now, make yourself a free man. With this good sword that ran

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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, Guide thou the sword. – Caesar, thou art reveng’d, Even with the sword that kill’d thee. [Dies]

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Pindarus So, I am free; yet would not so have been, Durst I have done my will. O Cassius! Far from this country Pindarus shall run, Where never Roman shall take note of him. [Exit] [Enter Titinius and Messala]

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Messala It is but change, Titinius; for Octavius Is overthrown by noble Brutus’ power, As Cassius’ legions are by Antony. Titinius These tidings will well comfort Cassius. Messala Where did you leave him? Titinius All disconsolate, With Pindarus, his bondman, on this hill.

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Messala Is not that he that lies upon the ground? Titinius He lies not like the living. O my heart! Messala Is not that he?

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Titinius No, this was he, Messala, But Cassius is no more. O setting sun, As in thy red rays thou dost sink to night, So in his red blood Cassius’ day is set. The sun of Rome is set. Our day is gone; Clouds, dews, and dangers come; our deeds are done. Mistrust of my success hath done this deed.

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through Caesar’s bowels, reach into this bosom. Don’t argue. Here, take the hilt, and when I cover my face, as it is now, you guide the sword. Caesar, you are revenged with the same sword that killed you.

[Cassius dies] Pindarus So, I’m free. But I wouldn’t have been so if I had dared do what I wanted to. Oh Cassius! Pindarus will run far from this country, where no Roman will ever notice him.

[Exit] [Titinius and Messala enter] Messala It’s an even exchange, Titinius. Octavius is overthrown by noble Brutus’s forces, just as Cassius’s legions are defeated by Antony. Titinius This news will comfort Cassius. Messala Where did you leave him? Titinius All in despair, with Pindarus, his slave, on this hill. Messala Isn’t that him lying on the ground? Titinius He doesn’t look like he’s alive. Oh, my heart! Messala Isn’t that him? Titinius No, it was him, Messala, but Cassius is no more. Oh, setting sun! As in your red rays you sink into night, so in his red blood Cassius’s day is set. The sun of Rome is set. Our day is gone. Clouds, dews, and dangers come with our night. Our deeds are done. Mistrust of my success has done this deed.

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Messala Mistrust of good success hath done this deed. O hateful Error, Melancholy’s child, Why dost thou show to the apt thoughts of men The things that are not? O Error, soon conceiv’d, Thou never com’st unto a happy birth, But kill’st the mother that engender’d thee. Titinius What, Pindarus! Where art thou, Pindarus?

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Messala Seek him, Titinius, whilst I go to meet The noble Brutus, thrusting this report Into his ears. I may say thrusting it; For piercing steel and darts envenomed Shall be as welcome to the ears of Brutus As tidings of this sight. Titinius Hie you, Messala, And I will seek for Pindarus the while. [Exit Messala]

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Why didst thou 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. 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 Roman’s part: Come, Cassius’ sword, and find Titinius’ heart. [Dies] [Enter Brutus, Messala, Young Cato, Strato, Volumnius and Lucilius] Brutus Where, where, Messala, doth his body lie?

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Messala Mistrust of great success has done this deed. Oh hateful Error, the child of a melancholy mind! Why do you show things that are untrue to the easily deceived minds of men? Oh Error, easily conceived, but never coming to a happy end—you kill Cassius, the mother that made you. Titinius What, Pindarus! Where are you, Pindarus? Messala Look for him, Titinius, while I go to meet the noble Brutus and thrust this news into his ears. I say “thrust,” because piercing steel and poison darts will be as welcome to the ears of Brutus as the news of this sight here.

Titinius Hurry on, Messala, and I’ll look for Pindarus while you’re gone. [Messala exits] Why did you send me off, brave Cassius? Didn’t I meet your friends, and didn’t they put this laurel wreath of victory on my head and tell me to give it to you? Didn’t you hear their shouts? Alas, you have misunderstood everything! But wait. Take this garland on your head. Your Brutus told me to give it to you, and I will do as he said. Brutus, come quickly, and see how I honored Caius Cassius. By your leave, gods. This is a Roman’s duty. Come, Cassius’s sword, and find Titinius’s heart.

[Titinius dies] [Brutus, Messala, Young Cato, Strato, Volumnius, and Lucilius enter] Brutus Where, where, Messala, does his body lie?

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Messala Lo, yonder, and Titinius mourning it. Brutus Titinius’ face is upward. Young Cato 100

He is slain.

Brutus O Julius Caesar, thou art mighty yet! Thy spirit walks abroad, and turns our swords In our own proper entrails. Young Cato Brave Titinius! Look where he have not crown’d dead Cassius.

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Brutus Are yet two Romans living such as these? The last of all the Romans, fare thee well! It is impossible that ever Rome Should breed thy fellow. Friends, I owe more 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, Lest it discomfort us. Lucilius, come; And come, young Cato; let us to the field. Labeo and Flavius, set our battles on. ’Tis three a clock; and, Romans, yet ere night We shall try fortune in a second fight. [Exeunt]

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Messala Lo, yonder, and Titinius is mourning it. Brutus Titinius’s face is turned upward. Young Cato He’s dead! Brutus Oh Julius Caesar, you are still mighty! Your spirit walks abroad and turns our swords into our own entrails. Young Cato Brave Titinius! Look! See how he’s crowned dead Cassius. Brutus Are there still two Romans living such as these? The last of all the Romans, farewell! It is impossible that Rome could ever breed your equal. Friends, I owe more tears to this dead man than you will see me pay. I’ll find time, Cassius, I’ll find time. Come, therefore, and send his body to Thasos. His funeral will not be in our camp, since it might demoralize us. Lucilius, come. And come, young Cato. Let’s get back to the battlefield. Labeo and Flavius, send our armies to attack. It’s three o’clock. And, Romans, before night we’ll try our fortune in a second fight.

[Exit]

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Another part of the field. Enter Brutus, Messala, Young Cato, Lucilius and Flavius. Brutus Yet, countrymen, O, yet hold up your heads! [Exit]

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Young 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! A foe to tyrants, and my country’s friend. I am the son of Marcus Cato, ho! [Enter Soldiers, and fight. Young Cato falls]

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Lucilius And I am Brutus, Marcus Brutus, I! Brutus, my country’s friend; know me for Brutus! O young and noble Cato, art thou down? Why, now thou diest as bravely as Titinius, And mayst be honour’d, being Cato’s son. 1st Soldier Yield, or thou diest.

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Lucilius Only I yield to die: There is so much that thou wilt kill me straight: Kill Brutus, and be honour’d in his death. 1st Soldier We must not. A noble prisoner!

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Another part of the battlefield. Brutus, Messala, Young Cato, Lucilius, and Flavius enter. Brutus Still, countrymen, oh, still hold up your heads! [Exit] Young Cato Who is of such base lineage that he does not? Who will go with me? I’ll proclaim my name around the field. I’m the son of Marcus Cato, ho! A foe to tyrants and my country’s friend! I’m the son of Marcus Cato, ho!

[Soldiers enter and fight. Young Cato is killed.] Lucilius And I am Brutus, Marcus Brutus, I! Brutus, my country’s friend. Know me for Brutus. Oh young and noble Cato, are you fallen? Why, now you die as bravely as Titinius, and, being a true son of Cato, you will be honored. 1st Soldier Yield, or you die! Lucilius I yield only so that I may die. This much will make you kill me right now. Kill Brutus, and be honored in his death. 1st Soldier We must not. A noble prisoner!

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[Enter Antony] 2nd Soldier Room, ho! Tell Antony, Brutus is ta’en. 1st Soldier I’ll tell the news. Here comes the general. Brutus is ta’en, Brutus is ta’en, my lord. 20

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Antony Where is he? Lucilius 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. Antony This is not Brutus, friend; but, I assure you, A prize no less in worth. Keep this man safe; Give him all kindness; I had rather have Such men my friends than enemies. Go on, And see where Brutus be alive or dead; And bring us word unto Octavius’ tent How every thing is chanc’d. [Exeunt]

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[Antony enters] 2nd Soldier Make room, ho! Tell Antony that Brutus is taken. 1st Soldier I’ll tell him the news. Here comes the general! Brutus is taken, Brutus is taken, my lord. Antony Where is he? Lucilius Safe, Antony. Brutus is safe enough. I dare to assure you that no enemy will ever take the noble Brutus alive. The gods defend him from so great a shame! When you do find him, alive or dead, he’ll be found like Brutus. True to himself.

Antony This is not Brutus, friend. But, I assure you, he’s a prize of no less in worth. Keep this man safe. Give him all kindness. I’d rather have such men as my friends than as my enemies. Go on, and see whether Brutus is alive or dead. And bring us word to Octavius’s tent of all that has happened.

[Exit]

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Another part of the field. Enter Brutus, Dardanius, Clitus, Strato and Volumnius. Brutus Come, poor remains of friends, rest on this rock. Clitus Statilius show’d the torch-light; but, my lord, He came not back; he is or ta’en or slain. 5

Brutus Sit thee down, Clitus. Slaying is the word; It is a deed in fashion. Hark thee, Clitus. [Whispers] Clitus What, I, my lord? No, not for all the world. Brutus Peace, then. No words. Clitus

I’ll rather kill myself.

Brutus Hark thee, Dardanius. [Whispers] 10

Dardanius

Shall I do such a deed?

Clitus O Dardanius! Dardanius O Clitus! Clitus What ill request did Brutus make to thee? Dardanius To kill him, Clitus. Look, he meditates. 15

Clitus Now is that noble vessel full of grief, That it runs over even at his eyes. Brutus Come hither, good Volumnius: list a word.

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Another part of the battlefield. Brutus, Dardanius, Clitus, Strato, and Volumnius enter. Brutus Come, you who are my remaining friends. Rest on this rock. Clitus Statilius showed the torch-light signal. But, my lord, he didn’t come back. He’s been taken or killed. Brutus Sit down, Clitus. Killing is the word. It is a deed that’s in fashion. Listen, Clitus. [whispers] Clitus What, I, my lord? No, not for all the world! Brutus Peace, then. No words. Clitus I’ll rather kill myself. Brutus Listen, Dardanius. [whispers] Dardanius Should I do such a deed? Clitus Oh, Dardanius! Dardanius Oh, Clitus! Clitus What awful request did Brutus make of you? Dardanius To kill him, Clitus. Look, he meditates. Clitus That noble vessel is so full of grief that it runs over from his eyes. Brutus Come here, good Volumnius. Listen to a word or two.

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Volumnius What says my lord? 20

Brutus 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. I know my hour is come. Volumnius

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Not so, my lord.

Brutus Nay, I am sure it is, Volumnius. Thou seest the world, Volumnius, how it goes; Our enemies have beat us to the pit. It is more worthy to leap in ourselves Than tarry till they push us. Good Volumnius, 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. Volumnius That’s not an office for a friend, my lord. Clitus Fly, fly, my lord, there is no tarrying here.

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Brutus Farewell to you; and you; and you, Volumnius. 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. 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. Night hangs upon mine eyes; my bones would rest, That have but labour’d to attain this hour. [Alarum. Cry within ‘Fly, fly, fly!’] Clitus Fly, my lord, fly!

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Volumnius What says my lord? Brutus Why, this, Volumnius. The ghost of Caesar has appeared to me two different times at night: once at Sardis, and last night, here in the fields of Philippi. I know my hour has come. Volumnius Not so, my lord! Brutus No, I’m sure it is, Volumnius. You see the world, Volumnius, how it goes. Our enemies have beat us to the edge of the pit. It’s more worthy to leap in ourselves than to wait until they push us. Good Volumnius, you know that we two went to school together. For that friendship of old, I beg you, hold my sword hilt while I run on it.

Volumnius That’s not a task for a friend, my lord. Clitus Flee, flee, my lord. You must not stay here. Brutus Farewell to you, and you, and you, Volumnius. Strato, you have been asleep all this time. Farewell to you too, Strato. Countrymen, my heart rejoices that in all my life I met no man who was not true to me. I’ll have more glory on this day of losing than Octavius and Mark Antony will win by this vile conquest. So, farewell all of you. For Brutus’s tongue has almost ended his life’s history. Night hangs upon my eyes. My bones, which have labored to reach this hour, want rest.

[Alarms. Cry within, “Flee, flee, flee!”] Clitus Flee, my lord, flee.

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Brutus

Hence! I will follow. [Exeunt Clitus, Dardanius and Volumnius]

50

I prithee, Strato, stay thou by thy lord. Thou art a fellow of a good respect; Thy life hath had some smatch of honour in it. Hold then my sword, and turn away thy face, While I do run upon it. Wilt thou, Strato? Strato Give me your hand first. Fare you well, my lord.

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Brutus Farewell, good Strato. Caesar, now be still; I kill’d not thee with half so good a will. [Dies] [Alarum. Retreat. Enter Antony, Octavius, Messala, Lucilius and the Army] Octavius What man is that? Messala My master’s man. Strato, where is thy master?

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Strato Free from the bondage you are in, Messala. The conquerors can but make a fire of him; For Brutus only overcame himself, And no man else hath honour by his death. Lucilius So Brutus should be found. I thank thee, Brutus, That thou hast prov’d Lucilius’ saying true.

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Octavius All that serv’d Brutus, I will entertain them. Fellow, wilt thou bestow thy time with me? Strato Ay, if Messala will prefer me to you. Octavius Do so, good Messala. Messala How died my master, Strato?

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Strato I held the sword, and he did run on it.

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Act V, Scene V

Brutus Go! I’ll follow. [Clitus, Dardanius, and Volumnius exit] Please, Strato, stay with your lord. You’re a fellow of good reputation. Your life has had some amount of honor in it. Then hold my sword, and turn away your face while I run on it. Will you, Strato? Strato Give me your hand first. Farewell, my lord. Brutus Farewell, good Strato. Caesar, now be still. I did not kill you with half as much willingness. [Brutus dies] [Alarms sound retreat. Antony, Octavius, Messala, Lucilius, and the troops enter] Octavius What man is that? Messala My master’s man. Strato, where is your master? Strato Free from the bondage you’re in, Messala. The conquerors can only make a fire of his body. For only Brutus overcame himself, and no other man has honor by his death. Lucilius That is how Brutus should be found. I thank you, Brutus, that you’ve proved Lucilius’s saying true. Octavius I’ll engage in my service all those who served Brutus. Fellow, will you employ your time with me? Strato Yes, if Messala will recommend me to you. Octavius Do so, good Messala. Messala How did my master die, Strato? Strato I held the sword, and he ran on it.

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Messala Octavius, then take him to follow thee, That did the latest service to my master.

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80

85

Antony This was the noblest Roman of them all. All the conspirators save only he Did that they did in envy of great Caesar; 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!’ Octavius According to his virtue let us use him, With all respect and rites of burial. Within my tent his bones tonight shall lie, Most like a soldier, order’d honourably. So call the field to rest, and let’s away, To part the glories of this happy day. [Exeunt omnes]

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Act V, Scene V

Messala Octavius, then take him as your follower. He did the final service to my master. Antony This was the noblest Roman of them all. All the conspirators except only him did what they did in envy of great Caesar. Only he had a general honest thought for the common good of all when he joined them. His life was noble. The elements were so perfectly blended in him, that Nature might stand up and say to all the world, “This was a man!”

Octavius Let us treat him according to his virtue, and give him all the respect and rites of burial. His body will lie in my tent tonight, like a soldier, and be treated with respect. Order the troops to stop fighting. Let’s leave, to share the glories of this happy day. [All exit]

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Comprehension

Check What You Know

1. Octavius explains the enemy’s strategy for the coming battle. What did Brutus and Cassius decide to do? 2. As Octavius and Antony decide on their strategy, there is some disagreement. In the end, who is going to fight where? 3. What four people meet? 4. If the conspirators are defeated, what does Brutus plan to do? 5. As the battle continues, what news does Titinius report to Cassius? 6. On what mission does Cassius send Titinius? Who will watch from above and report to Cassius what happens? 7. What is the news about Titinius? What is Cassius’s reaction? 8. Messala reports a more accurate account of the battle. What really happened? What happened to Titinius? 9. What does Brutus say when he learns about the death of Cassius? 10. Who does Brutus say visited him at Philippi? 11. What does Brutus decide to do? Who eventually helps him? 12. What does Antony say about Brutus in his final speech?

Activities & Role-Playing

Classes or Informal Groups

Clearing the Air In Scene 1, Antony and Octavius talked to each other before they met with the enemy. What do you think Brutus and Cassius talked about before this meeting? Role-play the conversation between the two of them. ©Hulton/Archive

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Post-Act

Where Is Everyone? The final battle of Julius Caesar might get confusing. Draw a map of this final battle. Place Brutus and Cassius correctly as they fight Antony and Octavius. Who is opposite whom? Show the spot where Cassius waits while Titinius rides off and where Pindarus stands watch. Also show the spot where Brutus tries to get different people to help him. Final Assessment There’s a great debate about Brutus. Is he a noble Roman who selflessly acts to save Rome from the potential tyranny of Caesar? Or is he an arrogant, flawed man whose secret ambition is to rule Rome himself? Make a list of Brutus’s good and bad qualities. Do not just rely on what Brutus says about himself—consider what others say as well, both friends and enemies. Also consider the effects that his decisions and actions have on those around him. Then divide your group into two sides, and debate Brutus’s character.

Discussion

Classes or Informal Groups

1. What does the disagreement between Antony and Octavius about the coming battle tell you about their relationship? 2. Brutus vows that he will never return to Rome as a captive. What does this say about him? What do you think of his decision? Explain your position. 3. Why did Cassius rely on Pindarus’s account of the battle and the supposed capture of Titinius instead of trying to get more accurate information? 4. Why does Cassius commit suicide? What do you think of his decision? Explain your position. 5. Characterize Brutus’s reaction when he finds out about Cassius’s death. 6. Why does the ghost of Caesar appear to Brutus at Philippi? 7. How many people does Brutus ask for help with his suicide before he finds one who agrees? Why do the soldiers respond as they do? What do you learn about Brutus from the soldiers’ responses? 8. Why does Brutus commit suicide? What do you think of his decision? Explain your position. 9. Do you feel sorry for Brutus? For Cassius? For Caesar?

Suggestions for Writing

Improve Your Skills

1. Write a diary entry for Brutus on the night before the final battle. What would he be thinking about? Would he have regrets? Fears? Doubts? 2. With the defeat of Brutus and Cassius, Antony and Octavius can return to Rome. Write an account that reports the final battle in a newspaper. What news will get back to Rome? Will anything be changed or left out? 243

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Julius Caesar Additional Resources Books Title: The Riverside Shakespeare Author: J. J. M. Tobin et al. (editor) Publisher: Houghton Mifflin Year: 1997 Summary: This volume features all of Shakespeare’s plays, along with 40 pages of color and black-and-white plates. Each play is introduced by scholarly commentary from one of the volume’s editors. The book also contains general background material on the Shakespearean stage and Elizabethan history. Title: The Complete Works of Shakespeare Author: David Bevington (editor) Publisher: Addison-Wesley Publishing Company Year: 1997 Summary: This book offers the complete, unabridged works of Shakespeare as edited by the current president of the Shakespeare Association of America. Editor David Bevington also provides an introductory essay for each play and a general introduction to Shakespeare’s life, times, and stage. Title: Shakespeare: A Life Author: Park Honan Publisher: Oxford University Press Year: 1999 Summary: Using the little available data that exists, Honan pieces together this biographical account of Shakespeare’s life.

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Title: A Shakespeare Glossary Author: C. T. Onions (editor) Publisher: Oxford University Press Year: 1986 Summary: This classic reference book defines all of the nowobscure words used by Shakespeare throughout his plays. The book also uses examples and gives play locations for the words. Title: Shakespeare A to Z: The Essential Reference to His Plays, His Poems, His Life and Times, and More Author: Charles Boyce Publisher: Facts on File Year: 1990 Summary: This book features over 3,000 encyclopedic entries arranged alphabetically. It covers several areas of Shakespeare, including history, play synopses, and critical commentary. Title: The Shakespearean Stage: 1574–1642 Author: Andrew Gurr Publisher: Cambridge University Press Year: 1992 Summary: An overview of Shakespearean staging by Andrew Gurr, one of the foremost experts in this area. The book highlights the many different theater companies of the day and how they performed. Title: Shakespeare’s Book of Insults, Insights & Infinite Jests Author: John W. Seder (editor) Publisher: Templegate Year: 1984 Summary: This entertaining book covers several categories of jabs and mockeries taken straight from the text of Shakespeare’s plays.

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Additional Resources

Title: Everybody’s Shakespeare: Reflections Chiefly on the Tragedies Author: Maynard Mack Publisher: University of Nebraska Press Year: 1994 Summary: Mack, a noted scholar, offers essays on Romeo and Juliet, Julius Caesar, Hamlet, Othello, King Lear, Macbeth, and Antony and Cleopatra, plus four chapters covering general topics. The essays are written specifically for the general reader. Title: The Meaning of Shakespeare (two volumes) Author: Harold Goddard Publisher: University of Chicago Press Year: 1960 Summary: Originally published in 1951, this classic, hefty work of Shakespearean criticism includes essays on all of Shakespeare’s plays. (Note: Since Goddard’s work is in two volumes, readers who seek information on particular plays should make sure they obtain the volume containing commentary on that play.)

Videos Title: Julius Caesar Director: Herbert Wise Year: 1979 Summary: This BBC/Time-Life version of Julius Caesar is notable for its faithful reading of Shakespeare’s original text. This stage play production effectively uses its sparse sets and props. Title: Julius Caesar Director: Stuart Burge Year: 1970 Summary: This version stars Charlton Heston as Marc Antony and Jason Robards as Brutus. Though many critics bemoan Robards’ dry performance, this production is an otherwise good interpretation.

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Title: Julius Caesar Director: Joseph L. Mankiewicz Year: 1953 Summary: This film version is considered by many to be the best film-adaptation of this play. Marlon Brando gives a stellar performance as Marc Antony.

Audiotapes Title: Julius Caesar [Abridged] Producer: Arkangel Complete Shakespeare Year: 1998 Summary: This audio production features an introduction to many Shakespearean topics including biographical information and plot summary. The narrator selects many of the more famous passages for further interpretation. Title: All the World’s a Stage: An Anthology of Shakespearean Speeches Performed by the World’s Leading Actors Producer: BBC Radio Year: 1995 Summary: A collection of some of the finest performances of Shakespeare’s famous passages. Laurence Olivier, Richard Burton, and Vanessa Redgrave are featured along with several other notable actors.

Web Sites URL: http://www.rdg.ac.uk/globe/research/research_index.htm Summary: Associated with London’s Globe Theatre web site, this collection of research links offers information on the building and rebuilding of The Globe, Shakespeare’s relationship to the theatre, and miscellaneous articles on theatrical traditions and practices during Shakespeare’s time. URL: http://www.english.wayne.edu/~aune/2200W00Contents.html Summary: This site offers introductory information for students studying Shakespeare. Offerings include tips for reading and writing about Shakespeare as well as information on individual works.

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Additional Resources

URL: http://tech-two.mit.edu/Shakespeare Summary: This web site from the Massachusetts Institute of Technology features the full text of many of Shakespeare’s plays in a searchable format. URL: http://daphne.palomar.edu/Shakespeare/ Summary: “Mr. William Shakespeare and the Internet” offers a wide variety of links to other Shakespeare sites. “Criticism,” “Educational,” and “Life & Times” are just a few of the categories offered. URL: http://www.unknown.nu/mercury Summary: Recording of the 1938 Mercury Theater of the Air broadcast of Julius Caesar, produced and directed by Orson Welles. Available in streaming and downloadable formats.

Software Title: Literature Survival Series: Julius Caesar Developer: Lawrence Productions Grade: 9–12, Adult Platform: Mac, Windows Summary: This program offers companion material for Julius Caesar. This program is especially useful for those who are writing an interpretive paper on this play. Title: Shakespeare Trivia Developer: Cascoly Software Grades: All Platform: Windows Summary: A trivia game for any ability or knowledge level. Test your knowledge of Shakespeare, program includes 37 plays, over 1,200 characters, over 400 scenes, and 500 individual quotes. Allows the player to choose the difficulty and type of question. Title: Shakespeare’s Language Developer: Randal Robinson and Peter Holben Wehr Grades: 9–12, college Platform: Mac Summary: This program helps a reader identify, classify, and respond to causes of difficulty in Shakespeare’s language. It helps the reader work effectively with syntactical difficulties, unfamiliar words, figurative language, unexpected and multiple meanings of words, and special connotations of words. 249

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BOB#113-SmplyShkspr-6X9 K+cyan

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The plays take on new meanings with . . .

Simply Shakespeare This brand-new illustrated series presents six of Shakespeare’s most frequently taught plays. The original Elizabethan text appears complete, sideby-side and line-by-line with a modern “translation” on facing pages. Preceding each act of every play, an explanatory spread describes what is about to take place with— • An Introduction explaining the play’s background • Character descriptions • Things to watch for as the story unfolds • The play’s historical and social context • Staging at Shakespeare’s original Globe Theatre • Language, puns, and poetic images Identifying icons preceding each of the above noted “Study Points” appear in a second color, then are located again as cross-references in the original text. Extra teachers’ aids include test questions and themes for class discussion. Each book: Paperback, approx. 288 pp., 6" x 9" $8.95

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Page 1

Shakespeare

An Introduction to Julius Caesar: Explains the story’s background

Characters: Briefly describes key people who will appear in each act

Things to Watch For: Summarizes how important characters react to events taking place

is the solution to their problem. Icons for Easy Understanding

Icons preceding each study point appear in the play’s text. They’re cross-references that guide readers between the play’s action and the explanatory notes.

Historical and Social Context: Discusses how widely held ideas in Shakespeare’s time are reflected in the play’s action

Staging: Explains how Shakespeare’s Globe Theatre was suited for the play

Language: Includes brief discussion of puns, plays on words, and poetic images

JULIUS CAESAR

Simply

Added features

Soothsayer Beware the ides of March!

Caesar

Caesar Who is that man?

What man is that?

Simply

Shakespeare

The Bard’s original poetic phrases are printed side-by-side and line-by-line with the modern translation on each facing page. While Shakespeare’s immortal plays have endured, the English language has changed—which is why today’s students often find Shakespeare’s idiom difficult to comprehend.

Soothsayer Beware the ides of March.

Caesar Set him before me; let me see his face.

Simply

With a Modern Line-for-Line Translation

Caesar Who is it in the crowd who calls me? I heard a voice shriller than all the music cry “Caesar!” Speak! Caesar turns to hear.

Brutus A soothsayer who tells you to beware of the Brutus A soothsayer bids you beware the ides of March.

Shakespeare

Original Shakespearean Text

Caesar Who is it in the press that calls on me? I hear a tongue shriller than all the music Cry ‘Caesar!’ Speak: Caesar is turn’d to hear.

Shakespeare

ides of March.

Caesar Bring him to me. Let me see his face.

Cassius Fellow, come from the throng; look upon Caesar. Cassius Fellow, come out of the crowd. Look at Caesar What say’st thou to me now? Speak once again. Caesar.

Original Shakespearean Text

Soothsayer Beware the ides of March.

Caesar What did you say to me now? Say it again.

With a Modern Line-for-Line Translation Soothsayer Beware the ides of March.

Caesar He is a dreamer. Let us leave him. Pass. [Exeunt all except Brutus and Cassius] Cassius Will you go see the order of the course?

Caesar He’s a dreamer. Let’s leave him. Pass. [All except Brutus and Cassius exit]

Brutus Not I.

Cassius Will you go see how the race is going?

Cassius

Brutus Not I.

I pray you, do.

Brutus 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. Cassius 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. Brutus Cassius, Be not deceiv’d: if I have veil’d my look, I turn the trouble of my countenance Merely upon myself. Vexed I am Of late with passions of some difference, Conceptions only proper to myself, Which give some soil, perhaps, to my behaviours; But let not therefore my good friends be griev’d – Among which number, Cassius, be you one – Nor construe any further my neglect, Than that poor Brutus, with himself at war, Forgets the shows of love to other men.

Cassius Please, do. Brutus I’m not the sort for games. I lack Antony’s quick spirit. Don’t let me interfere with your pleasure, Cassius. I’ll leave you. Cassius Brutus, I’ve been observing you lately. You don’t look at me with the same gentleness and fondness that you used to. You seem stiff and strange toward your friend who loves you. Brutus Cassius, don’t be deceived. If I’ve turned away from you, I turn my frowns upon myself. I’ve been upset lately with conflicting emotions—concerns that I cannot share with anyone. That’s affected my behavior, perhaps. But I don’t want my good friends to be upset— among which you, Cassius, are one. Don’t think that my neglect of you has any other reason than that I’m at war with myself and neglect my usual friendliness to others.

Cassius Then, Brutus, I’ve greatly misinterpreted your feelings, and so I’ve kept my important thoughts buried in my heart. Tell me, good Cassius Then, Brutus, I have much mistook your passion; Brutus, can you see your face?

JULIUS CAESAR

By means whereof this breast of mine hath buried Thoughts of great value, worthy cogitations. Tell me, good Brutus, can you see your face? Brutus No, Cassius; for the eye sees not itself But by reflection, by some other things.

Brutus No, Cassius. The eye can’t see itself except by reflection in some other things. Cassius That’s right. And it’s very sad, Brutus, that you have no such mirrors that will reflect your own hidden worthiness that you might see it for yourself. I’ve heard many of the most respected