French's Acting Edition No. 596
JULIUS OESAR
By
WILLIAM SHAKESPEARE
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THE TRAGEDX
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JULIUS CAESAR
By
WILLIAM SHAKESPEARE
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Made and Printed in Great Britain by Butler & Tanner Ltd., Frome and London
The play produced and edited by George Skillan.
The sets illustrated with the assistance of Patrick Cleburne.
2068987
PREFACE
The edition of this play embodies all the features of its predecessors, with several additions. Firstly,
all movements have been printed in heavy type to enable them to be easily detected from the
other matter ; secondly, the text has been pointed by means of perpendicular marks to indicate the
pauses to be observed either after or before the word thus treated. These pauses may be short or long,
and in most cases there is a note provided to indicate their necessary duration ; but where this does not
occur the reader will be able to judge by the context what form of treatment is required. They do not
occur at every obvious point, but only where the difference created by them, though at times slight,
enables the line to be governed so as to discharge its proper value. This also applies to the words
italicized for emphasis, which in some cases may be light and in others heavy, the slight inflexion
sometimes giving the elliptical construction its proper solution. Thirdly, among the innovations comes
the detailed description of the costumes. This will, it is hoped, prove of great value in a play which
sometimes causes confusion and difficulty in the matter of apportioning the right costume to the right
character. Beside the dress is placed its Latin name, so that readers can, if they so wish, continue their
investigations in the classical dictionaries and study examples of the clothes that are frequently shown
in the articles dealing with them. A glossary of the costumes not fully described in the text, but which
are mentioned under their Latin names, is placed at the end of this preface, together with a plate. It
contains a short description of the military, civil, male and female costumes, with instructions as to the
winding of a full-sized toga. Two plates are also provided showing thirty-seven of the principal properties
used in the play, each of which is briefly described in an accompanying commentary. In short, this
edition seeks to provide every means to facilitate a proper understanding of the play and its equipment.
A number of diagrams have been supplied to demonstrate the various positions taken up by the
characters in the big scenes of the play. Owing to the fact that a name occupies more room than the
character itself would occupy, the positions indicated are approximate only and do not always denote
the direction in which the person is facing. This will however indicate itself in the production of the
scene, and groups should be broken up and the attitudes of their members varied in arrangement.
Cuts are indicated in the text in the event of its being necessary to shorten the play, but as so
little of the play can be omitted and its full effectiveness retained, these omissions are suggested mostly
as an expedient against time and not for quality.
It is suggested that in the performance of this play, only one interval should be observed, namely,
after the Third Act.
The sets have been designed to provide a simple and dignified background to the play, preserving
a sense of period and locality and at the same time offering the means of making suitable changes in
the easiest and most effective way possible. The general colour is of weathered stone with a blue
THE SETS cyclorama if possible, or, failing that, a straight backcloth. The height of the
rostrum is 2' 4", the steps being 7" in height and a foot broad. This width is
necessary in order to give them a stately rise as well as enabling the actors to ascend and descend in a
dignified way. These steps contain a movable section in the centre so that it can be taken away and
replaced by the seat in Act II, Scene I. For purposes of easier handling, the additional rostrum used in
Act III, Scene I is made in two sections, whilst all the columns can, if need be, be painted on a profile
shape and gives the appearance of being three-dimensional. The lower columns on the forestage should
be made solid if possible. They will help to give the atmosphere of solidity and strength which is so
characteristic of this play. They are not, of course, completed in their circumference, but only so far
as that circumference is seen. If possible, build them on a truck in order to be able to move them easily
when they are struck. They can, if so desired, remain throughout the play and provide a false
proscenium as well as facilities for lighting, which the lighting plot will demonstrate. Keep them as
near the midway mark between the rostrum and the sitting line as is possible.
The general principle of composition establishes the rostrum and its flanking scenery as permanent
THE TRAGEDY OF JULIUS (LESAR
throughout the play up to and including the Forum Scene (Act III, Scene II), allowing the rear area to be
added to or rearranged for different scenes, and offering a forestage capable of providing two depths
by means of two pairs of grey traverse curtains, one pair being set immediately behind the pillars and
the other pair immediately in front of the extremities of the rostrum, which also forms the setting line
for a cloth for the two house interiors if required. This cloth can of course be dispensed with and the
grey curtains used instead.
If it is not possible to achieve the semi-elliptical form of rostrum, straight additions can be added
to the sides, either meeting the principal rostrum at right angles or on the oblique. But, if possible,
retain the prescribed form. It will be found to be of inestimable value in many ways, enabling groupings
to be spread more effectively and individuals to be better seen when approaching the centre of the
principal stage from above. This applies particularly to the procession in Act I, Scene II, where the
oblique formation attained by this means enables the entire length to be seen at a glance, as well as
allowing Caesar to be clearly seen from the moment he enters. The crowds are also able to be arranged
to get the fullest effect from them in the Forum Scene.
In order to dispense with any scenery on the back of the rostrum, a pair of grey curtains can be
drawn together at the extreme rear, the upper flats on either side omitted and another pair of curtains
drawn on from a line immediately behind the remaining flats and columns on either side to offer a setting
for Brutus' Orchard. This second pair of curtains can be green and can be used with either another
pair of the same colour drawn across the back or else leaving the permanent grey curtains to represent
the sky. Further simplification is achieved either by using these back green curtains alone and dispensing
with the front pair, or even by leaving the set entirely unaltered. This arrangement of curtains will
enable the production to be mounted on a much shallower stage than if ground rows and backcloth are
used. The efficiency of the design is such that, with a general closing-up process in which all dimensions
are shortened, a very concise set can be easily and effectively attained.
The colour specifications for the interior scenes (Act II, Scene II and Act IV, Scene I) are as follows.
The basic colour is terra-cotta. The black areas remain that colour, whilst the three long panels above
the black base are grey. The colour of the narrow borders of all the panels is a pale blue, the colour of
the three large panels remaining the basic colour.
In the building of the various elevations for the Forum Scene (Act III, Scene II), those at the back
should be planned so as to create sudden variations of disproportionate height in order to avoid a regularity
in the graduation of the crowd. It will be more effective to demonstrate the crowd in this broken
formation, since it points to their eagerness to secure any vantage point available, creating their oppor-
tunities to witness an event of the greatest national importance, and thus directly emphasizing the
abnormal nature of the scene.
Stone-grey borders are used throughout the play up to the back pillars, and blue beyond.
The colour of the tent in Act IV, Scene III is a very dark red, and the masking piece on the
R. in black velvet, as the tent is presumed to extend beyond the line of vision. Open the scene as wide
as possible so as not to leave the centre too cramped.
In the final scenes, the ground rows are multiple, each piece being capable of being taken away or
added as the various scenes demand. The mounds should be built on trucks so as to be easy to move
about and should be sombre in their colouring. That marked A in Groundplan I and F in the illustration
of Act V, Scene III, has a specially prepared socket into which Cassius can thrust the standard he has
taken from the standard-bearer. That marked M in Groundplan I and C in the illustration of Act V,
Scene III, is sloped to allow Strato to be able to fall on it as on a bank, and it has a convenient
level for Volumnius to be able to place his foot on it.
On the base of the statue in the illustration of Act III, Scene I, a movable panel should be made
to fit so that it can be taken off for the following scene. On it should be inscribed CNEUS POMPEIUS,
or, if room forbids, the first name can be abbreviated to C.
The glossary has been chiefly compiled with the aid of The Oxford English Dictionary, Skeat,
Schmidt and Abbott. The collation of early texts has been taken from the New Variorum edition, together
with comments which are acknowledged by ' N.V.' The archaeological element has been principally derived
from the dictionaries of Smith, Seyffert (translated by Nettleship and Sandys) and Daremberg and Saglio.
I should also like to thank those gentlemen whose authority on these matters makes their public position
a preventative against the mentioning of their names, since any error which may -have been committed on
my own part would discredit them and be a poor return for the kindness and patience that they have
extended to me in my endeavour to furnish the many details that have gone to the design of this edition,
one intended to fulfil all the requirements that go to the authentic mounting of the play. Thanks are also
THE TRAGEDY OF JULIUS CAESAR vii
due to Patrick Cleburne for his able assistance, Gillian Dearmer for her researches in connection with
her work shown in Plate II, and to Barbara Brighouse for her long and arduous task of assisting with
the proofs.
A concluding explanation is offered with regard to the glossary. Shakespeare used words in a very
literal sense, and especially those of Latin origin. The process of time has in some cases modified their
earlier meaning and in others has almost completely changed it. Added to this fact, Shakespeare at
times induces a flexibility to the meaning and frequently enriches a word with additional dramatic or poetic
energy, gained sometimes by context, sometimes by dramatic situation. It is therefore necessary
to know not merely what a word means, but why it has that meaning, and its derivations are given as
concisely as possible in order to realize the value that is intended, as well as offering something interesting
to the student of such matters, for whom other words have been treated in this manner.
It is hoped that this, together with the commentary, will enable the reader to realize something of
the fine quality of this noble and very human play. They are offered to him as the tools to his hand
which his own labour must wield, for without labour there is no art. An artist is not only a visionary
but a workman, and one with a sense of duty, a fact exemplified by an answer of Michelangelo's when
being asked at what he was looking so intently replied, " There is an angel in that block of marble
and it is my business to get it out."
April 26th, 1937. G. S.
LIST OF ABBREVIATIONS
O.E.D. = The Oxford English Dictionary ; A.S. = Anglo-Saxon ; O.E. = Old English ; M.E. =
Middle English ; O.F. = Old French ; Med. Lat. = Mediaeval Latin ; F. = Folio ; Q. = Quarto, the
particular identity of each being declared by the index number.
Anglo-Saxon denotes words of the_ Saxon dialect up till 1100-50, Anglo signifying the distinction
between the Saxon of this country and that of the Continent. Old English is a general term used to
denote the language of the same period and, in particular, that of the Anglian dialect. Middle English
extends from Old English until about 1500.
The term ' elliptical ' or ' elliptical meaning ' will sometimes occur in the notes. This simply means
that one or more words have been omitted in the construction and that the completing of the sense is
for the reader to accomplish from the context of the passage. This will be found for him in the margin.
M.-of-V. = The Merchant of Venice in this edition of the plays.
A GLOSSARY OF COSTUMES MENTIONED IN THE PLAY. See Plate III, p. xvii.
Abolla. — A woollen cloak worn by higher military ranks in the field as well as being adopted in its
natural colour by the Stoic philosophers in Rome. It was full in volume, about four feet in length, and fitted
close to the neck and throat, being fastened on the right shoulder by a brooch or fibula. The right arm was
left free and the cloak was gathered up over the left arm. It is worn in its natural colour by Phaonius the
Poet in Act IV, Scene III, since he was a follower of Marcus Cato who was a Stoic, and it gives him a dis-
tinctive dress. The lesser military officers wear it in red. Arms and armour. — For purposes of economy
and simplicity, themilitary characters in the play are divided into officers and legionaries. The dress of the
former consists of a brass cuirass, backplate and frontplate, sometimes with a belt round the middle to rein-
force the buckles at the side, a sword worn on the left, high sandals, a helmet (galea) tufted with six or seven
red feathers and having side-pieces that strap under the chin, and a cloak. Brutus, Cassius, Octavius,
Antony and Messala wear helmets with feathers and the paludamentum (q.v.) ; the other officers wear horse-
hair tufts and the abolla. The legionaries' dress consists of a steel lorica (q.v.) worn over a dark-
coloured tunic, helmet with side-pieces that strap under the chin and surmounted by a ring. They
carry their swords on the right and daggers on the left on a waistbelt, wear heavy hobnailed sandals,
a coarse sagum and a rectangular shield bearing the device of their company. They carry two pila or slender
lances, which were discharged at the first onslaught. They can be carried if any legionaries appear other than
those named in Act V, Scene I, but not after. Himation. — The Greek outer garment corresponding to the
Roman toga and worn by bringing it from over the left shoulder under or over the right arm and throwing it
again over the left shoulder. The fashion varied for different purposes, but this is the style adopted by
Artemidorus in Act II, Scene III. Lodix. — A rough blanket frequently used as a bed coverlet (Lucius,
THE TRAGEDY OF JULIUS CAESAR
Act II, Scene I). Lorica. — This was a general term for body armour. It is used in this play with special
application to the legionaries, dress as steel lorica, where it consists of steel bands attached to leather going
round the body and held in position by sections of similar construction passing over the shoulder. Cen-
turions wore scale armour. Paenula. — A long cloak made of dark wool and fastened from the neck to about
half-way* down the front, leaving a hole so that the garment could be assumed by slipping it over the
head. It had no sleeves but was gathered up over the arms. It had a hood and was fairly full. Paludamen-
tum. — This was a rich red cloak worn by the commander s-in-chief. It came down to just behind the knees
and was fastened by a brooch on the right shoulder, falling away very quickly in front and being carried
over the left arm. It was sometimes fringed and occasionally white. Octavius wears one of this latter colour.
Pera. — A wallet attached to the girdle. The only time this is used is in Act I, Scene III, by Cassius.
It was like a large leathern envelope. Sagum. — A short square-cut cloak worn by the legionaries
and inferior officers. It can be of dark blue or red for the legionaries. Synthesis. — This has been selected
as the nearest approximation to a gown for Brutus in Act IV, Scene III. It was frequently worn at table
in the place of the voluminous toga. From wall drawings in Pompeii a cloak can be fashioned like a bishop's
cope in shape, only more voluminous and lighter. It is without sleeves and is voluminous enough to hang
over the arms and form a very loose sleeve. A pocket should be put inside this garment. Toga. — The
principal outer garment of the men's civilian dress. It was three times the height of the wearer in length
and twice his height in breadth. When opened out it assumed the form of a blunt ellipse. It was folded
so that one edge did not quite meet the other owing to the fact that it was not folded down the centre but at a
distance of three inches before it. The straight edge hung from the left shoulder with the narrower wiiMh of
the garment on top of the other. The point lay on the ground to the amount of about six inches. Then the
top width was gathered up in small folds until it lay on the left shoulder in that condition and the straight
edge of the garment at the back was drawn round under the right arm, thrown over the left shoulder under the
gathered folds of the portion already there, and the edge crossing the body in front was rolled so as to lift
the garment off the ground, these rolls being continued into the section hanging down behind. Then the
pleated portion on the left shoulder was lifted over the newly placed material and the front of it pulled up
and allowed to hang over the part crossing the body and so form "a pocket. The upper of the two surfaces
hanging down on the right was drawn up on to the right shoulder and could also be drawn right up on to
the head and make a hood. The togas used in this play are the praetexta (white with a purple border two
inches in width and worn by men of senatorial rank of all degrees, as well as by young boys under age] ;
the toga virilis, plain white ; toga picta, fully described at Ccesar's entrance, p. 6; the toga trabea,
of which there were several varieties. The only one used in this play is the purple one of Cesar's in A ct III,
Scene I. Tunica. — The garment worn under the. toga. It had short sleeves and reached to the knee when
girdled. Old or affected men alone wore a long-sleeved tunic, although Julius Ccesar was allowed to do so
on account of his health. The senators and magistrates wore the clavus latus, which consisted of two
single narrow purple bands, one running from each shoulder to the bottom of the tunic. This tunic was
worn without a girdle.
The dress of the Roman matrons, such as applies to Calpurnia and Portia, consisted of the sleeveless
under -tunic (tunica interior) reaching only to the knee. Over it was worn the strophium, a leathern
girdle supporting the breasts. Then came the tunica proper, generally called the stola. This usually
had loose sleeves fastened together by brooches, and it was girdled at the waist. When properly adjusted it
just covered the feet. Its characteristic was the instita or flounce sewn round the base and reaching down
to the instep. It was usually fastened on the shoulder by a brooch. Over this garment was worn the palla,
which was the same as the Greek himation. Sometimes the front portion coming across the body was carried
over the left arm. At others it was lifted from the back on to the head, falling on the right shoulder. The
ornaments were brooches (fibulae), armlets (bracchialia), ear-rings (inaures), necklaces (monilia), hairpins
(crinales) and tores or cords of gold worn round the neck (torques). The hair (coma) was parted in the
middle, drawn back behind the head, where it was formed into a compact mass which either protruded or fell
on to the neck. The neck of this shape was bound with a cord. Portia can wear a gold band running from
the top of her forehead round under the base of the head and Calpurnia the crescent studded with gems. The
women in the crowd wear thick long-sleeved tunics girdled, and in a few cases a coarse palla thrown round
them or worn over their heads. (Note that the instita was absent from the dress of unmarried women) .
The senatorial dress has been described in its principal features. In addition, the sandals (calceus)
were black, and a gold signet ring (jus annul! aurei, see annulus) on the forefinger of the right hand. This
dress will apply to the two tribunes, Flavius and Marullus, who were elected from among the senators. The
THE TRAGEDY OF JULIUS CJESAR ix
dress of the men in the crowd consists of tunics and a girdle, whilst some wear a short cloak and a round
cap (pileus).
The dress of the standard-bearer, a term used here for any who carry either standard or signum, con-
sisted of a bearskin, the top part of the head being made to fit like a cap and the front paws coming round
the front and being tied together on the breast, the rest of the skin hanging down behind the back. Over his
tunic the man wore a sleeveless leathern jerkin, a sword on the left and a dagger on the right. Reproduc-
tions from the Trajan column will supply every essential military detail of costume and equipment.
The kerchief worn by Ligarius in Act II, Scene I, consists of a large piece of white material covering
the head, the ends being tied at the back and falling over the shoulders like the cap of a probationer nurse.
The edge of this kerchief is turned back on the forehead. It is not merely Roman but almost universal in
its nature. If appearing too modern or familiar, make a hood out of a piece of white material.
Throughout the play, the term purple is used to denote a dark red and not the colour usually known
by that name, and the clothes of the characters will be named as they appear. For illustrations see p. xvii.
LIGHTING PLOT
The following plot is merely a guide to the effects to be aimed at, since with different lighting systems
and equipment it is impossible and unfair to specify any particular source from which any light comes.
Spot battens, or front of house boxes may not be totally available, and other means may likewise be
lacking.
Great assistance will be afforded if a series of boxes can be hung one above the other, just behind
the big pillars on the forestage. If these pillars are three-dimensional their shape is not completed behind
and the lamps can be erected at the junction of the pillar with the masking flat joined to it. These lamps
can be altered during the performance as required and the lowest should be about ten feet from the stage
level, or just high enough to prevent a shadow caused by them from becoming too long. Keep them
trained in common with every other focus light, only head high. A wooden grill can be made to act as
a guard against the curtains when they are being drawn together. The pillars can of course be retained
throughout the play if the lighting facilities thus provided for them are found to be necessary.
Among the colours that are suggested in the following plot will be found a pink. This should only
be used to spot the faces and should be ' surprise pink," not an ordinary tone. The name is derived from
the fact that when held up to the light, the medium looks purple, but when used in a lamp it becomes
a very light shade of pink that picks out the faces without the hard effect of white. If this is not avail-
able, use straw mediums. Likewise the pink in the floats should be of the very lightest shade and so
mixed with the other lamps that its effect is produced without any undue pronouncement of its distinctive
colour.
All focus lamps are frosted.
ACT I kept, if possible, below the strength of the
Scene I footlights.
Daylight exterior.
Open white floods, unfrosted, on the backcloth.
White strips behind the rostrum on to the ground Daylight exterior,
rows. In the entrances R. and L. strips of white The general lighting of this scene is the same as
mixed with light amber. The entrances do not that of Scene I. In addition to it, the light of
require a full-strength lighting since they are the central area is extended and spots of straw
enclosed approaches and apart from this fact or pink are trained upon the steps L.C. to catch
they require a softer and darker tone to model the procession and the principals as they come
the scene and prevent its becoming too flat in down. Also a wide-focus light amber is trained
appearance. The central area of the steps is on the section of the crowd front R.c. of the
picked out with focus lights in straw and pink, rostrum. This will serve to light the Sooth-
concentrated upon the locality where the principal sayer when he appears. The light from behind
part of the scene is played. Battens and foot- the pillars will be found to be of great use here,
lights are brought up on amber, pink and white, throwing a direct light upon the faces on either
to the fullness as required, the battens being side of the rostrum as they descend the steps.
Scene III
Night exterior.
If possible, play this scene in a circle of steel-blue
lighting concentrated upon the central area. If
the footlights are capable of being operated in
separate sectors, use only the centre one, with
a little white mixed with the blue to ensure
visibility. The battens can be used in this scene
on the blue and white circuits for the lightning
effects, the whites dimmed down to a required
minimum. For occasional weaker flashes, use
only the blues.
ACT II
Scene I
Night exterior.
This scene needs special attention since it is in all
essentials the continuation of the same eerie
character of the last. As, however, it would be
impossible to play the entire scene in thunder
and lightning, Shakespeare softens the elements
merely to flashes of meteors. But we must not
forget the actual intended atmosphere that is
required, the scene coming as it does between
two others, both of which indicate the nature of
the tempestuous and ominous night. For the
area beyond the rostrum use only blue battens
brought in on a faint strength. The scene
behind requires merely a pallor and not any
developed lighting. In front use the boxes
behind the pillars as much as possible, lighting
up the central area below the steps and not
above it, nor beyond the ridge of the first steps.
If the lights from the pillars are used, it will allow
of the front battens being reduced to a degree
that will give a blue haze to the scene without
any excess needed to kill any shadows on the
trees or groundrows by the footlights, which if
possible should be dispensed with or brought in
only on the central sector, or if this is impossible
very slightly on the whole circuit. The focus
lighting is steel blue. There are no lights at all
in either of the entrances. For the meteor
effects, jump in the battens to half white for the
full strength of the flash and dim it out as though
the light came from moving bodies travelling
across the sky into extinction. The strength of
these flashes varies and the final ones only occur
at the back. After Portia's entrance bring up
the blues slowly to suggest a pale and sickly
morning light.
Scene II
Morning interior.
Pick out the central acting area with pink focus
lamps, supplemented by amber and pink floats
about half up. Battens in on ambers. Bear
in mind the nature of the scene and eliminate any
tendencies to a definite pink colour.
Scene III
Daylight exterior.
Centre lit by straw and pink spots. Floats about
three-quarters and amber pink. Don't make
the scene too bright.
Scene IV
Daylight exterior.
Same as Scene III. Keep it soft.
ACT III
Scene I
Daylight interior.
For the opening of this scene all that is required
is a light amber circle of light in the central area
from focus lamps. No other lights at all are
required.
At the cue, ' Come to the Capitol,' dim out, leaving
the light on the Soothsayer R. of c. to fade out
as he turns to go.
When the cast has taken up positions, bring the
lighting up at a moderate rate.
The general lighting resembles that of the first two
scenes of Act I. Focus lamps illuminate the
central area from just in front of the steps to and
including Caesar's chair. They are chiefly of
straw colour, with a pink spot on Caesar. These
focus lights should be spread to include the area
on the rostrum where the scene takes place round
Caesar's body. Floats and battens are well up on
ambers and whites to give a soft though definite
strength of lighting, and the lighting in the bays
should be amber with strips mixed with a lesser
quantity of white.
Scene II
Daylight exterior.
The opening of this scene takes place before the
first pair of grey curtains. Light the centre area
chiefly with straw focus lights, with floats and
battens fairly full up on amber and white.
The continuation of the scene takes place in a full
set. The two principal areas to be lit are the
pulpit over L., the elevated part of the rostrum
(c.) and the centre of the stage where Antony
continues his speech over Caesar's body. A pink
focus should be used to pick out the head height
of these points, mixed with a straw focus. The
rest of the stage is well lit so that the faces of the
crowd appear to full advantage, using all available
focus lamps adjusted to their full width with
straw mediums. Battens and floats up to a
THE TRAGEDY OF JULIUS CAESAR
XI
strength which gives body to the other lighting.
The bays R. and L. as before, somewhat less in
strength.
Scene III
Daylight exterior.
Repeat Act II, Scene III. After this scene strike
the boxes from behind the pillars in preparation
for their being withdrawn after the next scene.
ACT IV
Scene I
Daylight interior.
Lighting as in Act II, Scene II, as far as the area to be
lit is concerned, but substitute straw for medium
amber and add white to the floats and battens,
checking them down to prevent too strong a
glare in the general scene.
Scene II
Daylight exterior, evening.
Centre area lit by light amber with amber floats and
battens mixed with a smaller quantity of white.
Don't make the scene dim by any means, but
softer than if the scene were being played in the
full light of day.
Scene III
Daylight interior, evening.
Open the scene by lighting the central area, includ-
ing the stool R.C. and the stool R. of the table,
with light amber focus lamps, assisted by amber
floats mixed with a little white to strengthen the
other lighting. As the colour of the scenery is a
very dark red, shadows will not be highly pro-
nounced, but keep them as mild as possible. As
the scene proceeds, gradually change the medium
to a darker shade of amber and then one at least
to a red, dimming the auxiliary floats on the
whites. This change should not be violent.
Its first stage should begin at ' Dash him to
pieces ' and the second one after the exit of the
Poet, if his scene is retained, otherwise on the
cue ' He'll think your mother chides . . .' By
the time Lucius enters with the candle, it should
be complete. As Lucius enters with the candle
bring up a medium amber focus slowly on the
area just round the table, and when the characters
are grouped round the table, take off all centre
lights with the exception of a deep amber over
the c. and R.C. This is merely to preserve a
contrast between the area at the table and the
shadowed remainder of the tent which has to be
used again later. At the cue, ' Early to-morrow
will we rise and hence,' gently move the light
concentrated on the table so as to embrace the
stool R. of the table and the site occupied by
Lucius during his scene with Brutus. At the
cue, ' This is a sleepy tune,' commence to check
down all lights so that by the line, ' Here it is, I
think,' every light is out except the actual candle
itself. At the exit of Ccesar's Ghost bring the
lights up to what they were before the check.
ACT V
Scene I
Daylight exterior.
Light c., R. and L. with straw focus lights, floats
and battens up to proper supporting strength on
whites and ambers.
Scene II
Daylight exterior.
Straw focus c. and floats and battens as in the last
scene. This scene is of very short duration and
only contains two characters who remain c. all
the time.
Scene III
Daylight exterior, evening.
Repeat the tone of lighting used in Act IV, Scene II.
It is a softer light than that of the preceding
scenes, but must not become too weak. The
stage is lit c. and on the mound R. by focus
lights of light amber and the battens and floats
amber and white in equal quantities. From off
stage R., a pink spot is trained upon the top of
the mound to pick out Pindarus' face when He
is describing the incidents off R. Failing the
pink, substitute a light amber spot. At the cue,
' Come hither, sirrah,' bring up dark arnber
floods to give a reddish tinge to the lighting, but
only enough to suggest the effect of the approach-
ing sunset and no more.
Scene IV
Daylight exterior, evening.
Keep the tone of the lighting the same as that of
the last scene, lighting c. as the principal area,
with light amber focus lamps.
Scene V
Daylight exterior, evening.
This scene becomes somewhat less intense in its
lighting and the mediums are changed to a darker
shade of amber. Lessen the quantity of white
in the floats and battens first, and then if it is.
necessary, change the medium down. Focus
lights on the centre to include the rock piece and
the space immediately in front of it where
Brutus stands for his final speeches.
Xll
THE TRAGEDY OF JULIUS CAESAR
PROPERTY PLOT
The large numbers are in series with those on Plate II, p. xv. The small numbers refer to Plate I.
ACT I
Scene I
ON STAGE. — Dice7 and dice-boxes and knuckle bones
for crowd. Dice-boxes were round.
Flowers and sprigs of bay, oak, or laurel for
crowd.
Scene II
OFF R. — Flowers and sprigs of foliage as in Scene I.
OFF L. — Tubas for trumpeters (i).
Fasces for lictors (n).
Flutes1 for Tibicines.
Ivory sceptre for Caesar (5).
Wreath of green bay for Caesar.
Februa3 for Antony. This was a short-handled
whip of goatskin leather.
Wreath of oak for Antony.
Javelins for soldiers. These are heavy lances.
Scene III
OFF STAGE. — Thunder-sheet or zinc cistern.
Carbons for lightning effects.
OFF STAGE. R. — Three papers for Cassius.
ACT II
Scene I
OFF L. — A sealed letter for Lucius.
OFF R. — Knocking effect — a knocker on a dummy
door.
Bell for striking of the clock.
Four hermae6 (or less).
Scene II
ON STAGE. — R. and L. by the pillars, two bronze
braziers on stone pedestals. These are about
three feet high.
Up c. : One chair and footstool. Both in
mahogany with a dark red drapery and dark
gold cushion. A bronze or silver hanging
lamp of three branches.
Scene III
Scroll for Artemidorus (22).
ACT III
Scene I
ON STAGE. — Sella curullis of ivory5 with a dark red
cushion c. on elevated rostrum.
At the back R.C. and L.C. two tall tripods.4
These are five feet high.
Scrolls for Caesar and Senators.
Schedules for Artemidorus and Decius. These
are small scrolls.
Ten stools for Senators (ivory).
OFF R. — Blood sponge for Trebonius.
Scene II
OFF R. — A bier for Caesar's body (3).
Will for Antony. This is for the sake of the
drama, a large piece of parchment with a seal
hanging from it.
Scene III
Sticks and clubs and knives for the Citizens.
ACT IV
22
Scene I
ON STAGE c. — A table (14) bearing scrolls
pen (21) and inkstand (20).
Three stools round the table (9).
One bookcase2 (capsa) on the floor, L. corner of
table.
Two candelabra, one of each beside the pillars
R. and L., bearing lamps (7).
Nil.
Scene II
Scene III
Scene IV
Staff for Soothsayer.
ON STAGE. — Table L.C. — On it, some scrolls, includ-
ing a map and two tabulae (23). Inkstand and
pens.
Three stools round the table R., above, and L.,
as in the illustration of Act IV, Scene III.
Up L. another table. On it, a water ewer in
gold (15).
Up c. some small palliasses, not cushions, on the
floor. On them, a cithara (4).
R.C., a stool.
OFF R. — Tray containing a lighted candle in a
candlestick (12), a crater of wine (16), two
cups (18) and a large ladle (17).
OFF R. — Tabula (23) for Messala. Gown for
Brutus, containing the book (libellus). This
is a leaved parchment book of small size.
THE TRAGEDY OF JULIUS C^SAR
xiu
ACT V Scene III
Scene I Ensign (aquila, eagle) for Cassius (26).
Standards (25-29), tubas (i), cornus (2). Some OFF L. — Garland for Titinius.
light lances (pilum8) for legionaries.
Scene II
OFF L. — Bills for Brutus (small pieces of parch-
ment).
A gramophone on either side of the stage with
crowd records. This is required for the
remaining scenes.
Scene IV
Nil.
Scene V
OFF L. — Standards and trumpets.
PLATE I
i. Flutes (1,2), muzzle of leather, 2. Bookcase (4,1), sixteen inches high. 3. Februa (1,2), thongs of goat-
skin. 4. Tripod (3,1), bronze, detail for those in scene sketch. 5. Sella curullis (3,1), round ivory legs, red cover,
gold fringe and inner border and cross bar and boss. 6. A hermes (2,1), detail for those in sketch. Height, six feet.
7. Dice cubes (1,1), black or white wood, half an inch square and marked on all sides as at the present day. 8. Pilum
(1,2 ; 4,3 ; 5,3). Six feet long, round and the narrow shaft of steel.
LIST OF PROPERTIES IN THE ACCOMPANYING PLATE
i. Tuba, Act I, Sc. II ; Act V, Scs. I, IV, V. This is in brass and four feet in length. 2. Cornu,
Act V, Scs. I, IV, V. This is in brass and is round. 3. Bier (lectica), Act III, Sc. II. This is ivory
with gold rings and decoration. 4. Lyre (lyra), Act. IV, Sc. III. It was played with the left hand and with-
out a plectrum for soft music. Lucius' song would be thus accompanied. 5. Sceptre (sceptrum). This
is carried by Ccesar in Act I, Sc. II. It is of ivory surmounted by a golden eagle and carried in the left
hand. The wings were closed and the staff, which has been shortened in the sketch in order to accommodate it,
can be as long as three feet. It was only carried in a triumph at this period. 6. Bulla. Worn by young
boys round the neck. The poorer classes used a leathern one, the noble children gold. Sometimes a knot
of leather was substituted. It contained charms. Lucius and the children in the crowds will wear them.
7. Candelabrum, Act IV, Sc. I. They were usually of bronze, standing about five or six feet high.
8. Shield (scutum) for legionaries, Act V, Scs. I, III (Pindarus), IV, V. 9. Stool (sella), Act IV,
Sc. I. They can be of any required colour or wood. 10. Shield (cetra), carried by the light-armed infantry
(Messenger, Act V, Sc. I), n. Fasces with securis (axe). A bundle of birch rods bound with leather and
carried in the procession by the lictors on the left shoulder with the axe pointing forward. The wreath was
of bay or laurel and was added for a triumph. 12. Candlestick (candelabrum), Act IV, Sc. III.
13. Oil lamp (lucerna), Act IV, Sc. III. Figure seven has a lucerna on the top. 14. Table (mensa),
Act IV, Sc. I. Either of carved wood or stone with inlaid top. The legs can be simpler and more divided
if necessary. 15. Water ewer (urceus). To dress back table, Act IV, Sc. III. 16. Crater, Act IV,
Sc. III. Wine and water was mixed in this vessel ready for drinking. 17. Ladle (cyathus) for ladling
out wine into cups (A ctIV, Sc. III). 18. Cup (cantharus), Act IV, Sc. III. Gold or silver . 19. Brooch
(fibula). 20. Inkstand (see under atramentum or writing materials in the dictionaries), Act IV, Scs. I and
III. They were sometimes double and also of various geometrical shapes. 21. Pen (calamus). This was
a split reed (Act IV, Scs. I and III). 22. Scroll (liber). They were coloured at the back with a saffron
dye and were unrolled and read from left to right, not held with the rollers in a horizontal position. The
ends of these rollers were sometimes black and little tabs hung from them to indicate the contents. 23. Tabula,
Act IV, Sc. III. These were of black wax and framed, looking something like a double slate. Several
leaves were fastened together by means of wires that answered the purpose of hinges. In this play they are
used, as was the case, for despatches. Those used in this scene should be about nine inches in length and six
inches in width. 24. Stilus. A sharp-pointed instrument used for writing on the tabula. The flat end
was used for purposes of erasing. 25-29. Signa militaria. Various ensigns used in the Roman Army.
Nos. 25 and 26 are legionary ensigns and were always present with the commander. No. 25 can be used
for Octavius in silver and another in bronze for Antony. No. 26 can be adopted for Cassius in silver and
a similar one in bronze for Brutus. This one can be perched on a cloud which is almost like a French loaf
in shape with oblique markings running across its length and with arrow-headed lighting coming from under
the bird's feet, striking slightly upwards and outwards in a wavy line. This can be either silver or bronze.
Cassius' silver eagle is authentic. These standards are borne in front of the others. No. 27 is a vexillium
or cavalry standard with a red banner and borne behind the eagle or aquila, and No. 28, which is a prcstorian
standard, with the ribbons in dark red tipped with metal chapes or tips. No. 29 is a legionary signum with
gold plates. The staffs of these signa were all fitted with a cross-bar at about six inches from the bottom to
prevent it from sinking into the ground. The total height was about nine feet and the standard was raised
and carried high. The pole, which was pointed at the base, was frequently plated with silver and just under
the last of the ornaments was placed a wooden attachment pointing left so as to provide a means of supporting
the standard when lifted. The mast was originally a spear and the relic of this fact can be seen in No. 27.
Additional properties are illustrated on p. xiii.
PLATE II
Standing set
GROUNDPLAN I
Tabs.
All side columns to be set square with corner of pros.
Act I, Scs. I and II. Public place.
Act II, Sc. I. Orchard.
Act II, Sc. II. Caesar's House
A = Front set of Tabs. C = Cyclorama.
B = Second set of Tabs.
Act III, Sc. I. Senate.
Act III, Sc. II. Forum.
Borders.
E = Pillars to be removed for Orchard scene.
F = Setting-line.
J I
T
G. Tent border.
H. Black masking piece.
J. Third set of Tabs.
GROUNDPLAN II
Act IV, Sc. III. Tent "*^~~>.
K. Rock piece for Act V, Sc. III.
L. „ „ „ Act V, Sc. V.
M. „ „ „ Act V, Sc. V.
N. Ground rows for Act V, Scs. Ill and V.
PLATE III
1-4. Senatorial toga and tunic (light wool). Both stripes of davits latus shown in 4. 5. Stola with (A) instita,
(B) palla in first stage of draping, (c) girdle over which the stola is actually pulled. Both garments of light wool, not
silk, the palla being rectangular, nearly the wearer's height in breadth and two and a half times the height in length and
single. Small round weights hang from corners. 6 and 7. Calpurnia's coiffure. Portia and attendants omit the
ornaments. 8. Palla draped, g and 10. Young girl attendant. Hair caught in broad gather, n. Pcenula.
12. Paludamentum. 13. Abolla. 14. Legionary with sagum. 15. Standard bearer. — Drawn by Patrick Cleburne.
XVll
PERSONS REPRESENTED
[Triumvirs, after the death
of Julius Csesar.
Conspirators against
Julius Caesar.
JULIUS OESAR (56).
OCTAVIUS CESAR (i
MARC. ANTONY (38) >
MARCUS LEPIDUS (64)]
CICERO (64).
BRUTUS (43)
CASSIUS (47)
CASCA
TREBONIUS
LIGARIUS (elderly)
DECIUS BRUTUS
METELLUS CIMBER
ClNNA
POPILIUS LENA
PUBLIUS
/•Tribunes and enemies to Caesar.
MARULLUSj
MESSALA) „ . , ,-, , ~
f Friends to Brutus and Cassius.
TlTINIUSj
ARTEMIDORUS (late middle age).
A SOOTHSAYER (elderly).
YOUNG CATO.
CINNA, a Poet (50).
Friends of Brutus.
1 \ Senators (Publius is elderly) .
ANOTHER POET (elderly).
LUCILIUS
VOLUMNIUS
VARRO
CLITUS
CLAUDIUS
STRATO
Lucius, Servant of Brutus (young).
PINDARUS, Servant of Cassius.
A SERVANT to Julius Caesar.
A SERVANT to Octavius Caesar (Act III, Scs. I
and II).
A MESSENGER (Act V, Sc. I).
FIRST SOLDER j,Act
SECOND SOLDIER] ^
FIRST CITIZEN.
SECOND CITIZEN.
THIRD CITIZEN.
FOURTH CITIZEN.
OTHER CITIZENS.
CALPURNIA, Wife to Caesar (25).
PORTIA, Wife to Brutus (30).
Scene. — For the first three acts and the beginning of the fourth, in Rome
fourth, near Sardis ; for the fifth, in the fields of Philippi.
for the remainder of the
Period 44-42 B.C.
Note the ages of the leading characters and match the remainder, unless otherwise specified, to them.
This is a play of mature masculinity and it will gain enormous benefit if those characters are cast in the
prime of life.
CcBsar was tall and had a fair complexion, shapely limbs, a somewhat full face and keen black eyes. —
Suetonius'
ADDITIONAL NON-SPEAKING CHARACTERS
Act I, Sc. I. — Citizens. Act I, Sc. II. — Senators, Lictors, Trumpeters, Soldiers, Citizens. Act III,
Sc. I. — Senators, Citizens. Act III, Sc. II. — Eight Bearers for Caesar's bier, Citizens. Act III, Sc. III.
— Citizens. Act V, Sc. I. — Generals, Standard-bearers, Trumpeters, Soldiers. Act V, Sc. V. — The same
In order to facilitate a system of doubling the smaller parts, a table should be drawn at the top of
which are placed the Acts and Scenes. Under these headings are written the names of all the characters
that appear in the respective scenes, so that it will be easy to detect at a glance when they are finished
with and the actor playing them is available for an additional part.
THE COSTUMES
All the costumes and wigs necessary for the production may be purchased or obtained on hire from
Messrs. Charles H. Fox, Ltd., 184 High Holborn, W.C.I.
xvm
THE TRAGEDY OF
JULIUS C^SAR
ACT THE FIRST
SCENE J
ACT I, RC. I
ACT I
SCENE I
lop section snow oz.'tail of tympanum of Capild . Th
q coamrns in jroni; bells io kang betooen columns sj/vs naif u>ai) aomn.
ILLUSTRATION No. i
Rome. A street.
The speech of MARULLUS' " Wherefore rejoice? " in this scene,
expresses the fundamental plot of the play, — the hatred of CAESAR'S
pride. The opening speeches of the Tribunes are preparatory to
this one inasmuch as they are flavoured with this sentiment which
is in conflict with that shown by the CITIZENS. We are thus brought
into immediate contact with our dramatic subject which must be
developed with a clear emphasis. The feeling expressed by FLAVIUS
is that of the patrician class in general, who are strictly republican
in their ideals, and is aroused not so much by the people as by the
significance of their demonstration which is in honour of CAESAR.
Rome. A street.
In the above sketch the figures, chains and
gong-like bells are all gilt. The figure
of Roma is seated on gilt shields.
The view is taken from the Palatine
hill on which the Lupercal or grotto of
Faunus was situated and where the
games were held.
The design of the contemporary
Capitol is taken from a coin of 46 B.C.
Pompey's Theatre is seen in the stage
R. middle distance. Behind the city wall
is Pompey's Porch (Porticus) and the
Curia where Caesar was killed.
THE TRAGEDY OF JULIUS CLESAR
ACT I
ACT I, SC. I
[1] Thi» opening line strikes the note of
conflict at once and gives the play its
character with an immediate touch.
Strife and fierce antagonism are its
components and we feel them in this
first moment. Let the speech perform
its full function. Break this line
up, making ' Hence ' and ' home '
separate and very emphatic, followed
by an expressive dwelling upon ' you
idle creatures '.
[2] i.e., belonging to the lower classes.
Lit. those who handle machines.
[3] i.e., working.
14] This is thought to have reference to a
contemporary (Elizabethan) act against
vagabonds who could give no reckoning
as to how they obtained their living.
Hence the necessity for employed men to
wear the badge of their trade. — See
N.V., p. 15, note 10.
There is a fierce spirit in these Tribunes. FLAVIUS opens with this
quality which is continued by MARULLUS, but a little later on FLAVIUS
employs a politic softness by indulging the simple humour of the
COMMONERS, realizing that they are kindly disposed in their
hearts and are unaware of the political significance of their jubilation.
Actually this dramatic process hides a technical one since it prepares
for the sharp rise of " Wherefore rejoice? " and enables its arresting
and vital nature to be fully developed by contrast and its important
function of establishing the plot of the play to operate in the most
effective way.
Bear in mind, therefore, that the CROWD are very submissive, after
the opening admonition, and not vociferous or raucous. Timid at
first, the SECOND COMMONER grows bolder although gently so, and
his companions are likewise very modified in their responsive laughs,
enabling the establishment of their class consciousness to be per-
formed as well as the dominating nature of their superiors, all of
which collaborates with the chief technical purpose of giving the
fullest effect of MARULLUS' chief speech.
As the curtain rises, the COMMONERS are discovered sitting on the
steps or standing about in groups either on the rostrum or below
it. They are in holiday mood and dress and are laughing and
talking whilst up at the back on the L. some are keeping an
excited watch to see if there are any signs of the ceremonial
procession of C.^SAR. Some carry sprigs of bay or other commoner
herbage such as oak or laurel, together with some simple early
spring flowers. One of the groups is playing at dice, whilst some
of the younger members are busy chasing each other across the
stage or round their elders, and some of the children wear their
bullas. This picture continues just long enough to establish its
character without making it a feature in itself as well as to prepare
for the dramatic and significant hush that grows upon the appear-
ance of FLAVIUS and MARULLUS. These two Tribunes enter from
up R., MARULLUS being above FLAVIUS. They are dressed in the
toga praetexta and black sandals. Their presence is noted first
by the COMMONERS up R., so that the hush becomes gradual and
not sudden. This will enable the effect to be more dramatic.
The Tribunes stroll across the rostrum, and as they do so there
is a movement among the general crowd calling attention to their
presence. Those who are sitting, rise, and those who are in
the pathway of the two principals move away. MARULLUS and
FLAVIUS proceed to the top c. of the steps, FLAVIUS descending
slightly. They stand for a moment or two surveying the now
silent and still crowd, and then speak.
FLAVIUS. 1Hence ! \ home, \ you idle creatures, get you home :
Is this a holiday? what! know you not,
Being 2mechanical, you ought not walk
Upon a 'labouring day without the sign
Of your profession? 5Speak, what trade art thouf
FIRST COMMONER. 6Why, sir, a carpenter.
MARULLUS. Where is thy leather apron and thy rule?
What dost thou with thy best apparel on?
[5] Just a slight pause after 'profession ? '
Then looking sharply round tbe
crowd he suddenly addresses the
First Commoner, who is on the R.
of the stage. He steps down to
stage level as he speaks.
[6] Another slight pause as though momen-
tarily paralysed by the sudden attack of
FLAVIUS, after which he speaks with the
simple bluntness of the inferior artisan
and this is followed by the sharpness of
MARULLTTS.
SCENE I
THE TRAGEDY OF JULIUS CAESAR
1You, sir, what trade are you?
SECOND COMMONER. 2Truly, sir, in respect of a fine workman,
I — am — but, as you would say, a — cobbler.
MARULLUS. 'But what trade art thou? answer me 4directly.
SECOND COMMONER. 5A trade, sir, that, I hope, I may use with
a safe conscience ; which is indeed, sir, a 6mender of bad 7soles.
MARULLUS. What strade, thou knave? thou 9naughty knave,
what trade?
SECOND COMMONER. 10Nay, I beseech you, sir, be not "out with
me : yet, if you be out, sir, I can 12mend you.
MARULLUS. What mean'st thou by that? mend I3me, thou saucy
fellow !
SECOND COMMONER. 14Why, sir, cobble you.15
FLAVIUS. 16Thou art a cobbler, art thou?
SECOND COMMONER. 17Truly, sir, all that I live by is with the
18awl : 1 19meddle with no tradesman's matters, nor women's matters,
but with awl. I am indeed, sir, a surgeon to old shoes ; when they
are in great danger, I 20re-cover them. As proper men as ever trod
upon 21neats-leather have gone upon my 22 handiwork.
FLAVIUS. But wherefore art not in thy shop to-day?
Why dost thou lead these men about the streets?
SECOND COMMONER. Truly, sir, to wear out their shoes, to get
myself into more work.23 But, indeed, sir, we make holiday, to see
Caesar and to rejoice in his 24triumph.
Succeeding to this gentle banter and innocent prattle comes this startling outburst. It arrests by
itg suddenness, its vehemency, its complete lack of compromise and its sweeping denunciations.
This is the proper opening of the tragedy : but what precedes is not mere superfluity but a con-
trasting means to develop the very nature and effect of this speech. The timid, lovable and
simple-minded COMMONERS subservient to their superiors, gently bold with an honest good
nature, mild and pacifically inclined, build a meek antithesis for the full exploitation of the
spirit that is to alter history and which is the kindling force of the play. It strikes with an
unheralded suddenness and brings the drama to birth in one fine stroke. It does not merely
relate but illustrates the feeling which is in Rome and fulfils the function, which is character-
istic of Shakespeare's work, of making his plays dramatic and not merely narrative, and engaging
with action and not with words alone. Something more is needed here than just telling a story.
A spirit moves and a tragedy is born : the live inspiration which animates the whole play and
grows upon itself as scene succeeds to scene until its generation of human endeavour and failure
peoples a world of its own. Take the speech with full power but with a careful manipulation
of phrase and word in order to prevent it from becoming a mere race of sound.
As the laugh of the crowd is heard, Manillas springs up the steps, and turns with
wide-open arms and a sudden hush and stillness falls upon them as his voice rings out.
MARULLUS. Wherefore 25rejoice? | What conquest brings he
26home? |
What ^tributaries follow him to Rome,
To grace in captive bonds his chariot- wheels ?
28You blocks, you stones, you worse than senseless things !
O you hard hearts, you cruel men of Rome,
Knew you not 29Pompey? 30Many a time and oft
making nor with attending to the mending
of bad souls (which may very probably
refer to immoral women) but with men
and women in general — with his awl.
[20] Here again the double meaning of add-
ing a new sole or soul occurs.
[21] i.e., the hide of a cow or ox.
[22] He finishes up his kindly explanation
with a pat on the back for himself and
so completes an attractive little study
of character.
[23] A modified laugh from everybody. After
this he warms up to give the scene its
return to drama and innocently pro-
claims his purpose with a feeling that
he is doing the right thing.
[24] i.e., honour. A Roman general was
awarded a public procession as a reward
for some great achievement and this was
called a triumph. Note how MARULLUS
analyses this empty triumph of CESAR'S.
There is an outburst of mild sympathetic
cheering at this cue.
[25] This word takes a higher note than
' wherefore '. * Why do you rejoice ? '
and just a slight pause is made after
' Wherefore '. Again another pause
is made after ' rejoice ? ' to allow the
effect of his words to be felt.
[26] Again a slight pause.
[27] i.e., lit., those whopay tribute. Here it
means prisoners who will pay ransom.
[28] Here the vehement questioning ceases
and he hammers with equally vehement
invective.
[29] A great and popular Roman general
who married CAESAR'S daughter, JULIA.
He and C.ESAR were great rivals and
eventually CJSSAR defeated him at the
battle of Pharsalia. He was favoured
both by the Republicans and the people.
[30] He increases the speed of his delivery,
hitting the italicized words with emphasis
and rising to his principal inflexion on
' chimney-tops ', for which effect he
slows up after ' yea '.
ACT I, sc. i
[1] Marullus comes down the steps,
looking fiercely over the awed multitude.
Then he addresses the SECOND COM-
MONER, on his i.
[2] This circumlocution is due not to a
desire to be funny but to the confusion
produced in him by MARULLUS' abrupt-
ness. He hesitates perceptibly after
' workman ' following a brave start and
removes his cap to show his increasing
sense of inferiority, an action auto-
matically followed by several others.
He hesitates again after ' but ', shows
deference to the Tribune on ' you ' and
so ebbs out on his estimation until only
the low humility of his ' cobbler ' is
left. This treatment shows the intended
psychology of the COMMONERS, so soon
overawed by authority, cheapening
themselves in a breath. It is character
study and drama, not low comedy.
There is no laugh from the general
crowd on ' cobbler '. He illustrates
their mental condition.
[3] Because through his humiliation he has
not defined himself.
[4] i.e., with the plain, true fact.
[5] He becomes a little bolder in his attempt
to show his pacific spirit in well-meant
pleasantry. He behaves gently and not
raucously as his subject is a Tribune.
We are beginning to enter the softer
phase of the scene preparatory to its
sudden dramatic development.
[6] See note 12, below.
[7] A punning allusion to ' soul ' and in
relation to ' safe conscience '. It may
have some reference to morals; see
note 19, below.
[8] i.e., mechanical trade, real occupation
in life. ' Trade ' in its original
meaning is track, or way, or habitual
course. MARULLUS is impatient of
the COMMONER'S circumlocution and
simply wants his fact.
[9] This word was used in a stronger
meaning than at present. It had the
contempt of its literal meaning of being
nothing, worthless.
[10] Still maintaining his gentle, inoffensive
treatment.
[11] i.e., angry, out of patience.
[12] The actual meaning of ' mend ' is to
free from fault. The word is being
used in its double sense, moral and
practical. MARULLUS interprets it in
its former one. The COMMONER also
uses the word ' out ' in its double
meaning of being out at the foot and
out of patience.
[13] Marullus advances towards him
threateningly. This is a gross in-
sult to a Tribune.
[14] He immediately expounds his pun with
an obsequious and gentle laugh.
[15] Marullus turns away up stage in
disgust.
[16] FLAVIUS however feels that it is better
to show a little indulgence towards them
and attempts to humour them by show-
ing a more kindly interest. Also the
technical ease of the scene has to be
developed for what is to come.
[17] Here, having at last succeeded in making
a friend, he warms up and makes his
explanation and apology but always
keeps within the bounds of respect.
The laughs from the crowd increase
during this speech as the tension becomes
easier, but they must be subdued as
though a sense of indulgent superiority
was watching them. Marullus stands
up by the steps with his back
turned to the audience.
[18] i.e., his shoemaker's awl or needle.
Here again we have a play upon words
with a punning reference to all. Shake-
speare so frequently creates his inter-
ludes or periods of relaxation out of his
material.
[19] From an Old French verb meaning to
mix. Here it is used in the derived
sense of to be concerned with. He ex-
plains that he is not concerned with shoe-
THE TRAGEDY OF JULIUS CAESAR
ACT I
ACT I, SO. I
[1] Isolate this phrase to give it rhetorical
prominence. It makes their interest
and worship of Pompey so vivid.
After this he continues with a moderate
speed which enables him to emphasize
the separate clauses, leading up to the
important ' To see great Pompey . . . '
Then he continues with vehement
energy down to ' shores '.
[2] Used to intensify ' appear '.
[3] From Lot. replicare, to unfold, reflect,
reply. Here it means reverberation
caused by the shouts — a figurative des-
cription of their volume and might,
their unfolding in amplified power.
[4] Not in such a high pitch as before but
with a scorching emphasis which works
up to its greatest on ' That . . .
blood '. Make just the slightest pause
after each ' now ' in order to develop the
full significance of what follows.
[5] i.e., to pick out. It is from O.Fr.
cuillir and -er, later cueillir, to collect,
gather, take, select. — O.E.D.
[6] Very strong.
[7] i.e., prevent. Lot. inter between + mit-
t&Ktosend,letgo,put. Walker (Crit.l,
65) observes that this is an inaccurate
use of the word for remit. The word is
not used elsewhere by Shakespeare.
The O.E.D. gives four examples of the
word used in the sense of to omit,
leave out, etc., dating from 1563-1692,
a meaning marked as now being
obsolete.
[8] Isolate this word and invest it with its
full descriptive power.
[9] FLAVIUS adopts a milder tone.
[10] Poor and sort are really synonymous.
1.11] His tone changes to one of contempt.
[12] The Folio spelling is ' where ' being
phonetic for ' whe'er '. Walker
(Vers., p. 103) shows that words in
which the final 'ther ' is preceded by a
vowel are contracted to a monosyllable.
[13] i.e., because they are of the basest class
and their inability to recognize CAESAR'S
pride shows them to be utterly worthless
in character.
[14] Pointing off up L. The great national
Temple of Rome dedicated to Jupiter
Optimus Maximus on the Saturnian or
Tarpeian (afterwards called Capitoline)
Hill. The Senate assembled there at
certain times, more especially at the
beginning of the year and when war was
to be declared.
[15] i.e., take off their decorations. ' There
were set up images of Ccesar in the
city, with diadems upon their heads like
kings.' — Plutarch. According to a
later remark of CASCA Shakespeare
intends that they were scarved instead.
[16] i.e., decorations of a ceremonial kind.
He moves u.
[17] i.e., is it lawful, or can we do so without
being penalized. Marullus comes
down c. He becomes the cautious one.
He may feel vehemently but at the same
time he hesitates about committing any
act of excessive hostility. It is FLA-
Vius who takes up the violent note
and he delivers his reply with the flash
of intense and emphatic hatred.
[18] 'A festival held in Rome on Feb. 15th
in honour of Faunus, who was wor-
shipped under the name of Lupercus
in the Lupercal, a grotto in the Palatine
Mount.' — Seyffert. The fact that it was
a sacred feast day might provoke
universal anger against them.
[19] i.e., anything serving as a token or
evidence of power or victory. The
word is from a Greek source which
meant turning, putting to flight, defeat.
It was originally applied to a structure
on the field of battle consisting of arms
and spoils taken from the enemy.
Here it refers to the emblems of regard
which C.ESAR has won.
[20] i.e., common people from Lot. vulgSr-is
from vulgus — the common people.
[21] i.e., accumulating honours.
Have you climb 'd up to walls and battlements,
To towers and windows, yea, to chimney-tops, \
1Your infants in your arms, | and there have sat
The live-long day with patient expectation
To see great Pompey pass the streets of Rome :
And when you saw his chariot 2but 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?
4 And do you now \ put on your best attire?
And do you now \ 5cull out a holiday?
And do you now j strew flowers in his way
That comes in triumph over Pompey 's blood?
6 Be gone !
Run to your houses, fall upon your knees,
Pray to the gods to 7intermit the plague
That needs must light on this | ingratitude.
FLAVIUS. 9Go, go, good countrymen, and, for this fault,
Assemble all the 10poor 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.
[The COMMONERS commence to disappear at all exits in a
shamefaced way.
nSee, 12whe'er their "basest metal be not mov'd ;
They vanish tongue-ti'd in their guiltiness.
Go you down that way towards the 14Capitol ;
This way will I : 15disrobe the images,
If you do find them deck'd with 16ceremonies.
MARULLUS. 17May we do so?
You know it is the feast of 18Lupercal.
FLAVIUS. It is no matter ; let no images
Be hung with Caesar's "trophies. I'll about,
And drive away the 20vulgar from the streets :
So do you too, where you perceive them thick.
21These 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.
The lights fade out on a rapid dim.
SCENE II
THE TRAGEDY OF JULIUS C.ESAR
SCENE II
The same.
ACT I, Sc. II
SCENE II
The same.
Top section shou* dz.tail c>f tympanum of Capital. Three rou>«r
q coimrms in front; bells io nan<{ bciioecn columns sz-ts naif u>ai| d
REPEAT OF ILLUSTRATION NO. I
With the introduction of Julius C&sar we have a typical example of
Shakespeare's dramatic economy. Here the title-role appears for
the first time and disappears after speaking some seventeen lines,
some of which are merely of a few words. There is no lengthy
occupation of time or protracted action required to create the char-
acter. That is achieved in less than a minute. The progress of
the play itself is not interfered with but is stimulated by what is
actually only an incidental appearance. And yet in these few
moments Ccesar is able to establish himself in a very definite way.
He is given supreme importance and authority and yet at the same
time he shows us his alert nervousness and superstitious weakness.
Dignity is combined with fear, but each is exercised by an uneasy
condition of mind compatible with that which may herald an epileptic
fit. There is a sharpness about each phase, an acute anxiety. He
is sudden and incisive in his arrest of his progress to seek assurance
of something which has no doubt already been provided for. He
hears the voice of the Soothsayer above the trumpets and the shouting.
His " Ha ? " is a quick recognition of something abnormal and he
turns towards the voice before commanding it to come to him. He
dismisses the Soothsayer with a certain contemptuous relief, as one
who does not answer the figure of his agitated imagination ; but as
an incident it reveals the abnormal condition that he is in. This,
then, in brief, shows us the lines upon which to study the part and
THE TRAGEDY OF JULIUS CAESAR
ACT I
ACT I, SC. II
a This dress was worn only when
the lictors were going outside
the city or taking part in a
triumph. Otherwise they wore
white togas and tunics.
b tunica palmata.
c toga picta.
enable ourselves to gain a definite dramatic picture and create a char-
acter in a few moments. It also helps us to realize the characteristics
of the man as later described by Cassius and also to account for those
sudden eruptions of pride and self-will which are the causes against
which the Republicans are rebelling and which give rise to his own
assassination. There is a certain psychological truth in this opening
scene which accounts for his later character, and imperious fears
and anxieties foretell an imperious self-will. In fact he is a complete
study of the abnormal.
As soon as the lights have dimmed out on the last scene the CROWD
commences to murmur as it .gathers on the rostrum up c. and L.
It does not extend beyond the c. but covers the area R. of c.
including the steps R. The SOOTHSAYER is R.C. in the. centre of
the CROWD and is not distinguishable until he is actually called for
later. As the lights come up the voices of the CROWD rise in
their buzz of conversation. They no longer carry their foliage
and flowers as before. When the lights are full up, a fanfare of
trumpets is heard off L. At this the CROWD burst into cries of
' A ve Ccesar ' and ' lo Triumphe.' The procession enters from
the second arch L. and is headed by six LICTORS in single file
bearing uncrowned fasces on their left shoulders and with the axe
pointing forward. They are dressed in short red tunics and full
a cloaks (abolla) and are followed by the Magister equitum in
senatorial dress and then at a short distance by the Senate, all
of whom are dressed in the toga praetexta, and which includes
as many as are required in addition to CASCA, TREBONIUS, DECIUS
BRUTUS, METELLUS CIMBER, POPILIUS LENA, CICERO and PUBLIUS.
They appear in pairs. Then come the Trumpeters (tubacines),
blowing their tubas and dressed in their steel loricas and helmets,
followed by a number of Flute-players (Tibicines) in long white
tunics with long sleeves and girdled and then (up to) twenty-four
lictors, in single file, dressed in short red tunics and cloaks (abolla)
and bearing their fasces crowned with bay leaves on their left
shoulders, axes outward. After a short interval conies JULIUS
CAESAR. He is dressed in a purple b tunic, adorned with golden
palm branches, reaching to his feet and the sleeves (fringed) to
his wrists. This length of tunic was a special allowance made to
him on account of his being an invalid. Over this is worn the
purple c toga studded with gold stars, and on his head is a wreath
of green bay leaves, whilst in his left hand he carries an ivory
sceptre surmounted by a golden eagle, and in his right a palm leaf.
His sandals are gilded. Behind him comes CALPURNIA, followed
by a matron and maidens, and after them comes ANTONY. Then
at a little distance PORTIA alone, followed by BRUTUS on the R. of
CASSIUS, with CASCA behind, and the procession is closed by
LEGIONARIES. This is a very abbreviated form of a triumphal pro-
cession with C^SAR depicted as Plutarch describes him on this
occasion, ' apparelled in triumphing manner '. As the procession
appears the voice of the CROWD increases, the notes of the trum-
pets sound with a strong effect and cease at a given point either
by a cue from the wings or by arriving at a cue position either on
or off stage by the time C^SAR has descended the steps. This
procession will take an oblique shape reaching from up L. to
down R. with the CROWD massed on the steps and rostrum R.
and c. Those behind CAESAR will be posed on the steps, with
BRUTUS, CASSIUS and CASCA on the rostrum and the LEGIONARIES
SCENE II
THE TRAGEDY OF JULIUS C^SAR
stretching behind them to the entrance. Everything should be
arranged to give a picture and atmosphere of great pomp and
dignity. ANTONY is described by Shakespeare as ' for the
course '. He wears a goatskin apron, carries a februa and wears
a wreath of oak leaves. Actually this dress was worn after the
race. BRUTUS, CASSIUS and CASCA wear their praetexta togas.
The concluding positions should leave a considerable space between
CAESAR and the lictors, so as to enable the short interlude with
CALPURNIA and ANTONY to be seen. In the Folio directions
MARULLUS and FLAVIUS are re-introduced after all the others.
Here they are omitted. The direction ' a great crowd following '
is an interpolation by Capell. '
CJESAR. Calpurnia !
CASCA. Peace, ho! Caesar speaks.2
CAESAR. Calpurnia!
CALPURNIA. 3Here, my lord.
C^SAR. 4Stand you directly in Antonius' way,
When he doth run his 5course. 6Antonius!
ANTONY. Caesar, my lord?
C^SAR. Forget not, in your speed, Antonius,
7To touch Calpurnia ; for our elders say,
The barren, touched in this holy chase,
Shake off their sterile 8curse.
ANTONY. 9I shall remember :
When Caesar says ' do this,' it is 10perform'd.
C^SAR. 11Set on, and leave no 12ceremony out.
[The trumpets repeat a short fanfare and the procession
moves on a few paces.
SOOTHSAYER. 13Caesar!
[13] After a few steps, allowing CAESAR to reach the C. and face the R. obliquely, comes this cry.
The trumpets which by now, even if not before, are right- off stage play only a short fanfare.
This ' Caesar ' is long and shrill and C.ESAR halts immediately. Note how it breaks in upon
his superstitious anxiety. He has broken his progress to ensure that CALPURNIA shall be
touched and ordered all due rites to the god. Note that the space between Caesar and
the lictors should now be such that only the final lictors are in view. It is the
R. of the Crowd tkat is now important.
C.SESAR. 14Ha! who calls?
CASCA. Bid every noise be still : peace yet again!
[All sounds cease.
C^SAR. ™Who is it in the 16press that calls on me?
I hear a tongue, shriller than all the music,
Cry 17< Caesar.' Speak ; Caesar is turn'd to 18hear.
The SOOTHSAYER has but few words in this play, but they are all that are required to make him of
the greatest dramatic significance. He brings something of the supernatural element that
has its finger in this play's design more openly than in others and indicates the superior powers
that tend upon our choice and turn act into consequence. Yet he remains of our element,
although isolated and remote upon its borders with the language of the other world in his ears
and its meaning upon his tongue. His appearances represent a tragedy imminent to the caprice
of human character, and visualize its presence as a warning to those whom it concerns whether
it be the proud disdainful C.ESAR or, later, the distracted PORTIA. His answer to her anxious
question is not the certainty of the event but of the conditions likely to create it. His treatment
of an unforced but direct nature is assisted by the circumstances under which he appears to
gain its effectiveness. PLUTARCH speaks of this man as a Soothsayer and links him with the
augures. It is better if he is dressed in an individual way, in dark grey tunic and toga as
someone apart from any sect or citizen. He carries a long staff.
SOOTHSAYER. 19Beware the Ides of March.
C.ESAR. 20What man is that?
BRUTUS. 21A soothsayer bids you beware the ides of March.
22Set him before me ; let me see his face.
on the steps enables him to see the
SOOTHSAYER.
[22] An intensifying of the urge to satisfy
his strained apprehension. Note how
he seeks the face of the man. Later he
remarks that CASSitrs 'has a lean and
hungry look '. This illustrates with a
touch a definite trait of character.
ACT i, sc. n
[1] As Caesar reaches a few paces beyond
the steps he suddenly stops. Do not
make it appear that he is following a
stage producer's order to stop so as to
have the scene with the others, but make
it sudden as though seized with an
uncontrollable anxiety.
[2] The procession halts and the CROWD
become silent.
[3] Calpurnia conies to his R. and
very near to him.
[4] Speaking quietly but earnestly. Re-
member that he is in public and does not
want everybody to hear what he is say-
ing. It also helps him to gain that effect
of tenseness and ill-conditioned mind
already referred to.
[5] i.e., in his course or race.
[6] Calpurnia remains where she is.
(.•.ESAU raises his voice for this summons
and afterwards drops it to a more con-
fidential tone. Antony drops down
on Caesar's left.
[7] A small gesture with his left hand to-
wards CALPURNIA to indicate his
anxiety. Do not make it obvious to
others.
[8] It was supposed that women who were
barren and who were hit by the whip of
the runners across the hand were ren-
dered fertile. Note the idiom. It is not
the curse which is sterile. It is the curse
of sterility. This is a very frequent
construction of the period.
[9] ANTONY'S reply is likewise confidential.
[10] ANTONY does a very slight bow since the
audience is one of a very private nature.
[11] He immediately re-assumes his public
dignity and the others just open out
in deference to him and wait to take their
places as the precession moves on.
[12] This is probably an order for strict
observance of every ritual in order to
propitiate the deity and ensure success
to his hopes. Again bear in mind Ai»
state of extreme anxiety.
[14] The treatment of this has already been
prepared for. His re-assumed dignity
gives way to a short sharp cry, showing
his alert sensitiveness to this peculiar
cry. He comes to a sudden halt,
looking straight in front of him with a
fixed stare.
[15] He waits with this fixed look until every
noise has died down, as though he
visualized something portentous. Keep
the speech nervous and tense, striking
the word ' who '. Let the significance
of what it means to CAESAR in his present
condition be apparent.
[16] i.e., crowd.
[17] As though obsessed by what he has heard
he imitates the note of the SOOTHSAYER'S
voice as nearly as he can without any
distortion of the drama of the moment.
As though breaking a spell he turns
sharply towards the Crowd.
[18] The fact that he turns shows his sub-
jectivity to his superstitious fears.
[19] The 15tA day of March according to the
reckoning of the ancient Roman calendar.
' The kalends denote the first of the
month, the nones occur on the 7th of
March, May, July and October and on
the 5th of the other months. The ides
always fall eight days later than the
nones.' — Smith's Diet, of R. and Gr.
Antiquities. The SOOTHSAYER t* still
obscured among the crowd, but as he
speaks all eyes are turned in his
direction.
[20] Aftfr a short pause as though still
mentally gripped by his apprehensive-
ness.
[21] The allocation of this line to BRUTUS is
twofold in purpose. First it introduces
the antithesis of a very self-possessed
character to show off CESAR'S weakness,
and it also enables him to register a
fact which he resurrects later on in
Act II, Sc. I, when he inquires as to
whether the following day is or is not
the ides of March. His vantage-point
THE TRAGEDY OF JULIUS CAESAR
ACT I
ACT I, SC. II
[1] The Crowd give way on either side
of the Soothsayer and leave him com-
pletely exposed. The CROWD open out
in awe and so help to create the sense of
supernatural mystery associated with the
man as well as adding the value to the
general situation. He then conies
slowly down to Caesar, a bearded,
gaunt, mysterious figure.
[2] He looks steadily at the man for a
moment or two before speaking. By
this time his tension has begun to ease,
since he is face to face with his fear and
not the figure of his imagination.
[3] Having satisfied himself that he has
feared his thoughts and not an actuality,
he dismisses the Soothsayer with a
relieved laugh and passes on.
[5] i.e., the performance of the race.
[6] BRUTUS pauses for just a second as
though he did not hear CASSIUS and
answers after a recollection of the
question. He answers quite definitely
and as though never having even associ-
ated himself with the idea of so doing.
[7] Quietly and persuasively. He is at-
tempting a reconciliation with BRUTUS
after his late coldness. Make the comma
emphasize the entreaty by separating
' do ' from ' I pray you '.
[8] Here we have an example of slight irrita-
tion. He wants to be alone with his
thoughts and is not exactly unfriendly
but detached. He leaves the games
as it were behind him and crosses
Cassius to L.
[9] i.e., game-minded. This shows us his
feelings. The suffix -some is the O.E.
sum from the original stem of -sama,
'which is identical with* — Sanskrit
-sama — even, the same — O.E.D.
[10] He is just L. of Cassius and stops
and speaks over his shoulder. His
tone is a little casual. It implies pre-
occupation more than rudeness. He
simply wants to be alone and has things
to think about which as far as he knows
are only in his own mind and not in the
mind of others. The actual treatment is
really slight, but it makes the difference
between showing us a BRUTUS who is
changed from what he has been, a fact
that is indicated by CASSIUS' censure,
and one who is not.
[11] CASSIUS loses no time, but snatches at
the opportunity to reach some satisfaction
in his characteristically impulsive way.
He speaks sharply as he catches
Brutus ' arm and then continues in an
easy and sincere way but very earnest.
Let us feel that something has been
amiss. It helps the purpose so much.
[12] i.e., notice.
CASSIUS. Fellow, come from the throng ; look upon 1Caesar.
C^SAR. 2What say'st thou to me now? speak once again.
SOOTHSAYER. Beware the ides of March.
C^SAR. 3He is a dreamer ; let us leave him : pass.
C;ESAR passes on and exits down R. above the pillar, followed by
the others. CASSIUS detaches himself and goes L.C. BRUTUS
passes on but remains by the pillar above the exit R. looking off.
He is found thus after the SOLDIERS have passed off. The
CROWD disappear off R. through the available openings.
Thus for a short while CJESAR passes from the stage. He has established his share of the drama
in no uncertain way and it has now to be developed further. As with all these notes, concen-
tration and the utmost brevity is the governing factor and space only allows for the suggestion
and not the development of the notions treated.
The state of feeling in Rome has been established : CAESAR has himself been presented as
a man of dignity but obsessed by superstition. His appearance and character have been
made strikingly dramatic and arresting and now the theme itself has to be developed and
the dramatic interest increased in an active way. This is effected chiefly through CASSIUS.
It is upon him that Shakespeare directs the principal attention for the time being. It is
upon him that Shakespeare focuses interest when C^ISAR returns later in the present
scene as well as in the following scene in Pompey's Porch. Why is this ? It is because
of that essential dramatic element of faction so important to this play in order to create and
expose its great emotional substance. It is because no other character is yet able to demon-
strate this quality. It is upon CASSIUS that the burden of fulfilling this requirement falls
until the time is ripe for BRUTUS to begin to shoulder the play, and then with the ample service
of CASSIUS' character thus preceding we see both the effect of its operation as well as the con-
trast in its character giving a twofold advantage to BRUTUS. Thus the necessity for the vital
treatment of CASSIUS consistent with his deliberately vital construction. He is intense,
almost fanatically so, but not wild. He has a combustible temperament, but it burns with
reason and logic and fires the spirit of the play.
And what of BRUTUS ? How does he contribute to the nature of the theme ? There cannot
be two of CASSIUS' kind, for that would overbalance the adjustment of the scene with too much
passion and at the same time he cannot be static. In BRUTUS we have the picture of a man
of high sensitivity and nobility of character, in whose breast ferments the conflict of an ideal
ivith an offence against that ideal, the offence having as its ally a great love for the offender.
Popular tradition has cast BRUTUS in the mould of classical imperturbability. This may
be tradition, but is it drama ? Is it Shakespeare ? Is it preached by the text ? He is not
gamesome. He has veiled his look from his brother-in-law, hidden from him the show of
love, used a strange and stubborn hand, and confesses that he has been vexed of late with differ-
ing passions that have given some soil to his behaviour. Here then is a very human being
afflicted as we but trying to maintain a level judgment and showing something of the battle.
His ideals have been challenged by his observations. He has realized his friend CESAR'S
growing pride and thirst for supremacy and this, together with his love for a&SAR, form
the ' passions of some difference ' that put him at war with himself. Certainly he is a Stoic,
but he is also human and humanity must be revealed. It is this treating of him only as a
Stoic and forgetting his humanity which not only causes a wrong conception but fails to give
us drama and tragedy. The heights are in conflict with the depths, and each must be revealed.
Neither his high character nor his ideals are patent unless we see that equally high sensi-
tivity of human emotion in a struggle that calls for great effort and betrays the conflict within.
Without it he is in danger of appearing as a poser and not as a great man. This treatment
is maintained and will be commented upon throughout the play. Here we must confine
ourselves to immediate consequences. Throughout this scene BRUTUS is not happy, and at the
opening there is lack of graciousness consistent with CASSIUS' observation. Controlled as
his spirit is, it is uneasy, and that uneasiness must be made apparent. Nobility will shine
through, but nobility is not the essential notion to be discharged. That notion is that some-
thing of great moment has happened, great enough to disturb his calm and alter his accus-
tomed composure. It is this fact emphasized by CASSIUS as being unusual, that brings us
into direct contact with the play's action and his function is to reveal this disturbance, to
tell us that something is wrong ; and so, instead of remaining static, act as an important
contributor to the action. With the slender material of this ensuing scene it may be thought
that this dissertation is in excess of the corresponding scope offered for its exercise. At
a first glance this may appear so, but make the character live in its mould from the first word.
In Shakespeare a line alone gives us the man and the earlier passages establish his character
and give us a definite though undeveloped categorical identification out of which the mature
product emerges later. ' As the twig is bent, so the tree is formed.'
[4] As the stage clears, we see BRUTUS silently looking off R. , obviously deep in thought. Cassius
over L. stands studying him for a few moments and then slowly strolls to C. Then he
speaks. This attitude of BRUTUS with CASSIUS watching him is itself a dramatic action and
helps to introduce the nature of the scene so that the actors commence from a prepared situation
and are saved from having to work into it from nothing. CASSIUS' inquiry is apparently
casual, but in his mind he is waiting to say something of greater moment.
CASSIUS. *Will you go see the 5order of the course?
BRUTUS. 6Not I.
CASSIUS. 7I pray you, do.
BRUTUS. 8I am not "gamesome : I do' lack some part
Of that quick spirit that is in Antony.
10Let me not hinder, Cassius, your desires ;
I'll leave you.
CASSIUS. 11Brutus, | I do 12observe you now of late :
I have not from your eyes that gentleness
SCENE II
THE TRAGEDY OF JULIUS OESAR
And show of love as I was wont to have :
You bear too stubborn and too 1strange a hand
Over your friend that loves you.
BRUTUS. 2Cassius,
Be not Meceiv'd : if I have *veU'd my look,
I turn the trouble of my countenance
Merely upon ^myself. Vexed I am
Of late with "passions of some dif fer ence,
Conceptions only 7proper to myself,
Which give some 8soil perhaps to my behaviours ;
But let not therefore my good friends be griev'd —
9Among which number, Cassius, be you one —
Nor construe any further my neglect
10Than that poor Brutus with himself at war
Forgets the shows of love to other men.
CASSIUS. nThen, Brutus, I have much mistook your passion ;
12By means whereof this breast of mine hath buri'd
Thoughts of great value, 13worthy cogitations.
14Tell me, good Brutus, can you see your face?
BRUTUS. 15No, Cassius ; for the eye sees not itself
But by reflection, by some other things.
CASSIUS. 'Tis 16just :
And it is very much lamented, Brutus,
That you have no 17such mirrors as will turn
Your hidden 18worthiness into your eye,
That you might see your 19shadow. 20I 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 Z2had his eyes.
BRUTUS. 23Into 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, 25I your glass
Will 26modestly discover to yourself
That of yourself which you yet know not of.
27And be not 28jealous on me, gentle Brutus :
Were I a 29common laugher, or did use
To 30stale with "ordinary oaths my love
To every new 32protester ; if you know
That I do fawn on men and hug them hard,
And after 33scandal them ; or if you know
That I 34profess myself in banqueting
To all the rout, then hold me dangerous.
[Flourish and shout off R.
asking him to see himself in any vain
indulgence. Be careful to make these
particular lines very emphatic without
being rhetorical.
[27] Now ease a little and increase the speed.
1'his is now merely to qualify himself
for his task and assure BRUTUS of his
integrity.
[28] i.e., mistrustful of my intention. It is
a now obsolete meaning derived from the
primary meaning of zeal or high feeling
which has gradually narrowed down to
its present-day restricted meaning.
[29] F, prints laughter. Qunts. from 1410
in the O.E.D. show laugher as emended
by Howe to signify one who laughs in a
derisive way.
[30] i.e., make stale or cheapen.
[31] i.e., daily, frequent. Lot. ordinari-us,
regular, orderly, customary, usual.
[32] i.e., one who protests friendship. Some
acquaintance easily and lightly made.
Anybody he meets.
[33] i.e., disgrace. It is a now obsolete
verb.
[34] i.e., grow loose of tongue.
ACT I, sc. II
[1] Lit., foreign. Remote as though un-
familiar.
[2] BRUTUS pauses just for a moment while
he realizes CASSIUS' reproof and then
turns and speaks quietly and sincerely.
Here we see his great character emerge
against its shadows. He has been aloof
and moody and he explains himself in a
kindly way.
[3] i.e., do not mistake me.
[4] i.e., in the meaning of changed, dull.
[5] i.e., I have been looking with a troubled
mind upon myself and not upon others.
The looks were not meant for them.
[6] i.e., conflicting passions or feelings ;
his love for C.ESAR clothing with hit
ideals. Passion means powerful feel-
ing (lit., suffering).
[7] i.e., relative only to himself.
[8] i.e., disfigure.
[9] He puts his hand on CASSIUS' shoulder.
[10] Avoid self-pity at all costs. The word
' poor ' is used with the significance of
being u-ithout power to prevent this de-
tachment of care. He ends on a note of
further preoccupation of thought. He is
not disclosing his mind to CASSIUS, but
only explaining his attitude, and having
done so he almost returns to his former
mood and moves away on his last
line as though commencing to think with
himself once more.
[11] CASSIUS comes in quickly and earnestly.
Having had his mind eased on this
important point he is anxious to attach
the subject of his own thoughts to
BRUTUS.
[12] i.e., through mistaking BRUTUS' lack of
cordiality for lack of happy personal
feeling he has buried his thoughts.
[13] i.e., considerations of worthy andimpor-
tant things. Cogitate means to turn
over in the mind (Lat. co-agitare).
[14] After the swifter earnestness he changes
his tone to one of curious inquiry. He
has now to approach his subject and he
must do so carefully. ' Can . . .
face ' is said slowly and significantly.
[15] Brutus, who has been standing
below Cassius and to the left trith his
back partly towards him, looks up and
out and pauses for a second. It must be
remembered that he is mentally detached
from CASSIUS and that this curious ques-
tion takes some little time to engage his
mind. He simply looks over his shoul-
der at CASSIUS. To him it is merely a
reply to some incidental remark.
[16] CASSIUS seizes this observation of
BRUTUS' as being a suitable opening for
his own argument. ' Just ' means apt.
Then he proceeds cautiously with a quiet
incisiveness.
[17] i.e., friends who will point out his
qualities as being fitted to cure the evil of
the time. He is lamenting that BRUTUS
has absented himself from company so
much and made himself such a stranger
to his friends.
[18] i.e., the love of high and just ideals —
worthiness of character.
[19] i.e., reflection, own quality. Brutus
continues to look out, a little non-
plussed by this strange talk of CASSIUS.
[20] He becomes more intensive.
[21] He strikes this word with a sly emphasis
and makes a slight pause before ' im-
mortal Ccesar '.
[22] i.e., in the metaphorical sense of being
able to see the dangerous political situa-
tion that was developing.
[23] Brutus turns to Cassius. He is, in
his true modesty, asking with a very
surprised mind what CASSIUS would
lead him to, since having no special
worth of his own it would be a dangerous
venture for him to advance into some-
thing that required the abnormal quali-
fication suggested by CASSIUS.
[24] He returns to his former eager manner.
[25] Slow up on these three words to make
them emphatic.
[26] i.e., will show him truly. He is not
10
THE TRAGEDY OF JULIUS C^SAR
ACT I
ACT I, SC. U
[I] BRUTUS looks suddenly apprehensive.
The fear that has been preying within
him becomes evident and is one of great
personal nature. After a slight pause
he crosses Cassius quickly, speak-
ing as he does so with evidence of sup-
pressed alarm. Then he pauses as he
looks off R. and cimments as though con-
firming his fear.
[2] CASSIUS seizes on to this as a revelation
of great value. Then he quietens into a
definite affirmation and a very important
one, keenly watching BRUTUS as he
does so.
[3] After a slight pause, BRUTUS sighs and
replies with a quiet, slow and sad tone.
We have here his censure and beside it
his love. These are the elements of his
sorrow and the text of his tragedy. It
develops from this line into a play.
[4] After another slight pause he moves a
little down stage, looking at the
ground and expressing his heart in a
quiet way. Take time over this passage.
It contains drama. It is isolated and
emphasized by an easier sequence.
[5] Then he turns up to Cassius after a,
moment's reflection and proceeds in an
easy continuation of the matter that was
interrupted.
[6] i.e., public.
[7] i.e., both together, death with honour.
If he had to accept death as a penalty
for honour he would do so without any
temerity.
[8] O.E., sp£d, from sp6wan, to prosper.
Its gradual development into its present-
day meaning is due to the sense of
motion which it contains.
[9] The pointing of this line will help to
clarify the rather difficult construction of
' both '.
[II] ' Favour ' means face, appearance.
[12] Emphasize this line, more particularly
on not be, slowing up on these two
words with the slightest pause after them.
[13] i.e., agreeably. It comes from the same
root as love.
[14] This line a little more emphatic and then
ease again on the two following ones.
[15] Now a slightly more intense treatment.
[16] Just a slight pause before making the
quotation and deliver it with a prominent
and deliberate note.
[17] Now quicken somewhat.
[18] i.e., dressed, from Med. Fr. accoustre-r,
(mod. accouter) formed on a + coustre,
coutre being a sacristan who had charge
of the vestments and who robed the
clergyman. See O.E.D. and Skeat.
[19] Do not slur this. It is a point in
CAESAR'S favour.
[20] Take the next three lines quicker.
[21] i.e., courage. Lit., disputing or con-
tention.
[22] These two lines point an important fact,
so take them more deliberately and give
the quotation imitative and emphasized
treatment.
[23] Ease a little on these lines, showing a
certain amount of the humility of the
picture in relaxed pace.
[24] A Trojan prince, son of Anchises and
Venus. At the sack of Troy by the
Greeks, he carried his father from the
flames on his back. Virgil traces the
origin of the Romans to /Eneas, who is
supposed to have come to Italy and mar-
ried Lavinia, daughter of Latinus, king
of the country.
[25] Increase the sentiment just a little.
[26] This and the following three lines show
a marked vehemence of incensed feeling.
[27] BRUTUS shows a slight sign of being
moved by turning with a sigh towards R.
[28] Quicken once more and work up the
feeling by increasing intensity and at the
same time decreasing the speed so that
[29] is relatively slow but extremely expres-
sive in treatment, especially on the
emphasized words.
[30] Keep up the intensity but not with any
violence. Quicken the pace.
BRUTUS. xWhat means this shouting? I do fear, the people
Choose Caesar for their king.
CASSIUS. 2Ay, do you fear it?
Then must I think you would not have it so.
BRUTUS. 3I would not, Cassius, 4yet I love him | well.
5But wherefore do you hold me here so long?
What is it that you would impart to me?
If it be aught toward the 6general good,
Set honour in one eye and death i' the other,
And I will look on 1both \ indifferently :
For let the gods so 8speed me as I love
The name of honour \ more \ than I fear \ 9death.
[10] This speech requires a careful treatment. It is made up of intense feeling which alter-
nates between description and statement, both of which are vivid. Rhetorical strength changes
to vehement colloquiality and the pace alters with the sentiment. Brief instructions will be
given at the various instances of these factors. But realize the spontaneity of each develop-
ment, and how CASSIUS is really speaking from his heart and not his head. A fact becomes
a feeling and as feeling it drives his tongue. The first five lines are fairly easy in pace and
delivery and from these the intensity and pace commences to grow until he rises at last to
the heights of exasperation.
CASSIUS. 10I know that virtue to be in you, Brutus,
As well as I do know your outward llfavour.
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,
12I had as 18lief not be \ as live to be
In awe of such a thing as I myself.
14 7 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.
15For once, upon a raw and gusty day,
The troubl'd Tiber chafing with her shores,
Caesar said to 16me | ' Barest thou, Cassius, now
Leap in with me into this angry flood,
And swim to yonder point? ' 17Upon the word,
"Accoutred as I was, I plunged in
And bade him follow : 19so indeed \ he did.
20The torrent roar'd, and we did buffet it
With lusty sinews, throwing it aside
And stemming it with hearts of 21controversy ;
22But ere we could arrive the point propos'd,
Caesar cried ' Help me, Cassius, or I sink ! '
28I, as 245ineas our great ancestor
Did from the flames of Troy upon his shoulder
The old Anchises bear, 25so from the waves of Tiber
Did I the tired Caesar : 26and this man
Is now become a god, \ and Cassius is
A wretched creature, and must bend his body
If Caesar carelessly but nod on 27him.
28He had a fever when he was in Spain,
And when the fit was on him, I did mark |
29How he did shake : 'tis true, this god did shake ;
30His coward lips did from their colour fly,
And that same eye whose bend doth awe the world
Did lose 31his lustre : I did hear him groan :
[31] The possessive neuter its was only just
beginning to make its appearance in
literary English. The O.E.D. states
that ' its ' does not occur in any of
Shakespeare's plays that were published
during his lifetime.
SCENK II
THE TRAGEDY OF JULIUS C^SAR
xAy, 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. 2Ye 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 4alone. [Shout. Flourish.
BRUTUS. Another general shout!
I do believe that these applauses 5are
For some new honours that are heap'd on 6Caesar.
CASSIUS. 7Why, man, he doth bestride the narrow world
Like a 8Colossus, and we petty men
Walk under his huge legs and peep about
To find ourselves dishonourable graves.
9 Men at "sometime are masters of their fates :
nThe fault, dear Brutus, is not in our 12stars,
But in ourselves, that we are underlings.
13Brutus, and Caesar : what should be in that Ccesar P
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 ; 14cowjure with 'em,
Brutus will 15start a spirit as soon as 16Caesar.
Now, in the names of all the gods at once,
Upon what meat doth this our Caesar feed,
That he is grown so great? 17Age, thou art sham'd!
18Rome, | thou hast lost the breed of noble bloods !
19When 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 20Rome
That her wide 21walls encompass 'd but one man?
22Now is it 23Rome indeed, and room enough,
When there is in it but one only man.
24O, you and I have heard our fathers say
There was a 25Brutus once \ that would have 26brook'd
The 27eternal devil to keep his state in Rome
As easily as a king.
BRUTUS. 28That you do love me, | I am nothing 29jealous ;
[20] With a gesture indicating Rome behind
him.
[21] This word was substituted by Rowe in
his 2nd edition. The Folio prints
walks. As one commentator has
pointed out, Rome had its suburbs out-
side the walls, also vast gardens. But
the context obviously argues ' walls '.
[22] He again turns towards the city
and advances a little towards it,
speaking in tones of great anguish.
[23] The pronunciation rum indicated by the
old spelling, Roome, and by the rhyme
with doom, etc., was retained by some
educated speakers as late as the 17th c.
As modern ears would be disturbed by
the necessary perpetual pronunciation
of the word as Room throughout the play,
and as they realize the phonetic resem-
blance between the two words, thereis no
need to adopt the intended unity in pro-
nunciation. In the following line ' one
only ' is merely an inversion of only
one, the only succeeding to form a great
[24] In one last throe of accumulated feeling
he suddenly turns and comes down
to Brutus, standing behind him on the
step and driving this into his high,
ancestral pride.
[25] Lucius Junius Brutus, from whom
MARCUS BRUTUS was lineally descended.
[26] From O.E. brtican, to enjoy, to make use
of. The meaning of the passage is that
he would have as soon had the devil's
rule as that of a king.
[27] This is very probably an instance of the
use of this word for infernal. It occurs
in several passages of Shakespeare.
[ 28] Brutus turns to his R. and mounts
the steps, moves across to the back
of the rostrum, and stands for a
moment looking at Rome. He is moved
and we must see it suggested by this
move. He is not static or calm. His
fears have been confirmed and to them
has been added the eloquence of CAS-
sius, and he is more at war with himself
than ever. Compared with CASSIUS his
slighter emotional display is very calm,
but this move up gives us the idea of his
struggle within himself. Does he not
entreat CASSIUS not to move him further ?
After a moment or two he comes to the
edge of the rostrum. Cassius has
remained in his position, merely
turning to watch Brutus eagerly.
BRUTUS' tone is with difficulty calm and
his sentences slightly broken.
[29] See note 28, p. 9.
ACT i, sc. n
[I] This is a sudden additional recollection.
Bear in mind how CASSIUS' mind selects
a point, delivers it and then as it were
dwells upon it with a restless embittered
commentary. That is the character-
istic nature of the speech. He develops
a fact, nurses it and then adds another
to it. So here, we have a sudden and
final fact thrown at us. He is not merely
relating his details, but feeling them as
well, and their effects are made apparent.
[2] Here he reaches the climax of his speech,
his strongest moment. Don't rush it.
He remains where he is until the end of
the speech. He turns front and apos-
trophizes the gods.
[3] i.e., temperament, spirit, courage.
[4] Here he strides down L. As he
reaches L.C. the shout occurs off
R. This brings him round with a
swing.
[5] Emphasize this word because it fulfils a
certainty which before was only a fear,
and shows how that sentiment has con-
tinued as his principal mental occupa-
tion.
[6] Brutus after a moment's pause sits
down on the steps and adopts a medi-
tative attitude. Fears have now become
true facts.
[7] Cassius comes up the steps and
stands behind Brutus and continues
in his- vehement diatribe.
[8] 'A brazen image erected at Rhodes, 300
B.C., and which stood as ride upon the
two moles which formed the entrance to
the harbour. It was 105 feet high and
took 12 years to complete, and it was one
of the Seven Wonders of the ancient
world. It was partially destroyed by an
earthquake in 224 B.C., remained in
ruins for 894 years and was eventually
sold by the Saracens to a Jewish mer-
chant for its brass in A.D. 672.' — Lem-
priere.
[9] He makes an emphatic assertion declar-
ing that men are free and endowed with
the power to determine things for them-
selves and are not justified in thus sub-
mitting to the domination of usurping
pride. The following eight lines are not
rhetorical but intense with a comparative
analysis that argues away the false
power of CAESAR. This treatment also
enables CASSIUS to save himself for his
outburst of a few moments later.
[10] This is used in its now obsolete sense of
certain time, a* the context of the next
line shows. At certaintimes apart from
the influence of the stars men are free to
determine their destiny, and this is one
of those occasions. The word is better
in its combined form as printed in F,, 2.
[II] He kneels beside Brutus and plunges
his points into his ear. Make them very
emphatic.
[12] From the belief that the stars influenced
human destiny.
[13] Make these two names deliberate.
[14] i.e., use them as magical incantations.
[15] i.e., invoke or raise.
[16] At this Brutus rises. It evidences the
fact that his feelings are being worked
upon, but he remains where he is on the
middle and lower steps, restrained al-
though moved. Cassius rises and
releases this desperate question of his
angry logic.
[17] He turns and mounts to the top
of the rostrum, facing the back, his
feelings well kindled.
[18] Seeing the vital part of Rome before him,
he addresses it.
[ 19] He turns to Brutus but remains up on
the rostrum. From here until the end of
the speech the treatment is vehement and
the pace swift. It is the climax to all
that has gone before and his spirit has
worked upon itself until its pressure is
like that of steam. He contrasts so well
with BRUTUS, egually moved in his own
way but by different passions. Thus
we have the contrast of the two characters
' produced '.
12
THE TRAGEDY OF JULIUS CAESAR
ACT I
ACT I, SC. II
[1] He places his hand on CASSIUS' shoulder
in an earnest desire to avoid further
provocation.
[2] He is deliberate.
[3] He commences to show feeling. The fire
is kindling. Make him resolute and
strong and obviously moved. In the
line above, ' meet ' means ' fitting ',
' suitable ' ; literally, for the same
measure.
[4] i.e., ruminate.
[5] i.e., a man of humble station.
[6] CASSIUS speaks with a show of glad relief
and appreciation. He has accom-
plished a very big thing.
[7] They both look off R. and move
down as BRUTUS speaks.
[8] They move over L. together, CAS-
SIUS on the L. of BRUTUS. They
remain there during the ensuing
scene, CASSIUS facing towards c.
[9] i.e., dour, dry.
[10] This following speech is spoken whilst
the procession is in progress. The
Trumpets are silent in this re-entrance.
[11] i.e., scolded or sharply reproved ; from
O.E. cid-an, to brawl.
[ 12] This plural form is probably an instance
of the interpolated ' s ' which occurs so
frequently in the Folios and. for which
there is no satisfactory explanation.
[13] Quietly and in the peculiar voice of
neurotic intensity consequent upon his
recent fit.
[ 14] Readily but not with too much voice.
He comes forward a little so that
C.SSAR may speak to him easily, the
latter still supporting himself on
ANTONY'S arm.
[15] C.ESAR continues in his peculiar and
incisive way.
[16] i.e., slow wilted; not necessarily cor-
pulent but of the quality of mind char-
acterized by the slow-moving powers
associated with fatness. The lean and
hungry look reflects his mind.
[17] i.e., men with sleek or smooth minds,
minds free from the urging turmoil of
ambition.
[18] Easily and assuringly and in a collo-
quial tone.
[19] i.e., well disposed.
[20] Still looking at CASSIUS and speaking
in a ruminative way. He is weighing
him up, for bear in mind that this is the
first time as far as we know that C.ESAR
has made any open criticism of CASSIUS.
Doubtless he has studied him in the past
a* would be natural to him through his
keen observatory powers, but in his
present condition, with the effect of the
fit still on him, his mental state is abnor-
mal and would lead him to make observa-
tions such as these.
[21] This has the double meaning of being
fatter in body and so in mind. A lean
look does not necessarily imply a lean
body. MARK ANTONY was not fat in
body, neither was C^SAR himself.
[22] A sudden corrective of any suggestion
of being afraid after ANTONY'S use of
the word ' fear '. This phrase coming
after the other shows how closely he is
studying CASSIUS, how deeply he is
thinking of him. Probably he has in
mind what has just occurred at the
games. How would CASSIUS have be-
haved had he accepted the crown ?
Note here once again, how the attention
of the play is being concentrated upon
CASSIUS.
[23] Here he reverts to his predominating
mood and returns to his measurements
of CASSIUS. As he announces each fact
let us feel that he has the man right in his
mind under a close analytical survey.
[24] i.e. , subject to : ' If I were subject to
fear."
[25] Shakespeare's belief in the love of music
as indicating fine and trustworthy char-
acter is well known.
What you would work me to, | I have some aim :
How I have thought of this and of these times,
I shall recount hereafter ; Jfor this present,
I would not, | so with love I might entreat you,
Be any further mov'd. 2What 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.
3Till then, my noble friend, 4chew 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.
CASSIUS. 6I am glad that my weak words
Have struck but thus much show of fire from Brutus.
[Trumpets.
BRUTUS. 7The games are done, and Caesar is returning.
CASSIUS. 8As they pass by, pluck Casca by the sleeve ;
And he will, after his 9sour fashion, tell you
What hath proceeded | worthy note to-day.
The CROWD move across the stage and off up L.
Re-enter the procession in the same formation as it left the stage.
BRUTUS. 10I 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 12senators.
CASSIUS. Casca will tell us what the matter is.
CJESA.R appears in the entrance down R. On his L. is ANTONY,
upon whose arm he is leaning. He is without the palm-leaf. He
looks steadily at CASSIUS as he proceeds to c. The others follow
at a short distance in the procession in their respective order. As
CAESAR reaches c. he stops, still looking intently at CASSIUS. The
entire procession stops as well.
Note how Shakespeare works up to a certain pitch and then judiciously alters his construction
so that force of dialogue expands to situation. After CASSIUS' intense climax CJESAR himself
enters, and in that strange condition of mind produced by epilepsy which leads him into an
acute analysis of the character who has just proclaimed his intense contempt of him. This
is dramatic action in its first stages of development, the conflict of the highly wrought republican
idealist, with the abnormal, epileptic dictator.
"Antonius 1
ANTONY. 14Caesar ?
CAESAR. 15Let me have men about me that are 16fat,
17 Sleek-headed men, and such as sleep o' nights :
Yond Cassius has a lean and hungry look ;
He thinks too much : such men are dangerous.
ANTONY. 18Fear him not, Caesar ; he's not dangerous ;
He is a noble Roman, and 19well given.
C^SAR. 20Would he were 21fatterl 22but I fear him not :
23Yet if my name were 24liable 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,
As thou dost, Antony ; he hears no 25music :
SCENE II
THE TRAGEDY OF JULIUS CAESAR
13
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 lvery dangerous.
2I rather tell thee what 3is to be fear'd
Than what I fear ; 4for always I am Caesar.
5Come on my right hand, for this ear is 6deaf,
And tell me truly what thou think'st of 7him.
The procession moves on towards the second archway L. BRUTUS
advances to c. and pulls CASCA'S toga as he passes. BRUTUS
moves on to R.c. CASCA detaches himself and remains c. looking
at BRUTUS for a moment and then goes to him.
Here again we encounter a slight relaxing of the pitch, a less intense
form of treatment which carries with it, however, a stage of further
development. Another character is introduced whose own pecu-
liarities serve to interest us as an alternative to the more intense
grip of a higher nature and therefore enable us to ease without losing
interest. He is a cynic with a sense of humour. Play the scene
as such. Note the change to the lighter style of short lines and prose.
CASCA. You pull'd me by the cloak ; would you speak with me?
BRUTUS. 8Aye, Casca ; 9tell us what hath chanc'd to-day,
That Caesar looks so 10sad.
CASCA. Why, you were with him, were you not?
BRUTUS. UI should not then ask Casca what had chanc'd.
CASCA. Why, there was a 12crown offered him : and being offered
him, he put it by with the back of his hand, 13thus : 14and then the
people fell a-shouting.
BRUTUS. "What was the second noise for?
Why, for that too.
16They shouted thrice : what was the last cry for?
17Why, for that lstoo.
19Was the crown offered him thrice ?
Ay, marry, was 't, and he put it by thrice, | 20every time
and at every putting by 22mine honest neigh -
CASCA.
CASSIUS.
CASCA.
BRUTUS.
CASCA.
21gentler than other
bours | shouted.
CASSIUS. 23Who offered him the crown?
CASCA. 24Why, Antony.
BRUTUS. 25Tell us the 26manner of it, gentle Casca.
The contrast afforded by CASCA is that of a man apparently wholly devoid of any particular interest
in this matter as opposed to the extremely vital interest of the others. He is not telling a story
so much as carelessly relating something which seemingly made no impression on him other than
by its ridiculous nature. He states his facts as the narrator of something remote from his interest
and becomes more entertaining as a commentator. Don't labour the speech or make it a recita-
tion. Bear in mind what has been said above, that he is a cynic with a sense of humour. He
sits on the step and leans back on one elbow, just taking his own time and with his legs stretched
out in front of him.
[22] He gets his effects by delivering passages
such as these without any forceful effort,
merely emphasizing his important words
by giving them separation and a deliber-
ate pronunciation. ' Mine ' was used for
my before a vowel and hfromthe 13th c.
[23] CASSIUS is determined to find out more
about this. He is not satisfied that it
is quite what it appears to be.
[24] CASCA again takes his time. To him it
is not any intelligence of great import-
ance, but to CASSIUS it says a great deal.
He reacts to it by simulating an ' I see '
attitude and, looking at BRUTUS, moves
away a little L. CASCA separates
these two words as though recalling a
remote memory. CASSIUS, knowing
ANTONY to be a friend of CJSSAR'S,
doesn't trust CJESAR'S action as being
genuine.
[25] BRUTUS, however, quietly indicates for
CASCA to sit on the steps and just tell the
story of what happened.
[26] Casca moves to the uppermost
step and sits. ' Manner ' means the
details of what occurred.
ACT i, sc. ii
[1] He draws these words out, feeling as
well as thinking his verdict.
[2] Again coming out of his reverie.
[3] i.e., to be feared in the future. This
illustrates that he is speaking from
thoughts not otherwise disclosed. What-
ever he may have just done to meet with
popular approval by refusing the
crown, he has other intentions for satis-
fying his inordinate thirst for power and
position. But here is one now to be
reckoned with and he has been balancing
this fact with his intentions.
[4] As if to assure himself of his power to
overwhelm any opposition.
[5] St^ll looking at CASSIUS and speaking
quietly but intentively.
[61 As N.V. observes, this is an invention
of Shakespeare.' s and C.ESAR never
refers to it again. The editor proceeds
to quote authorities showing that epilepsy
more frequently affects the left ear.
C^BSAR has just had a fit and it shows
how closely Shakespeare lived in his
characters and how he visualized the
reality of the circumstances under which
they appeared. There is every sign in
these two entrances of C.ESAR that he is
in an abnormal condition of mind and a
clear treatment of the character is thereby
shown. Here, particularly, we can see
his entranced gaze and hear his voice
echoing the remote perturbations of his
fit-strained mind, the mingled searching
for ambitious satisfaction and the survey
of its obstacle.
[7] Antony moves a little down stage
in front of Caesar so that as CAESAR
continues, the former is on his R.
[8] BRUTUS speaks while the procession is
still moving. Then he waits until it has
disappeared before resuming.
[9] He moves up to Casca and speaks
quite quietly and easily.
[10] i.e., so stricken. It is derived from a
root which means to satisfy or satiate
and has developed many interesting
derivations. That of the present day is
from the late \§th c. one of darkening in
colour. This inquiry of BRUTUS shows
us that there were evident signs of
mental distress.
[11] With a slight smile.
[12] This was a white fillet, ' a Diadeame
wreathed about with laurel ' as Plutarch
described it. This fillet was first intro-
duced by Alexander the Great, who
adopted it from the kings of Persia as a
sign of royalty.
[13] With a majestic gesture that mocks
CJESAR'S own.
[14] The very dryness of this remark after his
majestic movement has great humour.
[15] Just a quiet inquiry. BRUTUS is tact-
ful with CASCA. He doesn't urge his
questions.
[16] Cassius, who has remained where he
was at CAESAR'S exit, comes forward
impulsively. His questioning is
quite different from that of BRUTUS.
Besides, the crown was refused twice.
What happened next ?
[17] CASCA just looks at him for a moment
and then takes his time. He is not going
to be hurried by anybody.
[18] There is a look between CASSIUS and
BRUTUS. After all, this is something
different from what was to be expected.
[19] BRUTUS is cautiously verifying his
facts. Here is something that deserves
notice. His own manner and the more
forcefully curious one of CASSIUS are
strongly contrasted with CASCA'S unper-
turbed and dry delivery. He is the one
who is unconsciously dropping some
vital facts. He remains unconcerned
whilst the others have very definite and
individual reactions.
[20] He makes just a slight pause before he
says this to mark the nature of his com-
ment.
[21] i.e., in a more reticent manner; less
firmly.
14
THE TRAGEDY OF JULIUS CAESAR
ACT
ACT I, SC. II
[1] Disgusted with the whole thing.
[2] i.e., watch it carefully.
[3] Just handing out a fact that has no
reason for its being stated other than it
has been asked for.
[4] He drops his voice a little as he makes
his men deprecatory comment.
[5] This is Shakespeare's own invention.
CASCA being a Roman would know that
it was the kingly crown. Shakespeare
alludes to it in the comparative terms of
his own day. Plain circlets (of gold)
were worn by certain of the lesser
nobility.
[6] Continuing with a kind of detached
interest from the whole thing.
[7] Lowering his voice in amused 'comment.
These passages are really the ones that he
himself enjoys in this speech and he
phrases them in his easy colloquial way.
[8] i.e., gladly, from O.E. fsegen, allied to
gefean, to rejoice.
[9] Separate this word and give it emphasis.
[10] Amused by the repetition and the absurd-
ity of the whole thing.
[11] Make this ' but ' longer than its pre-
decessor in the similar phrase. There
it is only a conjunction, here its adversa-
tive sense is much more pronounced and
the whole passage much more assured
than the other.
[12] i.e., uttered cries of approval, and from
here he works himself up in his own way
merely because of his contempt for the
people and their foolish behaviour over
such a thing.
[13] Another form of chapped, i.e., cracked
or cut, illustrative of their menial con-
dition.
[14] Probably because they slept in their day
clothes, or at least implying so.
[15] This concludes his more general inten-
sive manner and he merely reverts to
added emphasis, which he jerks out in a
disgusted way.
[16] i.e.Jainted. Cassius makes a slight
move forward on this. He sees the
ridiculous picture of the majestic CAESAR
degenerating into the shaking god of his
previous recalling. He is amused.
[17] His amusement colours this line. He
does not laugh outright but is merely
animated by the absurdity of the thing
as he sees it.
[18] He just makes a blunt paraphrase of
' swound ', dropping his voice after
' market-place ', mouth ', ' speech-
less'.
[19] i.e., epilepsy. BRUTUS is very indul-
gent.
[20] CASSIUS, however, pushes home the
ironical inversion of BRUTUS' remark.
[21] An allusion no doubt to their weakness
in thus falling before CESAR'S pride, and
indulging it. There is neither speech
nor sensibility in the malady, nor the
power or will to do anything.
[22] CASCA, being entirely detached from the
other two, just passes over what he does
not understand and repeats himself.
[23] He becomes a little more forceful now.
[24] i.e., riff-raff.
[25] i.e., honest
[26] He sits up erect. In this speech he
becomes more illustrative than before.
[27] With something of anger at this absurd
gesture.
[28] Merely a reflexive form of the verb.
[29] A reference to contemporary Elizabethan
costume.
[30] His anaer rumbles on in its disgust.
This word means if. It is a form of
and. It is from O.E. and, ond, which
are related to Lat. ante, before, Or.
avri, against. Collateral in descent
with and was the same word in Ice-
landic, enda with the meaning of more-
over, if. In order to mark the differ-
ence in meanings of these ands the d was
dropped off when used for if. This did
not occur with very few exceptions until
1600.— Skeat and O.E.D.
[31] i.e., a working man, one of the com-
moners.
CASCA. XI can as well be hang'd as tell the manner of it : it was
mere foolery ; I did not 2mark it. 3I saw Mark Antony offer him
a crown : 4yet 'twas not a crown neither, 'twas one of these
5coronets : 6and, as I told you, he put it by once : 7but for all
that, to my thinking, he would 8fain have had it. Then he offered
it to him "again ; 10then 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 refused it,
the rabblement 12hooted and clapped their 13chopped hands and threw
up their sweaty 14night-caps and uttered such a deal of stinking
breath because Caesar refused the crown, that it had almost choked
15Caesar ; for he 16swounded 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. 17But, soft, I pray you : what, \ did Caesar swoundf
CASCA. 18He fell down in the market-place and foamed at mouth
and was speechless.
BRUTUS. 'Tis very like : he hath the 19falling-sickness.
CASSIUS. 20No, Ccssar hath it not : but you, and /,
And honest Casca, we have the 21falling-sickness.
CASCA. 22I know not what you mean by that, but I am sure Caesar
fell down. 23If the 24tag-rag people did not clap him and hiss him
according as he pleased and displeased them, as they use to do the
players in the theatre, I am no 25true man.
BRUTUS. What said he when he came unto himself?
Although CASCA may have been dragged into this recital of OESAR'S behaviour there is no doubt
ivhatever that his unassociative temperament has been thoroughly roused by the nonsense h<
has witnessed. It is now necessary therefore to demonstrate that out of a mere recounting of facts ,
he has developed a bitter testimony against C.&SAR. To make him completely dry is wrong
because he becomes the first that rears his hand against OESAR. Some sort of indication that
he has, deep within his tardy form, an active comprehension of and will to resent the activities
of such a vain man as he has described must be revealed. This speech contains colour, not the
high lights of CASSIUS but the solid mass of a sturdy and unemotional temperament aroused to
indignation.
CASCA. 26Marry, before he fell down, when he perceived the
common herd was glad he refused the crown, 27he plucked 28me ope
his 29doublet and offered them his throat to cut. 30An / had been a
man of any "occupation, if I would not have taken him at a word,
I would I might go to hell among the rogues. 32And so he fell.
When he came to himself again, he said, 33if he had done or said any
thing amiss, he desired their worships to think it was his infirmity.**
35Three or four wenches, where I stood, cried ' Alas, good soul ! '
and forgave him with all their hearts36 : but there's no heed to be
taken of them ; if Caesar had stabbed their mothers, they would have
done no less.
BRUTUS. 37And after that, he came, | thus sad, | away?
CASCA. 38Ay.
[32] This comes out with a dejected out-
burst.
[33] Becoming imitative of C.ESAR in an
exaggerated way.
[34] He concludes with a snort of disgust.
CESAR'S anxiety was to make sure that
they did not blame his thwarted am-
bition.
[35] He adds this as a final picture of the
irritating foolish effect of such idiotic
sentimentality. As CASCA goes, he is
well worked up by now.
[36] He rises on this. It is quite enough to
make CASCA rise.
[37] Brutus turns and moves away R.
as he speaks. He is making his own
final judgment of C.ESAR and this fact
or these facts related by CASCA deter-
mined him. The Folio concludes the
line with an exclamation mark, not a
query, and we feel that this is more in
keeping with the dramatic notion of
BRUTUS here. For a short time he
passes out of the scene and does not speak
again until CASCA has gone, which indi-
cates that he retires in thought as well as
person. Thus a quiet reflective state-
ment is better than a deliberate question.
Cassius watches him closely.
[38] CASCA simply adds a short affirmative
like a final nail in CESAR'S coffin and
comes down the steps.
SCENE II
THE TRAGEDY OF JULIUS CAESAR
15
CASSIUS. *Did 2Cicero say any thing?
CASCA. 3Ay, he spoke Greek.
CASSIUS. To what effect?
CASCA. Nay, an I tell you that, I'll ne'er look you i' the face
again : but those that understood him smiled at one another and
shook their heads ; but for mine own part, it was Greek to me. 4I
could tell you more news too : Marullus and Flavius, for pulling
scarfs off Caesar's images, are put to 5silence. Fare you well. There
was more foolery yet, if I could remember it.
CASSIUS. 6Will you sup with me to-night, Casca?
CASCA. 7No, I am promised forth.
CASSIUS. Will you dine with me to-morrow?
CASCA. 8Ay, if I be alive, | and your mind hold, | and your dinner
worth the eating.
CASSIUS. Good ; I will expect you.
CASCA. Do so : 9farewell, both.
[Exit through second arch L.
BRUTUS. What a blunt fellow is this grown to be!
He was 10quick metal when he went to school.
CASSIUS. nSo is he now in execut i on
Of any bold or noble enterprise,
However he puts on this 12tardy form.
This rudeness is a sauce to his good wit,
Which gives men stomach to digest his word
With better appetite.
BRUTUS. And so it is. 13For this time I will leave you :
14To-morrow, if you please to speak with me,
I will come home to you, or, if you will,
Come home to me and I will wait for you.
CASSIUS. I will do so : 15till then, think of the world.
[Exit BRUTUS through the second arch L.
This speech almost flavours of the same easy spontaneous growth as IAGO'8 final speech in Oth. I,
in, and others which both summarize and plan at the conclusion of a scene. Therefore ease
from the sense of any dramatic tension and make the character live as in its first moment of
creation, so that the passages receive the variety which comes from the natural growth of thought.
Final speeches like this contain a great deal of vital matter and almost invariably begin in
meditation and then develop into speculation and, finally, determination as this one does.
Therefore time is needed in which to allow these changes to take place and just treatment given
to the various phases of development.
16Well, Brutus, thou art noble ; yet, I see,
Thy honourable metal may be wrought
From that it is 17dispos'd : therefore, it is meet
That noble minds keep ever with their 18likes ;
For who so firm that cannot be seduc'd?
19Caesar doth 20bear me hard ; but he loves Brutus :
[21] This passage has been much debated as to the relative meaning o/he in the second line. The
present Editor reads the passage as such. If CASSIUS were BRUTUS now, i.e., at this par-
ticular time, CAESAR would not influence him. The word humour implies that CAESAR is
influencing BRUTUS. Schmidt quotes ' I will teach you how to humour your cousin ' —
M. Ado, II, i, and ' I would humour his men with the imputation of being near their master '.
— H. IV, 2, V, I. The inflection on ' me ' and a rapid treatment of its four preceding words
will give the meaning. The entire passage is taken more affirmatively than reflectively and
is lighter and quicker than the preceding passages. CASSIUS speaks his mind very definitely
where lack of emphasis gives greater significance than if it were used.
21If I were Brutus now and he were Cassius,
He should not humour me. 22I will this night,
In 23several 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, 24wherein | obscurely25
Caesar's ambition shall be 26glanced at :
ACT I, SC. II
[1] There is a pause of a few moments whilst
CASSIUS continues to look at BRUTUS.
This helps to direct the attention upon
the latter since what he is thinking is
determining the play. CASCA is just
adjusting his toga.
[2] This was the great Roman orator who
had previously joined Pompey against
C.&SAR and later became reconciled to the
latter. He was popular and, naturally,
anything from his lips would be lis-
tened for. He appears in the next scene.
[3] Just a dry comment, but not deliberately
forced. It is caustic if done without
effort.
[4] He is just beginning to mount the
steps when be turns and publishes
this fact.
[5] He probably implies that they have been
executed. Actually this was not so.
After this Brutus turns and meets
CASSIUS' look. Here is the first in-
stance of direct action against the remon-
strating Republicans. Casca turns
and commences to mount the steps
in a leisurely way, talking as he goes
in a somewhat bored manner. He
continues to walk towards tbe
second arcb L.
[6] Cassius moves half-way up tbe
steps C. in a quick attempt to secure
CASCA for further talk.
[7] As he is walking towards the exit
L. and without looking back. Make his
reply short, sharp and blunt.
[8] He turns and makes a leisurely agree-
ment, winding up with a warning that
the dinner had better be worth the
eating.
[9] Casually as he turns and exits.
[10] i.e., lively and light. Metal is the same
as mettle, the latter being a variant of
the former. The stuff of which a man
is made.
[11] He conies down to Brutus. He is
burning with his own idea of winning
CASCA as a practical partisan against
C.ESAR. Note the trisyllabic pro-
nunciation. This form of printing
is adopted for all succeeding
similar instances.
[12] i.e. , appearance of tardiness or dourness.
[13] He crosses Cassius and mounts
the steps.
[1.4] On the top of the rostrum, he turns to
Cassius.
[15] Cassius goes up the steps and speaks
ivith a final earnestness to him.
[16] Cassius stands watching Brutus
as he goes off and then proceeds quietly
and easily.
[17] His disposition nobly disposed towards
C^ISAR can be turned against him.
[18] i.e., those of his own quality.
[19] He conies down to the bottom of
the steps and proceeds in a quiet,
thoughtful way. Take time over this
speech.
[20] i.e., feels hard against him in an ill and
mistrustful way. This is somewhat to
himself. The next phrase is more to the
audience.
[22] A sudden thought and, characteristic of
the man, quick. He has hit upon an
idea which he feels will effectively secure
BRUTUS to determinate action. Let the
spontaneity of a new idea be evident to
our eyes, and so enable the scene to end
on a vital note.
[23] i.e., several different forms of hand-
writing.
[24] Slow up on these two words.
[25] i.e., suggestively.
[26] i.e., in these writings reference will be
madetoCMSA.R'sambitionand the matter
will be shown to be of general concern.
C
16
THE TRAGEDY OF JULIUS CAESAR
ACT I
ACT I, SC. H
[1] Mounting the steps and off L. This
line has the note of vindication. CAS-
SIUS is turning the edge of his determina-
tion against OffiSAR.
[2] Let C.SSAR make himself very strong
because . . .
SCENE III
A Street.
[3] Shakespeare draws CICERO as being
without any fear of the storm. This is
doubtless because he was a military
general of great qualities and courage
although it is recorded that BRUTUS
thought him timid. It also acts as an
offset for CASCA'S perturbation, more
i specially as we last saw him as the
casual, off-hand cynic.
[4] Did you accompany CAESAR home f
[5] He shows surprise at CASCA'S disturbed
look and behaviour.
[7] i.e., realm, domain.
[8] Give these lines their value. Don't
merely speak them, but let us realize a
man who has seen such things and draws
them with emotional immensity in order
to give the full stature to the present
even'.s
[9] i.e., split.
[10] This, the greater calamity, invokes dread.
Take these two lines expressively in low
and fearful tones.
[11] Dwell upon these two words and point
their graphic values.
[12] In Shakespeare's time this word had the
stronger meaning of gross impertinence
or insolence.
[13] CICERO, although not afraid, is neverthe-
less impressed. He asks if CASCA saw
anything else.
[14] Do not hurry this speech, but give
emphasis to the various wonders. It is
a fine piece of graphic writing.
[15] i.e., not sensitive to.
[16] Because of this he anticipated worse
encounters. Make this a parenthesis
expressive of its own meaning and not a
continuation of the principal thought.
[17] This is the reading of the Folios.
Johnson — gaz'd, Howe — glar'd. E.
Cornwall Gloss, gives Glaze— to stare.
This is the only instance of Shake-
speare's use of this verb.
[18] i.e., pale, wan, ghastly-looking.
[19] i.e., demented.
[20] i.e., the owl.
[21] i.e., events of an extraordinary and
prophetic nature. Lai. prodigi-um
(pro, before, and agium, a thing said).
Hence a sign, token, portent.
[22] i.e., at the same time.
[23] i.e., these are the reasons for their
occurrence.
[24] i.e., prophetic. Lot., portentosus from
portentum, a portent, omen, sign.
[25] i.e., region or country. Or., * AI>», a
slope, zone or region of the earth. From
the designation of the region the word
becomes interpretive of its atmospheric
conditions.
[26] CICERO'S fearlessness is simply an in-
sensibility to superstition ; but he does
not treat it with contempt, merely with
unconcern. He also gives us a contrast
to CASSIUS, who follows immediately
upon his exit. His inquiry about
CAESAR is quite casual. He is not con-
cerned about him in the same way as
CASSIUS i*. CASCA as yet is not relating
these events with CAESAR.
[27] i.e., construct. M.E. constra-en,
adapted from Lot. construSre, to pile
together, build up.
xAnd after this let Caesar 2seat him sure ;
For we will shake him, or worse days endure.
The lights dim. down quickly. Draw No. i pair of curtains.
SCENE III
A Street.
No. i pair of grey curtains from behind the columns. (See A in
Groundplan I.) This stands for Act II, Sc. IV ; the opening of
Act III, Sc. II ; Act IV, Sc. II, and Act. V, Sc. II, in both of which
the columns are struck.
Thunder and lightning. Enter, from opposite sides, CASCA, L.,
with his sword drawn, and CICERO, R. They meet c. Both are
wearing psenulas instead of togas. Their hoods are drawn up
over their heads. Note that the thunder and lightning continues
throughout the scene and is left to the producer's discretion.
CICERO. 3Good even, Casca : 4brought you Caesar home?
5Why are you breathless? and why stare you so?
[6] Through CASCA the cynic, a greater emphasis is given to the portentous nature of the tempest.
The fact that his otherwise imperturbable nature is so disorganized proclaims a more than
common event. But he is afraid in a grand way and, as his relating of the story shows, of
really unprecedented phenomena. Bear in mind that the original CASCA had to make this
effective in broad daylight.
CASCA. 6Are not you mov'd, when all the 7sway of earth
Shakes like a thing unfirm? O Cicero,
I have seen tempests, when the scolding winds
Have 9riv'd the knotty oaks, and I have seen
The ambitious ocean swell and rage and foam,
To be exalted with the threatening clouds ;
10But never till to-night, \ never till now, \
Did I go through a tempest | "dropping fire.
Either there is a civil strife in heaven,
Or else the world too 12saucy with the gods
Incenses them to send destruct i on.
CICERO. 13Why, saw you any thing more wonderful?
CASCA. 14A 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 16sword —
Against the Capitol I met a lion,
Who ^glaz'd upon me and went surly by
Without annoying me : and there were drawn
Upon a heap a hundred 18ghastly women
"Transformed with their fear, who swore they saw
Men all in fire walk up and down the streets.
And yesterday the 20bird of night did sit
Even at noon-day upon the market-place,
Hooting and shrieking. When these 21prodigies
Do so "conjointly meet, let not men say
' 23These are their reasons : they are natural : '
For, I believe, they are ^portentous things
Unto the 25climate that they point upon.]
CICERO. 26Indeed, it is a strange-disposed time :
But men may 27ccwstrue things after their fashion,
Clean from the purpose of the things themselves.
SCENE III
THE TRAGEDY OF JULIUS C^SAR
17
Comes Caesar to the Capitol to-morrow?
CASCA. He doth ; for he did bid Antonius
Send word to you he would be there to-morrow.
CICERO, ^ood night then, Casca : 2this disturbed sky
Is not to walk in.
CASCA. Farewell, Cicero. [Exit CICERO, L.
Enter CASSIUS, R., immediately upon CICERO'S exit. He is in his
tunic without a toga. He has a dagger (pugio) attached to his belt
on the right and a wallet (pera) on the left containing three papers.
He enters swiftly, stopping short R.C.
CASSIUS. 4Who's there?
CASCA.
CASSIUS.
CASCA. Your ear is good.
A 5Roman.
6Casca, by your voice.
Cassius, what night 7is this?
CASSIUS. A very pleasing night to honest men.
CASCA. Who ever knew the heavens menace 50?
CASSIUS' entrance into the scene is a return to the active intensity of drama after the preceding
relaxation where graphic picturing has made the setting for what is to come. We left him
resolved upon his course and meet him now as a part of the tempest and portents themselves.
Hitherto we saw him at his earnest labour endeavouring to rouse the soul of BRUTUS into factious
activity. There, in the early stages of the play, he gripped us with his vehemence and
dramatic activity. Here he carries on the burden of that same function, and has to intensify
the pitch already established in order to develop the action to that point where BRUTUS, in a
new style nf character, but less violent, becomes equally intense. In this scene his spirit is
dancing with nature's confirmation of his beliefs. It is modulated to high glee, incisive invective ,
and rhetorical despair which gradually gives way to a more balanced content when he succeeds
in winning the support of CASCA. All these variations are necessary to create an essential
dramatic interest and all must be made of the spirit that is almost wrought to the nature of
fanaticism. By this we have not only the contrast of BRUTUS' manner in Act II, Sc. I, but also
his strength.
CASSIUS. 8Those that have known the earth so full of faults.
[9For my part, | I have walk'd about the streets,
Submitting me unto the perilous night,
And thus 10unbraced, Casca, as you see,
Have bar'd my bosom to the "thunder-stone ;
And when the 12cross 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 13heralds to astonish us.
CASSIUS. 14You 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 15cast yourself in wonder,
To see the strange impatience of the heavens :
1GBut if you would consider the true cause
Why all these fires, | why all these gliding ghosts, |
Why birds and beasts from quality and 17kind —
Why old men 18fool and children calculate — •
Why all these things change from their "ordinance,
Their natures and 20preformed faculties,
To 21monstrous quality, | 22why, \ you shall find
That heaven hath infus'd them with these spirits
To make them instruments of fear and warning
Unto some monstrous 23state.
24Now could I, Casca, name to thee a man]
glower, his voice firmer and full of
incisive conviction. The alteration of
the pace will help greatly. It is not
speed that is needed now but intense
strength in a concentrated tone of voice
and treatment of the phrases.
ACT I, SO. Ill
[1] He simply thinks that the wisest thing to
do is to go home and moves to L.
[2] He turns, speaks and exits L.
[3] Note the figurative construction. It is
what the sky signifies and produces that
is intended as shown by ' walk in '.
[4] Sharply.
[5] CASCA i* exemplifying his courage.
Supernatural fears may have possessed
him, but he is strong nerved against
normal contingencies.
[6] CASSIUS is eager to see him and goes to
C. on this.
[7] .F1! prints a question mark after this line.
Modern editors place an exclamation
mark. Surely the description of the
portentous events and CASCA'S marked
perturbation evidence the fact that he is
asking what night of all other nights this
is, and thus argues the retention of the
query. Against CASCA'S amazed ques-
tion comes CASSIUS' relish.
[8] This is merely a hyperbolical reply
implying that only when the earth was so
full of faults did men know the heaven's
menaces and may be an allusion to the
Flood. It was only like this when the
earth was grossly sinful and therefore
it is now in that particular state-^-refer-
ring to the wrongs that CAESAR is com-
mitting.
[9] Now add the relish to the words.
[10] i.e. , with garments unloosed. He shows
his open neck.
[11] i.e., thunder-bolt.
[12] i.e., forked. It occurs again in Lear
IV, vii.
[13] Used in the sense of royal messengers or
officers.
[14] To one in CASSIUS' state of mind seeing
nature concur with his own earnest
desires and beliefs, he would naturally
proclaim anyone dull who only saw the
phenomena and not their meaning.
Keep him therefore still virile. His
more exulting passages have gone by, but
his spirit is still on fire and he speaks
with excessive emphasis.
[15] i.e., lose. Some editors give case, but
the literal meaning of cast, which is
throw, seems to prove its authenticity.
He throws himself (i.e., his mind) away
in wonder and fear.
[16] Here he grows more intensive and his
pace quickens. He is almost fanatical
in his pitch of mental excitement, so
eager to establish his own belief in the
significance of these things upon CASCA.
Don't gabble the lines, but make them
live and work up to the point ' mon-
strous quality '. That is where he begins
. to bring his facts to create his argument.
[17]' The construction here is developed by the
character of the speech. CASSIUS is a
fanatic and his spirit is rushing out in
eager dilation upon the true significance
of these events which are to him the
proclamation of nature herself against
the evils which he so strongly feels.
Hence this line is not properly finished
before another takes its place and then is
loosely completed in the one following
that. It so clearly indicates his con-
dition and the required treatment.
i 18] This is merely the inversion of the order
of human development that children act
blindly and old people with thought.
[19] i.e., ordained system or nature.
[20] i.e., planned. Actually, pre-ordained.
[21] He dwells upon these two words because
they are the organized issue of the pre-
ceding passages. Monstrous means
unnatural, perverted, deviating from
its type. Lot., monstrosus from
monstrum, monster which meant some-
thing marvellous ; originally a divine
portent or warning from root o/monere,
to warn.
[22] He hits and dwells upon this word, after
which he proceeds as before up to state.
[23] i.e., condition of things.
[24] Intense, but without the additional voice
hitherto used. Here he is revealing the
heart of his mystery. His pace is
18
THE TRAGEDY OF JULIUS CAESAR
ACT I
ACT i, sc. ni
[1] The pause here is given to develop the
significance of the night and to relate its
character more graphically with that of
04H4B.
[2] i.e., he is as ominous as these signs,
prophetic of disaster.
(3] See note 21, p. 16.
[4] CASCA is being cautious. He does not
jump to CASSitrs' meaning with the live-
liness of CASSIUS' own spirit. This
offers a certain excuse for CASSIUS'
indecisive reaction. His own zeal
rather runs away with him and makes
him sensitive to anything that does not
equal its own pitch.
[5] He just looks for a moment at CASCA
and then turns away. In his highly
wrought condition such a cautious in-
quiry as CASCA' s makes him for a while
uncertain of his procedure. His mind
does not move in the same way as
OASCA'S. He darts and shoots with
impulse and passion, the others with
consideration and caution. He now
turns to lamenting instead of invec-
tive.
[6] i.e. , sinews, bodily strength. They have
bodies, but their spirits are dead.
[7] i.e., the fact that we have a yoke or are
subdued.
[8] CASCA has not paid any attention to this
but has remained deep in thought. Here
he resumes his deliberate survey of
CAESAR, which eventually grows to an
active resolution to kill him. Note,
however, the clear character of the man
as contrasted with that of CASSIUS,
slow, but deliberately progressive upon
his own facts, not upon those of
CASSIUS.
[9] This was an actual ordinance of the
Senate.
[10] He turns and moves to Casca with
a swift step. There is no mistaking
that he will do as he says.
[11] Emphasize this word because it relates
the wearing of the crown as the signal for
his own death.
[12] Once again he turns abruptly and now
apostrophizes the gods with an exulting
vehemence. His spirit is alive with
independence and these sudden changes
and passionate developments are con-
sistent with his character, not only here
but throughout the play.
[13] In the original form of the language, ye
was nominative, you accusative. This
distinction, though observed in the Bible,
was disregarded by Elizabethan authors
and ye seems to have been used in ques-
tions, entreaties and rhetorical appeals.
In this case ye is rhetorical and you
accusative. Don't hurry these lines too
much, but keep them under an expressive
control. Although raised on the fond
realization of the power to liberate him-
self from tyranny, yet remember that this
very joy will be savoured by him in the
words which describe it and that he
would relish as much as they could give
him.
[14] i.e., my own individual burden of
CESAR'S tyranny.
[15] He strikes these two words in the asser-
tive way which makes us feel that he is
there and then liberating himself.
[16] Casca throws his hood back, and
comes in with a level strength consistent
with the pitch of the scene. CASSIUS'
spirit is drawing that of CASCA.
[17] Casslus turns round and makes this
vehement demand immediately.
[18] i.e., usurper. The word originally
meant absolute master without any bad
sense. Here, of course, the meaning is
an opprobrious one. CASSIUS means
that if men have the power to cancel their
captivity by killing themselves why
should CJESAR be a tyrant. If they de-
stroyed themselves they would destroy
CESAR'S tyranny. The idea is rather
far-fetched, but CASSIUS is in the state of
mind that produces extremes.
Most like this | 1dreadful night, |
That thunders, | lightens, | opens graves, | and roars
As doth the lion in the 2Capitol :
A man no mightier than thyself or me
In personal action, \ yet | ^prodigious grown
And fearful, \ as these strange eruptions are.
CASCA. 4Tis Caesar that you mean ; is it not, Cassius?
CASSIUS. 5Let it be who it is : for Romans now
Have 6lhews 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. 8Indeed they say the senators to-morrow
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. 10I know where I will wear this dagger llthen :
Cassius from bondage will deliver Cassius.
12Therein, 13ye 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 / do 14bear
I can 15shake off at pleasure. [Thunder still.
CASCA. 16So can / :
So every bondman in his own hand bears
The power to cancel his captivity.
CASSIUS. 17And why should Caesar be a 18tyrant then?
19Poor man! I 20know he would not be a wolf
But that he sees the Romans are but sheep :
21He were no lion, were not Romans hinds.
22Those that with haste will make a mighty fire
Begin it with weak straws : 23what trash is Rome, \
What rubbish \ and what offal, \ when it serves
For the base matter to illuminate
So vile a thing as Ccesarl 24But, | O 25grief, |
Where hast thou led me? I perhaps speak this
Before a ^willing bondman ; then I know
My answer must be 27made. But I am 28arm'd,
And dangers are to me 29indifferent,
CASCA. 30You speak to Casca, and to such a man
[19] i.e., weak, impotent. He speaks this with
contempt. His tone becomes less violent
but it still bears the bite of bitter sarcasm.
[20] i.e., I know this, that . . .
[21] Just a little stronger on this line'.
[22] Less voice but very bitter. He and the
others are the weak straws as he points
out.
[23] His anger bursts out once again. Don't
hurry, and let his bitterness exercise
itself on the nouns. This first phrase
is a rhetorical way of saying that Rome
is trash.
[24] Here again his highly wrought spirit
takes a sudden change and alters from
passion into realization of his passion,
and he becomes as wrought in this as
the other.
[25] This word was used in a wider sense
than at present and was used for distress,
bitterness and sorrow of any kind besides
personal loss.
[26] i.e. , one who is willing to accept CESAR'S
tyranny and is therefore possibly
friendly to him.
[27] i.e., I must answer with my life.
[28] i.e., armed in spirit and ready to die.
[29] i.e., I am indifferent to dangers.
[30] With a big and steady spirit. Here
again we see a ctmpkmentary strength
supplementing the more volatile effects
of CASSIUS' passionate outburst.
SCENE III
THE TRAGEDY OF JULIUS C^SAR
19
That is no Peering tell-tale. 2Hold, | my hand : |
Be 3factious for 4redress of all these griefs,
And I will set this foot of mine as far
As who goes farthest.
CASSIUS. 5There's a bargain made.
6Now know you, Casca, I have mov'd already
Some certain of the noblest-minded Romans
To undergo with me an enterprise
Of 7hon our ab le-dangerous consequence ;
And I do know, by this they stay for me
In Pompey's 8porch : for now, this fearful night,
There is no stir or walking in the streets ;
And the complexion of the 9element
In "favour 's like the work we have in hand,
Most bloody, fiery, and most terrible.
Enter CINNA from L. quickly. He also wears a paenula and is
hooded. He comes to c.
CASCA. "Stand close awhile, for here comes one in haste.
CASSIUS. 'Tis Cinna ; I do know him by his 12gait ;
He is a friend. Cinna, where haste you so?
CINNA. 13To find out you. 14Who's that? Metellus Cimber?
CASSIUS. 15No, it is Casca ; one "incorporate
To our attempts. 17Am I not stay'd for, Cinna?
CINNA. 18I am glad on 't. What a fearful night is this !
There's two or three of us have seen strange sights.
CASSIUS. 19Am I not stay'd for? tell me.
CINNA. 20Yes, you are.
O Cassius, if you could
But win the noble Brutus to our party —
CASSIUS. 21Be you content : good Cinna, take this paper,
And look you lay it in the 22prae tor's chair,
Where Brutus may 23but 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. 24Well, I will 25hie,
And so bestow these papers as you bade me.
CASSIUS. That done, repair to Pompey's theatre.
[Exit CINNA L. quickly.
26Come, 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 27offence in us
His 28countenance, like richest 29alchemy,
Will change to virtue and to worthiness.
CASSIUS. Him and his worth and our great need of him
You have right well 30conceited. Let us go,
For it is after midnight, and ere day
We will awake him and be sure of him.
[Exeunt L. as the lights dim on a rapid check.
ACT i, sc. in
[1] i.e. , sneering, mocking, ridiculing. The
origin is uncertain but probably of
Scandinavian source. The sense is
that of revealing the plotter with a grin
of malicious relish. Note how graphi-
cally the action is pictured.
[2] Separate this word because it is an ex-
pletive and not intended to mean Hold
my hand. He holds out his hand on
the noun.
[3] i.e., active. Faction is a noun from
Lat. factiouem, verb, facfire, to do, make.
(Hence, fashion.) It has been appro-
priated by the sense of forming parties
for sed itious purposes. ' Chtp away that
factious pate of his.'—H. VI, 2, V, I.
[4] i.e., reform.
[5] CASSIUS clasps CASCA'S hand in Roman
style and with great fervour. The
Roman handshake consisted of grasp-
ing the wrist. At this point, tradition
has placed a loud clap of thunder.
[6] He now proceeds in a quick and earnest
way, keeping his voice low and intense.
[7] Preserve this compound form in speak-
ing. It is a common construction in
Shakespeare, more particularly in his
earlier plays.
[81 The Porticus Pompeii near Pompey's
Theatre.
[91 i.e., the sky.
[10] i.e., appearance, quality.
[11] CASCA draws his hood over his head,
speaks with sudden caution and draws
Cassius close to the wall. Both
this and CASSIUS' following line are
short and sharp.
[121 i-e., manner of walking. Some char-
acteristic form should be adopted, prefer-
ably in his rapid step.
[13] Peering at him.
[14] Looking at Casca, who has the hood of
his pcenula drawn over his head.
[15] Keep up the swift and tense treatment.
[16] i.e., incorporated, enlisted. Incorpor-
ate to means joined to us (in our
attempts on CAESAR'S life).
[17] Eagerly and coining towards Cinna.
He is anxious to realize that the others
are waiting and that the plot is therefore
maturing.
[18] CINNA is more occupied with the fact
that CASCA has become one of their party.
He crosses to Casca and shakes his
hand. He continues talking to CASCA.
[19] CASSIUS is highly impatient to know the
true facts.
[20] He turns to Cassius.
[21] He comes in abruptly and continues in a
swift business-like way.
[22] BRTTTUS was a proetor (pronounced
preetor). This was originally the title
of a Roman consul, but was afterwards
used to denote that magistrate, to whom
the administration of justice was trans-
ferred when the consulship to which the
power had hitherto been attached was
thrown open to the commons in 366 B c.
— Seyffert. He had the right to the
se'la curullis.
[23] From O.E. be-utan, on the outside, with-
out. It thus has the sense of exception,
away from, and so pronounced as a
certainty and thus certainty as here.
[24] Crossing to L.
[25] i.e., haste.
[26] Keep up the same swift and intensive
treatment as before. He moves with
Casca over to L.
[27] i.e. , criminal.
[28] i.e., association, alliance.
[29] Probably a reference to the philosopher's
stone, the mythical chemical element
which could transmute all things to gold.
Alchemy is from O.Fr., alquimie — med.
Lot., alchimia — Arabic, al-klmlna—
probably adapted from Or. \vf-eia. (plus
Arabic al). The English word dates
from the Uth c. and alluded to the chem-
istry of the Middle Ages. For full
development of the word, see O.E.D.
[30] i.e., conceived. Conceit was formed
from conceive and is found in the late
14tA c., but there seems to be no data
available explaining how or why.
20
THE TRAGEDY OF JULIUS CAESAR
ACT II
ACT II, SC. I
ACT II
SCENE I
ACT THE SECOND
SCENE I
ILLUSTRATION No. 2
Rome. BRUTUS' Orchard.
[1] Orchard is from O.E. ort-geard, parallel
to Ooth. aurti-gards, garden, the first
element of which is considered to be Lat.
hprtus, garden. — O.E.D. The early
signification of the word was therefore
garden, although the meaning of a plot
containing fruit-trees was concurrent
with it from 1388. This latter meaning
gradually became the erclu-sive one. In
the representation of this scene keep the
trees to resemble poplars, leaving the
distant ground rows to represent an
orchard. This is one of the very few
stage directions given in the original
copies which amounts to a scene caption.
Rome. BRUTUS' Orchard.1
It is at this point that the play begins to develop in a new movement, a
term borrowed from its musical associations and thus used by Mr. J.
Isaacs who has stated that a Shakespearean play is not only divided
into acts but into movements. Hitherto the movement has been one
of incitement. Now it becomes that of meditation and resolve.
Individual gives place to individual and the action of the play
now devolves upon the solitary character of BRUTUS.
Tradition has handed down to us a calm, fully dressed figure
quietly turning over his thoughts with the ease of a giant handling
dwarfs. We ask, is this dramatic and is it noble ? The real drama
was announced in BRUTUS' line, " I would not, Cassius, yet I love
him well " when Cassius inquired if he did not wish CAESAR to
be king. There was the first murmur of the civil war and now it has
reached the stage of critical operations. This is that which makes
both drama and nobility ; drama because of the conflict, nobility
because of the courageous suppression of sentiment and the submission
of the issue to judgment in the name of the general good with the
acceptance of the verdict and the intense suffering that it brings.
It is this human distress that is itself the plot, the dramatic action,
the agent equal in power with that which preceded it. CASSIUS'
SCENE I
THE TRAGEDY OF JULIUS CAESAR
21
overwrought intensity served its purpose for a judicious period. He,
with all his parts united in the blaze of passion, now gives way to
a study of intense temperance of mind which by the order of its suc-
cession is thus made more effective than if without its contrast.
After the preceding characteristics we dwell upon the quieter though
highly concentrated reflections of BRUTUS with a prepared appetite
and thus see the clever management of dramatic qualities in their
effects upon each other.
Shakespeare is not only concerned with high ideals, but with human
nature as well. In BRUTUS he is not a mystic breathing precepts but
an exemplifier of their exaction upon character. The appeal of his
strength is that it is born in weakness. Its spirit is bound with
human affections. The sorrow's heavenly, it strikes where it doth
love. Therefore let us approach the character in the realization that
its qualities are those of a man and not of a statue, and at the same
time avoid the other extremity of intemperance of passion or worse
still — self-pity. The conflict of his nature must be dramatized, but
its strength must be preserved. His is not the surrender to thought
like Hamlet's, but the resolution that gains the name of action.
Mr. Ivor Brown has remarked that there is no reason for supposing
BRUTUS to be almost entirely impassive because he knows how to
keep his head. The man who says that an hour before action is
' Like a phantasma or a hideous dream ' , has not got an outfit of
marble in place of a nervous system. He adds further that the lines
should not be intoned as portions of an august ceremony but as
vehicles of acute and anxious thought. May we in conclusion repeat
Portia's own portrait of Brutus.
And when I asked you what the matter was
You star'd upon me with ungentle looks : . . .
And too impatiently stamp 'd with your foot : • . . .
But with an angry wafture of your hand
Gave sign for me to leave you.
Here is the revelation of Shakespeare's own design, fearless of the
shadows that the light may be more apparent, unafraid of making
him human since the divinity will assert itself and not remain remote
from the ' sphere of our sorrows '.
At the rise of the curtain the stage is empty. After a moment or
two a flash of a meteor is seen on the backcloth followed by another
over the stage. Then between the avenue of trees R., BRUTUS is
seen walking slowly as though returning from a long and restless
journey round his orchard. He is without his toga, and moves
with his hands clasped behind him as though deep in thought.
As he reaches the c. he turns facing the backcloth and leans with
one hand on the balustrade as he pursues his thinking. Then he
gives a look upward at the sky and turns with an impatient gesture
and comes to the top of the rostrum about L. pf and above the seat.
It will be seen how this entrance enables the actor to lead into the
scene with a commencement of the character more clearly shown than
if discovered either walking about or sitting meditatively. We get the
impression of a man who has been roaming about his garden in a
disturbed state of mind instead of being merely reflective in a
quiescent way.
After BRUTUS' entrance restrict the meteor flashes merely to
the cues.
The front row of trees can be either on net or foot-ironed and
ACT n, sc. i
22
THE TRAGEDY OF JULIUS CAESAR
ACT II
ACT II, SO. I
[1] Make this an abrupt call. Sear in mind
his mental tension. The curious may ask,
why should BRUTUS stand in his garden
and call into his house for LUCIUS, who
is asleep in the servants' quarters ?
The explanation is simply that Shake-
speare was not writing for the picture
stage, but for one which simply served
the purposes of the drama and whose
locality changed at one word. It will
frequently be noted how characters are
at hand or appear with amazing rapidity
beyond the logic of realism. He means
that he cannot tell the time by the stars
because the clouds obscure them.
[2] He turns and paces across the
rostrum to R.C. and comes back
in suppressed agitation. During this
walk, turn the phrase ' he would be
crowned ' over in the mind.
[3] Here he stops and calls again. After
a slight pause he moves down the steps,
speaking as he goes and obviously long-
ing for sleep. During the short pause
c., turn over the line 'Crown him?
that . . . with danger.'
[4] He again turns and calls.
[5] He goes to the first step and begins
to show impatience and signs of nerve
strain.
[6] Here, as is characteristic of such mental
conditions, impatience gives place to
abruptness. He just speaks and then
turns away from Lucius and imme-
diately LUCIUS has gone flings himself
down in the seat. Let us feel that he is
utterly weary. He leans forward and
covers his face with his hands for a few
seconds, after which he resumes an
upright position. Then he commences
in a definite way as though he had been
forced to arrive at this conclusion, no
matter from what point he had started —
and he has started from many.
[7] Ease a little on this and the next line.
[8] A moment's pause here as the general
good opposes the personal bias. Then
speak as consenting to the general
demand. Spurn in the line above means
strike.
[9] i.e., public cause.
[10] A slight pause and then leaning forward
and supporting his chin with his elbow
on one knee he deliberates upon this vital
fact. Give each of these four words a
careful and slow emphasis. Then comes
a slight pause.
[11] Not so emphatic, but stillslow andinflect-
ing the two words italicized.
[12] He makes a pause before this and rises
as he says it with a sigh which evidences
the vexatious nature of the question.
[13] He paces down to R.C., hands behind
him. After the more intense delibera-
tion, ease a little on a lighter note of more
quiet observation. Such passages as
these help to relieve the more critical
ones. He speaks as he moves.
[14] He stops and his voice has the note of
quiet caution.
[15] i.e., careful.
[16] His voice lifts on this and he raises his
face, which hitherto has been pointed
downwards. Modern editions place a
query after this line. FI gives a comma.
It is more a statement than a question.
[17] He turns up C. again with a sigh and
stands in front of the seat in a thoughtful
attitude. Let these things take their
time and issue from thought.
[18] This is the result of his reflection and
for variety of treatment he adopts an
easier form of delivery. It is a simple
statement of fact and not meditative,
though careful.
[19] From Lat. remordere, to vex, disturb
(re-, back, and mordere, to bite or
sting). Here the sense is almost the
same as in Othello IH,.m, p. 51, note 6,
and borders on solemn obligation.
There is no compunction in such great-
ness.
[20] Here again he is carefully stating a fact
slung by piano wires from, a batten. Dark patches should sur-
round the bases of the trees. For details of the statues (hermae),
see Plate I, fig. 6.
BRUTUS. 1What, Lucius, ho !
I cannot, by the progress of the stars,
Give guess how near to day.2 3Lucius, I say !
I would it were my fault to sleep so soundly.
4When, Lucius, when ? | 5awake, I say ! | what, Lucius !
Enter LUCIUS from house L. He enters quickly as though having
hurried, and not sleepily. He wears a white tunic, girdled and
with long full sleeves pointed in a slightly mediaeval style and is
throwing a loose dark blanket (lodix) about himself. LUCIUS
has the sense to put something on over his tunic. He wears a
leathern bulla. There is also a tone of anxiety in his voice due
to the circumstances and the impatient sound of BRUTUS' voice.
LUCIUS. CalFd you, my lord?
BRUTUS. 6Get me a taper in my study, Lucius :
When it is lighted, come and call me here.
LUCIUS. I will, my lord. [Exit L.
Keeping in mind what has already been said with regard to the treat-
ment of BRUTUS' character, let us note the close construction of the
speech, the result of hard, sifting thought, of impartial consideration
of facts both favourable and unfavourable and selected for their
most determinate qualities. Affection is a witness but common justice
gives the verdict. This is BRUTUS. The whole is achieved in twenty-
five lines and that is Shakespeare. Compare a speech like that of
I ago at the end of Act I, Sc. Ill, where in twenty -two lines the whole
plot of the play is hatched out of the preceding events. As there, so
here. The highly concentrated nature of the speech demands a
careful manipulation to expand its close construction and enable it
to gather a tragedy into its form and direct it upon its way.
BRUTUS. It must be | by his death : 7and, for my part,
I know no personal cause to spurn at him, |
8But for the ^general. 10He would be crown'd : |
11How that might change his nature, \ ^there's the question :
13It is the bright day that brings forth the adder ;
14And that craves 15wary walking. | wCrown him? — that ; —
And then, I grant, we put a sting in him,
That at his will he may do danger 17with.
18The abuse of greatness is | when it disjoins
^Remorse from power : 20and, to speak truth of Caesar,
I have not known when his ^affections sway'd
More than his reason.** 23But 'tis a common 2*proof,
in perfect fairness to c^pSAR which
among all the other circumstances de-
manding his removal must, according to
the just estimation of BRUTUS' char-
acter, receive its opportunity of being
heard and be properly emphasized as a
virtue and an important one. But keep
it colloquially emphatic, inflecting the
important words more than raising the
tone of the whole. This indicates the
conscious labour of thought among its
difficulties, the effort of endeavour, not
the flow of ease.
[21] i.e., emotions.
[22] Here he shakes his head as he moves into
his next thought and sits.
[23] He realizes the negative possibility so
common to human nature and his voice
becomes less emphatic in the forced
acceptance of his reflection. Don't hit
the words so hard as in the preceding
passage and quicken the pace slightly.
He raised a point in careful thought
which has to be dismissed as a foregone
improbability. It is necessary after the
more deliberate lines and saves the speech
from too much ' thought ' which would
soon become a little tiresome and conse-
quently ineffective. It is a relief passage
between the two periods of intense
thoughtfulness.
[24] i.e., a proof of common verification.
SCENE I
THE TRAGEDY OF JULIUS C^SAR
23
That Mowliness is young ambition's ladder,
2Whereto the climber-upward turns his face ;
But when he once attains the ^upmost round,
4He then unto the ladder \ Hums his back,
Looks in the clouds, | scorning the base degrees
By which he did ascend : 6so Ccesar may ;
7Then, lest he may, prevent. 8And, since the 9quarrel
Will bear no colour for the 10thing 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 grew ^mischievous,
13And kill him | in the shell. [Light from meteor.
Re-enter LUCIUS L.
LUCIUS. The taper burneth in your closet, sir.
Searching the window for a 14flint I found
This paper thus seal'd up, and I am sure
It did not lie there when I went to bed. [Gives him the letter.
BRUTUS. 15Get you to bed again ; it is not 16day.
[Light from meteor.
17Is not to-morrow, boy, the Ides of March?
LUCIUS. I know not, sir.
BRUTUS. Look in the calendar and bring me word.
[Light from meteor.
LUCIUS. I will, sir.
[Exit L. The lights continue in a broken way.
BRUTUS. The "exhalations whizzing in the air
Give so much light that I may read by them.
[Opens the letter and reads.
' 19Brutus, thou sleep 'st : awake and 20see thyself.
Shall Rome, 21etc. Speak, | strike, | redress.
Brutus, thou sleep 'st : awake.'
22Such "instigations have been often dropp'd
Where I have took them up.
' 24Shall Rome, etc.' Thus must I 25piece it out :
Shall Rome stand under one man's awe? 26What, \ Rome?
27My ancestors did from the streets of Rome
The zsTarquin drive, when he was call'd a 29king.
30 ' Speak, | strike, | redress.' Am I entreated
To speak and strike? 31O Rome, I make thee promise,
If the redress will follow, thou receivest
Thy full petition at the hand of Brutus!
Re-enter LUCIUS L. He comes to the top of the rostrum L.
LUCIUS. Sir, March is wasted fourteen days.
[Knocking on a door off 32R.
scene. Draw out ' What, Home ? '
It is a big question.
[27] He takes these lines a little quicker but
maintains a great dignity although it is
touched with feeling.
[28] Tarquinius Superbus.
[29] Here at last the true republican feeling is
asserting itself and his passion is stir-
ring. Keep the pace steady. Strength,
not speed, is what is required here.
[30] Now he shows that the words are working
in him. Emotion is beginning to declare
itself and in the next speech his mind
fully reveals its overcharged capacity.
[31] Fervently.
[32] It is worth noting here how Shakespeare
accumulates three principal features and
groups them in collaborative sequence.
First, he resolves to act and this deter-
mines the play ; secondly, and imme-
diate to it, LUCIUS proclaims that the
morrow is the fatal ides against which
CJESA.R was warned; and thirdly, that
gives the cue for the knocking which
announces those who are to perform the
fatal errand of those ides. It is the
fcetal moment when the play assumes
its vital being.
ACT II, SC. I
[1] i.e., humility, or, better still, purposed
humility.
[2] The antecedent is ' ambitious ladder ',
not ' lowliness '.
[3] A slight inflection on these two words.
[4] The pace is a little slower and treatment
more deliberate. This is now the appli-
cation to CAESAR.
[5]The emphasis necessary for these two
words is gained by a slight pause before
them and a slower delivery of them.
This is the vital substance of the point in
question.
[6] There is just a slight slowing up on these
three words which will give them their
quiet significance. Nothing in this
speech is hurled out. It proceeds from a
sound unbiased mind that is thinking
intellectually, not emotionally, or not, at
least, in a passionate way.
[7] His voice becimes firmer. It is now the
summing up of all his deliberations and
the only possible verdict : but keep it in
the character of the man and make it
resolute and not vindictive.
[8] He leans forward with one elbow on his
knee and uses his finger to point his
construction. Take the lines easier and
quicker, emphasizing the important
words.
[9] i.e., dispute, or, perhaps, charge.
[10] i.e., since the charge does not apply to
him in his actual present condition.
[11] i.e., in a more developed capacity ;
when his faults have grown to greater
proportions.
[12] Add a stronger emphasis to this word.
[13] He rises before he speaks and adds
the note of a firm determination.
[14] i.e., to light the taper with. The flint
was struck to give the spark. He
speaks as be comes down to
Brutus.
[15] BRUTUS speaks this quietly and ordin-
arily. There is no touch of sharpness
as there was before. His mind has
eased itself ; before, it was fermenting.
[16] Lucius turns and moves up the
steps L.
[17] BRUTUS suddenly asks this question and
Lucius stops and turns.
[18] i.e., meteors, the belief in Shakespeare's
day being that meteors were exhaled or
breathed out of the earth.
[19] He reads with a calm and steady voice.
As he says later, he has received many
such letters and he knows what they
mean. There is no display of any feel-
ing beyond the fact that a slight pause
before ' redress ' indicates that it has
had a potent effect. It is possible that
this is a fresh injunction. The follow-
ing line is said as though in deep
thought, lowering the paper as he does so
and looking out.
[20] i.e., realize your dignity, your freedom,
and your duty and right to preserve
them. See how they are circumvented.
[21] Lot. et, and, + cetera, the rest. There
is nothing problematical to BRUTUS in
this. It is simply an abbreviation on
the writer's part for what has already
been said in earlier letters. This was a
common usage in Shakespeare's time.
[22] He merely makes a statement of fact
quite quietly and thinking all the time
about the situation.
[23] i.e. , incitements to take some action.
' Where I have took them up ' means
' And I have taken them up and read
them.' It is a very colloquial form, but
does not simply mean that he took them
up where he found them, but what he did
with them.
[24] His thought materializes and after the
lighter observation becomes slower and
weightier. Let his mind be shown to be
working deeply now. Don't refer to
the letter. That is all in his mind.
[25] i.e., interpret and deduct.
[26] Stronger. Analysis has awakened to
active feeling. This is the commence-
ment of the emotional development of the
24
THE TRAGEDY OF JULIUS CAESAR
ACT II
ACT II, 8C. I
[1] Wait until this word for the cue
for knocking. Then let it come
sharply. Keep the situation close and
strong, but not violent. This phrase
comes direct on its cue and is spoken
strongly. It follows upon the resolution
to act, and the relationship between the
SOOTHSAYER'S warning and the accumu-
lation of events confirms the fact that
they are propitious to the deed. That
the situation is based on an emotional
consistency is shown a mtment later by
a reaction of distress at the demands of
principles.
[2] i.e., sharpen.
[3] i.e., idea. This word is used in a
variety of meanings by Shakespeare.
They all spring from its association
with life and action. /( is Lot.
motionem, a noun of action, from
monfire, to move.
[4] Lot. phantasma, adopted from Or.
^avraa-fia, appearance. HenceiUusion,
spirit, spectre.
[5] i.e., the immortal spirit. Ideals and
affections, divine and human, meet in
conflict. The spirit determines, but the
mortal parts have to endure suspense
and suffering.
[6] i.e., disturbance.
[7] LUCIUS maintains the emotional pitch
of the scene. He is somewhat concerned
because of the unusual hour, the fact
that it is BRUTUS' brother-in-law who is
outside and that he is accompanied by
men anxious to hide themselves.
[8] CASSIUS had married BRUTUS' sister,
Junto.
[9] BRUTUS pauses slightly before he speaks
as he collects himself for a moment.
Note how each of his lines to LUCIUS are
minimized to the shortest degree. He is
coming in contact with something that
is repellent to him and almost dreads
the fact. He does not look at LUCIUS
and is a little sharp, not with impatience
but with the tautness of bracing himself
to meet the thing he abhors. He is
sitting erect.
[10] This is another allusion to Elizabethan
costume and has to be accepted as an
anachronism.
[11] i.e., face.
[12] He sinks back in the seat. The fact
has matured and has to be accepted.
He speaks quietly and resignedly.
[13] He merely drops his hands from his face
and his address is quiet but full of
feeling.
[14] Here his feeling becomes stronger and
he rises. Let us realize the pang of a
sensitive mind. Don't overdo the effect,
but let us feel a spasm of the feeling that
is agitating his control.
[15] i.e., face. After this he moves
down L. and becomes quietly invective.
[16] An intransitive use of the word meaning
to go about. Examples appear from
1000.— See O.E.D.
[17] A deity of Hell, son of Chaos and Dark-
ness. The poets often used the word to
signify Hell itself. Note the trisyllabic
pronunciation.
[18] Don't disyUabillize this word because the
line is short and the ' Ion ' remains
normal.
BRUTUS. 'Tis 1good. Go to the gate ; somebody knocks.
[Exit LUCIUS round the top of the rostrum through arch R.
Whilst LUCIUS is moving across the rostrum at the back, BRUTUS stands still, but his face betrays
the fact that his finer sentiments are beating on his resolution. His hands become clenched
and as soon as LUCIUS has disappeared he sinks into the seat and reveals his very human
nature in this relapse. The fine moment of his zeal for Rome's honour shows its cost and at
this moment we feel his utter weariness. Keep well in mind, the opening note to this scene
and the necessity for displaying humanity and not principles only.
Since Cassius first did 2whet me against Caesar
I have not slept.
Between the acting of a dreadful thing
And the first 3motion, all the interim is
Like a 4phantasma or a hideous dream :
The 5Genius and the mortal instruments
Are then in council, and the state of man,
Like to a little kingdom, suffers then
The nature of an 6insurrect i on.
Re-enter LUCIUS R. He comes to the top of the rostrum R.
LUCIUS. 7Sir, 'tis your 8brother Cassius at the door,
Who doth desire to see you. [Meteor light.
BRUTUS. flls he alone?
LUCIUS. No, sir, there are moe with him.
BRUTUS. Do you know them ?
LUCIUS. No, sir : their 10hats are pluck 'd about their ears,
And half their faces buri'd in their cloaks,
That by no means I may discover them
By any mark of "favour.
BRUTUS. 12Let 'em enter. [Exit LUCIUS R.
They are the faction.
He says this with a sigh as he leans forward and momentarily hides his face in his hands. This
evidences the emotional reaction to his strain and the burden upon his fine nature as well as
exposing his nobUity in a truer manner than mere philosophical reflection would show. He
is bearing something foreign to his affections, effecting anunwiUingconciliationwith things that
have to be. As the remainder of the speech shows, he is fully aware of the character of that
with which he is involved. It is a thing for darkness and not. for the light of day, and darkness
is not BRUTUS' element, smiles and affability not the practice of his open nature. The speech
it short, but the treatment indicated in the notes aims at an elucidation of his feelings.
130 conspiracy, |
Shamest thou to show thy dangerous brow by night,
When evils are most free? 14O, then, by day \
Where wilt thou find a cavern dark enough
To mask thy monstrous 15visage? Seek none, conspiracy ;
Hide it in smiles and affability :
For if thou 16path, thy native semblance on,
Not 17ErSbus itself were dim enough
To hide thee from 18prevention. [Meteor lights for a moment.
CASSIUS enters first from the first arch R. He in common with the
other conspirators wears his paenula with his hood over his head.
As he enters he throws it back and the others do the same when
presented to BRUTUS. CASSIUS does not waste any time, but goes
straight across to BRUTUS, who advances not quite to c. to meet
him. The others enter and group themselves on the steps, all facing
BRUTUS, as shown in the diagram. A dark and ominous gather-
ing, materializing the grim as-
pect of conspiracy as sketched 3 z ^_— ___ C
by his last speech. LUCIUS
follows them and then stands
by the column R., where he
later sits on the ground and
goes to sleep against the pillar,
covered by his cloak.
SCENE I
THE TRAGEDY OF JULIUS CAESAR
25
From now on, the signs of deranging emotion disappear. After weakness comes strength, and
there is a manly handling of the business in hand. Everybody is quiet and yet is expressing
an undercurrent of concentrated intenseness. CASSIUS speaks in a swift, quiet way which
indicates that he is burning with a purpose and anxious to achieve it. He becomes a contrast
after the deliberations of BRUTUS, quickens the scene and lifts it to its required pitch from which
BRUTUS is able to start later.
CASSIUS. I think we are too bold upon your rest :
Good morrow, Brutus ; do we trouble you?
BRUTUS. I have been up. this 1hoiir, awake all night.
Know I these men that come along with you?
CASSIUS. 2Yes, 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.
BRUTUS. 3He is welcome hither.
CASSIUS. This, Decius Brutus.
BRUTUS. He is welcome too.
CASSIUS. This, Casca ; this, Cinna ; and this, Metellus Cimber.
As each man is named he comes
forward, and salutes and
moves to the position shown
in the diagram.
BRUTUS. They are all wel-
come. - -
4 What watchful cares do interpose themselves
Betwixt your eyes and night?
CASSIUS. 5Shall I entreat a word?
This part of the scene down to the end of CASCA'S speech is taken quite
quietly and ordinarily. It serves as a period which is nursing the
coming drama and offering a lull for the purpose of an effective re-
entrance of BRUTUS into the scene. We realize what is taking place
over L. between BRUTUS and CASSIUS and the very quietness and
ordinariness of this passage only emphasizes it. It is a mistake
and weakens the effect if it is made too much of. There is nothing
whatever mystical about it as is sometimes suggested and has no
function in relating BRUTUS with the Capitol. Dramatic insight
explains its purpose quite clearly. Don't disturb it.
DECIUS. 6Here lies the east : doth not the day break here?
CASCA. No.
CINNA. O, pardon, sir, it doth, and yon grey lines
That 7fret the clouds are messengers of day.
CASCA. 8You shall confess that you are both deceiv'd.
Here, 9as I point my sword, the sun arises ;
Which is a great way 10growing 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, 12directly here.
BRUTUS makes a sudden and dramatic re-entry into the scene. He conies forward and breaks
into the talk with resolute energy. He is by no means loud but very earnest and the whole
process of bringing him back thus gives a great lift both to the scene as well as to himself. Now
that he has been assured by CASSIUS of the close co-operation of these men in the plot he returns
with a determined vitality. He comes to each quickly and shakes their hands, reaching
Metellus by the time Cassius speaks and spreading out ' one-by-one ' as he takes the
remainder of their hands.
BRUTUS. Give me your hands all over, one by one.
CASSIUS. 13And let us swear our resolut i on.
ACT U, SC. I
[1] The Folio has a comma after this word
which should be recognized as it separates
two statements.
[2] He continues in his own swift way but
quietly.
[3] BRUTUS is firm and quiet.
[4] Brutus advances to C. He is tactful
and does not begin on any understood
basis. After all, some of them may not
be willing or may require conditions.
[5] CASSIUS immediately recognizes his
guarded manner and takes BRUTUS aside
to make the situation quite clear to him.
It also saves a certain amount of ex-
planatory dialogue which would be a
repetition of what has already been said.
Cassius just moves a step towards
Brutus, who turns and goes with
Cassius, both standing on the steps
L.
[6] Pointing to his R. They are probably
anxious to get away before the day-
light comes.
[7] i.e., break.
[8] It is to be noted that this speech is given
to the dry, unemotional CASCA. The
purpose of this short interlude has
already been stated, and no better char-
acter could be found to carry it out.
[9] i.e., where. He indicates the position
directly right in front of him.
[10] i.e., growing towards the south.
Ill] i.e., true east.
[12] Straight in front of him.
[13] Cassius has followed Brutus and
dropped a little down stage so that
he is nearly L.C. Ever eager to
establish his work, he comes in with this
line sharply and anxiously, emphasizing
' swear ' because he wants to bind them
by covenant of mouth.
26
THE TRAGEDY OF JULIUS CAESAR
ACT II
ACT II, SO. I
[I] He is down by Metellus and turns
sharply on this ' No ' and speaks
with a strong, abrupt emphasis. His
faith is in men's hearts and not their
lips, and if their hearts are not strong
enough their strength is not to be trusted.
[2] He conies forward and takes up
C. position, addressing CASSIUS.
[3] i.e., public opinion, what Rome is feel-
ing. BRUTUS is now enumerating
CASSIUS' own pleas in the earlier scene
and is speaking directly to him.
[4] i.e., suffering.
[5] He then turns to the others but
remains C. This will help to indicate
a certain natural freshness in the treat-
ment. His preceding lines have been
concentrated upon CASSIUS, to whom he
was directing his correction, using
CASSIUS' own arguments and setting
them against the power of words. They
were wrapped up in concentrated form
for a specific and determining purpose.
Here the lines are liberated in a more
flowing form of argument. They are in
the form of a general address and are
taken a little faster than those preceding.
The very slight pause after ' the time's
abuse ', together with the turn, gives the
change a certain spontaneity of growth
of idea. The address to CASSIUS is
directed in so far as BRUTUS wishes to
eradicate the need for an oath and
selects him as the proposer, rapidly
including the others in his immediate
attention. This treatment makes him
natural without losing strength and
enables the actor to find effect in variety.
[6] Tyranny is something which is self-
devoted, self-exalting, self -imposing.
' High-sighted ' is figurative for these
qualities. Don't scamp the rest of this
line. The words have eloquence and
emotional emphasis and require their
active values being given them. They
are creating a situation and it is com-
pleted in the next line. They picture
both the subject and its characteristic
movement . The long syllables effect
this in contradistinction to the short ones
in the following line and both result in
onomatopoeic or imitative effects, the pro-
ducts of a vivid and creative imagination
as opposed to mere mechanical ideas.
[7] i.e., expand. Note the big notion im-
plied by this word and how relative to the
nature of pride and arrogance. This is
why such careful treatment is needed to
enable the full effectiveness of the words
to be completely realized.
[8] i.e., according to the individual lot of
destiny.
[9] Here he eases a little. The first urge of
his otcn high ideals gives place to a
gentler recognition of their innate worth.
He gains his strength by a moderate
emphasis upon the important words
more than by any general application
of power. This also enables him to relax
his treatment and so relieve the rhetorical
stress and cause it to become effective
when used. The climax to this passage
is on ' women '. BRUTUS is speaking
in the future sense, sure that these things
will accomplish the effects here enumer-
ated.
[10] This repetition of the full infinitive indi-
cates that BRUTUS is being very emphatic
and that his delivery of ' cowards ' is
not only forceful but is followed by u
rhetorical pause. A similar pause fol-
lows ' valour '. Remember how em-
phatic he is and that he is moulding the
fundamental character of one of the
greatest political enterprises that has
ever been attempted so that it may achieve
its purpose. It is not a recitation, but
the forging of history by strong character.
[II] The climax thus reached, BRUTUS stands
on its pinnacle and establishes his faith
in them by this series of rhetorical ques-
tions. There is behind them all a
In this speech BRUTUS is primed bath by his own nobility of character and thf, strength of moral
rectitude, together with the roused fervour of his exploit. He has taken his position as leading
character in a sure and arresting way and now carries the action with a fine rhetoric. His
delivery is steady and his vigour powerful without being vehement. Here the man's character
suddenly emerges in its full grandeur. His passion is harnessed to reason and swayed by the
most wholesome sentiments. The diction of the speech offers the actor a rich medium of words
whose proper manipulation will yield fine dramatic quality and perform a rhetorical revelation
which shouting or slurring will neither forge nor indicate. The faculty of art is to reveal, not
to impose, and thelanguage of Shakespeare will be found to be visionary and to have the power
of realizing the clear spirit ivhich inspires it. Preserve this eloquence especially in this speech,
even when speaking less emphatically or with moderate speed, and allow the words their full
formation. This will be found to give a worthy devetopment to them without any undue stress
or over-particularization, especially in the passages which are of more moderate or parenthetical
nature. This will, in addition to the differentiation between principal and subsidiary lines,
enable the actor to give the speech a human appeal instead of making it a recitation. One
further point must be mentioned and that is this, that Shakespeare realized the impossibility of
power without rest or relaxation. Throughout his works there is ever the regard for this necessary
observance of the value of sinking from intensity into ease. This applies to character, situation,
scene, sequence and speeches. He dyes not attempt to pack any of these features with a complete
maximum of effect by continual pitchof the highest quality since his instinctive artistry realizes
that that effect is gained by contrast and not by any other means. Therefore do not cut indis-
criminately because certain lines do not seem to rise to the level of others. Study their relation-
ship to what precedes or follows and judge from this whether they be superfluous or not. In
this age when the fashion appears to be to throw lines away, frequently including the char-
acterization, naturally enough a great deal of Shakespeare appears superfluous and the pur-
pose of his construction disappears. But if we will consider the qualities that make him
' not of an age, but for alltime ', such observances are necessary.
BRUTUS. 1No, | not an oath : \ 2if not the 3face of men,
The 4sufferance of our souls, the time's abuse, —
5If these be motives weak, break off betimes,
And every man hence to his idle bed ;
So let "high-sighted tyranny 7range on
Till each man drop | by 8lottery. 9But if these, |
As I am sure they do, | bear fire enough
To kindle cowards | and 10to steel with valour |
The melting spirits of women, 11then, countrymen,
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 lzpalter? 13and 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 15cautelous,
Old feeble 16carrions and such 17suffering souls
That welcome wrongs ; unto bad causes swear
Such creatures as men doubt ; ubut \ do not stain
The 19even virtue of our enterprise,
Nor the insuppressive mettle of our spirits,
To think that or our cause or our performance
Did need an oath ; 20when every drop of blood
strength of moral conviction and a firm
warm zeal. The general treatment of
the lines is stronger than those just
delivered, but they do not become bla-
tantly declamatory. Let us feel a rich
temperament behind them.
[12] i.e., evade, vacillate, trick. This is the
first transitive use of the word, according
to the O.E.D. ' The form is that of an
iterative in -er, like faulter, totter,
waver, but no suitable primitive palt is
known, and no corresponding vb. is
known in any other language.'
[13] He intensifies his treatment here because
it is the concentration of his arguments
in relation to the first incentive to the
speech — the oath. A shade slower,
more deliberate, but on no account any
shouting.
[14] Again there comes a slight relaxation in
these next three and a half lines. He
quickens his pace and speaks with less
emphasis.
[15] i.e., rather more in the literal sense of
precautionary than crafty and deceit-
ful as some glossarists read. Cautel is
from Fr. cautele (13«A c. in Littrt)
adapted from Lot. cauteia from Roman
Law — precaution. Caut = p.pl. from
stem o/cav6re, to tak". heed.— O.E.D.
[16] A derisive epithet for elderly waverers.
Its more usual meaning is that of dead
flesh. Note the warmth of his epithets.
They are far from being of marble origin.
[17] i.e., souls suffering from these various
infirmities. By being patient and en-
during they tolerate the wrongs and
allow of their existence.
[18] He now becomes more earnest, more ap-
pealing and deliberate, working up to
'did need an oath ', when he again
becomes strong. Allow the words their
full expressiveness. This will, as be-
fore, give much more effect than mere
pace or artificial rhetoric.
[19] i.e., calm, equable, temperate spirit that
actuates us. — Malone. BRUTUS is
dedicating his own principles to the
task and so affirms its high quality.
[20] He resumes his steady strength. Almost
every one of his words from here to the
end is pointed.
SCENE I
THE TRAGEDY OF JULIUS CAESAR
27
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 2him.
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. No, by no means.
METELLUS. 4O, let us have him, for his silver hairs
Will purchase us a good opin i on,
And buy men's voices to commend our deeds :
It shall be said his judgment rul'd our hands ;
Our 5youths and "wildness shall no 7whit appear,
But all be buri'd in his gravity.
BRUTUS. 8O, name him not : let us not 9break with him,
For he will never follow any thing
That other men begin,
CASSIUS. "Then leave him out.
CASCA. 11Indeed he is not fit.
DECIUS. 12Shall no man else be touch'd but only Caesar?
[Meteor light.
CASSIUS. 13Decius, well urg'd : I think it is not meet
Mark Antony, \ so well belov'd of Caesar,
Should outlive Caesar : 14we shall find 15of him
A shrewd "contriver ; and you know his 17means,
If he 18improve them, may well stretch so far
As to annoy us all : 19which to prevent,
Let Antony and Ccssar fall together.
There is a distinct difference between the underlying sentiments of this speech and that of the former
' Give me your hands . . . ' Fundamentally, each proceeds from a common nobility of idea,
but whereas the first one is urgent with fidelity to the cause in hand in the bonds of high honour,
the second incorporates with this honour a fine personal regard for C.ESAR and a love which
tones the firmness of his utterances at one point into the sublimity of its image. But here the
word softens is not synonymous with weakens. There is no relenting in his purpose. His
ivish that the evil could be cured without shedding blood develops from the noble conception of
their determined act and is a fervent sentiment seasoning a fatal resolution. In our process of
reaching from one speech to the other, BRUTUS has been partially eliminated from the scene.
At the conclusion of his first big oration he turns away up stage and remains with his back to
the audience obviously charged with emotion and becoming involved in very profound thought.
This second speech is not merely a set piece. It is a product of that thought, of living mind
pregnant with highly developed emotion of a fine quality, a derivative of natural processes in
which the heart rises and declares itself through, but without altering, the contrary ethical
necessities of right and redeems them, from the impulses of ruthless murder, giving them a dignified
nature of their own. It is here that the rebuke of his fine and lofty admonition corrects the
determinating influence of excessive passion on the part of CASSIUS and enables him (BRUTUS)
to exhibit a nobility which is as profound and genuine as the truth it reaches to. Note
again the action of the easier passages and the principles of contrast referred to more than
once in earlier notes and their effect when combined with those they relieve.
BRUTUS speaks with a calm level firmness as opposed to the incisive and impetuous tones of
CASSIUS. He comes down to him.
BRUTUS. Our course will seem too bloody, Caius Cassius,
To cut the head off and then hack the limbs,
Like 20wrath in death and 21envy afterwards ;
22For Antony is but a limb of Caesar :
23Let us be sacrificers, | but not butchers, | Caius.
We all stand up against the spirit of Caesar,
And in the spirit of men there is no blood :
Separate this word from ' afterwards '
in order to obtain the meaning. He does
not want malice and implies so in a
definite way.
[22] A little less strength in this line. It is
purely explanatory.
[23] He speaks with a quiet strength. Pause
after ' sacriflcers ' and again for a
moment after ' butchers '. Don't stress
this word with violence. Its isolation
will almost suffice for its emphasis.
Remember the sentiments of the speech —
the self-comniand and dignity of BRUTUS.
His appeal is mare forceful by its notion
than by anything else. Also, he does
not wish to insult CASSIUS. He con-
tinues in the same treatment for the
following two lines.
ACT II, SC. I
[1] i.e., an individual act of baseness.
[2] He turns up as a man would who has
suddenly been moved by a strong emotion
as he has.
[3] Take the whole of this passage in earnest
haste after a very slight pause. Re-
member that they are conspirators organ-
izing a tremendous event. Their feel-
ings are primed ; BRUTUS has consented
to lead them and has infected them with
the fire of his own principles. Day is
at hand and matters are urgent. Note
that it is CASSIUS who begins the con-
versation, so that its rapid and sharp
intervention is quite easily achieved.
[4] METELLUS is insistent and afterwards
vividly explanatory. He keenly feels
the necessity and profit of CICERO'S
association in the venture. Make him
graphic and keep the scene alive.
[5] i.e., youth. Sound the ' th ' as in the
singular. This is an unusual plural
form.
[6] i.e., impulsiveness. This may or may
not be a singular form, but it is more
likely to be the plural where, as is com-
mon after s, ce, etc., the additional es
or s is omitted.
[7] i.e., smallest degree. It is an alteration
o/ wight in any wight, no wight, little
wight, the etymon of which word had
a diminutive meaning.
[8] Brutus turns and come* in very
authoritatively. Against the quick
earnestness of the preceding scene his
own firm strength thus is made to
stand out.
F9] i.e., to divide and share with.
[10 1 The company are for a moment silent
and submissive to BRUTUS. CASSIUS
says this quite simply and obediently.
[11] CASCA also subscribes to BRUTUS' judg-
ment in his own steady way.
[12] DECIUS, who is rather crafty in char-
acter, breaks the interlude with a slow
insistent query. It is obviously a lead
in for CASSIUS as ANTONY is the man
in DECIUS' mind. This new character
brings a variety into the scene as well as
serving to introduce the matter leading
up to BRUTUS' next big speech. We
have just had a period of relaxation
from the strong rhetoric of BRUTUS'
speech and we are about to approach a
further session of the same kind. We
have therefore to be led into it after this
intermission and without violence.
This is achieved first by DECIUS' artful-
ness and then by CASSIUS' impetuosity,
which develops out of a key that is at
first a little quicker variety of that of
DECIUS.
[13] As though awakening to a new and vital
idea. Don't hurry this speech at first,
but let it gather its pace and its vehe-
mence as it travels on. We are then
raised to the required pitch and no
jerked to it.
[14] Take this warningly up to ' all '.
[15] i.e., in. See Abbott, § 172. It ist
actually the same alternative form as
used at the present time. ' We shall find
ability in him ' or ' We shall find him
to be of great ability.' This latter form
is used when an intenser quality in
required and the actual text here is not
so much a substitution as an inde-
pendent and purposeful form.
[16] i.e., schemer.
[17] i.e., ambitions.
[18] i.e., finds scope for them.
[19] Becoming more emphatic in CASSIUS'
own way.
[20] i.e., like wrath resulting in death and
malice (envy) succeeding. ' Wrath '
here means righteous anger, which
would if they acted as suggested become
viciousness.
[21] Envy is from Fr. envie, Lot. invidia,
from invid-us, envious, related to
invidfire, to look maliciously upon.
28
THE TRAGEDY OF JULIUS C^SAR
ACT II
ACT II, BC. I
[I] Something of his personal feeling creeps
into his speech here and there is a
momentary mental disengagement from
the others. This it a real and earnest
wish. Note how the sentiment has risen
to complete purity in these two and a half
lines. This shows how great are his
feelings for CAESAR and requires a certain
disclosure of pure personal feeling. It
is only momentary, but as such it has a
great effect.
[2] From here BRTJTtrs leaves the element of
pure sentiment. It is a wise, artistic
piece of construction because it leaves
well alone. Any continued indulgence
in such a vein would weaken the char-
acter of the man as well as its own effect.
From here until the end of the speech he
speaks firmly but colloquially. The
pace is not quick by any means and the
words must have their due values. But
above all, let them interpret a strong
ordinance more than a pathetic appeal.
There is nothing of this about BRUTUS.
He moves to the C. addressing the
others as well.
[3] From here he quickens, emphasizing
only the important words. The rhetoric
and sentiment have now finished.
[4] i.e., clever.
[5] i.e., malicious.
[6] CASSIUS, however, is not quite appeased
and comes in anxiously.
[7] i.e., firm. Lit., grown into.
[8] He goes to Cassius and puts his hand
on his shoulder. He is colloquial and
kindly explanatory.
[9] i.e., kill himself out of distress for
C.ESAR.* This is the only killing or
harm that he is capable of.
[10] He speaks with an infusion of im-
patience and disgust with the man.
Don't be afraid to show his dislikes as
well as his likes. He puts his hand on
CASSIUS' left shoulder.
[II] i.e., it were good he should.
[12] TREBONIUS breaks in with a laughing
assurance of ANTONY'S impotency. It
is not a boisterous outburst, but confirms
the negligible estimate expressed.
[13] i.e., of.
[14] As the clock strikes, BRUTUS takes his
hand off Cassius' shoulder. '/'/.••
striking of the clock is an anachronism.
Clocks of this kind were not known until
1368. Water clocks (clepsydra) with
toothed wheels were known in Rome
about 140 B.C.
[15] CASSIUS continues his nervous analysis
of possible contingencies with this quick
interruption. It follows on TREBONIUS'
cautious injunction and shows that he is
more anxious about the plot than about
daylight. Make him quick and alert to
the possibilities he enumerates.
[16] See note 12, p. 4.
[17] The etymological meaning of the Lai.
superstitio is perhaps standing over a
thing in amazement or awe, excess in
devotion, etc. (Superstare, to stand
upon or over).
[18] i.e., general (Schmidt and Onions). It
probably means the firm opinion against
these things, the construction being
elliptical. ' Main ' in all its meanings
retains the primitive signification of
strong or absolute.
[19] i.e., prognostication, the foretelling of
the future, from the sense of vision
which the word contains.
[20] i.e., the sacrificial ceremonies and their
prophetic products. Entrails displayed
various signs which were regarded as
being portentous.
[21] i.e., visible. He directs their attention
to the sky where the meteors hare been
in evidence.
[22] i.e., unusual.
[23] A variant of augures, from aug-o, to
tell. A priestly collegium in Rome
whose members were in possession of
the knowledge necessary to make the
arrangements for taking the auspices or
1O, that we then could come by Caesar's spirit,
And not dismember Caesar? But, alas,
Caesar must bleed for it! 2And, 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 :
[3And 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. 6Yet I fear him,
For in the 7ingraft'd love he bears to Caesar — [Meteor light.
BRUTUS. 8Alas, 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 :
10And that were much he ^should, for he is given
To sports, to wildness and much company.
TREBONIUS. 12There is no fear 13in him ; let him not die ;
For he will live and laugh at this "hereafter. [Clock strikes one.
BRUTUS. Peace! count the clock. [Clock strikes two.
CASSIUS. The clock hath stricken three.
TREBONIUS. 'Tis time to part.
Meteor light. This is the last for the time being except a few
faint flashes right in the distance.
CASSIUS. 15But it is doubtful yet
16Whe'r Caesar will come forth to-day or no ;
For he is 17superstitious grown of late,
Quite from the lsmain opinion he held once
Of "fantasy, of dreams and 20ceremonies :
It may be these "apparent prodigies,
The 22unaccustom'd terror of this night
And the persuasion of his 23augurers,
May hold him from the Capitol to-day.
DECIUS. 24Never fear that : if he be so resolv'd,
I can o'ersway him ; for he loves to hear
('That unicorns may be 26betray'd with trees,
25 - And bears with 2; 'glasses, elephants with Dholes,
{Lions with 29toils and men with ^flatterers :
But 31when I tell him he hates flatterers,
various signs either in the heavens or
the earth or in sacrifices. — Seyffert.
See also note 5, p. 35.
[24] DECIUS speaks colloquially and with
artful assurance as well as treating
CESAR'S weakness with a sense of
humour. He is not so quick as CAS-
SIUS, being more assured. Keep the
two characters well marked and dis-
tinctive. DECIUS introduces an element
of light relief into the scene, though it
must not be funny but interesting in its
new development and characterization.
[25] Just a little quicker on these lines up to
' toils ', emphasizing the rest of the line
by slower pace.
[26] i.e., entrap, from Lot. tradgre, to de-
liver, hand over, the meaning having
become associated with treachery or
trickery. The unicorn was caught by
the lion in Spenser's Fairy Queen. The
latter hid behind the tree which the,
unicorn charged and so became secured
in the trunk.
[27] Steevens observes that bears were re-
ported to hate been trapped by mirrors.
Their gazing at their likenesses enabled
the pursuers to reach them with sure
aim.
[28] i.e., pits into which they fall and so are
captured.
[29] i.e., traps.
[30] There is a short dry laugh from CASCA.
[31] This line is taken quicker and the fol-
lowing one reverts to a slightly slower
pace as it states a point. Here his
sense of humour is very evident, but
modified to a subdued degree.
SCENE I
THE TRAGEDY OF JULIUS CAESAR
29
He says he does, being then most ^atter'd.
Let me 2work ;
For I can give his 3humour the true bent,
And I will bring him to the Capitol.
CASSIUS. 4Nay, we will all of us be there to fetch him.
BRUTUS. 5By the eighth hour : is that the "uttermost?
CINNA. Be that the uttermost, and fail not then.
METELLUS. 7Caius Ligarius doth bear Caesar 8hard,
Who 9rated him for speaking well of Pompey :
I wonder none of you have thought of him.
BRUTUS. 10Now, good Metellus, go along "by him :
He loves me well, and I have given him reasons ;
Send him but hither, and I'll 12fashion him.
CASSIUS. The morning comes upon 's : we'll leave you, Brutus :
13 And, friends, disperse yourselves : but all remember
What you have said and show yourselves true Romans.
BRUTUS. 14Good gentlemen, look fresh and merrily ;
Let not our looks put on our purposes ;
But bear 15it as our Roman actors do,
With 16untir'd spirits and 17formal constancy :
And so 18good 19morrow to you | every one.
They exeunt through the arch R. BRUTUS stands for a moment
looking after them, deep in thought. Then he sees LUCIUS asleep
beside the column above the exit. He calls gently, not loudly.
Then at ' It is no matter,' he walks up to his own seat, still
looking up at LUCIUS. His voice is sadly meditative as the lines
plainly imply.
Boy ! Lucius ! Fast asleep ! It is no matter ;
Enjoy the 20honey-heavy dew of slumber :
Thou hast no 21figures nor no 22fantasies,
Which busy care draws in the brains of men ;
Therefore thou sleep'st | so sound.
Brutus turns slowly and then sinks into his seat. After a
moment he leans forward and drops his head into his hands with
a long sigh. A moment or two's pause and then enter Portia
from the house. She wears a palla thrown loosely round her
shoulders and her hair is down. She comes to the edge of
the rostrum L., waits for a second as she looks at BRUTUS, and
then speaks. He raises his head, looks at her amazedly and then
rises and comes down c. as he speaks. (See note at the end of scene.)
At this point an effective and unique change in treatment takes place. BRUTUS remains the central
figure of our interest, but through PORTIA. InasenseShakespearerelieves his principal character
from a position which may bring a staleness to it, but at the same time keeps it in our minds as
the principal thought. Furthermore, added tothis resource is another. Hitherto the action has
been maintained by the masculine element and a fine pitch has been reached by this means.
Now a new element is introduced to heighten that pitch in a gentle way and bring a great increase
of emotional quality without violence, but with a leavening effect upon the whole; and as it
introduces a new mode into the scene so does it commence a new phase of development in the
'play. It is to be noted bow Shakespeare has grouped together his scenes con-
taining female interest at a point where the action begins to approach the material-
ization of its climax, using the higher intensity of woman's temperament to raise
the pitch at its most important point. As we travel through these scenes we realize
how that pitch is raised by the different degrees of intensity in its female characters and that the
one previous to the catastrophe is tinged with the distraction of the woman who here is drawn in
a firm and splendid mould. We see the effect of the play's action thus demonstrated in its most
sensitive characters whose reactions contribute to the growth of our own dramatic suspense.
Here, then, in brief, is a survey upon vital points of construction. The character of PORTIA
herself matches that of BRUTUS with its steadiness, its clear-sightedness, temperance and the
qualities of sentiment which permit the flow of honourable frankness and the appeal of a love
which is moving to a striking degree. It balances the overtaxed virtues of the man, steadies
his keel,redeems him from the trough of the conflicting currents of his passions and his ideals
and sets his head in the statelier passage of his true course. She is at first quietly
remunerative, determined against the cold and uncommunicative obstinacy of her husband,
until gradually the warmth of her determination increases from reason to appeal, from mind to
heart, and all within the bounds of a great and quiet dignity. She exposes a steady courage,
ACT u, sc. I
[1] Here there is a general laugh of a sub-
dued kind. Brutus turns his back
and moves up to the seat. They
realize that they have offended his
sensitiveness and immediately
desist, and DECIUS proceeds in a
normal way after just a moment's pause
during which they look at each other
in mutual recognition of the
situation.
[2] i.e., act upon him.
[3] i.e., disposition the necessary entice-
ment. Make DECrus very self-assured.
[4] CASCA'S weight brings the scene to its
steady purpose.
[5] Brutus turns. He shows no sign of
his feelings except a little weariness.
[6] i.e., latest.
[7] METELLUS speaks colloquially and with
point.
[8] See note 20, p. 15.
[9] i.e., reprimanded in a severe way.
[10] BRUTUS i« quite easy and assured.
[11] i.e., by his house. Make that your way
home. — Malone. By is from O.E.
bi, big, beside, near.
[12] i.e., model, influence. Through O.F.
from Lot. faction-em from fac6re to
make.
[13] He crosses to the others. They
pull their hoods over their heads as they
mount the steps. They stop and
turn as he continues to speak.
[14] Coming down stage and facing
them. Keep him dignified and easy.
[15] Merely the impersonal for the general
situation and intent.
[16] i.e., unweakened.
[17] i.e., form or show of composure.
[18] He raises his right hand in salute
and they do the same.
[19] i.e., morning, from M.E., morwe,
mom, shortened variant of morwen,
morn.
[20] This compound has puzzled some editors,
but if they had looked at it with BRUTUS'
feelings at this moment it would have
been quite clear in its meaning. Honey
is merely figurative for sweetness or
blessing, and at that moment what could
be of greater sweetness or blessedness to
BRUTUS than sleep ?
[21] i.e., images, disturbing dreams.
[22] A duplication of the preceding ' figures,'
to effect emphasis. It means ' appear-
ance or notions of a disturbed kind '.
It is derived from phantasma (see note
4, p. 24, and note 19, p. 28) and
has a number of loose variations in
meaning, although they all relate to the
root meaning of making visible.
30
THE TRAGEDY OF JULIUS C^ISAR
ACT II
ACT II, SC. I
[1] Let his amazement be apparent but not
overdrawn. She is to him as to us a
totally unexpected figure, and the cir-
cumstances of her appearance are some-
what bewildering.
[2] This is a compound, not an adjective.
[4] Modern editions, ' You've '.
15] i.e., unkindly, not roughly.
(6] i.e., waving motion.
[7] BRUTUS drops his head.
[9] There is another slight increase of
emotion in these lines where her highly
wrought feelings under a touch of strong
control urge rather than command their
utterance. It is a sign of the heart
under the will.
1 10] i.e., bodily appearance.
[11] i.e., mental condition. The word is
frequently used in this sense throughout
Shakespeare.
[13] BRUTUS is not brusque but merely replies
with a statement of simple fact in a
kindly way. Her own speech has made
it effectively clear that he has betrayed
his mental condition. There is no
argument against that, but he is still
averse to telling her. As we shall see,
there is an artistic value in this early
detachment contributing to a later situa-
tion. Don't make him violent or rude
here. There is no excuse for it. She
has approached him in a proper way
and he has no reason for being merely
bad-tempered.
[14] Her rejoinder is quietly shrewd.
BRUTUS knows what he is doing well
enough. So does she.
[15] Brutus breaks away from her.
Her arguments are too penetrating and
he does not want to yield his secrets to
her, for her own sake probably as well
as for reasons of state. He moves
away from her to R.C. Get the feel-
ing of deliberate and complete detach-
ment from her without unkindness. He
wants to keep his facts to hirnself and
so shuns her advances to him. This
also gives a reason for PORTIA to con-
tinue as she does. She is determined to
accomplish her purpose, and having
failed this time she goes on again.
[16] He turns to her. Again avoid any
deliberate rudeness. He turns front
again with a sigh after he has said this.
[17] She proceeds, quite calmly and with
complete self-possession. She shows
her courage in this. In this passage she
works up to ' add unto his sickness ? '
with a penetrating but subdued strength
of tone, letting the facts speak with
knowing art.
[18] i.e., healthy, from physic.
and yet a womanly humility, a simplicity and yet the power of a wholesome strategy, and from
out of these contributions to fine character and emotion comes an honest portrait of BRUTUS
himself in his toils that makes us feel the more for him, a ml still more as he realizes his deficiencies
against the modest and self-evident beauty and completeness of PORTIA'S genuine virtues. The
entire scene is a great example of the fine handling of sentiment, and the Clever weaving together
of relief with heightening, of change of interest with the principal character still further developed
by means other than Us own.
PORTIA. 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 2raw-cold morning.
[3] She speaks the fallowing speech from the rostrum and then comes down to Brutus. Her
answer is quietly reproving, not appealing. She shows her gtod sense, her determination
to come to facts. He is not there for his health's sake. Don't make her emotional at the
opening. There is a deep feeling underlying all that she says and it is this feeling which
actually promotes what she does say, but it is groomed ivith great courage and resolves itself
into a methodical recapitulation purposed as a reproof necessary before the appeal of softer
sentiment. She is letting facts speak for themselves.
PORTIA. 3Nor for yours neither. 4Y'ave ^ngently, Brutus,
Stole from my bed : and yesternight at supper
You suddenly arose and walk'd about,
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 6wafture of your hand
Gave sign for me to leave 7you :
[8] Here is the beginning of the change of treatment to a mire emotional style. Hitherto she
has confined herself to simple statements. Now her personal anxieties commence to phrase
themselves and a slight change eloquent of this commences and grows to greater evidence on
' Dear my lord '. But handle it with care.
8so I did,
Fearing to strengthen that impat i ence
Which seem'd too much enkindl'd, and withal
Hoping it was but an effect of humour,
Which some time hath his hour with every man.
9It will not let you eat, nor talk, nor sleep,
And, could it work so much upon your 10shape
As it hath much prevail'd on your "condition,
I should not know you, Brutus.
[12] Here she comes close to him and puts her hand on his arm. It is the direct effort of
her deepest feelings to achieve her purpose. Don't make her impulsive, but deeply earnest
and deliberate. At last she reaches her point and extends her feelings after her modest censure.
It will be seen how carefullythe scene is balanced, its body being a temperate stricture with a
direct emotional quality introduced in this final line or so. It draws character.
12Dear my lord,
Make me acquainted with your cause of grief.
The attitude of BRUTUS is one of a man tired with his perplexities to which may be added a certain
precautionary reserve. It has already been explained that the humanity of BRUTUS is to be
kept in view. He opened the scene in a state of great weariness and added another sleepless
night to what we know quite well to have been a series of the kind. He craves for sleep and
envies LUCIUS, who can enjoy it even in the garden and against the pillar. In his condition
he is not normal. He is out of tune with himself, strained to a point that resents intrusion
merely because his mental balance is disturbed by its excessive cares. The beauty of the scene
lies in the change that takes place when he is brought back to the warmer climate of his own
kindlier and true self. He is not rude or violent, but simply a human being of a great nature,
overloaded with cares and remote with tiredness, and as the scene proceeds we see his struggle
against himself until at last he yields in the deep emotional reconciliation of ' O ye gods . . . '
Played thus, we have character, human nature, and a fine poetic beauty all developed in a delicate
and dramatic way.
BRUTUS. 13I am not well in health, and that is all.
PORTIA. 14Brutus is wise, and, were he not in health,
He would embrace the means to come by it.
BRUTUS. 15Why, so I do : 16good Portia, go to bed.
PORTIA. 17Is Brutus sick, and is it ^physical
SCENE I
THE TRAGEDY OF JULIUS CAESAR
31
To walk Unbraced and suck up the 2humours
Of the dank morning? What, | is Brutus sick,
And will he steal out of his wholesome bed,
To dare the 3vile contagion of the night,
And tempt the 4rheumy and 5unpurged air
To add unto his sickness?6 7No, my Brutus ;
You have some 8sick offence within your mind,
Which by the right and virtue of my place
9I ought to know of : and, | 10upon my knees, |
I ucharm you, by my 12once commended beauty,
By all your vows of love | and that great vow
Which did incorporate and make us one,
That you unfold to me, \ yourself your half,
Why you are heavy : | 13and what men to-night
Have had resort to 14you ; for here have been
Some six or seven, | 15who did hide their faces
Even \ from darkness.
BRUTUS. 16Kneel not, 17gentle Portia.
PORTIA. I should not need, if you were gentle Brutus.
18Within the bond of marriage, | tell me, | 19Brutus, |
Is it excepted I should know no secrets
That appertain to you? Am I yourself
But, as it were, in zosort 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? 21If it be no more,
Portia is Brutus' harlot, not his wife.
BRUTUS. 22You are my true and honourable wife,
As dear to me as are the ruddy drops
That visit my sad heart.
[23] She seizes at once upon this opening and reaches right into his reasoning with a swift and
eloquent vehemence in the final accomplishment of her purpose. Don't let the scene slip back
into anything of its former nature. Then the dignity of pace and delivery were effective.
Now it would be dull. The whole scene has been transformed by a quicker pulsation, at which
it must be maintained. But guard against sheer speed alone ; this will ruin it. It is not
speed that is required so much as colloquial earnestness, the heart and will of a woman
urging their combined power to a dear achievement.
PORTIA. 23If 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, 24Cato's daughter.
Think you I am no stronger than my sex,
Being so father'd and so husbanded?
25Tell me your counsels, I will not disclose 'em :
I have made strong proof of my constancy,
Giving myself a voluntary wound
26Here in the thigh : 27can I bear that with patience
[21] Having worked up to this pitch she
consummates it by a compelling state-
ment— just one and no more. She
gains her emphasis by a change of
tempo, slowing considerably and at the
same time relaxing any vehemence she
may have accumulated, and speaking
with her arms still round him in a quiet
way but dwelling upon the marked words
with the slightest suggestion of a welling
heart. Her emotion in this speech is the
moment that comes when the flood of
feeling, hitherto restrained, is released
and is very full. Don't, however, make
her weak.
[22] BRUTUS' men response to this is deeply
tender. He takes hold of her arms.
His gentler nature is touched at
last.
[24] A great Roman statesman and general.
[25] Here the vehemence relaxes. She has
gathered her strength in it the which she
now consolidates in a simpler form of an
earnest appeal.
[26] This is her climax, but she does not
dramatize herself. Her reference is
calm and deep. It bears its own
significance. She touches the front
of the thigh to indicate the femoral
artery, and not the side of her hip. The
artery lies in the inner side of the thigh.
[27] Her arm goes up round his neck once
more and she draws as near as she can
to him and makes her final plea.
ACT II, SO. I
[1] i.e., with clothes loose and scanty.
[2] i.e., moistures, from Lat. umor-em,
fluid, moisture. Its development into
the personal relationship was due to the
fact that moods were believed to be the
vaporization of one of the four chief
corporeal fluids, blood, phlegm, choler,
melancholy or black bile and thus a
person's disposition came to be known
as his humour.
[3] This is an inverted epithet meaning
contagious vileness or the sickness
which unhealthy night transmits.
[4] i.e., moist, damp. The O.E.D. quotes
this as the earliest example of the word.
[5] i.e., unwholesome.
[6] Right on this cue Brutus turns
and is about to go up stage »•/,,•„ /, •
is stopped by her direct asseveration.
His movement is simply an emotional
one. He realizes that she is getting
nearer and nearer to the truth and
nearer to himself, and for a moment his
feelings urge him to a point of breaking.
[7] She comes forward a I it Hi- as she
says this. She is firm but quiet. She
knows the truth only too well. BRUTUS
realizes that she is circumventing him
and stops.
[8] i.e., offending sickness.
[9] Just a slightly emphasizing slowness in
this half of the line. Do not point the
obligatory idea. She is not thrusting
BRUTUS' duty before him since she is
much too clever and gracious to do that.
There is a tender consideration for him
and a gentle argument of facts assembled
with kindness running through her
scene, a humility behind the censure,
and that humility asserts itself in the
next words.
[10] She sinks upon her knees. BRUTUS'
reaction is an almost uncontrollable
flood of emotion which he checks simply
by clenching his fists and dropping his
head. Remember that he has his back
to the audience. Her treatment is a
deep and tender sincerity. Don't force
the appeal. It will, if done with dignity
and simple sincerity, force itself.
[11] i.e., conjure you in a potent way.
[12] i.e., the beauty that he once com-
mended.
[13] The quiet pleading changes to an equally
quiet gravity. Her own intuitions are
evidencing themselves and she appre-
hends a danger of some conspiracy.
[14] Brutus looks up at this in surprise.
[15] She slows up more still on these remain-
ing words and looks with a strong,
steady gaze at BRUTUS. It is a look
which tells that she realizes the full
significance of what she reveals.
[16] Brutus is moved by this and conies
to her and raises her up.
[17] i.e., having the attributes of a noble and
delicate nature. In the Romance lan-
guages it meant belonging to a noble or
well-born family and hence passed into
an epithet for a person possessing the
best qualities of spirit or character. Note
her retort to him and that there is no
comma after ' gentle.' ' I am gentle
Portia ; but are you gentle Brutus ? '
[18] Here, her emotion now develops more
ostensibly. She embraces him and
pours out her plea with a rapid and
earnest warmth. (Keeping any form of
embrace until now helps to strengthen
the marked change in the character of
the scene.) The woman in her becomes
free, and appeals from feeling. She
brings the scene into a swifter and more
emotional mood. It thus changes in
treatment and nature, giving itself as
well as PORTIA its artistic variation and
leaving the more reserved quality behind.
[ 19] This is an emphatic addition, not a
minor parenthesis. Realize the pitch of
the woman's feelings. The very sub-
stance of her speech declares what they
are like.
[20] i.e., special sort, only for special occa-
sions.
32
THE TRAGEDY OF JULIUS C^SAR
ACT II
ACT II, SC. I
[1] BRUTUS' voice bears the note of a moved
heart and he lifts his face upward as
he makes this compelling invocation.
Don't by any meansmake it anoutburst,
but an appeal of deep fervour.
[2] He lays his face against hers and
embraces her very closely.
[3] He immediately disengages him-
self from her and turns towards
the sound of the knocking. After
the preceding passage of quiet and
highly developed emotion, the scene takes
an abrupt change. The abruptness,
however, is somewhat modified by this
short transitional speech of BRUTUS
spoken hurriedly as he takes PORTIA
across to the steps L. It is midway be-
tween the two extremes containing the
sentiment of the one continued with the
haste of urgency which anticipates the
next.
[4] Taking her across to the steps L.
[5] i.e., explain.
[6] i.e., the nature of my troubles. This
was the current term for shorthand
symbols.
[7] With great surprise. Here is LIGARIUS
at this early hour, a sick man, but yet
come as soon as word has reached him
from BRUTUS.
[8] Moving up the steps and motioning
to LUCIUS to stand aside. As he does
so, LIGARIUS throws back the hood of his
cloak. First amazement now changes
to pleasure.
[9] This is merely an exclamatory word here.
[10] i.e., graciously receive, through Fr.
bouch,fromLat. vocare, to call, + safe.
Hence through grant or bestow, give
leave, and so receive. LIGARIUS com-
mences to speak in a somewhat weak
way, but he is not decrepit. A sick man
who rises from his bed at the first call of
a dangerous enterprise and who comes
unaided by dead of night to hear what is
afoot has determination and great spirit.
His sickness was merely a mild recurrence
of malaria.
[11] He brings Ligarlus down the steps.
[12] ' It was a common practice in England
for those who were sick to wear a kerchief
on their heads, and still continues among
the common people in many places.' —
Malone. It was also a Roman prac-
tice.
[13] He begins to take the scene in hand by a
dogged defiance of his weakness and an
obvious fund of strength waking to Us
activity. He is really announcing the
fact that he knows what is afoot and is
merely waiting for its confirmation.
That is why he is here.
[14] BRUTUS can see the presence of this
vigour and is drawing it forth. LIGAR-
IUS is tentatively feeling for the an-
nouncement and BRUTUS is likewise
tentatively introducing it. There is
suppressed keenness on both sides, not a
sudden crash into dramatic fireworks.
Here again Shakespeare shows his craft
as well as his art. He nurses his effects
and works up to them, knowing the value
of such a process and the ineffectiveness
of too sudden a contrast of differing
subjects.
[15] i.e., willing, an ear that is willing to
listen to remedies against evil.
[16] LIGARIUS seizes at once upon the implied
fact and his strength grows full. He
commences with power modified by deep
and glowing appreciation of BRUTUS
and working up to the final ' What's
to do ? ' His speed is but moderate
and his strength is gained by the way
he handles his lines. As he com-
mences to speak he throws off his
kerchief.
[17] i.e., one who calls or who pretends to cell
up spirits by magical rites. It comes
through Fr. from Lot. ex-orcizare,
exorcize, from Or. efopici£«is, (ef, out +
opicof, oath).
[18] i.e., numbed. Lit., itmeans dead. His
And not my husband's secrets?
BRUTUS. 1O ye gods,
Render me worthy of this noble 2wife !
Thus we reach the end of a scene through all its changes which accumulate in a moment of fine
romance and beauty. PORTIA'S nobility has supplemented that of BRUTUS and its appeal lies
in her staunch fidelity, her quiet determination, her relentless though gentle pursuit of BRUTUS
her husband through BRUTUS the conspirator, and her final achievement in reaching his heart
and redeeming him from the plague of his lonely agonies of mind by one short moment of
intimate companionship. Yet even here tragedy stalks upon its prey, for the very knock is
a knell to the fulfilment of both their hopes since it eventually leads BRUTUS to CESAR'S house
and thence to the Senate and its fatal deed, and PORTIA is not to know the charactery of those
sad brows, but is to be left a victim to her imagination, a fact which accounts for her distress
when she appears again.
[Knocking off R. a second after BRUTUS' embrace. This knock
must be sharp and loud. It recalls the play to its action.
Lucius commences to wake up.
3Hark, hark! one knocks : 4Portia, go in a while ;
And by and by thy bosom shall partake
The secrets of my heart :
All my engagements I will 5cowstrue to thee,
All the 6charactery of my sad brows.
Leave me with haste.
PORTIA exits into the house L. BRUTUS turns and addresses Lucius
who has gone off R. and now re-enters, followed by Ligarius.
This entrance is the lower one on the rostrum as used by the
Conspirators. LUCIUS stands just above the entrance supporting
LIGARIUS, who wears a paenula and his scarf under the hood. (See
costume glossary.)
The following short scene restores the action to its more virile nature and should be played with a
sense of the active notion lying underneath it. The last scene with PORTIA introduced and
employed certain elements already named and fulfilled a necessary function, developing the
drama in a specifically changed form. This form, however, by its very nature is not suitable
as an ending to this very important first scene of the act, which must be restored to its more
forceful objective and so lead once more to the main business of the play. Relief for the time
being and, with it, development on a more delicate basis must be converted into the main stream.
Thus we must have attack beginning in a modified way and leading up to an exalted finish.
Both men realize what is in the other's mind, though there is no definite statement of fact. They
are vigorous with the same thought, but neither phrases it, the thought being C.ESAR'S death.
Lucius, who's that knocks?
LUCIUS. Here is a sick man that would speak with you.
BRUTUS. 7Caius Ligarius, that Metellus spake of.
8Boy, stand aside. Caius Ligarius ! 9how ?
LIGARIUS. "Vouchsafe good morrow from a feeble tongue.
BRUTUS. UO, what a time have you chose out, brave Caius,
To wear a 12kerchief! Would you were not sick!
LIGARIUS. 13I am not sick, if Brutus have in hand
Any explo^ worthy the name of honour.
BRUTUS. "Such an exploit have I in hand, Ligarius,
Had you a 15healthful ear to hear of it.
[Lightning flash and distant thunder.
LIGARIUS. 16By 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 17exorcist, hast conjur'd up
My 18mortified spirit. 19Now bid me run, \
spirit has died in its ambition to right
wrong, but BRUTUS has called it up from
the dead.
[19] Observe an absolute meaning in this, the
next clause being entirely separate both
in subject and construction. He will
do this and he will do that as his spirit
grows in its enthusiastic intensity,
' What's to do ' being merely another
phase of his exuberance which cannot
otherwise be expressed. Make him
almost beyond himself in this exuber-
ance. It is this which carries away his
sickness and there is no ground for
arguing that he is too weak to shmo feel-
ing. Excitement has frequently cor-
rected greater indisposition than CAIUS
LIGARIUS i« suffering from, more especi-
ally as he is well enough to leave his
h-juse in the raw March morning.
SCENE I
THE TRAGEDY OF JULIUS CAESAR
33
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. 2But are not some whole that we must make sick ?
BRUTUS. 3That 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. [A vivid flash and loud thunder.4
BRUTUS. Follow me then.
Quick fade out as BRUTUS turns to go. LIGARIUS will be seen just
to move a little way after him. Drop tabs to set braziers R. and
L. for the next scene.
NOTE. — PORTIA, who was aware of BRUTUS being concerned in this
dangerous enterprise, stabbed herself in order to show her fortitude
and so encourage BRUTUS to confide in her. She should, therefore,
walk with a distinct limp, a feature which was inaugurated by
Miss Phyllis Neilson-Terry in Mr. Robert Atkins' production of
the play.
ACT II, SC. I
[1] BRUTUS is quick and vigorous. His
thought is for the benefit of suffering
Romans in general.
[2] His exuberance gives way to a more
concentrated feeling. LIGARIUS does
not think of the forthcoming event in the
terms of the general benefit. He bears
C^SAR hard because of his rating.
There is a vindictive nature in this line
which changes his former treatment into
something more sinister. Note that his
last three words should be handled very
emphatically.
[3] He brings this line out with his deter-
mination fully alive. There is no
introspective tendency. He crosses
Ligarius to the steps and turns.
[4] The Folio gives the stage direction for
thunder here. It would be obviously
very difficult to play the scene with
PORTIA with thunder and lightning
about. Whether it was intentionally
dropped or not in Shakespeare's time is
not certain. There are no stage direc-
tions indicating that the whole scene is
played under any disturbance other than
a meteoric display, probably changed
from the thunderstorm because of the
scene being played in the orchard ; and
in the next scene we go back to the thun-
der once again, which has apparently
been in full swing all the time. What is
obvious is that as these three scenes all
take place during the same tempestuous
night, that the convenience of the
exhalations is adopted to suit the cir-
cumstances and that with the end of the
scene the thunder is reverted to as the
circumstances no longer require it to be
otherwise.
34
THE TRAGEDY OF JULIUS (LESAR
ACT II
ACT II, SC. II
SCENE II
SCENE II
CAESAR'S house.
ILLUSTRATION No. 3
CAESAR'S house.
In this scene we are brought into contact with the title-role of the play
for the first time in any intimate manner, and from now until his
death we scarcely lose sight of him. Here then for the actor is a very
important scene since in it he has to make it evident why BRUTUS
loves C/ESAR and why the CONSPIRATORS hate him. The part of
JULIUS CAESAR is the title-role because he is responsible for the action
of the play. It is his character which provokes the conspiracy and
which also makes BRUTUS the leading part because upon him depends
first the direction of the plot and afterwards its sole development.
In CAESAR then we have to see qualities which would attract BRUTUS
and yet something which would likewise give him offence and give
him some common cause with CASSIUS and he rest.
Then let us examine him in a very brief way with the balanced eye
of BRUTUS and not the prejudiced view of CASSIUS. Let us again
forget tradition which may have begun well, as no doubt it always has
done, but which through time has treated C^SAR more as a dummy
figure than as a real character. In his first appearance he presented
us with a very real conviction of a man in a more than ordinary state
of mind. He was a living as well as a suffering one. And now
what do we see ? There is no epilepsy approaching to shake him into
superstitious weakness. He is surrounded by prodigies, appealed
SCENE II
THE TRAGEDY OF JULIUS C/ESAR
35
to by a wife hitherto unimpressed by such things to consider them,
confronted by a strong warning from the augurers not to stir from
his house, and yet his only reaction is a real and strong courage.
He is afraid of neither danger nor death. Valour and not pomposity
was CAESAR'S attribute, and for that BRUTUS honoured him. As our
study of the scene will show, C^SAR is valiant and in a very dignified
way. Added to this valour is kindliness and charm. His yielding
to CALPURNIA'S unusual apprehension is, as the context shows, one
of consideration and not of opportunity to escape from his own fears.
He treats her kindly and his reason as expressed on her behalf to
DECIUS is perfectly genuine. He uses the familiar ' you ' to each
as well as to the others at the end of the scene. We then shall see that
he expresses attractive and gracious qualities and such as would
attach BRUTUS to himself. Indeed, we. may say that the full title of
the play as ' The Tragedy of Julius Casar ' has an application more
to the man than to the play. He had great qualities but his faults
betrayed him and his pride became his death. And it is this quality
which we see presented among his higher ones. Someone has
observed that C^SAR alludes to himself by this name with great fre-
quency during the early part of this scene, which makes him ob-
noxious. This is granted. Our point is not to eliminate CAESAR'S
faults, but to show them among his more attractive qualities. CESAR'S
self-obsession is patent all the time, but other qualities take their
place as well. Men of great self-opinion sometimes exhibit qualities
which make us feel sorry that they are so self-opinionated. The
sudden flash of wilful obstinacy, almost fanatical, against the senate's
authority or opinion shows us the man that CASSIUS knows and hates
and BRUTUS sees as contrary to the good of Rome. Here was the
ambition that roused the malice of the one and the censure of the
other, the independence from any authority higher than himself and
a self-consuming pride that determines his acts, his judgments and
his decrees. Here in brief is the man for BRUTUS to love and for
CASSIUS and his friends to reach to with their daggers. Here is
something worthy of that love and of that hate that gives us a cause
for BRUTUS' own individual war within himself and for the intense
animosity of the CONSPIRATORS. Without this strength and dignity
and courage, without this intense and abnormal manifestation against
the ruling body, both BRUTUS and the rest would be foolish and the
play itself empty of conviction.
Thunder. Enter CAESAR, in his night-gown Jand without his wreath.
He comes from L. above the column to L. of c.
C^SAR. 2Nor heaven nor earth have been at peace to-night :
Thrice hath Calpurnia in her sleep cried out,
' Help, ho! they murder Caesar! ' 3 Who's within?
Enter a SERVANT from R. below the pillar. He goes down on one
knee. He wears a tunic with long loose sleeves that hang down
in a point at the wrists, giving a modified mediaeval effect.
SERVANT. My Lord?
CAESAR. 4Go bid the priests do 5present sacrifice,
And bring me their opinions of 6success.
SERVANT. I will, my lord. [Exit R.
Enter CALPURNIA. She is in her night attire, but wears a cloak as
well. Her hair is about her shoulders. She comes to CESAR'S L.
CAXPURNIA'S fear is of a very persuasive kind. It is not that she is weaker than PORTIA, but under
the circumstances is naturally more apprehensive even as PORTIA herself developed the same
ACT n, sc. ii
[1] This will be a long white gown like his
tunic, without the clavus lotus.
[2] C.ESAR himself does not show fear. He
is sending to know what the predictions
are simply as a ruse of the dramatist's
to be able to show his lack of fear when
the news comes. He is calm and
collected.
[3] Sharply, to R. below pillar.
[4] Preserve a dignity and an authority,
without pomposity.
[5] i.e. , immediately. ' Sacrifice ' is a
verb, not a noun. See note 23, p. 28,
in the Capitol. See marginal note, p. 43.
[6] i.e., of good fortune.
36
THE TRAGEDY OF JULIUS CAESAR
ACT II
ACT II, SC. II
[1] Invest him with a real dignity and
courage. Like CALPURNIA, he must
contribute a strength to the scene which
mere pomposity would destroy.
[2] The full glossing of this word has been
left to this instance because the meaning
here requires to be shown in its deriva-
tion. It is M.E. cerymonye adapted
from Lot. cserimonia, sacredness,
sanctity ; awe, reverence ; exhibition of
reverence, religious rite, etc. Hence the
performance of a solemn act and the
omen drawn from it. Here the meaning
becomes omen, or portent.
[3] Just a slight hesitancy which shows the
intense feeling of her fear.
[4] Now her pace becomes slightly quicker
as she is relating an introductory fact
upon the compulsion of her feelings.
[5] An anachronism. This was a system
of policing in England from the middle
of the 15th c.
[6] Don't overact, but take it slowly with a
dreadful sense of its significance and
using the expressive nature of the words,
especially ' whelped '.
[7] i.e., given birth to its young.
[8] Keep the tame treatment. Note the pic-
torial word ' yawn'd '.
[9] Increase the tempo slightly and retain
the expressive nature of the words.
Realize the highly imaginative woman
that is picturing this. Also note the
change in tense which here and four lines
lower ' Horses do neigh ' seems to be the
result of mental perturbation in the
character, not the printer.
[10] i.e., correct.
[11] The antecedent of this word is ' war-
riors '.
[12] i.e., let fall in fine drops. It is not
known before the IQth c. and its origin
is obscure. It is possibly a diminutive
of rare M.E. drese, O.E. dreosan, to
fall; with Wh c. dryseling.— O.E.D.
[13] Note how from here her intensity in-
creases. It shows how her feelings have
worked up with her vivid imagination.
Don't let it run away, but feel the reality
of the thing carrying her along up to the
climax ' squeal about the streets ' and
so save the whole speech from being
merely a relating of facts. Bear in mind
the approach to CESAR'S speech and that
the contrast for his effect is being con-
structed.
[14] The verb to hurtle is sometimes confused
with to hurl ; but the essential notion in
hurtle is that of forcible collision, in
hurl that of projection. Hurtle is a
diminutive and iterative of hurt in its
original sense of ' strike with a shock '.
The meaning of ' collided ' is the one
implied here and shows how vividly
CALPURNIA'S mind experiences its
vision.
[15] That ghosts had thin and squeaking
voices was a belief even in the time of
Homer N.V.
[16] After the climax of her speech she pauses
as though still held by the tension of her
feelings and then breaks beneath it.
She puts her hands together on CJSSAR's
L. shoulder.
[17] i.e., custom, common experience, all that
is normal.
[18] Just another slight pause as she reaches
the last stage of her resistance and then
her head falls on his shoulder with her
complete surrender to fear.
[19] Against what has preceded, OSSAR
remains calm and dignified. He is not
loud or forced in any way, but displays
a serenity of mind and treatment and
makes himself akin to BRUTUS. Here
we have his portrait set in reposeful and
almost sublime courage against the back-
ground of his wife's dreadful vision, a
picture of delicacy and strength. Don't
by any means let him rouse himself in
a pose of showy bravery. Keep him
refined. He is simply not afraid, and
men of real courage are not vulgar in
symptoms in the later part of her scene. Therefore prevent her from being hysterical. That
would weaken her and her effect. Her present purpose as a dramatic character is to intensify
the higher emotional element of the play in the process that has already been alluded to, and
to assist in increasing the tension as it draws nearer to its climax. She must therefore have
strength and her fears be the convictions of a very sensible woman. Her first line in this speech
establishes the character of the. rest and Shakespeare thus defines the situation immediately.
Like PORTIA, she too has had her apprehensions, as her previous lines show, but unlike PORTIA
she comes right down to her subject as dramatic requirements demand. The character of the
scene does not allow for any introductory development ; the tension must begin at once. She
has the woman's instinct which realizes that danger is waiting on her husband. C.ESAR him-
self reveals that fact in his opening line and we have another example of Shakespeare's dramatic
economy in the concentration of fact to avoid anything that shall weaken the required consistency
of the situation. Therefore present CALPURNIA at the outset as a woman whose heroism is
equal to that of PORTIA and who is compelled under the circumstances to display her distress
in a more vehement way. There are no cowards in this play and the action of her dread is
only rightly effected if it is shown to be that of a brave woman unused to superstition being
compelled to acknowledge the penetration of something which is beyond superstition and which
has the emphasis of reality.
Added to this is the historical fact that she was aware that C/ESAR'S life
was in danger.
CALPURNIA. What mean you, Caesar? think you to walk forth?
You shall not stir out of your house to-day. [Low thunder.
CJESAR. Caesar shall forth : the things that threatened me
Ne'er look'd but on my back ; when they shall see
The face of Caesar, they are vanished.
This speech requires a strict control. It is highly emotional but its power and its function will be
lost if it is taken either merely as a recitation or a sheer rush of vehement declamation. Bear
in mind the state of the woman's mind. She is appalled by what she has seen and heard and
is transformed from a natural composure by her experience. She has to create the terror that
is abroad and give to OESAR a setting for his own quiet courage and undisturbed dignity.
CALPURNIA. Caesar, I never stood on 2ceremonies, |
3Yet now | they fright me. 4There is one within,
Besides the things that we have heard and seen,
Recounts most horrid sights seen by the ^atch.
6A lioness hath 7whelped in the streets ;
8 And graves have yawn'd, and yielded up their dead ;
9Fierce fiery warriors fight upon the clouds,
In ranks and squadrons and 10right form of war,
11 Which 12drizzled blood upon the Capitol ;
13The noise of battle 14hurtled in the air,
Horses do neigh and dying men did groan,
And ghosts did shriek and 15squeal about the streets.
16O Caesar! these things are beyond all 17use,
18And I do fear them. [Muffled thunder.
C^SAR. 19What can be avoided
Whose end is purpos'd by the mighty gods?
Yet Caesar shall go forth ; for these 20predictions
Are to the world in general as to Caesar.
CALPURNIA. 21When beggars die, there are no comets seen ;
The heavens themselves blaze forth the death of princes.
C^SAR. "Cowards die many times before their death ;
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.
Re-enter SERVANT R. He kneels.
such declarations. The situation itself
will help greatly.
[20] Used literally in the sense of something
which foretells and not, as is usual, what
is foretold.
[21] CALPURNIA continues with an urgent
heart and tones in with CESAR'S quiet
and sensitive dignity by being sincerely
appealing without any hysterical weak-
ness. This scene can be as human and
moving as that between BRUTUS and
PORTIA. Remember that she too, like
PORTIA, moves her husband's heart.
[22] He continues as before in a quiet undis-
turbed way. There is no hard or even
firm opposing of his wife's appeal ;
only a sublime reasoning. This makes
him still more resemble BRUTUS and
offers a ready reason for his love. It
also preserves his gentility toivards his
wife which the forceful declaration
would destroy.
SCENE II
THE TRAGEDY OF JULIUS C.ESAR
37
What say the augurers?
SERVANT. iThey would not have you to stir forth to-day.
Plucking the entrails of an offering forth,
They could not find a zheart within the beast.
[SERVANT exits R. Muffled thunder.
C/ESAR. 3The gods do this in shame of cowardice :
Caesar should be a beast without a heart
If he should stay at home to-day for fear.
No, | Caesar shall not : Manger knows full well
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. 5Alas, my lord,
Your wisdom is consum'd in Confidence.
Do not go forth to-day : call it my fear
That keeps you in the house and not your own.
7 We '11 send Mark Antony to the senate-house,
And he shall say you are not well to-day :
8Let me, upon my knee, prevail in this.
CAESAR. 9Mark Antony shall say I am not well,
And, for thy 10humour, I will stay at home.
Enter DECIUS /rom R. below the pillar. He comes to R.C. and salutes.
At his entrance CALPURNIA looks up with instinctive fear. She
senses his errand. DECIUS and all the other CONSPIRATORS wear
their togas in this scene with their swords concealed beneath
ready for the Senate-scene.
Here's Decius Brutus, he shall tell them so.
DECIUS. "Caesar, all hail ! good morrow, worthy Caesar :
1 come to fetch you to the 12senate-house.
C^SAR. 13And you are come in very 14happy time,
To bear my greeting to the senators
And tell them that I 15will not come to-day :
^Cannot, is false, \ and that I "dare not, | falser :
18I will not come to-day : tell them so, Decius.
CALPURNIA. 19Say he is sick.
CAESAR. 20Shall Caesar send a lie?
Have I in conquest stretch 'd mine arm so far,
To be afeard to tell graybeards the truth? |
2 Decius, go tell them Caesar will not come.
DECIUS. 22Most mighty Caesar, let me know some cause,
Lest I be laugh 'd at when I tell them so.
C;ESAR. 23The cause is in my will : I will not come ;
That is enough to satisfy the senate.
24But, for your private satisfact i on,
"Because I love you, | I will let you know.
hostility, and we realize in a slight way,
his curious compound.
[19] CALPURNIA'S anxiety overreaches her
and stands out in contrast against his
collected quality.
[20] In a moment CJESAR becomes the tyrant
again. Don't make him noisy, but
expressive of the irritant that any ques-
tion of his courage against the senate
•provides. It shows the fanatical nature
of his determination against them.
[21] He pauses a moment or two before he
speaks this line, and then resumes with a
less spirited but still emphatictreatment.
[22] DECIUS is persistent in his purpose, and
asks this in his characteristically
specious way.
[23] This is again short and sharp.
[24] He now softens as an act of personal
deference to DECIUS. His hostility has
been towards the senate and not against
DECIUS, and he now acts towards him
in the manner of a close friend to
make this apparent. This is another
touch of graciousness in his charac-
ter.
[25] Make this gently emphatic. He is
making his personal feelings clear.
ACT n, sc. ii
[1] The SERVANT treats the speech with
something of his own personal feeling,
subservient but obsessed by the ominous
nature of his message. Keep him in
tone with the scene and refrain from any
violent outburst. Calpurnia looks up
and moves free from Caesar.
[2] Douce gives seven quotations from Virgil
and Ovid wherein the heart or the breast
is referred to as the seat of bravery. —
[3] CESAR'S reaction is to ignore the warn-
ing nature of the sign and interpret it
as a meaning that the gods picture him
as a coward, ' shame ' meaning to put
his cowardice to shame (by showing him
as a beast without a heart). It shows his
challenge to any element of danger, even
though told by the most authoritative
means. He primes up and adds more
force to his declaration here, but avoids
anything robust. He is very real in his
courage and addresses himself to the
threat with a convincing sincerity. It
is the actual action of danger's threat
that stimulates him thus like a man
aroused and not frightened by the hos-
tility of another. The diction of the
language is strong and dignified and
offers the characterization in its syllables.
[4] Be careful to maintain the proper treat-
ment and refrain from anything bom-
bastic.
[5] She moves up to him once again. Her
speech is taken on the note of desperation
which becomes so effective that C^ISAR it
moved to yield to her. But although the
feeling is intense it must not be hysteri-
cal. Her desperation reaches out to
resourcefulness, which hysteria would
not do. Her mind is alert with but not
possessed by fear. Some terrible con-
viction is at work and not mere weakness
of self-control.
[6] i.e., self-confidence.
[7] As though desperately searching for
some preventative.
[8] She sinks down upon her knees beside
him, an her resourcefulness expires.
[9] CAESAR'S spirit turns from courage to
true chivalry. After a slight pause,
he stoops and raises her up, speaking
with great kindness. This qualifies his
courage as being something more than
pompous egotism as he yields not to
danger but to his wife's distress. It i»
necessary therefore to make his former
treatment very convincing in its integrity.
We feel that he is great and also human
and his treatment of her winning and
gracious.
[10] See note 3, p. 29. CJESAR draws her
to him and she drops her head on his
breast.
[11] DECIUS is very specious throughout his
scene. He has the manner of the man
who has a purpose that needs this as-
sumption of studied politeness to seek
its own ends.
[12] Shakespeare sets this particular meeting
in the Capitol. See marginal note,
p. 43. At this Calpurnia puts her
hand nervously on Caesar's arm.
[13] Caesar touches her hand reassur-
ingly and looks at her with a kindly
smile. Then he turns and speaks
to DECIUS in a quiet and affable
manner.
[14] i.e., fortunate or opportune. DECIUS'
coming shall make him a messenger to
the senate.
[15] Make the final clause quietly emphatic.
[16] Here he asserts himself a little more
strongly.
[17] A little stronger still. In both these
instances he is rising against the senate
and his peculiar abnormality upon this
r'nt shows itself. Don't overdo it, but
us feel that he is not afraid of telling
them the truth or afraid of them in any
sense at all.
[18] He just comes quietly down to his usual
but gracious dignity after this spark of
38
THE TRAGEDY OF JULIUS C^SAR
ACT II
ACT n, sc. ii
[1] He draws CALPURNIA to him and the
whole tone of his speech is one of great
kindness and sympathy. In addition
to its painting in a very agreeable
clement of character, it also furnishes
something for DECIUS to work with.
He has to win C.ESAR away from this
binding mood and the labour of his
forthc'nning speech has its rightful
weight to pull.
[2] This icurd is Lat. statua from sta —
root of stare, to stand. The O.E.D.
states that there is no evidence of tri-
syllabic pronunciation of statue and
that statua is the intended word. This
dates from 1400 and goes up to 1691.
Statue dates from the very early 14th c.
They are the same word in different
forms.
[3] Just a slight emphasis as much as to say,
' You understand what she feels '.
[4] He places his cheek gently against hers.
[5] DECIUS note proceeds to his task. He
hands the facts to him on a gold plate as
it were with all the speciousness at his
command. He is at work upon a very
difficult and dangerous task with an
immense issue depending on it.
[6] Note the accent on the middle syllable.
(7J i.e., eagerly seek, be urgent.
[8] i.e., extending the metaphor of ' reviving
blood ' interpreted, into qualities and the
benefits they will ensure in operation.
This also includes stains. DECIUS at
this point is at the height of his urgency
and duplicates his words, as is charac-
teristic of anyone under the circum-
stances.
[9] i.e., souvenirs or perhaps gifts. The
Folio variant is adopted here because it
indicates the metrical stress.
[10] Probably recognition, personal know-
ledge of him, wishing to be noticed by
him. All these effects of DECIUS express
the fact that his attack is one of flattery.
[11] CALPURNIA looks up at CAESAR. He
stands thinking for a while and then
moves up to the chair and sits still,
thinking it all over. Calpurnia
moves up just a little, anxiously
watching him and clearing the line of
sight for him. The short silence will
hold because whatever CESAR does now
is important and we see him thinking,
but what is not clear. His cymment is
pleasant but non-committal. Is he
affected by DECIUS' flattery or is he not ?
After a second's pause he speaks in a
measured pace but looking in front of
him and not at DECIUS.
[12] Decius, secretly urged by the hope of
success, moves a little towards but
not up to him.
[13] Accent this word and not ' can '. It is
used in the sense of declare or announce.
See notes 2, p. 61 ; 24, p. 96.
[14] Administer this with careful pace. It
is a very big fact.
[15] DECIUS waits just a second or two to
ivatch the effect. CAESAR remains out-
wardly impassive. He is a cautious
man, even though ambitious, and we.
note that DECIUS has to proceed with
other incitements, showing that he is not
meeting with any obvious success until
at last he introduces the notion of the
senate's thinking him a coward as a
final instrument. This prescribes
CAESAR'S quiescent attitude and demon-
stration of his character. At this
present moment CALPURNIA moves up
to the side of Caesar's chair in
apprehension and places her arm on his
shoulder in a modest act of indicating
restraint. Let us realize her drama
since it assists the main one. She and
DECIUS are opposite forces. Which will
•win ? CJSSAR shows no committing
sign as yet: but he is thinking.
[16] He proceeds a little quicker and easier.
[17] He again ivaitsfor a momentto see if his
words are effective, but there is still no
response, then he proceeds with a
^Calpurnia here, | my wife, \ stays me at home :
She dreamt to-night she saw my 2statua,
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 3on her knee
Hath begg'd that I will stay at home 4to-day.
DECIUS. 5This 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,
6Sigmfies that from you \ great Rome shall suck
Reviving blood, and that great men shall 7press
For 8tinctures, stains, 9reliques and "cognizance.
This by Calpurnia's dream is signifi'd.
CAESAR. "And this way have you well expounded it.
DECIUS. 12I have, when you have heard what I can 13say :
And know it now : 14the senate have concluded
To give this day a crown to mighty 15Caesar.
16If you shall send them word you will not come,
Their minds may "change. Besides, it were a 18mock
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.'
19If 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 22liable.
C^SAR. 23How foolish do your fears seem now, Calpurnia!
I am ashamed I did yield to them.
24Give me my robe, for I will go. [Very low thunder.
Exit CALPURNIA above the pillar L.
The following entrances are arranged thus in this edition only.
Enter Publius from down R. He comes R.c. and salutes. Then he
joins DECIUS, who moves back as PUBLIUS enters.
slight increase of speed in a further
effort. Keep him colloquial and with-
out any forcefulness other than a
judicious emphasis of the facts in a
specious way.
[18] i.e., taunt.
[19] Here he grows venturous as a last
resource. Take this passage after a
further slight pause with artful slowness
and careful emphasis upon the important
words, making it more suggestive than
direct. He is of necessity out to accom-
plish his purpose and he is making one
last bid for success and must introduce
a note which almost asks ' Are you
afraid ! ' Observe the word ' whisper '
and the graphic picture it presents of the
senators in the act of communicating
something of supreme moment. A
whispering senate pictures a greater
significance than a shouting one in a
matter of this kind, and DECIUS' very
clever phrasing brings the whole circum-
stance so potently before CAESAR. And
here he wins. Where he could not
reach CJESAR with flattery he succeeds
by the challenge to his courage.
[20] This brings Caesar to his feet in
great dignity and he turns his eyes full
upon DECIUS, who at once becomes
intensely obsequious and apologetic.
He speaks his remaining lines quickly
but of course expressively.
[21] i.e., procedure, all that you do, or a pos-
sible allusion to this action in particular.
Calpurnia drops down on his L.,
anxiously wondering what the moment
will bring forth.
[22] i.e., my fore is subje.ctive to reason, or,
seeing an act in all its possibilities. It
is another instance of the inverted order
of words.
[23] CAESAR has quickly realized the matter in
DECIUS' vital observation and turns to
CALPURNIA. He is not ungracious in
his tone, but his peculiar pride with its
dominating property neutralizes any
softer feelings at the challenge of the
' whispering senate '. The change is
quite consistent with a man of this
abnormal nature and is not a violent
one.
[24] Here his quiet but firm determination
asserts itself. She realizes the position
and at the end of his line turns and
makes a sudden exit above the
pillar. Her feelings are on the point
of breaking and she leaves to mourn.
She has striven and lost and she knows
ivhat the end will be.
SCENE II
THE TRAGEDY OF JULIUS CAESAR
39
xAnd look where Publius is come to fetch me.
PUBLIUS. Good morrow, Caesar.
CAESAR. Welcome, Publius.
Enter Brutus, who salutes R.C. and then joins the others up R.
DECIUS just slightly nods to him that C^SAR is going to the Senate.
Casca comes just behind him and he salutes and moves up a step
or two only, disclosing Ligarius.
2 What, Brutus, are you stirr'd so early too?
Good morrow, Casca. 3Caius Ligarius,
Caesar was ne'er so much your enemy
As that same ague which hath made you llean.
What is 't o'clock?
Enter SERVANT with CAESAR'S mantle from up L. He puts it round
his shoulders and buckles it. He then stands aside to L. if he
has finished before his coming cue to exit. This mantle is not the
toga since CAESAR is still in his nightgown. It is a lacerna, which
is buckled on the right shoulder and hangs right down in front
of him and behind. It is lifted up and falls over his left arm.
It can be of any required colour. If required, use an extra servant.
BRUTUS. Caesar, 'tis 5strucken eight.
CXESAR. I thank you for your 6pains and courtesy.
Enter Antony. He is followed after a slight pause by Cinna, and
after him come Metellus and Trebonius. ANTONY comes up
to C.ESAR. All salute on their entrances.
See! Antony, that revels long o' nights,
Is notwithstanding up. 7Good morrow, Antony.
ANTONY. So to most noble Caesar.
CAESAR. 8Bid them prepare within :
[Exit the SERVANT up L.
I am 9to blame to be thus waited for.
Now, Cinna : | now, 10Metellus : | what, | Trebonius !
UI have an hour's talk in store for you ;
Remember that you call on me to-day :
Be near me, that I may remember 12you.
TREBONIUS. Caesar, I will. [Aside] 13And so near will I be,
That your best friends shall wish I had been further.
C.ESAR. "Good friends, | go in and taste some 'wine with me ;
And we like friends will straightway go "together.
[He turns up so that he exits up L. with ANTONY on his L.
BRUTUS [aside]. 16That every like is not the same, O Caesar,
The heart of Brutus * 'yearns to think upon!
A quick dim and drop the Tabs and strike the fittings.
Thus ends a very important as well as a very difficult scene, and it is to be hoped that the necessary
restrictions of space have not made the analysis too unapt to indicate something of its qualities.
It is alive with drama and fine characterization based on a clever technique, and in its short
length it creates a sketch of C^SAR, giving us the complete essentials for a logical argument
of the drama of the play.
ACT II, SC. II
[1] DECIUS stands watching C.&SAR with a
slight smile, but otherwise not exhibiting
any other sign of his satisfaction.
Caesar turns. His voice is one of
easy and pleasant surprise, and through-
out the remainder of the scene he is
extremely affable and gracious, as well
as cultured and dignified.
[2] He dwells a little more on this.
[3] There is a slight pause while the two
in en look at each oth er . <-.)•: SAR has
censured LIGARIUS severely, and it is a
little surprising to see him here. But
after a moment or so he accepts the ap-
pearance of LIGARIUS as a sign of
reconciliation and graciously turns the
past into a light jest.
[4] i.e., thin. Used merely in the literal
and physical sense and nothing more.
[5] This is an old p. pi. of the verb to strike.
[6] i.e., trouble (in thus attending upon me).
[7] They shake hands and after ANTONY'S
line he just stands a pace up stage.
Positions just previous to the Servant's
exit.
3oo<
[ 1
=>...
[8] To the SERVANT who is standing L.
by the pillar.
[9] For the confusion between to and too,
see Othello, p. 46, note 13.
[10] Metellus moves up to Cinna and
so discloses Trebonius.
[11] Keep him kindly in his treatment.
[12] He turns to Antony and has a word
with him just to allow of this aside.
[13] He turns to the audience and delivers
this.
[14] He addresses the general company
who move down stage, all except
BRUTUS, who remains up R.
[15] He turns up so that he exits with
ANTONY on his L. All salute CJ5SAR
and follow him off up L., leaving
Brutus standing alone. After a
moment's pause whilst looking after
them, he goes to the R. of the chair
and stands with one hand upon the back
as he speaks.
[10] Quietly and gravely.
[17] i.e., grieves or mourns. Shakespeare
never uses yearn in the sense of to long
for. The proper sense is intransitive.
Ern is the true word, whilst yern is a
form due to A.S. prefix ge. Again,
era is certainly a corruption of M.E.
ermen, to grieve. It is a verb distinct
from yearn, to desire, or, be eager for.
— Skeat. FI gives earnes.
40
THE TRAGEDY OF JULIUS CAESAR
ACT II
ACT H, SC. IU
SCENE III
A street near the Capitol.
[1] i.e., safety, the security or safety
afforded by friendly companions. It is
frequently used by Shakespeare in this
sense of freedom from danger. It was
adapted from Lat. securus, from sg-,
without + cura, care. The Shakespear-
ean sense is the late Latin one in which it
passed into the Romance languages.
[2] i.e., is being replaced by the danger of
hostile conspiracy of those who were his
close friends.
[3] i.e., sincere friend. This word was used
in this sense in respect of friendship be-
tween men as well as in the more erotic
and familiar sense between the sexes.
[4] i.e., pleader, or more likely in the sense
of one attached to him by sentiment and
loyalty. He has alluded to the false
friends and as a contrast has signed
himself ' lover ', designating himself as
an adherent or friend. This meaning,
which is only offered as probable, is now
obsolete and dates from the end of the
lith c.
[5] i.e., that virtue is never without the
malicious envy of others. It is from
Lat. semulation-em, a noun of action
from semula-ri.
SCENE IV
Before the house of BRUTUS.
PORTIA is fully dressed. LUCIUS
wears a light grey paenula.
[SCENE III
Same as Act I, Sc. III. First pair of grey curtains.
A street near the Capitol.
Enter ARTEMIDORUS, reading a paper.
' Artemidorus the Cnidian, who, by teaching the Greek eloquence, became acquainted with some
of BRUTUS' friends, and had got intelligence of most of the transactions.' — Plutarch.
Take this scene quietly and with grave feeling, stressing the names and not the injunctions.
By doing this, the proper meaning of the letter is developed, which is to warn C.ESAR against
the persons mentioned, and the stressing of the necessary change of phrase which is used in
the process is avoided.
The doubling of this part with that of the SOOTHSAYER is wrong because the latter icould
not have the intimate knowledge necessary to be able to chronicle the names of the CONSPIRATORS.
The SOOTHSAYER prognosticates as a mystic; ARTEMIDORUS is an informer acting upon
given knowledge. Added to these facts, the characters of the men are quite different. This
man is a wistful and sincerely loving friend ofc&SAR ; the SOOTHSAYER an impartial mysterious
messenger of fate. ARTEMIDORUS wears the Greek himation. Note how effective this little
scene is in its function and its character. We have just seen C.ESAR surrounded by his enemies,
all smiling and affable. With a gentle strategy they have closed in upon him and secured him
for their purpose. Here we have the warning of a single warm heart nursing that situation
with its care and giving a peculiar dramatic emphasis to the lurking tragedy. He adds to
this situation by his quiet melancholy and in his few lines after the letter tells us of himself
and his sentiments in the same concentrated way that has evidenced itself in the construction
of other parts of the play.
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
wronged Cams Ligarius. There is but one in mind in all these men,
and it is bent against Ccesar. If thou beest not immortal, look about
you : Security 2gives way to conspiracy.
The mighty gods defend thee!
Thy 3lover, ARTEMIDORUS.'
Here will I stand till Caesar pass along,
And as a 4suitor will I give him this.
My heart laments that virtue cannot live
Out of the teeth of 5emulat i on.
If thou read this, O Caesar, thou mayest live ;
If not, | the Fates with traitors do contrive.] [He moves to R.
A quick dim out of the lights on the word cue.
SCENE IV
Repeat the set of the preceding scene.
Before the house of BRUTUS.
It has already been pointed out that Shakespeare has grouped the scenes
containing the women of his play into an almost unbroken unit,
and the reasons for this have been given. We now reach the third
and last of these particular scenes and find that the office of the female
character now passes from the contributory to the entire function of
emotional stimulation. Here we find the character of PORTIA as
the principal one of the scene and wrought to a highly concentrated
and nervous tension in which the action in its passage receives its
own intensification in this critical stage of development towards the
. big proportions of the approaching climax. The dramatist now
selects the strong-nerved, strong-willed and strong-controlled woman
of an earlier scene and shows her in complete subjectivity to fear and
straining imagination, which thus continues the nursing of the
situation by ARTEMIDORUS in a much higher degree of woe. It is
a period ' Between the acting of a dreadful thing And the first
SCENE IV
THE TRAGEDY OF JULIUS CAESAR
41
motion ', and we are thus lifted into a dramatic experience of that
interim, brought to an emotional realization of its development and
made to feel that tragedy is growing behind the scenes.
The scene is short and rightly so. Nothing more is needed. The
stately Stoic PORTIA is in that condition of mind which leaves her
thoughts like an untended flock to stray upon their own impulses
and feed her imagination with fears that create phantasmas. Remem-
ber that BRUTUS did not return to her, but left his house when he took
LIGARIUS to CAESAR and she knows no more than she knew when we
last saw her. This left her to her apprehension, and it is that
apprehension that has been working upon her ever since, and
this has been a worse torment than fact. Her resourcefulness, her
thorough grip of facts so completely manifested in her last scene
have completely disappeared. Hence the need for such a careful
study of her character in that scene. She now exceeds CALPURNIA'S
fears by distraction and her dreams by "a bustling rumour
like a fray ". She works the scene up to a point of delirium and
this moment is gently taken, sustained and cleverly modified by
the ominous, visionary SOOTHSAYER walking slowly and with a
fixed look across the stage to the Capitol from his own house,
where he has been waiting for the appointed time. His character
maintains the drama of the scene in his declaration of the future,
adding a quiet confirmation to the fearful hazardings of PORTIA.
It is a point of fine art which handles the situation in this way and
takes an emotional climax to a higher pitch with greater impressiveness
than distraction itself can reach, and gently lowers it without destroy-
ing dramatic interest. Handle the scene, therefore, with these thoughts
in view and do not waste it for lack of insight. To attempt to do
more than suggest its treatment in note form is an impossibility. The
artist's individuality must perfect that.
PORTIA. *I prithee, boy, run to the 2senate-house ;
3Stay not to answer me, but get thee *gone.
Why dost thou stay?
LUCIUS. 5To know my errand, madam.
PORTIA. 6I would have had thee there, and here ''again,
8Ere I can tell thee what thou shouldst do there.
9O "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 !
II Art thou here yet?
LUCIUS. 12Madam, what should I do?
Run to the Capitol, and nothing else?
And so return to you, and nothing else?
PORTIA. 13Yes, bring me word, boy, if thy lord look well,
For he went sickly forth : 14and take good note
What Ccesar doth, what ^suitors press to him —
16Hark, boy ! what noise is that ?
LUCIUS. 17I hear none, madam.
PORTIA. 18Prithee, listen well :
I heard a bustling 19rumour like a 20fray, \
voice half-paralysed with terror. She
grips LUCIUS and draws him to her with
a convulsive start.
[17] He shows a certain amount of fright
occasioned by her own sudden fear and
strong grip.
[18] Keep it low but very intense.
[19] i.e. , a clamour, outcry ; noise, din.
Now archaic. From Lot. rumor-em,
ace. of rumor, noise, din.
[20] A slight pause after this word and she
remains stiff with her fear. This is
something she heard in her mind as a
sinister herald.
ACT II, SC. IV
[1] She speaks hurriedly and as though her
mind is anywhere but in the scene. As
she speaks she just urges him away
from her and forgets him.
[2] A strained and frightened look comes
into her eyes. LUCIUS must wait just a
second or so and then make a gesture as
though about to ask her what he is to do.
[3] With a touch of hysterical treatment
suggesting the highly wrought state of
her nerves.
[4] This is accompanied by a convulsive
gesture illustrating her disordered mind
and developing into some further gesture
of her intense nature accompanied by a
suppressed ' oh! ' which immediately
turns into her next line. This in its
turn is wrought out of her tortured
feelings.
[5] LUCIUS replies in a simple but concerned
way.
[6] Again giving the idea of the agony she is
experiencing. Her nervous suspense is
tremendous. This speech requires to be
treated with an immense tension, which
would develop the distraction that
sanctions the propriety of uncontrolled
thought and forgetf ulness. She is almost
on the point of collapse and this would
occur but for the very intensity of her
profoundly disturbed emotions.
[7] i.e., returned, and not implying a
double journey. This is a frequent use
of the word in Shakespeare.
[8] Until she knows what the circumstances
are she cannot tell him what to do.
[9] She turns from him in a desperate effort
to control herself and prevent herself
from telling the circumstances of her fear,
which as yet is only an apprehension,
and if expressed may endanger BRUTUS.
[10] i.e., the power of controlling her know-
ledge.
[11] At the end of her last line she suddenly
turns in terror towards the Capi-
tol, drawn to it by her fear. She then
sees LUCIUS and the fact that he is still
here and has not brought her any essen-
tial facts wrenches at her already over-
strained anxiety.
[12] The boy is himself becoming distracted,
and is not merely plain-spoken. His
treatment must in a modified degree be
sympathetic with that of PORTIA. He
is not, of course, in the same highly -
wrought condition as she is, but as a
part of a very serious scene his anxiety
to do what he is told and this perplexing
incompleteness of his mistress's instruc-
tions, coupled with her obvious mental
distress, affects his own temperament.
Also, this obvious sign of his own strain
helps PORTIA to realize the necessity of
controlling herself.
[13] In an attempt both to ease him and rectify
herself she puts her hand on his
shoulder and does what she can to
steady her voice, which still trembles
with tension under this deliberate
restraint. It is good for reasons of
characterization and also for the fact that
she has a further intensive pitch to
establish in a few mvments. It gives her
respite and contrast at the same time
but maintain* a sense of her strained
condition.
[14] She just hesitates before saying this as
though there is a necessity to guard
against a great deal that is urging for
question. She makes this slowly em-
phatic, although within the nature of her
suppressed tension. Her mind is still
working independent of her tongue, as
we see immediately.
[15] The word is here used as one who
presents some petition. She wants to
know who the men are so that she can
satisfy herself as to what is intended.
If these suitors include certain men
about whom she is apprehensive, she
knows the worst.
[16] This comes suddenly and sharply with a
42
THE TRAGEDY OF JULIUS C^SAR
ACT II, SCENE IV
ACT II, SC. IV
(1] Her fear creates it anew as an actuality.
She loses hold of her feelings, and her
words rise up to terrified cry on
'Capitol'. She clutches the sides of her
head.
[2] Note the boy's intenser phrasing of his
line. He now is almost at the same
pitch as PORTIA.
[3] He stops, turns and conies to her.
[5] The fact of her knowledge of him has
already been referred to. Here she
relates his former warning with his
present intention and her fears seek their
dreadful confirmation.
[6] i.e., if cfiSAK will be of such benefit to
himself. . . .
[7] This comes out at last.
[8] See note 22, p. 19.
[9] i.e. , all with a common purpose.
[10] i.e., spacious. Literally, emptier, but
emptier because more spacious.
[11] The shock of the substantiation is proving
itself and she fears her tongue under the
circumstance. She puts her hand to her
brow and speaks faintly but tensely.
[12] She declares that she is afraid of herself.
[13] Here her feelings do escape her for a
moment and she releases her thought in a
short spasm of emotion.
[14] See note 8, p. 10.
[15] She suddenly realizes her indiscretion
and says this to herself.
[16] She turns to Lucius and tries to cor-
rect herself and account for what she has
said. It is a great effort on her part
and after it she stops and turns away
almost on the point of collapse, and so
leads in to her next phrase.
[17] She makes a supreme effort and rises
to a forced lightness which is practically
hysteria. She posset LUCIUS across to
R. Her powers are giving out and the
scene closes on her last valiant attempt
to preserve her conscious utterance.
The word ' merry ', which means glad-
some and cheerful, is the final effort of
her stoic grandeur and valour translated
by her reduced condition into its own
terms.
[18] Lucius turns and the lights dim
rapidly, so that we see no more.
JAnd the wind brings it from the Capitol.
LUCIUS. 2Sooth, madam, I hear nothing.
Enter the SOOTHSAYER.
This entrance must be precisely timed to its word cue. The situation is a highly-wrought one,
but it will not hold itself: it is not complete. This entrance of the figure of foreboding fate
makes it so and the action passes instantaneously from PORTIA to the SOOTHSAYER. PORTIA
figures the warning of doom in her fears. The SOOTHSAYER hears it in truth. His curious
simplicity and individuality brings the sense of something more than ordinary on to the
stage, and he moves slowly and steadily across the stage to R. PORTIA feels him
although she does not look at him until he crosses her direct line of vision and then her eyes
follow him with a fearful look. She was present at his first meeting ivith CAESAR and heard
his warning. As he reaches R. she suddenly breaks her tension and moves
quickly to him and stops R.C.
PORTIA. Come hither, 8fellow :
Which way hast thou been?
[4] The temptation to read meanings which may not exist is one always to be guarded against,
but it is not beyond the bounds of temperance to entertain the idea that these two lines are not
purely introductory to a scene, but that they contain a certain definite dramatic significance.
PORTIA'S query is one that assumes that he has been going about the streets, and against it
his reply has the emphasis of a contrary. He has been waiting in seclusion, a mystic,
attending the arrival of a portentous hour in the knowledge of what is to be. Now that
it has arrived, he is going forth to try to intercept the calamity which he knows to be imminent.
Whether this is so or no does not greatly affect the situation, but the idea is at least less disturb-
ing than many which are forced on an unwilling text. His tones are quiet and possess a
certain musical melancholy. She is sharp and anxious.
SOOTHSAYER. *At mine own house, good lady.
PORTIA. What is 't o'clock?
SOOTHSAYER. About the ninth hour, lady.
PORTIA. Is Caesar yet gone to the Capitol?
SOOTHSAYER. Madam, not yet : I go to take my stand,
To see him pass on to the Capitol.
PORTIA. 5Thou hast some suit to Caesar, hast thou not?
SOOTHSAYER. That I have, lady : if it will please Caesar
To be so good to 6Caesar as to hear me,
I shall beseech him to befriend himself.
PORTIA. 7Why, 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, 9common suitors,
Will crowd a feeble man almost to death :
I'll get me to a place more 10void and there
Speak to great Caesar as he comes along. [Exit R.
PORTIA. 11I must go in. 12Ay me, how weak a thing
The heart of woman is ! 13O Brutus,
The heavens 14speed thee in thine enterprise!
15Sure, the boy heard me. 16Brutus hath a suit
That Caesar will not grant. O, I grow faint.
17Run, Lucius, and commend me to my lord ;
Say I am merry : come to me again,
And bring me word what he doth say to 18thee.
Rapid dim on word cue and lower the Tabs if an interval is
intended, which is not advised. Otherwise open the curtains
on the following scene.
ACT III, SCENE I
THE TRAGEDY OF JULIUS CAESAR
43
ACT THE THIRD
SCENE I
ACT III, SC. I
ACT III
SCENE I
ILLUSTRATION No. 4
Rome. Before the Capitol.
In view of the complex drama of this scene only one general observation
will be made leaving the detailed examination to be dealt with by the
sub-headings and notes. The Third Act of an Elizabethan play
develops the catastrophe or turning-point of the drama. The pre-
ceding acts prepare the quantities which this act resolves into a single
individuality and concentrates all foregoing activities into a combined
form and determinate action. The nature of the dialogue and the
progress of each minor situation has now a critical vitality which
must be carefully recognized in order to enable them to perform the
full function of the act.
Before the rise of the curtain, the
SOOTHSAYER, ARTEMIDORUS,
LUCIUS, with a fringe of CITI-
ZENS, take up their positions on
the stage, whilst the SENATORS
are standing on the rostrum and
the rest of the CITIZENS are in
the lower bays R. and L. These
are in darkness.
Rome. Before the Capitol.
Historically, the murder of
Caesar took place in the
Curia Pompeii near Pom-
pey's Theatre.
The statue of Pompey at the
back of the set is of heroic
size. It was against the
base of this that Caesar was
driven and which became
stained with his blood.
The diagram shows the posi-
tions after CAESAR'S entrance,
those mentioned opposite
being in their opening posi-
tions.
44
THE TRAGEDY OF JULIUS C^ISAR
ACT III
ACT III, SC. I
[I] C.&SAR regards him for a moment and
then speaks quietly and fearlessly.
[2] Just a second's pause whilst the two
stand looking at each other, after which
Caesar moves up two or three
steps so as to leave the SOOTHSAYER as
an isolated figure looking straight out
to the audience as he realizes the assured
truth of the catastrophe. As Caesar
mounts the first step, Artemidorus
moves forward, but not too close, to
CESAR. Everybody is alert to this.
He speaks rapidly and urgently. This
treatment is followed by the other suitors.
Make them contributory to the effect of
the final battle between the rival forces.
It strikes the first critical note of the
scene and the contest is waged with the
SOOTHSAYER gazing steadily out in
front waiting for the issue of this contest.
Caesar turns facing Artemidorus
from the step.
[3] M.E., cedule, sedule — O.Fr., cedule —
Lot. scedula, a scroll or short note.
[4] DECIUS comes towards C.ESAR.
[5] Increase the urgency.
[6] i.e., comes nearer to his own personal
concern.
[7] i.e., personally.
[8] i.e., attended to.
[9] Strong.
[10] This word is from sir. The additional
syllable had probably no definite origin,
though explained by Minsheu as the
interj. ah or ha. It is a term used to
men or boys, expressing contempt,
reprimand, or assumption of authority
on the part of the speaker. — O.E.D.
The following diagram shows the move-
ments of those chiefly concerned.
The lighting is such that only the SOOTHSAYER, ARTEMIDORUS
and LUCIUS with the fringe of the CITIZENS are seen. C^ISAR
enters from L. below the rostrum. He wears a purple toga
and white senatorial tunic. He advances into the circle of light
and behind him come the others in the order shown in the dia-
gram. As CAESAR reaches c. he stops looking at the SOOTHSAYER.
The principle of playing this scene in this restricted lighting is
to enable it to create its own locality as in Elizabethan days.
Then the stage would be set at the back for the Capitol, whilst this
scene would be played in the foreground as in a street and the
locality would simply change as CAESAR advanced to his seat. As
CASSIUS' line ' Come to the Capitol ' implies that the scene is not
yet laid in the Capitol, and as the SOOTHSAYER tells us that he
is going to seek a place ' more void ', it is better for the sake of
illusion to eliminate the definite setting of the Capitol and at the
same time provide as much room as possible for acting purposes.
There is no ceremonial retinue and the CITIZENS remain silent.
CAESAR carries a large scroll and wears his wreath. All the CITIZENS
both in this and the following scene, are in drab-coloured clothes.
CAESAR. xThe Ides of March are come.
SOOTHSAYER. Ay, Caesar ; but not gone.
ARTEMIDORUS. 2Hail, Caesar ! read this Schedule.
DECIUS. 4Trebonius doth desire you to o'er-read,
At your best leisure, this his humble suit.
ARTEMIDORUS. 5O Caesar, read mine first ; for mine's a suit
That touches Caesar 6nearer : read it, great Caesar.
CAESAR. What touches us 7ourself shall be last 8serv'd.
ARTEMIDORUS. Delay not, Caesar ; read it instantly.
CAESAR. 9What, is the fellow mad?
PUBLIUS. 10Sirrah, give place.
CASSIUS. What, urge you your petitions in the street?
Come to the Capitol.
The lights fade out, leaving one spot on the SOOTHSAYER. This holds
him for a few seconds and then as he turns to go R., it fades out.
He realizes that the tragedy is inevitable and he leaves for his
own house again to wait as before.
As soon as the SOOTHSAYER,
ARTEMIDORUS, LUCIUS and the
CITIZENS have left the stage the
lights come up and discover the
company in the positions indi-
cated in the diagram. C.ESAR
is standing in front of his seat,
the SENATORS are in small
groups, where they have been talking together and everyone has
his arm raised in salute. As soon as the salute is over, C.ESAR
sits and ANTONY moves forward up to CAESAR'S R. and talks to
him, whilst TREBONIUS moves up with CINNA to the seat on the
R. of CAESAR (which is CINNA'S) and talks to him, waiting his time
to catch ANTONY and engage him in conversation. CITIZENS are
in the lower bays R. and L.
The following scene down to CASSIUS' line ' Are we all ready ' must be taken in tense and quick
undertone. We must be made to realize that the atmosphere is electric with suppressed excite-
ment and that sudden suspicion of disclosure is introduced to heighten the effect of the prevailing
suspense. Line must follow line rapidly and the characters be primed for alertness at every
moment.
SCENE I
THE TRAGEDY OF JULIUS CAESAR
45
POPILIUS. 1I wish your enterprise to-day may thrive.
CASSIUS. 2What enterprise, Popilius?
POPILIUS. 3Fare you well.
[3] With a slight knowing smile after which he goes up to Caesar's L. Caesar then leaves
Antony and turns to Popilius. Trebonius immediately approaches Antony
and together they move up stage against the incense tripod.
BRUTUS. What said Popilius Lena?
CASSIUS. 4He wish'd to-day our enterprise might thrive.
I fear our purpose is discovered.
BRUTUS. Look, how he makes to Caesar : mark him.5
CASSIUS. 6Casca,
Be sudden, for we fear 'prevent i on.
8Brutus, what shall be done? If this be known,
9Cassius or Caesar never shall turn back,
For I will slay myself. [CJESA.R smiles at POPILIUS.
BRUTUS. 10Cassius, be "constant :
Popilius Lena speaks not of our purposes ;
For, look, he smiles, and Caesar doth not 12change.
CASSIUS. Trebonius knows his time ; for, look you, Brutus,
He draws Mark Antony out of the way.
[Exeunt ANTONY and TREBONIUS R.U.E. METELLUS ap-
proaches the steps dead c. and remains standing facing
DECIUS. Where is Metellus Cimber? Let him go,
And 13presently prefer his suit to Caesar.
BRUTUS. He is address'd : press near and second him.
CINNA. 14Casca, you are the first that rears your hand.
C^SAR. Are we all ready? What is now amiss
That Caesar and his senate must redress?
METELLUS. 15Most high, most mighty and most 16puissant Caesar,
Metellus Cimber throws before thy seat
An humble heart : —
[17] C.&SAR comes in sharp and strong. METELLUS comes to an erect position although still
kneeling. Throughout the speech preserve strength and dignity and avoid bombast. Let
us see the temperament of a proud and haughty character, a will firm and irrevocable, and
clenched against any yielding to what is contrary to his decree when offered with pleading
or obsequiousness. This it is that gives us the man against whom the conspirators are
directing their daggers.
17I must prevent thee, Cimber.
These couchings and these lowly courtesies
Might fire the blood of ordinary men,
And turn 18pre-ordinance and 19first decree
Into the 20law of children. Be not 21fond,
To think that Caesar bears such rebel blood
That will be thaw'd from the 22true quality
23 With that which melteth fools, — I mean, sweet words,
Low-crooked 24court'sies and base 25spaniel-f awning.
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, Cessar doth not wrong, nor without 26cause
Will he be satisfi'd.
METELLUS. Is 27there no voice more worthy than my own,
To sound more 28sweetly in great Caesar's ear
[22] i.e., best, real.
[23] i.e., by means of.
[24] i.e., low bent. He points down to
METELLUS.
[25] i.e., fawning of a spaniel kind.
[26] i.e., reason as opposed to flattery and
fawning.
[27] METELLUS turns his head towards
BRUTUS on his R. He does not speak in
any injured way, but simply appeals
for support. He remains kneeling.
[28] Note the variable use of sweet. CAESAR
uses it in a contemptuous sense, METEL-
LUS in a complimentary one.
ACT in, sc. r
[1] Popilius is in the act of moving up
towards Caesar when he stops and
turns and speaks over his L.
shoulder, quietly and significantly.
The Senators are moving to their
places and taking their seats.
[2] Sharp as lightning.
[4] CASSIUS proceeds in his rapid and
nervous way.
[5] There is just a slight pause as they
watch him go up to CAESAR.
[6] He moves across Brutus down to
Casca.
[7] Casca moves across the stage up
to Cinna on Caesar's R. and engages
him in conversation.
[8] He turns impulsively to BRUTUS almost
trembling with the conflict of his hopes
[9] This is a passage which has caused
some controversy. Schmidt's reading
is that either one or the other will never
return (hvme). The seeming reading of
turn back appears to be ' come out of it
alive'. If C.4ISAR wins, CASSIUS will
kill himself. Accent ' myself to em-
phasize the certainty of the action upon
himself.
[10] BRUTUS grips CASSIUS' arm. He
speaks steadily but also with firmness
and strength.
[11] i.e., collected, steady, resolute.
[12] Trebonius begins to move towards
the R.U.E. with Antony.
[13] i.e., immediately. The modern adver-
bial meaning dates from an indefinite
period before 1650. It commenced by
referring to the time immediately follow-
ing or attached to the present and so
became gradually removed to a more
remote period.
[14] This is spoken quietly but significantly
to Casca, who has his back to C.ESAU
and who walks up unobtrusively to
the back looking off R.U.E. to see
if ANTONY is safely out of the way.
He remains there until a later cue.
Popilius takes his seat, which is
the first on the L. of Caesar. The
following diagram shows the position
after this moment.
L ~ J
umiJ
[15] Metellus kneels. The Camb. editors
add this stage direction after ' an
humble heart '. It is not the actual
act of kneeling that provokes CESAR'S
retort. It would be a customary thing
for anyone to do when approaching him.
The actual point of incitement comts
with the phrase, ' throws . . . heart ',
and the low bow that emphasizes the
flattery. METELLUS speaks elaborately.
[16] i.e., adapted from Fr. puissant, earlier.
poissant from Lot. posse, to be able,
substituted for Lot. potent-em. In
English the word means potent, pos-
sessed of or wielding power.
[18] i.e., that which has been established.
[19] i.e., that which was first decreed.
[20] FI, lane. Johnson's emendation is the
present text. It means the weakness of
departing from a determination, the
changing of mind that would alter
according to whim, using the analogy of
minds not matured to full strength.
[21] i.e., be not secure in your thought, fond
here meaning to dote or be strongly
attached to.
46
THE TRAGEDY OF JULIUS CAESAR
ACT III
ACT in, sc. i
[1] i.e., recalling, the reversion of his
sentence. Its literal meaning is re-
appeal.
[2] i.e., freedom caused by the repeal of the
sentence. At this Brutus, who has
mounted the steps, goes down on his
knee and takes CESAR'S hand and
kisses it.
[3] CAESAR looks at him amazed as he with-
draws his hand. BRUTUS remains
kneeling where he is right up close to
CAESAR. FI places a query after
' Brutus '. Howe first changed it to an
exclamation mark. Casca moves
quietly to a point just L. of the
tripod, where he stands watching and
waiting.
[4] CASSIUS comes up the steps and kneels
in front of C.ESAR. This is the place
he has mentally reserved for him-
self.
[5] i.e., freedom or the act of giving him
freedom. ' Enfranchise ' is from O.Fr.
enfranohiss — lengthened stem of en-
franchir (en, in + franc, free).
[6] He surveys them for a moment in silence
and with a dignified contempt. Then he
proceeds with a quiet but dignified
delivery, yet incisive to show the deep-
rooted pride of the man. Note how
definitely Shakespeare establishes the
character in his opening lines. It shows
how clearly his brain visualized his sub-
ject and the dramatic construction of his
idea. He did not waste time in vague
preambles, but established his thought
and with this definite substance de-
veloped his drama. These two opening
lines disclose the mental and spiritual
qualities of C^SAR, the things that made
him what he was in the eyes of his
enemies.
[7] i.e., if I were able to kneel and beg, weak
enough to be able to bend my knee in
supplication and in deference.
[8] Now the rhetorical element is released
though kept well in hand. The words
themselves are very active in their ex-
pressive qualities. ' Northern star '
is quoted by the O.E.D. as the earliest
insta'nce of this epithet for polar star.
It i« the only time that Shakespeare
uses it.
[9] This and the next three lines gradually
increase in demonstrative power, but
remember that the climax of the speech
does not come until ' Doth not Brutus
bootless kneel '. Allow the words to
do their full work and fix a minor climax
at ' But . . . place.'
[10] The Folio and all other editions except
the Camb. print ' and '. The latter
substitutes ' but '.
[11] i.e., among the entire number.
[12] The treatment eases a little in order to
enable him to build up to his final and
full climax. The lines are not so force-
ful and are more commentatory than
assertive. Don't drop the strength of
the speech to a zero level. Make it a
slight relaxation to divide the degrees
of the growth of strength of the speech
and enable the succeeding phrase to gain
its fullness by the power of its individu-
ality.
[13] i.e., mentally endowed. It literally
means to lay hold of, seize. In this
context it gives to men their superior
quality of spirituality, making them
noble so that he can show himself to be
the noblest of the noble. Here surely is
the contrast between himself and
BRUTUS.
[14] Now the intenser treatment begins again,
but keep it well in hand. Whereas in
the earlier part of his speech CJSSAR had
declared his qualities now he asserts
himself and his spirit becomes rigid with
its fanatical determination. Note the
prevalence of short, sharp syllables as
the speech develops into his self-assert-
iveness, a fact which enables the biting,
resolute character of the man to be
delivered.
For the Repealing of my banish 'd brother?
Brutus conies forward determinedly and advances right up to Caesar, kneels
and takes his hand. The inflexion on hand is not to distinguish it from any other part
of the body but to show that the kissing of it is a deliberate action against CESAR'S censure
on humble obeisance and courtesy. BRUTUS boldly announces that he is no flatterer. ' I do
this but . . .' There is also another point in the act. BRUTUS is making one last attempt
to save C.ESAR from his fate. He is doing this to try and throw his influence against
that fate and is deeply sincere. He does not merely utter sweet words or perform a courtesy,
but he alone goes forward and does a great deal more. He is very sincere and earnest.
BRUTUS. I kiss thy hand, but not in flattery, Caesar,
Desiring thee that Publius Cimber may
Have an immediate 2freedom of repeal.
C.ESAR. 3What, — Brutus I
CASSIUS. 4Pardon, Caesar ; Caesar, pardon :
As low as to thy foot doth Cassius fall,
To beg Enfranchisement for Publius Cimber.
This speech now develops the abnormal pride of C^SAR and it must
be treated in a way that makes us feel that the man believes in all
he says. There must be a profound sincerity at work all the time.
He is not merely blowing out words but coining his heart's con-
viction. There is a certain grandeur about the diction of the words
which must be preserved. It shows the tremendous imagination of
the man which exceeds all normal bearing and creates an abnormal
pride into a mania. Out of his heavenly associations with nature
he swells into the character of a god and as such adopts the unquestion-
able authority which asserts itself in the high ascent of his final lines.
Thus from the first where this idea is ushered in on his opening
lines in their notion of prayers and pray-ers to the last ones where
he imperiously acts the adopted superlative of his race, we see a
man thoroughly possessed by an extravagance of idea which obviously
is intolerable and impossible in any political state, and a mind that is
endowed with a sublimity whose nature before our eyes is perverted
into a returned chaos and whose creative instincts become the instru-
ments of a rapacious egotism that wears the breed of madness.
Not only does it justify what happens almost immediately after-
wards, but in that event gives BRUTUS his licence as an executioner.
Throughout the speech every eye is fixed upon him in amazement
except that of BRUTUS. His head is bent all the time. Need we
say why ? The singularity of fact speaks for itself.
6I could be well mov'd, if I were as you ;
If I could ''pray to move, prayers would move me :
8But | I am constant as the northern star,
Of whose true-fix'd and resting quality
There is no fellow in the firmament.
9The skies are painted with unnumber'd sparks ;
They are all fire | 10and every one doth shine ;
But there's but one uin all \ doth hold his place :
12So in the world ; 'tis furnish'd well with men,
And men are flesh and blood, and "apprehensive ;
14Yet | in the number | I do know but one \
That | ^unassailable \ holds on his 16rank,
"Unshak'd of motion : and that / am he,
Let me a little show it, even in this ;
18That I was constant Cimber should be banish 'd,
[15] i.e., not susceptible either to fear or
favour.
[16] i.e., his high quality of immobility.
[17] This is merely an intensive of the pre-
ceding line. It means undisturbed, by
any other influence. Malone defines
it as ' unshaken by suit or solicitation '.
[18] These two final lines fully develop the
prescription of the preceding notes.
Neither heaven nor earth will move him.
SCENE I
THE TRAGEDY OF JULIUS C^SAR
47
And constant do remain to keep him so.
Thus far we have worked up to a
highly wrought pitch by a single
character. Now that pitch is
increased by the plural clash of c
characters. Out of CESAR'S
rising arrogance comes the sud- -\ r-
den and swift climax of the play.
It leaps up like a sudden flame. ~
Here is the moment that has been prepared for by half a play and
its development must be strikingly dramatic. CINNA jumps right in
on his cue as he comes forward and kneels. His appeal must be
strong and vehement. This is topped by CAESAR as he rises
imperiously to his feet, with a sudden intervention on CINNA'S
line. DECIUS adds to the process by a strong crying out of his
' Great Caesar,' — whilst the primed, proud rage of CAESAR in the
last moments of his self-exalted majesty points majestically to
BRUTUS. During this, Casca has been creeping down from
up stage and on his cue makes a dart forward and plunges
his sword into Caesar's neck. Note the inflexion on the word
' hands '. CASCA is not going to use his mouth but his hands :
no praying to CAESAR but addressing him with his sword. The
diagram gives the positions just before the murder.
CINNA. O Caesar, —
[He rises and kneels R. of CAESAR. LEPIDUS advances and
kneels on the step below BRUTUS.
CAESAR. Hence! wilt thou lift up 1Oljrmpus?
DECIUS. Great Caesar, —
[He comes forward and kneels on the steps between CASSIUS
and CINNA. POPILIUS rises and kneels just above and behind
BRUTUS and PUBLIUS comes forward and kneels to the L. of
METELLUS.
C/ESAR. Doth not Brutus ^bootless kneel?
CASCA. Speak, hands, for me !
CASCA performs the first blow as
already stated. Immediately,
all the others close in upon
C^SAR except BRUTUS. There
are screams from the CROWD.
POPILIUS runs to CAESAR'S chair
and throws it up L. During
the struggle C^SAR seizes a ~
sword and makes an attempt at fighting.
that a man of his temperament, strung with near madness,
is powerful and history supports the fact of his own self-defence
and the wrenching of a sword from one of his assailants. Having
done their worst, the assailants open out as shown in the diagram.
C^SAR with his sword makes a fighting move towards the figure
on his L., then stops when he sees that it is BRUTUS. He looks
bewildered, drops his sword and BRUTUS advances and gives him
the coup-de-grace. At the first assault of CAESAR all the SENATORS
rise in consternation and fear, and huddle together in groups,
some remaining on the rostrum, others moving down R. and L.
towards the exits, but all shrinking away from the centre of the
tragedy. The CITIZENS in the bays shriek out and this continues
Bear in mind the fact
ACT III, SC. I
[1] The residence of the gods. It is a
mountain of Macedonia and Thessaly,
and was supposed by the ancients to
touch heaven with its top, and so by
them ivas made the sacred mountain and
where Jupiter held his court. Here, no
doubt, C.&SAR is speaking figuratively,
alluding to himself as deity and so ful-
filling CASSIUS' own summary of him in
Act I, Sc. II. It also draws in one
gwift and economic stroke the tremendous
arrogance of the man in this final
moment and asks for the daggers.
[2] i.e., profitless. O.E. b6t from, root,
bat, good, useful.
48
THE TRAGEDY OF JULIUS C^SAR
ACT III
ACT m, sc. i
[1] ' And tJwu, O Brutus '. These words
are not authentic but appeared in a play,
' The True Tragedie of Richard, D. of
York ' (1600), on which Shakespeare
formed his 3 H. VI.
[2] i.e., public meeting-places. Adapted
from Lot. pulpitum (Med. Lot. pul-
pitrum), a scaffold, stage, platform.
Shakespeare uses the word only in this
play, ichich seems to show that he bor-
rowed it from Plutarch and that there
was a differentiation between pulpits,
such as those used by anybody and that
of the Forum reserved for privileged
persons.
[3] Brutus goes to above Caesar's
body. Publius has sunk down on
the edge of the rostrum with his
head in his hands. He is obscured
from BRUTUS' view by those between
them.
[4] i.e., in the person of CAESAR. CJBSAR
had paid the debt which his ambition
had incurred for Rome, the lots of the
spirit of liberty. This speech O/BRUTUS
is somewhat steadier than the preceding
speeches. It is strong but authoritative
and dominating.
[5] Now the pace begins to quicken once
again. Each speech must follow on its
cue and be spoken rapidly and urgently.
[6] He is here represented as an old man
and can, therefore, be hardly the same
as ANTONY'S sister's son, mentioned in
IV, I. Shakespeare seems to have taken
PUBLIUS as a convenient and familiar
name for any Roman.— Wright.
[7] CINNA looks round, sees him and goes
to him, speaking as he does so. He
raises him up.
[8] i.e. , confused.
[9] BRUTUS comes in sharply and strongly.
He is playing upon the meaning of the
word as opposed to action.
[10] Casslus moves down to the edge
of the rostrum.
[11] Cinna takes Publius down to the
exit above the column. He
reaches here just as Trebonius
enters and then turns sharply and
comes up stage into the scene once
more, standing on the steps R.
[12] Through confusion of form with abye
(to pay the penalty, to atone for) when
that verb was becoming archaic, and
through association of sense between
abye (pay for) a deed, and abide the
consequences of a deed, abide has been
erroneously used for abye together with
its sense. — O.E.D.
until the moment that C^SAR stands revealed facing BRUTUS.
Then everybody is completely still and silent. As soon as C^SAR
is stabbed there is a sharp scream from a woman in the crowd.
CAESAR is disarmed by the sight of BRUTUS standing there with his
naked sword. He remains perfectly still whilst BRUTUS stabs him,
and then with the emotion of a broken heart he speaks, and after his
1 Et tu, Brute? ' he backs a little in his bewildered consternation,
gathering up his mantle in a perplexed way as his mind is still trying
to grapple with this colossal contradiction of his beliefs and then
turns and after the remainder of his line lifts his toga up to his face
and falls. He lies across the top of the rostrum as near the edge as
possible with his head pointing to R. This treatment evidences the
great tragedy of circumstances between the two men as well as making
it memorable with an emotional emphasis for the part the fact will
play in BRUTUS' own tragedy. It establishes it in his eyes as well
as our own as a fact of terrible significance.
It is interesting to note that C^SAR is murdered in the exact middle
of the play.
C^SAR. *Et tu, Brute? Then fall, Caesar!
For a few seconds there is complete silence and stillness. Then
there is a renewed burst from the CROWD, who do not scream,
but evoke cries of ' Caesar is slain ' and they disappear from the
stage. The SENATORS commence to exit down R. and L., whilst
others move up towards the exits up R. and L. There is a general
atmosphere of disturbance and excitement provided as a back-
ground to the following scene. The SENATORS up R. and L.
remain in their exits looking back on the scene. There is now
heard a growing murmur of the distant populace and this is
carried on right through to the end of the scene. CINNA then sud-
denly opens the scene with his virile exultation.
From here until the entrance of ANTONY'S servant, the pace
and excitement must be rapid and high. A tremendous tension
has been suddenly released and its power is as equal in expansion
as it was in concentration. Let it, however, be governed and
not become a gabble.
CINNA. Liberty! freedom! Tyranny is dead!
Run hence, proclaim, cry it about the streets.
CASSIUS. Some to the 2common pulpits, and cry out
' Liberty, freedom and enfranchisement ! '
BRUTUS. "People, and senators, be not affrighted ;
Fly not ; stand still : 4ambition's debt is paid.
CASCA. 6Go to the pulpit, Brutus.
DECIUS. And Cassius too.
BRUTUS. Where's 6Publius?
CINNA. 7Here, quite 8confounded with this mutiny.
METELLUS. Stand fast together, lest some friend of Caesar's
Should chance —
BRUTUS. 9Talk not of standing. Publius, good cheer ;
There is no harm intended to your person,
Nor to no Roman else : so tell them, Publius.
CASSIUS. 10And leave us, Publius ; lest that the people
[CASSIUS moves down to the edge of the rostrum.
Rushing on us should do your age some nmischief.
BRUTUS. Do so : and let no man 12abide this deed
But we the doers.
SCENE I
THE TRAGEDY OF JULIUS CAESAR
49
Re-enter TREBONIUS from up R. He comes to the head of CJESAR.
He must anticipate his cue so as to be well on the stage by the
time it is spoken. He carries a blood sponge in his left hand.
CASSIUS. Where is Antony?
TREBONIUS. Fled to his house 2amaz'd :
Men, wives and children stare, cry out and run
As it were doomsday.
BRUTUS. 3Fates, we will know your pleasures :
That we shall die, we know ; 'tis but the time,
And drawing days out, that men 4stand upon.
CASSIUS. Why, he that cuts off twenty years of life
Cuts off so many years of fearing death.
BRUTUS. Grant that, and then is death a benefit :
So are we Caesar's friends, that have &abridg'd
His time of fearing death. 6Stoop, 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. 7Stoop then, and wash. 8How many ages hence
Shall this our 9lofty scene be acted over
In states unborn and accents yet unknown!
BRUTUS. 10How many times shall Caesar bleed in "sport,
That now on Pompey's 12basis lies along
No worthier than the dust!
CASSIUS. So oft as that shall be,
So often shall the 13knot of us be call'd
The men that gave their country ^liberty.
DECIUS. What, shall we forth?
CASSIUS. Ay, every man away :
Brutus shall lead, and we will grace his heels
With the 15most boldest and best hearts of 16Rome.
We now reach a definite change in the nature of the scene. The tremendous climax of the assassina-
tion has discharged itself in the intense moments of the aftermath and been consolidated by
the action of the bonding in blood. A rest is now afforded, a slight interlude in order to allow
for the change in the movement of the scene which very soon devolves upon ANTONY. With
him the immediate intensification of the scene begins in its new development which is the conse-
quence of this present situation. Thus the process of the action is changed without too violent
a shock, and as has been pointed out in previous similar instances, the relaxing phase is not
without a certain sustaining power of its own. The words ' A friend of Antony's ' is sufficient
to arrest attention without creating a powerful situation. Hence this short scene with the
SERVANT which has a twofold value ; it relaxes the strain of one situation and at the same
time introduces another.
[Enter a SERVANT from up R.
BRUTUS. Soft! who comes here? | 17A friend of Antony's.
SERVANT. 18Thus, Brutus, did my master bid me kneel ;
persons. Shakespeare chose the word
to signify more than a mere group. He
indicates the close nature of the group
and the binding quality of its member-
ship.
[14] By this time every CONSPIRATOR is either
in position or is taking it up as shown
in the last diagram.
[15] Note the double superlative of ' most
boldest ', which suggests the same keen
emotional activity as expressed in
' knot ' above.
[16] Brutus turns and everybody else
does the same.
[17] Brutus waits until be reaches tbe
top of tbe rostrum, wherehe stops.
[18] He is timorous and hesitates a
moment before advancing. Then
he comes down and kneels on both
knees. He takes his speech very
simply and unaffectedly. He has been
instructed to show the greatest deference
to BRUTUS, and his submissive char-
acter contrasts so well with the recent
rhetoric of the others and creates an
interest by its effect. It is again to be
noted how Shakespeare immediately
establishes his idea in his opening lines.
Nothing could more clearly convey
ANTONY'S shrewdness than these four-
lines which the rest of the speech ampli-
fies. He is clever enough not to be
provoking and to take all precautions
to show this. They show his intention
and at the same time give the SERVANT
his character in a moment.
ACT in, sc. i
[1] Keep these speeches fairly fast and
knitted together without pause between
each. We have once more the moments
after a big climax when action is over for
a time and there in a gentle declining into
a less intensive phase changing from act
into consequence. The essential treat-
ment, therefore, is that of keeping the
dialogue virile and the spirit quick in
movement.
[2] i.e., in the literal sense of being dis-
tracted or bewildered. A + maze, a
being an intensive.
[3] This speech is a corrective to the element
of fear introduced by TREBONIUS. It is
a strong challenge to the eyes of destiny,
a brave looking on honour with death
indifferently as he does in Act I, Sc. II.
[4] This is the part of death that gives men
so much affliction — the waiting for it in
fear.
[5] i.e., shortened. A (intensive) +
bridged.
[6] He points down but does not stoop as
yet. He slows up on these three words,
and from here onward he is steadier in
his delivery, although maintaining the
strength of the scene. This prevents
the treatment from becoming slippery
on mere speed and after the initial
excitement enables it to graduate into
a solid and effective consistency. The
momentary exhilaration in its pure state
was good, but it requires something more
powerful to sustain the scene and make
it a vehicle for dramatic interest. Also
we must remember that there is going to
be a slight pause in a moment when the
CONSPIRATORS are dipping their hands
in OBSAR'S blood. BRUTUS works up to
the last line of his speech as the climax
and lifts his sword up over his head a*
he speaks his slogan.
[7] Make this big and broad as though it
were the signing of a great covenant.
The big treatment enables the short
silence to be accounted for instead of
being an interruption. The conspira-
tors proceed from their positions
to the body of Caesar as shown in the
following diagram. The blood sponge
is used, and left behind the lower part of
CESAR'S legs.
[8] Don't make this pause too long. Cas-
sius rises first and conies down
the steps to L.C., wiping his hand,
and he is followed by Brutus whilst
the others take up their positions
as shown in the diagram below.
This can be arranged during the follow-
ing dialogue.
[9] i.e., embodying lofty sentiments.
[10J Coming down the steps.
[11] i.e., in re-enactions of the episode.
[12] i.e., the base of Pompey's statue.
[13] i.e., a small group, a clustered band of
50
ACT III
ACT III, SC. I
[1] Here he draws one leg right back
and goes down on his hands with
his head bent towards the ground.
He maintains this posture right through
the scene.
[2] Take these four lines with a simple
emphasis.
[3] This word is used in the same sense as
the Biblical one. The injunction to
fear God means to revere Him, and not
be afraid of Him.
[4] See note 10, p. 32.
[5] i.e., determined, orclearly shown. Not
merely told. Lit. the word means to
loosen back. Thus this derived mean-
ing is associated with the idea of the
event being shown in its elements and
reasons.
[6] Another form of through. It is a
disyllabic development of O.E. thurh,
through, when fully stressed. The
stressed form was used when the word
was separate as an adv., adj., and noun,
and sometimes as a preposition as
prepositions were sometimes emphatic
and stressed. See O.E.D., Thorough,
prep, and adv.
[7] i.e., uncertainties of this untraversed,
inexperienced era, the one that has just
been formed.
[8] BRUTUS replies with kindness.
[9] i.e., if it may please him to come. For
the use of so, see Abbott, § 135, and also
§ 349 for examples of the omission of to
in the infinitive.
[10] i.e., immediately.
[11] BRUTUS speaks with cheerful assured-
ness.
[12] i.e., for a friend. See Abbott, §189,
for examples of this form of construction.
[13] CASSIUS is not so sure.
[14] i.e. , my mistrust or presentiment always
turns out to be right. Still here means
always from the root meaning of the
noun and adjective of fixed, standing.
Shrewdly is the adv. of shrewd, origin-
ally derived from shrew, the name of an
animal that was reputed to be vicious
and cunning, the latter notion being
continued into the meaning of acuteness
or cleverness. Here perhaps the word
is better read as aptly. Notice how
ANTONY'S dramatic function is prepared
for. Here is a strong doubt lodged
against him by the deep-seeing CASSIUS
and the new situation is to see which
way ANTONY will turn. His message
promises friendship, but here at his
entrance is CASSIUS' mistrust.
1Thus did Mark Antony bid me fall down ;
And, being prostrate, thus he bade me say :
2Brutus is noble, | wise, | valiant | and honest ;
Caesar was mighty, | bold, | royal and loving :
Say I love Brutus and I honour him ;
Say I 3fear'd Caesar, honour'd him and lov'd him.
If Brutus will "vouchsafe that Antony
May safely come to him and be 5resolv'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
6Thorough the 7hazards of this untrod state
With all true faith. So says my master Antony.
BRUTUS. 8Thy master is a wise and valiant Roman ;
I never thought him worse.
Tell him, 9so please him come unto this place,
He shall be satisfied and, by my honour,
Depart untouch'd.
SERVANT. I'll fetch him "presently.
[He rises and runs off up R.
BRUTUS. 11I know that we shall have him 12well to friend.
CASSIUS. 13I wish we may : but yet have I a mind
That fears him much, 14and my misgiving slill
Falls shrewdly to the purpose.]
From this moment the play develops a new movement. The catas-
trophe has destroyed OESAR and with him the suspense of the action
as it has hitherto moved. A new one has to be created out of the
old, and this is achieved by the situation of the CONSPIRATORS in
their relationship with ANTONY. That is why his entrance has
been prepared for by the SERVANT, and the doubtful position estab-
lished by CASSIUS. He becomes the chief figure, bringing with him
the heritage of the former plot out of which he is to provide means
for the new. In him the act becomes the consequence.
What arrests us in his entrance, and what binds our interest to
him in the scene? It is the fact that he is a character who is not
fundamentally at one with the others and whose attitude remains
uncertain. His first words are to the dead CAESAR and not to the
CONSPIRATORS. When he does address them it is to assert the unde-
termined nature of the situation and then to ask for his death. Added
to this, he evidences the pressure of a very great emotion which sways
him to dangerous extremities and thus shows us that his inclinations
towards the CONSPIRATORS are not quite what they may appear to
be. We are then presented with an element of suspense through a
powerful character which suggests more than it shows and who is
obviously a major element of the future drama.
BRUTUS. But here comes Antony.
Welcome, Mark Antony.
After a short pause Antony enters from up R. He wears the hood of his toga over his head.
He comes as far as the platform, where he stops and looks down at c^SAR. He stands thus
for a moment obviously suffering from an intense grief, but too distracted by the circumstances
to be able to indulge his feelings since he looks up and gives a quick glance round the conspirators
to assess the situation, looking actually at their swords. This treatment enables the character
to receive its associations with the qualities that make it of dramatic importance — Us isolation,
its grief, its realization of their grim determination and its uncertain relationship with the rest
of the characters.
BRUTUS' assurance is merely hrard by ANTONY during his survey and his only reaction is to look
at CAESAR and advance to above his body. This he realizes he is allowed to do. When there he
sinks on his knee beside him. Keep the opening grief as restrained as possible. His address
to the dead C.SISAR is not a provocative one. There is a restraint at work in his will which
allows his sorrow to escape without offence to the others. These three lines are simply a medita-
tive address to his dead friend, a tribute and a farewell.
SCENE I
THE TRAGEDY OF JULIUS C^SAR
51
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 2let blood, who else is 3rank :
4If 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, | 5made rich
With the most noble blood of all this world.
6I do beseech ye, if you bear me hard,
Now, whilst your purpled hands do reek and smoke,
7Fulfil your pleasure. 8Live a thousand years,
I shall not find myself so apt to die :
9No place will please me so, | no 10mean of death,
II As here | by Caesar, | and by you cut off, |
12The choice | and master spirits of this age.
BRUTUS. 13O 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 ; 14yet see you but our hands
And this the bleeding business they have done :
15Our hearts you see not ; they are pitiful ;
And pity 16to the general wrong of Rome —
17 As fire drives out fire, so pity | pity —
Hath done this deed on Caesar. 18For your part,
To you our swords have leaden points, Mark Antony :
Our arms 19in strength of malice, and our hearts
Of brothers' temper, do receive you in
With all kind love, | good thoughts | and reverence.
CASSIUS. 20Your voice shall be as strong as any man's
In the disposing of new "dignities.
[A sudden rising of the CROWD effects offstage.
BRUTUS. Only be patient till we have 22appeas'd
The multitude, beside themselves with fear,
And then we will deliver you the 23cause
24Why I | that did love Caesar when I struck him,
Have thus proceeded.
ANTONY. 25I doubt not of your 26wisdom.
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 ;
28Yours, Cinna ; and, my valiant Casca, yours ;
It states the contradiction of his reputed
love and his act as a fact, but also as one
capable of logical interpretation.
[25] ANTONY preserves hw determination not
to act in any hostile manner and to show
his endeavour outwardly, at least, to
keep an open mind. There is just a
moment's pause before he speaks as he
collects himself and determines upon
his course.
[26] i.e., the wisdom of what he has done and
why he has done it. T his is not really
a lie. ANTONY is not governed by
principles but by emotions. He is not
swayed by justice but by passion, and he
acknowledges a fact that is doubtless true
but does not ally itself with his emotions.
He makes a slight pause after this word.
He is thinking well ahead and feels
that for the time being it would be policy
to make a voluntary profession of friend-
ship that he may be thus enabled to gain
an opportunity to achieve a public
attack upon them. Hostility would only
put them on their guard and he knows
this.
[27] He goes to each CONSPIRATOR in turn
and shakes their hands in the Roman
style. The CONSPIRATORS are in the
same positions as shown in the diagram
follotving note 8, p. 49.
[28] At about this point, Trebonius who,
be it remembered, was responsible for
taking ANTONY away to facilitate
CESAR'S execution, moves up un-
obtrusively towards the back R.
as though wishing to avoid the hand of
ANTONY after having tricked him.
ACT in, sc. I
[1] He bows his head and remains still for
a moment. Then he rises to his feet
and there is a general survey of the
CONSPIRATORS and a measuring of the
situation. Then he proceeds simply as
though treading a path that may hold
anything for him. Their own stillness,
his complete lack of knowing their minds
cultivates a simple and direct manner
in which he braces himself to meet the
issue, whatever it may be.
[2] i.e., must be made to bleed.
[3] i.e., diseased from repletion. For such
disorders blood-letting was the old
remedy. — Wright. The word here is a
synonym for those considered unworthy
as C.ESAU was.
[4] His emotion begins to trickle through,
but he keeps it under control.
[5] Here it shows itself more evident as he
looks down and addresses CJ3SAR, leav-
ing statement and description.
[6] Now with an impulsive movement he
comes forward to the top of the rostrum
and offers himself to them. It is another
stage in the development of his emotion.
His grief for the moment becomes in-
expressible and it moves his feelings to
invite his own death.
[7] He opens his arms in a wide gesture.
[8] These lines quicken with the flow of his
feelings and become more vital. ' Live '
is elliptical for ' Let me live '.
[9] Add rhetorical strength to this line.
[10] Schmidt gives numerous examples of
mean in the, sense of that which is used
to effect a purpose ; it is, however,
oftener used in the plural, as Schmidt
remarks. — N.V.
[11] A little quieter to mark the emphasis.
[12] ANTONY wr not being bitter here.
' Choice ' simply means chosen, lead-
ing. His passion offers him in sur-
render to die_ by O&SAR and by the hands
of the principal men of the age. He is
not provoking, and only states his mind
honestly and openly. Remember how
he later begs the dead CESAR'S forgive-
ness for his mild and uncontesting spirit.
[13] BRUTUS' reply is a kindly and governed
one. He sees the tremendous emotion
that is behind ANTONY'S words and in
contrast to him and to soothe him speaks
with a great gentleness. Even CASSIUS
adds an indulgent word at the end of his
speech. Brutus moves up to An-
tony as he speaks.
[14] A little weightier on this line. It is the
commencement of the explanatory pas-
sage for which ANTONY has come to seek.
But keep the whole incident in a cordial
spirit.
[15] Pick this line out because it declares their
real attitude.
[16] i.e. , towards or for. Emphasize these
remaining words of the line. They
declare the motive.
[17] Make this parenthetical. Note that the
first fire is disyllabic. It was believed
that the sun was able to quench the house-
hold fire, an illusion caused by the
greater light dimming the less. They
felt for CAESAR, but they felt more for
Rome.
[18] He leaves all emphasis and reverts to an
easy and kindly colloguiality.
[19] BRUTUS i* being quite straightforward.
He desires to show ANTONY that they
are willing for his co-operation and that
their combined arms, strong with ven-
geance and their hearts all united in
common sentiment as one man, are will-
ing to embrace him. There is no need
for any alteration in the text.
[20] As already stated, CASSIUS adds his
assurance of goodwill.
[21] i.e., offices, high appointments.
[22] Lit. a-peaced, pacified.
[23] It is important that there should not be
any break after this word. It is not
absolute. The break comes after 'I' in
the next line which is robbed of its full
effect if thus neighboured.
[24] This line is slotver and more deliberate.
52
TRAGEDY OF JULIUS CAESAR
ACT III
ACT III, SC. I
[1] ANTONY speaks from his present
position and TREBONIUS stops where he
is with his back to ANTONY.
[2] He goes up to Trebonius before he
says this. He holds out his hand,
and TREBONIUS takes it and drops his
head. Whether Shakespeare intended
any significance relative to this previous
exit by putting TREBONIUS last and
evolving some special business to reach
him or not is a point for conjecture only.
[3] After this final handshake Antony
moves slowly and thoughtfully to
C. above CESAR'S body where he stands,
uncertain of his feelings. Then he
makes an impulsive start and his words
fail him. What he has done has
offended his soul, but he has done it as
he thought for the best. Yet now that he
stands looking down on his dead friend
he becomes disconcerted, makes a bold
try to gay something and just feels ex-
posed. His emotions are too strong for
him, and CESAR'S body sways him from
his point.
[4] i.e., the belief that you have in me or of
me.
[5] i.e. , uncertain. It may fall upon either
of the conceptions which he names.
[6] i.e., believe or conceive. Ways is used
figuratively for distinctions.
[7] i.e. , a coward for not standing up far his
friend C.ESAR, which makes his hand-
shaking insincere.
[8] He drops his head once again and this
time his emotions grip him and he
drops beside Caesar. The Con-
spirators on the R. first turn away
from him and group together.
Brutus turns away likewise. The
group are simply considering his con-
dition. ANTONY'S emotion here must
be very genuine, otherwise its strong
references to themselves would not be
allowed to pass the censure of the CON-
SPIRATORS. It also demands a deep
emotional treatment of his earlier speech,
though not necessarily passionate,
which would help to account for this
present outburst.
[9] Take these two and a half lines fairly
quickly. Although highly emotional,
they are not loud.
[10] i.e. , will it not cost you more grief or
suffering than your death.
[11] Slow up a little and become more inten-
sive in the pointing of the disgraceful
act that he has forced himself to do.
[12] A short pause before this to assist the
emphasis.
[13] This is an apostrophe to CAESAR. Ad-
jectives like this were frequently used as
nouns.
[14] Now quicken once again and keep the
treatment vehement without being loud,
tense and not violent.
[15] A very short rhetorical pause and then
take the following words with a deliber-
ate emphasis.
[16] Stronger in these two lines. They are the
climax of his bitter feelings.
[17] Cassius makes a move forward at
this but Brutus restrains him.
The others simply turn. It is some-
thing which almost recants his own pro-
fession of friendship with them.
[18] His vehemence suddenly collapses and
his head sinks into his hand. Hear in
mind he is on one knee.
[19] He uncovers his face and looks at
r.KSAit, taking his line in the style of a
deeply sympathetic address.
[20] i.e., brought to bay.
[21] He begins to work up on a more vehe-
ment note to ' O world '.
[22] The actual intention of this metaphor
is not clear. There is no hunting term
identical with it. The only suggestion
that can be offered here is that ' Signed '
is an apheticform of ' Assigned ' mean-
ing that they are sharers in his des-
truction, reading spoil as destruction,
(for examples, see O.E.D., Spoil, 10)
though last, not least in love, 2yours, good Trebonius.
3Gentlemen all,— alas, what shall I say?
My 4credit now stands on such 5slippery ground,
That one of two bad ways you must 6conceit me,
'Either a coward \ or a ^flatterer.
That I did love thee, Caesar, O, 'tis true :
9If then thy spirit look upon us now,
Shall it not grieve thee 10dearer than thy death,
"To see thy Antony | 12making his peace, |
Shaking the bloody fingers of thy foes,
13Most noble! in the presence of thy corse?
14Had I as many eyes as thou hast wounds,
Weeping as fast as they 15stream forth thy blood,
16It would become me better \ than to close
In terms of friendship \ with thine | '"enemies.
18Pardon me, Julius ! 19Here wast thou 20bay'd, brave hart ;
Here didst thou fall, and 21here thy hunters stand,
22Sign'd in thy spoil and crimson 'd in thy 23lethe.
24O world, thou wast the forest to this hart ;
And this, indeed, O world, the heart of thee.
25How like a deer \ strucken by many 26princes
Dost thou here lie!
CASSIUS. 27Mark Antony, —
ANTONY. 28Pardon me, Caius Cassius :
The enemies of Caesar shall say this ;
Then, | in a friend, \ it is cold modesty.
CASSIUS. 29I blame you not for praising Caesar so ;
But what 30cowpact mean you to have with us?
Will you be 31prick'd in number of our friends,
Or shall we on, and not depend on you?
ANTONY. 32Therefore I took your hands, | 33but was indeed
Sway'd from the point by looking down on Caesar.
34Friends am I with you all and love you | all, \
Upon this hope | 35that you shall give me reasons \
Why | and wherein \ Ccesar was dangerous.
BRUTUS. ^Or else were this a savage spectacle :
from to spoil, to destroy, and actually
meaning ' the spoiling of thee '.
[23] Figurative for death since the shedding
of CESAR'S blood meant his death.
This is the only instance of the word
quoted by the O.E.D. with this significa-
tion. In Or. theword is \y8ri, forgetful-
ness. In Or. mythology it was a river
in Hades, the water of which produced,
in those that drank it, forgetfulness of
the past. Strictly speaking in Or. it
is ATJ07)« vStap, water of Lethe. LSthg
itself is Latin. Note the pronunciation
— leethee.
[24] He comes to an upright position and
opens his arms. This is a big rhetorical
address.
[25] He softens to a gentler key.
[26] Note the use of this word, which shows
that even in his grief he is careful to pal-
liate his hearers.
[27] CASSIUS has been waiting to say smne-
thing since ANTONY'S self-deprecation
at thus adjusting himself to CESAR'S
enemies. Now he breaks out, moves
past Brutus to the step and raps
this out.
[28] ANTONY, however, is alert. He rises
at once and makes an acute reply. It
does not answer CASSIUS' real doubt
which is quickly made clear. ANTONY
speaks quite without any heat. It is a
straightfoncard reply. If the enemies
of C.S:SAR, which are themselves, shall of
necessity say this it is surely a very mild
act upon the part of a friend.
[29] CASSIUS brushes this aside. All he
wants to know is whether ANTONY is
their friend or foe.
[30] i.e., agreement. Note the inflexion on
the first syllable. In reality this line
means ' Are you going to have any
agreement with us ? '
[31] i.e., marked. To prick meant to mark
(with a sharp point).
1 32] ANTONY is again resourceful and comes
in quickly and explicitly. His quick
recovery from extreme passion shows
that his mind is active on his own behalf
and ready to the occasion. Mourning
his friend does not mean that he has lost
his wits.
[33] With just the slightest break as he pieces
his apology together. Remember he is
working in an emergency and construct-
ing a very essential alliance with them
in the face of his recent passionate
utterances.
[34] He states this very emphatically.
[35] Weigh these two lines out with careful
emphasis. Observe the pauses coming
after the inflected words.
[36] BRUTUS sees the reasonable nature of
his point.
SCENE I
THE TRAGEDY OF JULIUS CAESAR
53
Our reasons are so full of good 1 regard
That were you, Antony, the son of Caesar,
You should be satisfi'd.
ANTONY. 2That's all I seek : |
3And am moreover \ suitor that I may
Produce his body to the market-place,
And in the pulpit, | 4as becomes a friend,
Speak in the 5order of his fun er al.
BRUTUS. 6You shall, Mark Antony.
CASSIUS. 7Brutus, a word with you.
[Aside to BRUTUS.] You know not what you do : do not consent
That Antony speak in his fun er al :
Know you how much the people may be mov'd
By that which he will utter?
BRUTUS. 8By your pardon :
I will myself into the pulpit first,
And show the reason of our Caesar's death :
What Antony shall speak, I will 9protest
He speaks by leave and by permiss i on,
10And that we are "contented Caesar shall
Have all true rites and lawful ceremonies.
12It shall advantage more than do us wrong.
CASSIUS. I know not what may 13fall ; I like it not.
BRUTUS. 14Mark Antony, here, take your 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 permiss i on ;
Else shall you not have any hand at all
About his fun er al : 15and you shall speak
In the same pulpit whereto I am going,
After my speech is ended.
ANTONY. 16Be it so ;
I do desire no more.
BRUTUS. Prepare the body then, and follow us.
Brutus gives one last look at C.TJSAR and then turns and leaves the stage by the R. upper
opening. The others down on the steps follow him. Cassius waits a moment
and then crosses up to the R. of the rostrum where he stops and turns as though
about to add his own injunction of a more definitely forbidding nature, but he swallows his
feelings and moves off after the others.
ANTONY. 17O, pardon me, thou bleeding piece of earth,
That I am meek and gentle with these 18butchersl
19Thou art the ruins of the noblest man
That ever lived in the 20tide of times.
21 Woe to the 22hands that shed this "costly blood!
240ver 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 rising murmur from the distant CROWD off R. as the
CONSPIRATORS begin to appear to them outside the building.
25A curse shall light upon the 26limbs of men ;
[25] From here the speech has to be developed
to a great height which does not come
until the very end. Therefore nurse the
power and keep it concentrated as much
as possible in the form of the values the
words themselves provide. The feeling
should produce itself through them and
not lie a loose element in which they
swim. At first only statements are
made and then later the words become
enactments of their events. Therefore
commence here with a tremendous feeling
in authority that is urging itself through
its medium and takes it and dwells upon
it in order to gain a full measure of
expression.
[26] This word has been much debated, but no
change is necessary as limbs is simply
figurative for bodies and thus for men
themselves. Shakespeare is living in
his character and the pitch of the speech
which is pregnant with enormous power,
creates these forms which expand facts
and statements to abnormal and rhetori-
cal circumlocution. Compare ' meek
and gentle ', ' tide of times ', ' voice
and utterance ' and the line imme-
diately following the present.
ACT III, SC. I
[1] i.e., justification, more literally, quality,
(due to careful selecting of just facts)
that would arouse the good regard of
opinion.
[2] All that he is seeking is a just cause.
He speaks slowly and simply with his
mind working a little in advance as he
conceives his next idea which might give
him the opportunity he is hoping for.
[3] He speaks simply but with a carefully
marked emphasis. He is intensely
anxious that he should achieve this
which he is asking for, but he must not
betray any obvious eagerness. What he
says is with a cautious pointing.
[4] A reasonable and very likely thing.
Make this apparent. It is such a
sound and logical request.
[5] i.e., arrangement of his funeral cere-
monies. All eyes are turned
towards Brutus.
[6] Just a moment's pause whilst BRUTUS
reflects. Then he gives his consent.
[7] There is a mild expression of surprise
from them all and Cassius conies
down to Brutus in great concern.
His remarks are in the tone of an aside,
but he shows alarm. Once again his
misgiving is falling shrewdly to the pur-
pose. ANTONY looks down upon him,
watching with a close concern.
[8] BRUTUS answers with level assurance.
As he plans it, there is no danger ; but
he does not realize ANTONY'S persuasive
forensic power. CASSIUS knows the
people and ANTONY better than BRUTUS.
He is, as CMS AS. said, ' a great observer '.
[9] i.e., publicly declare, from Lot. (through
Fr.) protest-are, to declare formally,
in public. Pro, before, in public ;
+ testare, to be or speak as a witness,
to declare, assert.
[10] i.e., because. Since that represents
different cases of the relative it may mean
in that, for that, because. — Abbott,
§284.
[11] i.e., satisfied or given ourselves the satis-
faction that . . . The primary meaning
of content is contain. Hence we con-
tain the desire that . . .
[12] BRUTUS, true tohis own character, trusts
in ethical rights. He does not think of
human artifice or weakness to senti-
mental appeal. He is above practising
the one and strong enough in character
to avoid the other. This speech is made
up of BRUTUS as we know him and is
not so stupid as it may appear.
[13] i.e., happen.
[14] Brutus moves up the steps and
stands by Caesar's head. CASSIUS
remains looking out in front. He does
not sanction this.
[15] Make this final injunction slightly more
emphatic.
[16] ANTONY accepts quietly and discloses
nothing of the suppressed passion or the
satisfaction that he feels at this.
[17] He sinks down beside CESAR on one
knee and releases his grief, but not in
any passionate riot. It is very intense,
but there is the note of the fierce anger
behind it all the time, the burning spirit,
not the broken one.
[18] He isolates this word and it leaps out of
his rage.
[19] He reverts to his grief.
[20] i.e., used figuratively for the element of
human affairs.
[21] Just a short pause before fie commences
this. The treatment now is one of sup-
pressed fury as yet kept firmly bridled.
Don't hurry this line. Load it with a
deadly intensity and let it have its time
to give its effect.
[22] Flt hand.
[23] i.e., rare, as the above line shows.
[24] The intense note eases for these three
lines although they are seasoned with
anguish. They are somewhat quicker
as we are travelling through a period
between two extremities of highly pitched
emotion and need a variation for the
sake of effect.
54
THE TRAGEDY OF JULIUS CAESAR
ACT III
ACT ra, sc. i
[1] i.e., internal, from Lot. domestic-us,
from domus, house, hence, home.
[2] i.e., encumber, weigh, hinder or confuse.
The O.E.D. proclaims its etymology as
uncertain. Skeat gives M.E., combren
from O.Fr., combrer, to hinder — Low
Lot. cumbrus, a heap.
[3] i.e., only.
[4] F! prints a colon after war and a comma
after deeds, which looks suspiciously
like a transpositional error since the fol-
lowing line is not absolute, but is relative
to the preceding one and certainly not to
its successor. The mothers only smile
because all pity has been choked.
[5] From here the full strength of rhetorical
power begins to emerge. Keep it well in
hand, letting it work up to ' Havoc '
and giving the words their full expressive
values.
[6] The Goddess of all evil. This is her
Greek name, the Latin equivalent being
Discord.
[7] The Camb. edition omits this word.
[8] On this word he springs to his feet and
raises his finger above his head in an
exclamatory gesture. This word was
usually given to an army as the signal
for the seizure of the conquered spoil
and so for general destruction and pil-
lage. It was probably the prerogative of
the monarch. — N.V.
[9] These two lines become stretched to their
fullest interpretive capacity. ANTONY'S
spirit is living its vengeance and almost
every word is brought to its separate full-
ness of meaning.
[10] i.e., the deed is so foul that it groans for
burial. It is the deed that groans and
not the men, for the whole aim of the
speech is to imprecate its nature and this
is Us final indictment.
[12] The SERVANT comes quick on his cue.
He must work with ANTONY to maintain
the high pitch of the scene. There is
urgency, infection of all the excitement
of the hour in his lines.
[13] Maintain the pace and intensity. Be
is eager to verify this because he wants
to prevent his entry for his own safety.
[14] Antony points down to Caesar.
[15] The Servant looks for a moment,
interrupts his rapid flaw of words and
rises with this uttered as a subdued
and poignant cry.
[16] ANTONY'S voice breaks.
[17] He makes a gesture of dismissal and
turns front. The Servant merely
turns away and covers his face with
his hands. ANTONY himself is again
wrestling with grief. Keep the speech
expressive of this, colloquial and broken.
It gives us a new and useful variety in
the treatment.
[18] He pulls himself together and proceeds
as before.
[19] The Servant responds to ANTONY'S
renewed vigour and turns to him.
[20] From late Lot. leuga, leuca (late Or.
\fvyri, Acuity)), an itinerary measure of
distance which varied in different coun-
tries, never in regular use in England
but often occurring in poetical or rhetori-
cal statements. The Roman Gallic
Leuga was 1-379 miles. Its more gen-
eral distance was about three miles.
[21] Quick and intensive to start with.
[22] This is a sudden idea that arrests the
movement of the Servant towards
the exit L. Take the following lines at
a steady pace. They are the overture
to what is to come and their strength lies
in their introductory nature. Don't
attempt to overload them with more than
they are intended to carry. They sug-
gest more than state their full purpose,
but make it evident that they are linked
with thought. Forget the speed and
urgency of the past. Then it had value.
Now the new notion displaces that one
and we see that something is developing.
[23] i.e., find out.
1Domestic fury and fierce civil strife
Shall 2cumber all the parts of Italy ;
Blood and destruction shall be so in use,
And dreadful objects so fam il i ar,
That mothers shall 3but smile when they behold
Their infants quarter 'd with the hands of *war,
All pity chok'd with custom of fell deeds :
CROWD noises intensify and swell up to a climax on the last line.
Angry shouts are now heard, but the whole effect is kept right
in the distance.
5And Caesar's spirit ranging for revenge,
With 6Ate by his side 7come hot from hell,
Shall in these confines with a monarch's voice
Cry | ' sHavoc,' and let slip the dogs of war ;
9That this | foul deed | shall smell above the earth
With carrion men, "groaning for burial.
[Enter a SERVANT from L.U.E. He runs in and sinks upon one knee,
right on the word cue. He wears a tunic and dark paenula with
a hood which is down. The CROWD noises are heard right through
this speech and swell up on the given cues. They indicate that
the more detailed information of the event is now reaching them
and they are demanding BRUTUS and CASSIUS. Don't as yet let
us hear, " We will be satisfied." That comes right at the end.
[11] Note how the drama is upheld by the immediate representation of the one who is most likely
to bring the prophecy of the last speech to pass. Here is conflict introduced at once, and
although it may give the actor a personal advantage to end the scene after his speech, actually
the scene is left incomplete and without the development of plot which this addition achieves.
ANTONY bounds from his rhetorical pinnacle on to that afforded by this development favour-
able to a practical fulfilment of his forecast. No pause can be allowed between the end of
the movement just concluded and the beginning of this one, otherwise the tension drops.
11 You serve Octavius Caesar, do you not?
SERVANT. 12I do, Mark Antony.
ANTONY. 13Caesar did write for him to come to Rome.
SERVANT. He did receive his letters, and is coming
And bid me say to you by word of 14mouth —
15O Caesar!
It is to be noted once again how Shakespeare manages his dramatic values and is able to reach a
climax of high intensity and yet, whilst leaving the pitch, maintains the effect wrought by that
climax and slackens the grip but not the hold upon our emotions. He does not attempt to prolong
his high note beyond an effective period, does not weaken it by over-development or isolate it
merely as an effect forgetting its dramatic continuity, but transposes it into a lower key and
to the softer measures of milder instruments. In the matter of a few lines we drop from the
wrath of passion to its psalm, from its thunder to its harp ; and as the storms of winter make
the rose, so the violent prelude inhabits this gentler mould and gives it its deep beauty.
ANTHONY. 16Thy 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. 18Is thy master coming?
SERVANT. 19He lies to-night within seven 20leagues of Rome.
[CROWD noises swell for a moment.
ANTONY. 21Post 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.
[Another sudden and angry outburst from the CROWD which
continues until the end of the scene.
"Yet stay awhile ;
Thou shalt not back till I have borne this corse
Into the market-place : there shall I 23try,
SCENE I
THE TRAGEDY OF JULIUS CAESAR
55
In my 1oration, | how the people take
The cruel 2issue of these bloody men ;
According to the which, thou shalt discourse
To young Octavius of the state of 3things.
Lend me your hand.]
Here the CROWD noises swell up and we hear one distant voice cry out :
" We will be satisfied," followed by a general angry seconding
of this resolution.
Lights dim quickly. Lower tabs, and draw the first pair of traverse
curtains.
The CROWD continues its cries right through the short interval,
swelling up in the process until it arrives at the opening pitch
of the ensuing scene. Let us hear them gradually getting nearer
the entrance down R.
SCENE II
ACT UI, SC. I
[1] FromLat. orare, to pray. Hence some-
thing of a rhetorical nature on a big and
dignified nature.
[2] i.e., act, that which has developed out of
the CONSPIRATORS.
[3] ANTONY looks round in the direction of
the cries. Then he turns to the SERVANT
and as he speaks he stoops as though to
lift C.ESAR.
SCENE II
ILLUSTRATION No. 5
The Forum.
As has already been stated, the Third Act of an Elizabethan play
provides the catastrophe or turning-point out of the materials collected
from the preceding acts. The emotional element has reached its
first peak in the dispatch of the central figure, but BRUTUS and the
CONSPIRATORS still remain. ANTONY has foreshadowed the effect
of their act upon themselves and in this scene he proceeds to bring
them into conflict with the people of Rome. Our interest was held
The Forum.
The backing to this scene is not authentic
since it would be crowded by the pillars
of the partly built Basilica Julia. This,
with its tiers of scaffolding and heaps of
masonry, could, on a large stage, be used
•with great effectiveness as a means of
arranging further numbers of the crowd
rising up in broken eager groups to any
required height. As this could only be
an exceptional amenity, the back cloth
has been provided.
56
THE TRAGEDY OF JULIUS CAESAR
ACT III
JCT HI, SC. II
by the suspense attending upon CESAR'S fate ; now it begins to
involve that of BRUTUS. Hence the necessary continuity of the last
scene with this one. They are, dramatically speaking, intimately
related and are therefore scenes and not acts. In them the movement
of the action is transferred from one set of circumstances to the other
and such transference would be disjointed and the dramatic effect
weakened by segregation.
No attempt will be made here to analyse the details of this scene.
It rises by gradual degrees to a tremendous climax and care must be
taken to apply the treatment recommended by the notes in order to
enable the strength of the scene to be nursed and to ensure that through
its long progress the various changes in its construction be observed
and the emotional grip retained through rise and fall of pitch, the
interchange of strong rhetoric with colloquiality and of grief with
craft. Study the function of these contrasts that the one may develop
the other by a judicious handling of each and at the same time bear
in mind that noise or speed are only effective when well governed.
They must not be something in themselves. They must have some
argument controlling them as its emphasis and not have sheer
dominion. In view of all this the main speeches have been treated
almost line for line since their matter depends so much on their treat-
ment and their art upon technique.
While the tabs are still down the CROWD take their places. The
structural arrangement of the set has been designed to enable
the CROWD to be seen in the most effective way possible and with
its varying elevations offering a broken surface to the sea of faces
and the various vantage points which give the effect of eager
expectancy on the part of their occupants. If the reader will
bear in mind the vivid description of the CITIZENS' energetic
measures to see Pompey's entrance into Rome he will gain some
notion of the idea that has been aimed at in the composition of
this scene. Also by this arrangement we are able to see the
CROWD and the mass of faces which are always more eloquent
than backs. We get a bigger sense of concentration upon some-
thing of tremendous importance by this means, and see a new
character which is of great importance to the play, namely, the
People. They will therefore, in addition to occupying the stage
area, be mounted on the elevations at the back, some standing,
some sitting, or others leaning against the pillars. They are also
in the area below the steps, so that the pulpit is surrounded by
people looking at it from all directions. These, then, will be the
opening positions when the principal scene commences. (The
elevation in the centre of the large rostrum should have a step
placed behind it to enable ANTONY to mount it when he has to.)
Before this, however, the opening lines are spoken in the front scene
formed by the front grey traverse curtains being drawn together.
This will serve to allow for the slight changes to be made to
the existing set, and for the CROWD to assemble in their places.
It also allows for CASSIUS to depart with a convincing number of
CITIZENS, not merely two or three, who can, after the conclusion
of this short opening, become members of the general assembly.
A word should perhaps be said with regard to this arrangement
of the pulpit. Firstly, as has already been explained, it gives
us the faces of the CROWD and enables the momentous event to
be registered by those whom it most concerns. Secondly,
ANTONY'S great moment is when he leaps up on to the back
SCENE II
THE TRAGEDY OF JULIUS OESAR
57
centre elevation and whips the CROWD into their mutinous frenzy.
Thus he becomes the figure demanding all attention and by the
reserved occupancy of this position adds emphasis to his most
important work.
Before the rise of the curtain we hear the Crowd vociferating their demands. They
commence right in the distance and we hear their voices growing nearer and
nearer until they come from the stage. As the curtain rises we see Brutus and
Cassius C. with the Crowd on either side. This gradual introduction of the CROWD
effect, besides playing for time, also serves to bring us in contact with them in a more striking
way than by a sudden opening of the scene. They and their emotions are now a principal
part of the play. Their voices have continued right through from the assassination of OESAR
as subservient effects growing from murmurs into angry shouts and showing their sub-develop-
ment concur rent with the action of the scene on the stage, and now, without ceasing, they come
into their own.
CITIZENS. We will be satisfi'd ; let us be satisfi'd.
BRUTUS. Then follow me, and give me audience, friends.
Cassius, go you into the other street,
And part the lumbers.
Those that will hear me speak, let 'em stay here ;
Those that will follow Cassius, go with him ;
And public reasons shall be rendered
Of Caesar's death.
FIRST CITIZEN. 2I will hear Brutus speak.
SECOND CITIZEN. 3I will hear Cassius ; and compare their
reasons,
When 4severally we hear them rendered.
He makes as though he is going and a number of others from R.
and L. move across. As they do so the lights dim out. There is
a pause whilst BRUTUS gets into position in the pulpit. The noises
of the CROWD grow up at the back, the curtains open and the
lights rise upon the full stage. Note that the CROWD in front
of the curtains keep up their cries and remain where they are,
simply becoming a part of the general assembly as the curtains
open. Brutus is discovered in the pulpit.
THIRD CITIZEN. The noble Brutus is ascended : silence !
[Voices die down.
I'he nature of BRUTUS' speech is self-evident. It is a straightforward deliberate address as honest
as himself. He takes his time and allows his facts to spread to every hearer. He is strong
and sincere, and so furnishes the contrast against which ANTONY'S oration is placed and whose
nature will be studied when we reach it. There is nothing subtle or ulterior about this speech.
It is written in prose and so minimizes its emotion and engages only by its plainness and
statement of fact. It is bold and untrammelled with anything but the loftiest sentiment. Every
phrase is delivered with full regard for its effect, and separated to give it the full emphasis
of its meaning. The opening words, ' Romans, countrymen and lovers ', are separate and
earnest and sent to every point of the assembly. Throughout the speech BRUTUS must turn
and address himself to the different sections of the multitude. Also the CROWD remain per-
fectly silent and still as though concentrated upon something of the most urgent nature. The
sea of still and earnest faces and straining perched figures without movement of any kind will
make us realize that they are engaged in listening to the explanation of a great national crisis.
BRUTUS. Be patient till the last.
Romans, countrymen, and 5lovers ! hear me for my 6cause, | and be
silent, that you may hear : believe me for mine honour, and have
respect to mine honour, that you may believe : 7censure me 8in your
wisdom, and awake your 9senses, that you may the better 10judge.
11lt 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. \ 12If
then that friend demand why \ Brutus rose against Ccesar, \ this is
my answer : 13not that I loved Ccssar \ less, \ but that I loved Rome \
more. 14Had you rather Caesar were living, and die all slaves,
than that Caesar were dead, to live all 15freemen? 16As Caesar
loved me, | I weep for him ; as he was 17fortunate, | I rejoice at
it ; as he was valiant, | I honour him ; 18but [ as he was 19ambitious,
I slew him. | 20There 21is tears for his love ; joy for his fortune ;
ACT III, 8C. II
[1] Cassius moves through the Crowd
to R., where he exits.
[2] From over L. This is followed by
• Aye * and ' Yea ' from a number of
CITIZENS.
[3] From over L.
[4] i.e., individually.
[5] See note 3, p. 40.
[6] i.e., so that you may know my cause,
what and why I have done this thing.
[7] i.e., criticize.
[8] i.e., according to your judgments.
[9] i.e., faculties (of perception).
[10] This is the end of the introductory lines
— plainly spoken injunctions. There
is a definite, moment's silence after this
word.
[11] Now he reaches his explanatory phrases.
Every word in this passage up to ' his '
is measured and deliberate and each
clause punctuated with its separating
pause to point its significance. The
CROWD still remain silent and still.
[12] Take this whole sentence a little quicker.
[13] Now dwell upon this phrase for its
importance.
[14] Take this passage up to ' freemen ' with
a quicker pace. It has a vital appeal to
themselves and requires the elementary
quality of speed to engage their minds
in a certain emotional form. It also
has the technical variation which breaks
up the prevailing steadiness and so adds
emphasis to itself and its neighbouring
clauses. The meaning is, ' Would you
rather have had it that ..." The ellip-
tical construction makes it much easier
to get a sudden and abrupt delivery.
[15] i.e., free citizens, enjoying their full
rights and liberties. It does not mean
freedom from bonds or menial servitude.
BRUTUS is speaking figuratively and in
this manner drives the lines home to
them so as to awaken their realization to
what they have escaped from.
[16] After a moment's pause whilst his effect
becomes registered, he proceeds at a
slower pace and without any vehemence.
Also note that the pauses between the
principal phrases are negligible. Un-
less this is so there will be a danger of the
passage dragging. The importance of
these phrases is established more by the
intervals between their clauses than be-
tween the phrases themselves. The
clauses accumulate what they develop
and do not merely lay down facts.
They co-operate with their matter to
give the point to the last one of all, and
must therefore be collective, generating
their potency by internal means more
than by too pronounced an individuality.
Remember, too, that he is speaking from
deep, moral principles and that there
must be a sincerity in his treatment.
[17] i.e., as a general.
[18] Firmly. This phrase is the climax of
this particular passage.
[19] This word takes a strong emphasis fol-
lowed by a slight pause to intensify it.
This is the reason why CAESAR was slain.
[20] This passage up to ' and death . . .
ambition ' is taken with less effort and
more speed. This treatment again is a
necessary variation as well as enabling
the ultimate phrase to receive its em-
phasis without attempting to repeat the
strength of the former like climax.
[21] This is used to agree with the singular
nouns, ' joy ', ' honour ' and ' death ',
' tears ' being singular in the quantita-
tive sense. Skeat (' Principles of Eng.
Etym. ') offers the suggestion that ' is '
is sometimes used to replace are because
of the phonetic similarity of the words
there and are. Here, however, it is felt
that the explanation in this instance is
the true one.
58
THE TRAGEDY OF JULIUS CAESAR
ACT III
ACT m, sc. n
[1] He now reaches once again into their
more personal considerations. He be-
comes quicker, more vehement and
somewhat passionate. Remember that
he is pleading his cause and his cause
springs from a deep feeling. His pas-
sion, however, is more earnest than wild,
more appealing than inflammatory.
Note the alliterative emphasis here and
in the following phrase.
[2] Inflect this word because it refers to
an earlier question on the same thing.
[3] Follow the earnest question with more
simple one. It is natural as well as
breaking up the treatment, and gives
more point to the important facts asked.
In the following line ' Rude ' means
gross, uncultured.
[4] Add more strength to this final phrase
and make it graver than the others.
[5] i.e., despicable.
[6] Note the variations in the inflexions of
these words ending with ' him ' and
' offended ', both being stressed because
this phrase is the most important of the
three.
[7] The Folio has ' a '. Some editors
omit it.
[8] For a moment there is a pause. Their
minds have been gripped by BRUTUS'
eloquence and then with a united action
they release their combined answer.
Some add an additional ' None '.
[9] BRUTUS takes them up quickly.
[10] He proceeds fairly quickly, his own
reaction being an emotional one. His
feelings open themselves in a concise
acknowledgment of his own liability to
the same penalty for the same offence,
the established record of CESAR'S death
left for history to judge, etc.
[11] The detailed record, from Lot. qusestion-
em, from quserfire, to ask, to inquire.
[12] i.e., recorded (upon a roll).
[13] i.e., diminished, depreciated, from Lat.
ex + tenuls, thin, to emaciate or shrink.
[14] i.e., over-emphasized. Note the balance
of fairness and goodwill in this speech
and how the character of BRUTUS author-
izes the text.
[15] Quietly and gravely.
[16] Every face turns towards the
funeral procession and a passage
is made for it as it slowly proceeds
to C. during the ensuing lines. The
visibility of the sea of faces turning in
the direction of the bier should be char-
acteristically effective. There is no hiss-
ing or booing from any of the CROWD.
ANTONY follows the bier and remains
there at the head of it for the time being.
[17] Pick this phrase out to show that every
Roman is to be treated with equal fair-
ness and there is not going to be any
partisanship.
[18] i.e., the advantage gained by CAESAR'S
death.
[19] This means that he and they will be active
members of a real commonwealth and not
as heretofore merely suppressed. It
does not mean a special administrative
post.
[20] He hastens to this addition because it
emphasizes their regained liberty.
[21] Slow up on this and deliver the entire
passage with a sound strength.
[22] See note 24, p. 3. Here of course
the meaning is modified to that of a mere
popular demonstration.
[23] A distinction which was conferred on the
Mobiles or Patricians, and which was
known as the Jus Imaginum. These
Imagines were figures with masks of
painted wax placed in the Atrium of the
house. See Smiths' ' Diet, of Class.
Antiquities ' under Nobiles for a full
account of them.
[24] i.e., take CESAR'S place. This comes
out with great vehemence and is followed
by a universal ' Aye '. What seems
apparent here is that they are advocating
the very thing that BRUTUS has sought to
destroy. They are using C.ESAR as a
synonym for monarch, as is shown
honour for his valour ; and death for his ambition. 1Who is here so
base that 2would be a bondman? 3If 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. 4Who is here so 6vile
that will not love his country? If any, speak ; for Ghim have I
offended. I pause for 7reply.
ALL. 8None, Brutus, none.
BRUTUS. "Then none have I offended. 10I have done no more to
Caesar than you shall do to Brutus. The nquestion of his death is
12enrolled in the Capitol ; his glory not 13extenuated, wherein he
was worthy, nor his offences 14enforced, for which he suffered death.
From up R. enter eight Magistrates bearing the bier (lectica) with
CESAR'S body. They are wearing dark grey togas with their
hoods over their heads. They should, strictly speaking, be in
black, but are differentiated in order to emphasize ANTONY,
who is in a deep black toga with his hood likewise drawn over
his head. No other ceremonial details are introduced. The
inner pairs of bearers carry the bier by the rings.
ANTONY follows the bier and on his L. is OCTAVIUS' SERVANT
dressed as before. It should be pointed out that the interval
between the scenes represents a passage of time and that the cries
of the CROWD have been used to bind the scenes together. The
immediate sequence of this scene is dramatically very necessary
and the quibble that ANTONY would not have time to prepare
for the funeral is a failure to understand the accepted convention
of condensation of tune.
15Here comes his body, 16mourned by Mark Antony : 17who, though
he had no hand in his death, shall receive the 18benefit of his dying, a
19place in the commonwealth ; 20as which of you shall not ? 21 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.
There is the immediate assuring response which is carried on for a
moment or two. Then the following three lines come quickly
one after the other and from different parts of the stage. Make
them as vehement as possible, consistent with the intense feeling
from which they spring.
During this exchange of lines Brutus moves round to the
C. of the principal rostrum.
ALL. Live, Brutus! live, live!
FIRST CITIZEN. Bring him with "triumph home unto his house.
SECOND CITIZEN. Give him a statue with his "ancestors.
THIRD CITIZEN. Let him be 24Caesar.
FOURTH CITIZEN. Caesar's better 25parts
Shall be crown'd in Brutus.
FIRST CITIZEN. We'll bring him to his house with shouts and
clamours. [Renewed shouts from the CROWD.
BRUTUS. 26My countrymen, —
below, and it illustrates the shallow
minds of the CITIZENS inasmuch as they
cannot see the political reasons for
CESAR'S death, or if so have forgotten
them in mere hero worship. As Verity
inN.V.,p. 170, points out, ' they ignore
principles and care only for persons—-
now Pompey, now Ccesar, now Brutus,
now Antony '. But if they didn't, there
would not be a play. That they do so is
human nature for all time. Everything
in them runs to excess, but it is excess of
characteristic passion where a cultured
reason does not abide.
[25] i.e., CESAR in nobler form.
[26] BRUTUS is now on the C. of the rostrum.
SCENE II
THE TRAGEDY OF JULIUS C^ISAR
59
SECOND CITIZEN. Peace ! silence ! Brutus speaks.
FIRST CITIZEN. Peace, ho ! [The shouts die down.
BRUTUS. 1Good Countryman, let me depart alone,
And, for my sake, stay here with Antony :
Do 2grace to Caesar's corpse, and grace his speech
Tending to Caesar's glories, 3which Mark Antony |
By our permission \ is allow'd to make.
I do entreat you, | 4not a man depart, |
Save I alone, | till Antony have spoke. [Exit R.U.E.
FIRST CITIZEN. Stay, ho! and let us hear Mark Antony.
THIRD CITIZEN. Let him go up into the 5public chair ;
We'll hear him. Noble Antony, go up.
ANTONY. 6For Brutus' sake, I am 7beholding to you.
[Goes into the pulpit. The BEARERS take the bier and place
it up and down stage with the head pointing up stage at the
foot of the pulpit. The BEARERS stand round it. The follow-
ing dialogue takes place during ANTONY'S ascent to the pulpit.
OCTAVIUS' SERVANT takes up a position at the upstage corner
of the pulpit. There is a general noise as the CROWD discuss
this line of ANTONY'S. As regards the various Citizens
in this scene, don't delegate the lines permanently to
four individuals. There can be as many CITIZENS as there
are lines and they are scattered all over the stage.
FOURTH CITIZEN. 8What does he say of Brutus?
THIRD CITIZEN. 9He says, for Brutus' sake,
He finds himself beholding to us all.
FOURTH CITIZEN. 10'Twere best he speak no harm of Brutus here.
FIRST CITIZEN. "This Caesar was a tyrant.
THIRD CITIZEN. Nay, that's certain :
We are blest that Rome is rid of 12him.
SECOND CITIZEN. 13Peace ! let us hear what Antony can say.
ANTONY. You gentle Romans, —
ALL. "Peace, ho ! let us hear him.
As in BRUTUS' speech, so in this : the CROWD with one slight exception remain silent. Firstly
there is no antagonism towards ANTONY. He comes at BRUTUS' request to do something for him.
The angry outburst against CJ3SAR has been quietened down and the CROWD themselves have
commanded silence. Added to this a stage crowd by its perpetual interjections, often very badly
differentiated, become a little tiresome, and what perhaps is greater than all, they lose their own
effects when they reach the later moments of vociferous rioting. These effects sound and are
superficial if merely used as effects and do not proceed from dramatic reason. ANTONY
proceeds with the extremist caution. As we have seen, he spoke in BRUTUS' name in the very
first line that he uttered, and from now onward says nothing whatever that is of a provocative
nature. He gains his first hearing by burying C.ESAR, not praising him, and so disarms the
multitude at once. He then marshals certain facts which almost immediately have a sym-
pathetic bearing upon themselves, cleverly interposing his tributes to BRUTUS in a way which
negatives them and by a gentle art contradicts his opening lines and brings OESAR out of his
coffin among themselves and makes him a lively friend in their own interests. He takes
their emotional nature and trains it to sympathy by an appeal to their self-interest and the
revelation of CAESAR'S contribution towards it. This is a revelation indeed, and on all such
occasions the hearers remain silent. After this first speech when they are left dumbfounded by
what they have heard and by ANTONY'S heated admonition of their attitude toward C^SAR, out
of the silence they slowly begin to release their altered minds. This effect that points a
recognition of something fundamental and unexpected is only gained by the means suggested
above.
It may be interesting to the student to note how again Shakespeare shows the power of concen-
trated construction and how in under forty lines he eventually enables ANTONY to be able to
make a passionate censure on the crowd whom here he has to treat with the utmost caution.
We have a sea of earnest faces all concentrated upon the pulpit left of the stage. The exuber-
ance over BRUTUS, the mixed feelings over what is to follow, the fierce flash against C.SSAR
have all died down and another great force is at work upon them. The activity of this influence
is made more apparent by stillness and silence than by any other reaction. The unfolding of
the concentrated substance of the speech is dramatic action whose power is in itself alone.
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 oft 16interred with their bones ;
So let it be with Caesar. 17The noble Brutus
ACT III, SC. II
[1] Take this speech with emphasis, but
avoid dragging it out.
[2] i.e., show respect for, honour.
[3] Make this very plain.
[4] After his last line he moves to the
exit up R. The CROWD surge across
after him as though they were going to
carry out their earlier injunctions.
They forget OESAR and ANTONY. Now
BRUTUS turns and restrains them.
[5] From the Hth c. this was an epithet used
for a place of authority. The O.E.D.
quotes Milton as first using it with refer-
ence to a pulpit in 1648. Here in the
present instance the word seems to be a
combination of the two meanings, al-
though it points more to the convenience
for public address than to a place of
authority.
[6] Note that in his very opening sentence
he seeks their favour in the name of
BRUTUS. He is bound to them, obliged
to serve them because BRUTUS has asked
it of him. And in order to do BRUTUS
a service he has been deputed by
BRUTUS to act on CESAR'S behalf and
speak his worthiness. This is craft and
a palliative against any hostility.
[7] Actually, beholden. For the confusion
which existed between these two words
and the use of beholding, which means
seeing or looking, for beholden, to be
attached to, a derived meaning from the
verb to behold — to hold, and thus
regard — look, see O.E.D.
[8] This comes from a Citizen right
over and up R. as though he were too
far away to have caught the precise con-
text of BRUTUS' name among the noise
of the murmuring voices.
[9] This Citizen is somewhere in the
centre of the Crowd and turns and
sends this line over to the first one.
[10] This from up the centre back.
ANTONY is listening intently.
[11] This comes from a Citizen near the
bier, who shouts it out with a sudden
fierceness. This is followed by a general
cry of angry assent, the whole passion of
the CROWD thus being released against
C.ESAR. It builds the great hostility
against which ANTONY can work and at
length overcome and so forms the con-
trast for the effects of his eloquence.
[12] Another responsive yell.
[13] This comes from a Citizen near the
pulpit. Half of the CROWD near to
him quieten down, whilst the others over
R. maintain a continuation of their com-
ments in a degree which just allows for
ANTONY'S being heard.
[14] This comes from the general CROWD near
ANTONY and ' let us hear him ' from
a single Citizen after the quietness has
been attained. When everything is
completely stilled, ANTONY speaks.
[15] Take the opening lines down to ' Caesar '
with a quiet simplicity tinctured with
the slightest emotion. Fundamentally
he is not speaking to them in BRUTUS'
vein. He is much more subdued, and
his own character with its preconceived
design gives a sly meekness to all he says.
There is a modified aggressive
murmur through this line which
Antony quietens by his second line.
[16] i.e., buried. Lat. in terra, earth.
[17] He has now finished with his opening
treatment and proceeds upon a new note.
Emotion disappears and he makes a
plain and simple statement rising above
solemnity and sorrow. He has tactfully
directed their thoughts away from
CESAR'S glories to soothe them and win
their ears. Now he proceeds upon the
evil that lives after C.ESAR. Take this
colloquially and on the note of statement
of fact.
60
THE TRAGEDY OF JULIUS (LESAR
ACT III
ACT in, sc. ii
[1] Just a slight pause to enable the fact to
be registered.
[2] An acknowledgment made with a simple
colloquial gravity.
[3] He takes care here to address his entire
audience. It is another cover to his
device, a reminder of his license, and a
final pacification of any remaining
hostility preparatory to what he is about
to adventure on. This line is taken
with the renewed tone of statement.
[4] Be very emphatic but inoffensive over
these two lines. It is a sop to the CROWD
and something which is carefully estab-
lished for further use. Don't force it.
Its repetition throughout the speech does
that aided by context.
[5] Continue the treatment of [3] and finally
establish the fact.
[6] He first points down to the bier. He
reverts to a simple tone once again, not
forcing his intention by overdrawn
emotion. His point is now to invoke
a conflict of ideas. This man was a
just and faithful friend. Therefore he
was virtuous and not self-interested.
Against this he places BRUTUS' oppos-
ing statement and an acknowledgment of
his honourable qualities. It is a slight
move against BRUTUS, but not openly
offensive or contradictory. He suggests
a discrepancy between fact and repute
merely by placing them together, and
leads their minds first into a slight
emotional consideration by the reference
to faithful friendship and then confronts
them with an apparent paradox, not a
deliberate negation.
[7] Simply and without any deliberate at-
tempt to force the purpose.
[8] With a gracious acquiescence, taken
slowly in an affirmative way. Having
reached this stage with their minds just
gently touched with consideration, he
waits for his words to take their effect.
[9] Then he leans over the pulpit and his
manner takes a sudden change. He
points down to CJSSAR and opens their
eyes to another fact . He is quicker than
before, but not as yet vehement. He is
artful in his statement and not violent.
He is leading their minds, which
although not qualified with cultivated
powers, are primed with elemental
passion and the process of his enlistment
must not be too sudden.
[10] i.e., public coffers or funds.
[11] Just another slight pause before he con-
tinues with this so that his statement
may be allowed to have its full effect.
Then he proceeds in a slightly easier
way, drawing out his question to allow
its full significance to become apparent.
There is no response from the CROWD
because this development is so unex-
pected and their considerations are
groping in deep quantities.
[12] Having got them thinking, he goes a
degree further and this time adds a
vehement note to his statement, striking
' cried ' and ' wept ', the latter being
much stronger than the former. This
strikes right in to their own personal
concerns and they are amazed at it.
[13] i.e., cried out in their need. It was
this, their poverty and suffering, that
made C/ESAR weep. ' Cried ' is not
synonymous with ' wept '. The one
illustrates the demands of want, the other
the reaction of grief to that woe. The
fact that I.K-A u wept is what is impor-
tant.
[14] Again he reverts to a quieter and self-
evident line, merely carefully emphasiz-
ing the inflected words.
[15] Also quietly effective, just being brought
up against the facts stated and carrying
its additional power of repetition. The
measured treatment of the following line
gives it its inherent negative power.
[16] He returns to his upright position and
extends his arms outwards as he ad-
dresses them and surveys them all before
proceeding after these four words. He
Hath told you Caesar was 1ambit i ous :
2If it were so, it was a grievous fault,
And grievously hath Caesar answer 'd it.
3Here, | under leave of Brutus and the rest, |
4 fFor Brutus is an honourable man ;
I So are they all, all honourable men, —
5Come I to speak in Caesar's funeral.
6He was my friend, | faithful and just to me :
7But Brutus says he was ambit i ous ;
8And Brutus is | an honourable man.
9He hath brought many captives home to Rome,
Whose ransoms did the "general coffers fill :
nDid this in Caesar seem ambit i ous ? |
12 When that the poor have 13cri'd, | Caesar hath wept :
14 Ambition should be made of sterner stuff :
15Yet | Brutus says he was ambit i ous ;
And Brutus is an honourable man.
16You all did see that on the 17Lupercal
18I thrice presented him a ig kingly crown, |
20Which he did thrice | refuse : 21was this ambition ?
22Yet | Brutus says he was ambit i ous ;
And, sure, he is an honourable man.
I speak not to disprove what Brutus 23spoke,
But here I am to speak what I do know.
24You all did love him once, not without cause :
What Z5cause withholds you then to mourn for him?
O 26judgement! thou art fled to brutish "beasts,
strikes a more forceful note and his voice
becomes strong and arresting. This is
the commencement of another idea. He
leaves the emotional element for the
political one. Having led them to
consider BRUTUS with a second thought
and telling them things they did not
know, he expands to something which
they themselves witnessed: therefore
this rhetorical emphasis.
[17] See note \&, p. 4.
[ 18] This line is very carefully pointed, and
at its conclusion he pauses to give his
following line its full effect.
[19] This is the important word, not' crown '.
Apart from the fact that the word was
used for other than royal crowns in
Shakespeare's time, some corrective has
to be made to CASCA'S disqualification
in Act I, Sc. II.
[20] The first three words are taken quickly.
Then dwell on ' thrice ' and after a
moment's pause strike ' refuse ' with full
strength. The still and earnest faces
will be a strong complement to this as
well as the other points of the speech.
[21] After a slight pause he opens his arms
and makes a rhetorical appeal. He is
beginning to introduce passion into his
address. He feels that the preceding
points have made the ground safe for the
use of emotion and here it bursts out in
a strong, firm, and judicious way.
[22] He again bends over the rail and repeats
his former report of BRUTUS' statement
with a certain forced affability which
makes it politely cynical, a quality
which is emphasized by his substitution
of ' sure ' for ' Brutus ' in the following
line. The cynicism is not overdrawn
but is evident.
[23] This is elliptical for what he spoke con-
cerning CJSSAR'S wrongs. It appears
to mean that he is not there to argue in
theory or logic but by fact. He has dis-
proved BRUTUS' condemnation, but it
has not been by means of word play or
sophistry but by simple facts. He takes
these lines fairly quickly and with a
mounting passion running through them.
This passionate development explains
the meaning of the lines because he is
moved by it into bringing the art of the
calm, reasoning BRUTUS into contempt.
Actually, of course, his passion is more
or less assumed, but beneath the rising
purposeful demonstration there is his
innate hatred of BRUTUS which shows
itself here.
[24] Just a short pause and then he flings
open his arms again. Now he is releas-
ing his passionto the full, just keeping it
under control so as to gain a maximum
effect on ' O judgment . . . '. After
having enumerated the preceding facts,
he feels that this outburst is necessary to
stimulate them into the firm belief in
CAESAR'S deserving qualities. Their
very silence and stillness accounts for
this.
[25] This may be an ironical use of the word,
tilting at BRUTUS' ' cause '.
[26] i.e., discernment, the power of seeing
things in their reality. This is the final
passage which develops all the feeling he
can command. Hearing in mind his
purpose throughout this scene, this is
really a stage-managed grief. In acting
of course it appears to be real. The
emotional effect is successful on the
CROWD since he is striving to reach their
emotions and not their intellects, realiz-
ing that once they are stirred, they are
more destructive and dangerous than
thought. Hence it is grief and not rage
that must produce this, grief that men
should lose the sense of virtue and fail to
be kindled by kindness.
[27] i.e., beasts now have the monopoly of
judgment since they alone can mourn.
SCENE II
THE TRAGEDY OF JULIUS CAESAR
61
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.
ANTONY draws his hood round his face and turns so that he is facing
oblique L. During the following scene he gradually turns a little
so that we see his face as he listens to the conversation that is
going on. He still holds his hood so that it screens his face from
the majority of the CROWD. After his last word there is a hushed
stillness. They have realized a great change in the circumstances
of things. Their faith in one man has been challenged and they
are somewhat stunned by the blow and successfully consternated
by ANTONY'S clever finale. After a while there is a sign of move-
ment and then this FIRST CITIZEN finds his tongue and speaks
slowly and confidentially to his neighbour. He is not quite sure
but he feels that something has been said that deserves attention
yet is not equal to making his thoughts too public. Then his
neighbour begins to open himself out a little and returns confidence
with confidence. This is overheard by a nearby CITIZEN who is
not so shy and who lets those round him know his mind. Then
the woman's voice comes out clearer still and immediately the
other CITIZEN lets himself go and in a moment the whole assembly
has awakened to its new idol. Properly managed, this should be
very effective. Here again a situation is generated within a very
few lines and we mount from hushed and tense silence into
immense fervour. Note that these CITIZENS need not necessarily
be identical with those previously appointed to these names.
They are a little group of their own who form by this colloquy
about R.C. in front.
FIRST CITIZEN. Methinks there is much reason in his 2sayings.
SECOND CITIZEN. If thou consider rightly of the matter,
Caesar has had great wrong.
THIRD CITIZEN. 3Has he, masters?
I fear there will a worse come in his place.
FOURTH CITIZEN. Mark'd ye his words? He would not take
the crown ;
Therefore 'tis certain he was not ambitious.
FIRST CITIZEN. If it be found so, some will dear abide it.
[ANTONY turns front.
SECOND CITIZEN. Poor soul ! his eyes are red as fire with weeping.
THIRD CITIZEN. There's not a nobler man in Rome than Antony.
[ANTONY places his hands on the rail. The noises die down.
FOURTH CITIZEN. Now mark him, he begins again to speak.
ANTONY now realizes with extreme satisfaction that he has won them to his purpose, but he does
not hasten in his success. He is clever in all he does, both in his matter and his method. He
resumes his r6le ofnwurner and takes up from where he left off, bringing pity into their hearts
by a pathetic description of CJSSAR'S state, after which he gathers way and by the end of the
speech in twenty lines, has them right in the hollow of his hand.
ANTONY. 4But yesterday \ the word of Caesar might
Have stood against the world : now lies he there, |
And none | so 5poor | to do him reverence.
6O masters, | if I were dispos'd to stir
Your hearts and minds to mutiny and rage,
7I should do Brutus wrong and Cassius wrong,
Who, you all know, are honourable men :
8I will not do them wrong ; I rather choose
To wrong the 9dead, \ to wrong myself \ and you,
10Than I will wrong such — honourable men.
ACT in, sc. u
[1] i.e., men are without any faculty of per-
ception or power to discriminate be-
tween what was or is worthy or worth-
less. At the first glance it may appear
to be the notion of inverting the endow-
ments of man and beast : but beasts
always are able to mourn. The first
of these two lines shows that. His
clenched fist goes up to his forehead (the
back of his hand on his brow) in an im-
pulsive gesture and then after a pause
he breaks the high pitch and appears to
be in tears, proceeding in a broken voice
which asks for their patience and con-
centrates their minds upon his tremen-
dous grief.
[2] This line becomes highly effective if it
leaks out of a long silence beginning on
p. 59. It gives the CROWD the quality
of being a living ingredient instead of a
noisy auxilliary and the capacity for
some deep human experience. Note
the peculiar use of sayings which
in the form of the infinitive verb has
already been referred to in note. 13,
p. 38. It has the meaning of ' orig-
inal statements ' as differing from the
single present-day meaning of ' quota-
tions ' (from another source), tucmtrs
again uses it in Act V, Sc. V, in the same
sense as it is used here.
[3] This line is actually a statement in
treatment. The Folio prints a query,
and it is a rhetorical question with a
downward and not an upward inflex-
ion. It can, according to the treat-
ment that has been prescribed, be an
adventure of the speaker into the gather-
ing sea of opinions, entering the discourse
on the question merely to add his con-
cealed opinion more boldly immediately
afterwards, when he has found himself
speaking.
[4] These first three lines are taken quietly
and deliberately, full of the utmost
poignancy.
[5] The meanest man is now too high to do
reverence to Caesar. — Johnson.
[6] His treatment now changes. He becomes
quicker, more direct in his manner to-
wards them, but not vehement. He is
leading up to a climax just a little further
on and as yet is introducing something
which later may be amplified into a
major action. Here, however, he simply
sows the seed, holds out a notion which
by his subsequent strategy is taken hold
of by them and developed into a revolu-
tion.
[7] Keep the pace fairly quick and don't
dwell too much on this point. Make
the emphasis without holding up the
pace.
[8] Slow up on this line and do not be too
emphatic. Th« modified pace will dp
that. He is being careful to resume his
strong note for t he purpose of a rhetorical
shock in ' you '. That is why he takes
these lines from ' O masters ' in a style
which has power without being force-
fully vehement, artfulness more than
directness.
[9] Again he modifies his emphasis on
' dead ' and ' myself, following each
by a pause. This attracts the minds of
his listeners and enables him to grip
them with the sudden jerk of ' you ',
thus suddenly bringing the ' honourable
men ' into conflict with themselves. It is
a rhetorical trick and has to be manipu-
lated as such. Again the CROWD is top
dumbfounded to realize its voice. This
is, after all, a very sudden development
of a great surprise and they must have
time to realize it.
[10] There is a continuation of the inherent
strong feeling which is animating
ANTONY and which exposes itself fully
in ' you ' in this passage. But on
reaching ' such ' he pulls himself up and
returns to the polite note. We then
infer that he would like to call them some-
thing quite different.
62
THE TRAGEDY OF JULIUS C^SAR
ACT III
ACT III, SC. II
[1] Having thug introduced this ironical
element to a certain degree and roused the
question of the ' honourable men's ' in-
tegrity, he now approaches his object
from another direction. He becomes
erect and proceeds upon a new note of
statement. He takes this line at a mod-
erate speed and holds up the rolled-up
document above his head. This change
and the production of the object again
engrosses their attention, which is always
kept alert by a fresh turn. ANTONY
knows his crowd.
[2] i.e., a private repository or cabinet for
papers. — Onions. It is O.Fr., a diminu-
tive of clos — Lat. clausem, a closed
space. It was applied variously to
private chambers and receptacles alike,
the former being the predominating
meaning.
[3] He naturally strikes this phrase and
pauses whilst ensuring that everyone sees
it. Here now is an excited whisper
of ' Caesar's will ' and a craning of
necks.
[4] Take this steadily. Remember that he
is developing their interest and would not
be merely declamatory without being
significant.
[5] He deliberately drops to a sudden col-
loquial tone which makes his line more
emphatic. He is pointed and drawn
out in what he says and by this change
again draws their minds with hint.
They remain silent, being suppressed by
ANTONY'S method and are being held by
him as he directs their feelings into the
form he wishes.
[7] i.e., handkerchiefs.
[8] Let this come out with a tremendous
burst. It is a big dramatic issue, the
point where ANTONY has succeeded in
stimulating their feelings in the direction
that he wants and creating a flood which
is to be used to destroy his enemies.
[9] Don't lose the value of this line in mere
declamation. Let the intended bitter
dart against the CONSPIRATORS be shot
with intense sarcasm.
[10] i.e., fitting, politic. It would not benefit
the CONSPIRATORS or combine with their
selfish purposes to let the people know
this
[11] This is taken up by some of the CROWD
who exclaim, ' Loved us ', not as a ques-
tion but as a statement. They realize
that he loved them and it is this realiza-
tion that shows a sudden and critical
emotional movement towards C.&SAR.
[12] Now with all his power he reaches right
down into them. Observe the pauses and
the final summit. Let these last two
words have their right value by separa-
tion and by striking ' men ' with full
force. The response to this is a big
' Aye '.
[13] He continues in his highly wrought
pitch, striking the inflected words. His
pace is swift and gripping.
[14] Slower and with the caustic biting right
through.
[15] The whole purpose of the speech has been
an inflammatory one. Hut it is to be
noted that there is never direct incite-
ment, only the urge by suggestion. Here
he simulates the horror that would follow
if they once realized how much they had
been wronged.
[16] His face and voice betray the terror of
assumed apprehension. This of course
is a part of the process of incitement.
[17] This renewed outburst from the CROWD
is used to sustain the great pitch of the
scene. Again, allow for just the right
interval and then continue.
[18] Proceed with simulated and great alarm,
fairly rapidly but with intense pitch.
[19] Slower but with telling emphasis upon
the marked words. Here he drops the
apprehensiveness and makes a bold
indictment as he leans forward over the
rail. The phraseology is still that of
assumed fear, but that is all.
xBut here's a parchment with the seal of Caesar ; |
I found it in his 2closet ; 3'tis his will :
[CROWD : " Caesar's will! "
4Let but the commons hear this testament —
5Which, | pardon me, | I do not mean to read —
[6] Now he leans over the rail and by an intense emotional change works upon them by the revela-
tion of what the will contains. As he proceeds, those feelings which have been held in
bondage and cultivated more and more, now begin to pour out in an increasing volume. As
he moves along, rapid and intense, their excitement begins to issue and, although still restrained
to repressed murmurs, accumulates until towards the end of the speech cries of ' The will'
begin to be heard. ANTONY commences on a swift, intense note, working up to ' And, dying
. . . ', when he becomes more powerful and less rapid and on the final two lines this power
increases and his treatment weighs out the great climax with telling effect. It is here that
the control of the CROWD begin to break down and the voices begin to swell up with their repressed
cries so that the Cine, ' We'll hear the will . . . ' develops out of this growing chorus and
rings out as a cue for the general multitude.
6And 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.
FOURTH CITIZEN. We'll hear the will : read it, Mark Antony.
ALL. 8The will, the will ! we will hear Caesar's will.
After a judicious period in which ANTONY makes certain of his result, he extends his arms and
commands silence. Then he proceeds to add fuel to the fire. Here he incorporates his sly
attacks upon BRUTUS and the rest, who are pronounced guilty of having withheld their knoiv-
ledge from the people. They are not specifically mentioned, but their censure is an understood
thing.
ANTONY. Have patience, gentle friends, I must not read it ;
9It is not umeet you know how Caesar lov'd "you.
12You are not wood, \ you are not stones, \ but \ men ;
[CROWD : " Aye."
13And, | being men, hearing the will of Caesar,
It will inflame you, | it will make you mad :
14Tis good you know not that you are his heirs ; |
15For if you should, \ 16O, what would come of it!
FOURTH CITIZEN. "Read the will ; we'll hear it, Antony ;
[Renewed cries of intense insistence developing to a general
voice for the following line.
You shall read us the will, Caesar's will.
ANTONY. 18Will you be patient? will you stay awhile?
I have o'ershot myself to tell you of it :
19I fear I wrong the honourable men
Whose daggers have zostabb'd Caesar ; I do fear it.
[A shout of great anger.
FOURTH CITIZEN. 21They were traitors : honourable men!
ALL. The will! the testament!
SECOND CITIZEN. They were villains, murderers : the will ! read
the will.
ANTONY. 22You will compel me then to read the will ?
[CROWD : ' ' Aye. ' '
[20] He raises the will above his head on this
word to provoke their anger and to make
the intention of his ' fears ' perfectly
clear.
[21] After the combined outburst this
voice conies out from the R.C.
This is followed by a supporting
chorus of jeers from this particular
group. Against this comes the
cry for the will from those round
the pulpit, so that we get a mixture
of the two. Then the cries revert
to the first group and this is
swallowed up by a universal
demand for the will.
[22] After allowing them to declare them-
selves to his own enjoyment for a short
while and looking all round the stage
whilst doing so, he gradually quietens
them with his uplifted hand. This line
is again putting his own wish into their
mouths. He is strong and strikes the
word ' compel '. A big ' Aye ' comes
from everybody after this and ANTONY
feels that he has climbed the peak of his
purpose and relaxes in satisfaction.
SCENE II
THE TRAGEDY OF JULIUS CAESAR
63
ANTONY is going to make sure of his weapon against BRUTUS and the rest. He has so far forged
it. Now he is going to temper and shape it by a further exercise of their emotional condition
that shall confirm their feelings by a graphic witness of the deeds of the ' honourable ' men. Vehem-
ence has passed for the time being and a quieter power is being assumed that rouses pity and
intenser sympathy, forms of passion which are potent when converted into revenge for the object
of their grief. So assume a treatment consistent with this required change.
Then make a ring about the corpse of Caesar,
And let me show you him that made the will.
Shall I descend? xand will you give me leave?
ALL. Come down.
SECOND CITIZEN. Descend.
THIRD CITIZEN. You shall have leave.
ANTONY moves out of the pulpit and comes down the steps. As he
does so the BEARERS of the bier lift it and bring it to c., the down-
stage ones coming first, so that the head of the body is pointing L.
The CROWD surge round as though eager to see the body for
themselves, and these two CITIZENS thrust them away. When
the BEARERS have deposited the bier ANTONY reaches it and
dismisses them. They retire down to the Ibwer entrance by
the pillar. The CROWD surge round and ANTONY cautiously
moves them away from the body on his " stand far off ". Note
that as he leaves the pulpit he tucks the will in his belt under his
toga.
FOURTH CITIZEN. A ring ; stand round.
FIRST CITIZEN. 2Stand from the hearse, stand from the body.
SECOND CITIZEN. 3Room for Antony, most noble Antony.
[CROWD: " Noble Antony."
ANTONY. 4Nay, press not so upon me ; 5stand far off.
Various CITIZENS appoint themselves to clear the CROWD back.
They open out so as to clear the line of sight for ANTONY, whilst
some squat or lie down in front — at a distance — and others do
the same on the inner edge of the CROWD.
ALL. Stand back. Room! Bear back.
First observe the antithesis of quietness in the opening of this speech. It gives us a rest after the
vehemence of the past and affords a means of generating a new and greater climax. It takes
the action and prepares it for a fuller development. It is not an idle relief by any manner
of means. In the general treatment of the speech realize the intention of the various dramatic
values deliberately constructed and combined to develop the emotional sympathies of the CROWD
in a more intense way. It is an actor's speech, constructed with an eye to effect. It is not
merely spoken but felt, and with an observant eye upon those to whom it is addressed. Behind
it all is a conscious government over which a mantle of judicious acting is thrown, and a sin-
cerity which has purpose in its assumption. Its aim is to augment the pity for C.ESAR which
when ripe is transformed to rage by the sudden exposure of the victim. The effect is, as we shall
see, the complete weapon for ANTONY'S vengeance. Commence slowly, tenderly and quietly.
The notes accompanying this speech can only, at the most, serve to indicate something of its
nature. It is beyond the power of such limited commentation adequately to disclose the full
qualities of construction that go to its making. To the eye of an instinctive artist it is hoped
that the sketch will prove an introduction to the highly skilful combination of technique and art
that co-operates in this piece of fine dramatic writing. Beyond that, it has not the power to go.
ANTONY. If you have tears, prepare to shed them now.
You all do know this mantle : 6I remember
The first time ever Caesar put it on ;
7'Twas on a summer's evening, in his tent,
8That day he overcame the Ner vi i : [CROWD murmurs.
9Look, | in this place ran Cassius' dagger through :
See what a rent the 10envious Casca made :
"Through this \ the 1 2well-beloved Brutus stabb'd ;
[CROWD : low angry growl.
13And as he pluck'd his cursed steel away,
Mark how the blood of Caesar follow'd it,
14 As | rushing out of doors, | to be resolv'd)
If uBrutus | so unkindly knock'd, or no : j
ACT m, sc. ii
[I] Merely being very polite to them as
though it were their due to ask them for
their permission.
[2] This Citizen is at the back and is
moving round the bier trying to
urge the morbidly interested spec-
tators to clear the ground for
Antony.
[3] This one is up in the rostrum
which has been filled with Citizens
the moment Antony leaves it.
[ 4] As he is making his way towards
the bier and to those who are pressing
upon him to kiss his garments.
[ 5] 2 his to those on either side and in front
so as to leave an open space in front.
Traditional business makes this appear
to be a desire to be free from their odours.
Whilst being a showy point, it is hardly
likely that under the circumstances where
he has pandered to them, he would
risk any offence. He wants their
favour, yes, their equality with himself.
Quite true that inwardly he despises
them, but he would never show it. He
also feels no doubt that there is a danger
of their uncovering the body for them-
selves, which is more than likely.
[6] With a quiet, ruminative emotion pre-
serving it from being a mere statement
of fact.
[ 7] Note the soft and gentle vowels of this
line which enables him to express a fine
tenderness. There is poetry with the
design which saves the speech from be-
coming a piece of obvious theatrical
trickery.
[8] He looks at them for a moment to prepare
them for this reminder of CAESAR'S
prowess. His tone changes from its
gentle sentiment into one of affirmation,
but not with any violence. The contrast
with his preceding treatment makes it
clearly effective if spoken with a kind of
recollective note. NervB is trisyllabic,
the one i being short and the other long.
They were a warlike tribe ofBelgie Oaul.
Their country forms the modern province
of Hainault. — Lempriere. Actually,
CESAR'S conquest of the tribe took place
seventeen years before his assassination.
Plutarch and others mention the fact of
CESAR'S rent robe being shown by
ANTONY. Shakespeare thus combines
two facts and makes drama if not strict
history. See N.V., p. 177, note 180.
The CROWD in their now emotional state
react to this with sympathetic murmurs.
[9] ANTONY watching this, suddenly comes
in with this sharp ' Look '. He is now
beginning to add one effect upon the
other. After softening them with senti-
ment he proceeds to show the murderer's
signs. He stoops down and points out
the various gashes, and having secured
their attention after ' Look ' he proceeds
at a fairly rapid pace on this and the
next line. Some of those who are sitting
down in front rise to their knees.
[10] See note 5, p. 28.
[II] Having whetted their appetites with the
two foregoing examples, he now reaches
his principal object.
[12] Dwell upon this to point the epithet and
the act.
[13] Now quicken the pace again and con-
tinue into the next line. The speed links
up the action and hastens to that of the
blood running after the dagger, as well
as giving dramatic life to the idea of
the lines.
[14] Hold the line a mvinent after this word
and then proceed in a vivid manner, not
hurried but very expressive.
[15] Colour this passage with the intense and
abnormal feeling that builds the figure of
speech. Bear in mind what ANTONY'S
purpose is. He is leaving nothing to
their own imaginations.
[16] He strikes this word and holds it for a
moment and then proceeds with emo-
tional emphasis, building up the dire
nature of BRUTUS' action in this power-
ful way.
64
THE TRAGEDY OF JULIUS CAESAR
ACT III
ACT in, sc. ii
[1] He points this line with intense feel-
ing.
[2] He raises up his arms and apostrophizes
the gods, thus augmenting his effect by
this ascent into a devout grief. Remem-
ber once more that he is working upon
their emotions. This line betrays the
beginning of his tears. Keep it well
restrained and not melodramatic.
[3] As before, keep the emotion powerful but
quiet. Make it convincing and not
overdrawn.
[4] He begins to quicken and work up to the
word ' Ingratitude ' which comes out
strong and with the feeling of what it
means. Note how the principal words
now become highly expressive, moving
with the emotion that coins them. It is a
feature which always appears in the
passages of highest feeling.
[5] Having built up to this line which ex-
tracts the cruelty cultured by those pre-
ceding it he dwells on it with a poignant
treatment.
[6] Each of these two words acts its meaning.
His voice comes down from its stronger
register on the imitative nature of these
words. Draw them out and make them
eloquent.
[7] He allows the tears to penetrate in his
close sympathy with CESAR'S own tre-
mendous feelings. His register has
descended through the last phrase to a
quieter one, but his emotion is great and
convincing.
[8] He begins to increase in pace and rise in
pitch without dwelling upon his words.
[9] Slow up on this and make it more
emphatic. This also works up for the
dramatic emphasis of the last three
words.
CESAR'S blood stained the statue's base.
[10] Make this impressive but not noisy.
Take each word in its expressive worth
and draw out the sequence. A pause
follows ' Csesar ' and as he says ' fell '
his voice falls with the word.
[11] Emotional, but deep and not loud.
Both technically and aesthetically this
declension is necessary from the higher
pitch because it gives rest, it varies and it
makes his own effect more compelling,
enabling him to obtain a balance to the
more violent outbursts so that his emotion
is artistically poised and not over-
wrought in one direction which would
make it tiresome.
[12] He again quickens, and on this line rises
to an anguished note which culminates
in the next line.
[13] This is metaphorical for saying that
they came under the power of the
assassins.
[14] He has successfully played upon every
string and reached down to their hearts.
Take these three and a half lines with a
sincere and sympathetic treatment. He
is now preparing for the greatest of his
effects and is nursing their pity to its
fullest development.
[15] i.e., covering, that which merely encloses
him.
[16] Manage this final phrase to obtain the
full dramatic effect it constructs. He
assumes a sharper, arresting tone in the
first three words and stoops down, taking
hold of the covering over CESAR'S face.
Then he waits until they all are looking
at him. He then proceeds, taking each
phrase separately with a rising emphasis
that strikes the important words with the
bite of his own keen passion trembling
with its urgent thirst for this final and
fatal achievement. Note how he gathers
his facts together. He compels the
attention of the sobbing crowd, then
announces the object of their grief, then
its mutilated condition and with a sud-
den well-timed move reveals the body on
the word ' traitors '. It is a piece of
clever manipulation consummated by a
wait after ' with ' so that their anticipa-
tion, strained to the full, is ready to be
turned to rage by what it sees almost
1For Brutus, \ as you know, \ was Caesar's angel :
2Judge, O you gods, how dearly Caesar lov'd him!
3This was the most unkindest cut of all ;
4For when the noble Caesar saw him stab,
5 Ingratitude, more strong than traitors' arms,
6Quite vanquish 'd him : 7then burst his mighty heart ;
8And, in his mantle muffling up his face,
Even at the base of Pompey's statua,
9Which all the while ran blood, \ ™great Ccssar \ fell.
[CROWD : low groan and silent weeping.
11 0, what a fall was there, my countrymen !
12Then I, and you, and all of us 13fell down,
Whilst bloody treason flourish 'd over us.
[Audible sobs from the CROWD, especially from the women.
14O, 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? 16Look you here,
Here is himself, \ marr'd as you see, \ with \ traitors.
ANTONY remains by the bier whilst these cries are going on. They are full of poignancy and follow
one another with instantaneous sequence, turning from woe to wrath until the whole CROWD
is mad for blood. Note the swift but decided development from one passion to the other. Orief
first, swelling up to the madness for revenge. During this pandemonium Octavius'
Servant makes his exit down L., taking the news of what is happening to his mas er.
FIRST CITIZEN. O piteous spectacle !
SECOND CITIZEN. O noble Caesar !
THIRD CITIZEN. O woful day!
FOURTH CITIZEN. O traitors, villains!
FIRST CITIZEN. O most bloody sight!
SECOND CITIZEN. 17We will be revenged.
[17] This line comes out with a fierce vehemence from the centre elevation on the rostrum. It is
the note of battle. Immediately the whole multitude as it were catch fire. They attack the
Magistrates down L., who flee for their lives. Antony, realizing that the ' game's
afoot ', darts up to the C. elevation on the rostrum. Amid the confusion this must be
watched for and the space cleared. There is a short period of enormous eruption of destructive
passion, but a conscious eye must be kept on ANTONY. The moment he opens his arms the
noise must ease so that something at least of his voice may be heard in his ' Stay, countrymen '.
ALL. Revenge ! About ! Seek ! Burn ! Fire ! Kill ! Slay !
Let not a traitor live !
ANTONY. Stay, countrymen.
FIRST CITIZEN. 18Peace there! hear the noble Antony.
SECOND CITIZEN. "We'll hear him, we'll follow him, we'll die
with him.
This speech abandons all subtlety and pause. He has at last set light to the inflammable rage
and note he is intent upon feeding the flames. The whole piece is swift and vehement with
occasional dwelling upon certain principal lines that gain in rhetorical power what they yield
in pace. ANTONY exposes his true feelings here, deriding ERUTUS and the rest with biting
sarcasm and asking with an unleashed emotion for the uprising of Rome.
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 ;
[CROWD : a derisive yell.
What private 21griefs they have, alas, I know not,
immediately after the word ' traitors ' is
hurled out. Any who are still sitting
rise to their knees.
[18] This conies from the pulpit L.,
which is now occupied with CITIZENS.
[19] This line can be split up among
three Citizens. The first voice
comes from It., the second from
down L. and the third from a
Citizen who is on the steps C. in
front of Antony and who turns and
delivers his words with tremend-
ous gusto. After each phrase
there is a responsive cry from the
Crowd, and these cries work up in
strength until the final one is an
enormous yell. It shows how
completely Antony has won their
favour.
[20] This is hurled out with scathing irony.
Note how he now returns to his earlier
matter and converts it into a consuming
fire.
[21] i.e., grievances.
SCENE II
THE TRAGEDY OF JULIUS CAESAR
65
That made them do it : Hhey are wise and honourable,
And will, no doubt, with ^reasons answer you.
3I come not, friends, to *sleal away your hearts :
I am no 5orator, as Brutus is ;
But, | as you know me 6all, | 7a plain \ blunt \ man,
That love my friend ; 8and that they know full well
That gave me ^public leave to speak of him :
10For I have neither uwit, nor words, nor worth,
Action, nor utt'rance, 12nor the 13power of speech,
14To stir men's blood : | 16I only speak | right on •
16I tell you that which you yourselves do llknow ;
18Show you sweet Caesar's wounds, | poor poor dumb mouths,
And bid them speak for me :
In the remaining part of this speech we reach the assembled purposes of all that has preceded it.
It needs a very careful treatment. Speed, no. The strength and effect lies in the words them-
selves and their insurrectionary urge. Take each phrase as though it were creating that event,
strength and great strength forging the construction and the vocabulary, rising from the first
incisive tones of the substituted names, itself an arresting dramatic notion, to the incensing
emphasis of ' Would ruffle up your spirits ', where every word as well as those that succeed
is a throe of endeavour until he reaches ' that should move . . . ', when his labour increases
and his pace becomes more weighted with his purpose as it climbs to the direct order to mutiny.
On this last ascent his voice grows more rhetorical, his words slower, until his final ' mutiny '
stands detached in position and strength. A gesture accompanies this last word, which grows
from an earlier pointing to the stones rising round to the right on rise and then in front and
up with the final word.
19But | 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. 20We'll mutiny.
FIRST CITIZEN. 21We'll burn the house of Brutus.
THIRD CITIZEN. 22Away, then ! come, seek the conspirators.
[The CROWD yells and their movement must be unitedly
impulsive.
ANTONY. 23Yet hear me, countrymen ; yet hear me speak.
ALL. 24Peace, ho ! Hear Antony. Most noble Antony !
ANTONY. 25Why, friends, you go to do you know not 26what : |
Wherein hath Caesar thus deserv'd your 27loves? |
Alas, you know not ; | I must tell you then : |
You have forgot the will I told you of.
ALL. 28Most true : the will! Let's stay and hear the will.
ANTONY. 29Here is the will, | and under Caesar's seal.
30To every Roman citizen he gives, |
31To every several man, | 32seventy-five 33drachmas.
SECOND CITIZEN. 34Most noble Caesar ! 35we'll revenge his death.
THIRD CITIZEN. 36O royal Caesar !
[22] From up R. There is a swift gen-
eral movement towards R. [See
note at end of scene.]
[23] This must be anticipated by the CROWD
and their cries die down. They stop
dead.
[24] From up at the R. back elevation. Note
the inflexion on ' noble '. This shows
their flattery. They sweep back.
[25]Keep up the pitch of the scene.
[26] A dead pause.
[27]Another pause. These pauses btth
steady the scene and at the same time
expose the blind nature of their passion.
They also lead up to the return to the
will episode, which if not thus made of
consequence becomes an anti-climax.
[28] They flood back across the stage and fill
it once more. Make their treatment of
this line intensely eager.
[29] He holds up the unrolled will which he
has carried in his belt, with the seal hang-
ing down. Make this line strong.
[30] He can read from it if he wishes to, but
a better effect is gained if he looks at them
while addressing them and beats out his
lines with his forefinger. Everything
now is spoken with a very careful
emphasis. Weigh out the approach to
the bequest with slow and deliberate
measure.
[31] Slower still.
[32] Wait to create an expectant pause and
then bring out the following words, with
great emphasis. This causes the
CROWD to go wild with excitement and
the thirst for revenge.
[33] A drachma was equal to ninepence
three-farthings.
[34] This comes from the steps over L.
[35] This from the Citizen on the C.
steps. Others round the bier go down
on their knees and kiss the mantle.
[36] From a Citizen kneeling beside the
bier. The word ' royal ' is used only
in an appreciative sense.
ACT in, sc. II
[1] Again a scathing reiteration. Make
the most of it.
[2] i.e., clever arguments. He is attacking
the art of eloquence and persuasive
tongues.
[3] Keep the pace going.
[4] i.e., capture by the craft of mere words.
This is a word of wonderful eloquence
as it is used here. What could better
describe the art that deceives and draws
away from truth to false satisfaction
than stealing.
[5] i.e., an eloquent speaker, manipulator
of words. It is used with intense irony.
[6] i.e., all of you.
[7] Take these two phrases with a slower
pace and firm strength.
[8] He assures them that the CONSPIRATORS
were aware of his feelings, and that tie
has not been acting deceitfully even in
this.
[9] i.e. , leave to speak of him in public.
[10] Ease from the purely declamatory and
continue with a sustained swiftness
striking the inflected words.
[11] i.e., cunning. The concentrated nature
of this line is due to his urgency of feel-
ing, his wrought-up spirit. He is burn-
ing with the desire to reveal himself and
that he trusts to facts, not to mere words
or popular qualities for his appeal. The
redundancy is simply due to this earnest-
ness to reach his point over to them. In
this line the strength commences by
alliteration and in the succeeding one
by the redundancy which develops at
his meaning and does not merely repeat
it.
[12] Slow up slightly on this because it
reaches his meaning and contributes to-
wards the following principal phrase.
[13] Strike this word. Not merely words but
the power of eloquence is what he lacks.
He has implied this in his preceding
references, but here he gets his meaning
free.
[14] Maintain the importance of this line and
follow it with a very slight pause to
govern the power of these two principal
phrases.
[15] Here his voice rings out with a strong
passionate note that has an emotional
appeal behind its declaration. He is
urging his whole desire to effect its con-
summation and it is this tremendous
appeal behind the speech that makes it so
compelling. ' Right on ' means with
the directness of honesty, not the com-
plexity of clever argument seeking to
steal their minds from the truth.
[16] Leaving the more thrusting character of
the last line, he becomes purely informa-
tive, but vehemently so.
[17] i.e., things they know for themselves to be
true as opposed to others which are told,
but are not part of their own experience.
He is probably referring to the crown
incident on the Lupercal.
[18] Hit emotional urge is rising to its full
climax and his voice is charged with
poignant grief.
[19] There is scarcely a pause between the
last phrase and this word. It is neces-
sary to observe this binding process in
order to preserve the tension. He goes
almost at once to ' but ', which he strikes
with arresting force and then pauses for
a second. This preserves the grip as
well as allowing for the change of idea.
Now the grief changes to an intense con-
centration of spirit in one final deter-
mined effort to evolve the dire calamity
he hopes for and has exerted his utmost
powers to achieve. He takes these fol-
lowing phrases separately, collecting the
minds of his hearers in the grip of each
by his intense tone and binding virility,
commencing in a low pitch which gradu-
ally heightens towards the final word.
[20] The CROWD have been caught up by his
fervour and, without a second's pause as
though their spirit and ANTONY'S were
one, burst with this resolve.
[21] From the steps C. a* he turns and
faces the CROWD.
66
THE TRAGEDY OF JULIUS CAESAR
ACT III
ACT ni, sc. n
[1] After an arresting pause following
' Moreover ', continue with a quicker
pace up to ' Tiber '. There is no need
for dwelling upon this as it will interfere
with the climax if made of too great
accent. Make it bold but without the
lingering emphasis of the former speech.
[2] His outer gardens. They were very
extensive. See N.V., 138, note 258.
[3] i.e., wooded retreats. From Anglo-Fr.
(h)erber, O.Fr. herbler, a place covered
with grass or herbage. — Lai. herbarium,
a collection of herbs, from herba, grass,
herb. The final acceptance of arbour
was probably aided by the natural tend-
ency to connect it with the Lot. arbor,
tree, or It. arborata, bower. — See
O.E.D. The sense of a leafy enclosure
began from the 16th c.
[4] Just a little slower here to mark the
additional benefit to their heirs and Us
perpetuity.
[5] i.e., pleasures for common enjoyment.
On this he begins his ascent to the height
of the finale.
[6] He raises the will on high and lets him-
self go at the top of his voice.
[7] This is from everybody.
[8] From the Citizen on the C. steps,
who turns front and also lets himself
go.
[9] Shakespeare apparently used windows
indiscriminately both for the opening
and the shutter.— N.V., 185/270.
Roman windows were sometimes merely
openings over which shutters were drawn
when required. Plutarch alludes to the
fact that the CROWD plucked up forms,
tables and stalls about the market-place
and used them for fuel. Shops sur-
rounded the Forum on two sides, but
those on the North were cleared away by
C.ESAH to make room for his Basilica.
[10] ANTONY has watched the preceding
operations with exhilarated spirit.
After the CROWD has disappeared he
enjoys the realization of his success and
his two lines work up to full pitch of
almost wild joy, opening his arms wide
on ' wilt '.
[11] i.e., in action, as opposed to being an
idea as it has hitherto been.
[12] The success of ANTONY'S endeavours
now makes it desirable for OCTAVIUS'
presence. Rome is no longer a danger-
ous Rome for him now. Take this
speech with a swift relish. He is on the
crest of the wave of his achievement.
[13] i.e., happily disposed towards him.
[14] i.e., ridden.
[15] The pace stops, ANTONY'S face turn*
towards R. where the cries of the CITI-
ZENS are heard. A faint smile creeps
into it and then in an ironical and quiet
tone he enjoys this last thrust. Then
he turns to the SERVANT and resumes his
active note with a sharp order. He
makes to go down L. as the lights
fade out. ' Notice ' in this speech
means observation. They had perhaps
taken some note of what was happening.
The line is phrased to the mood which
expresses a signal fact in a casual way
.in order to develop its irony.
ANTONY. Hear me with patience.
ALL. Peace, ho!
ANTONY. 1Moreover, | he hath left you all his 2walks,
His 3private arbours and new-planted orchards,
On this side Tiber ; 4he hath left them you,
And to your heirs for ever ; 5common pleasures,
To walk abroad and re-create yourselves.
6Here was a CcBsar\ when comes such another?
FIRST CITIZEN. 7Never, 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.
A group of sturdy CITIZENS raise the bier and move off R. The
CROWD makes a general exit through all openings off R. Others
can leap over the structure at the back of the stage. Every
CITIZEN is showing the spirit of a wild riot and crying out these
lines or repeating others that have appeared in the text and are
of a suitable nature. Don't make the exit too long in duration.
The scene has practically finished, the main object of their mutiny
achieved and the rest is merely a subsidiary effect. Keep up the
cries until the very end of the scene, although well in the distance.
SECOND CITIZEN. Go fetch fire.
THIRD CITIZEN. Pluck down benches.
FOURTH CITIZEN. Pluck down forms, 9windows, any thing.
[Exeunt CITIZENS with the body up R.
ANTONY. 10Now let it work. Mischief, \ thou art llafoot,
Take thou | what course | thou wilt.
The retention of this short scene is optional. If played, it must be swift and without pause after
ANTONY'S last line. The SERVANT (same as in the last scene) re-enters from down L. above the
pillar. He moves on as though he has travelled at express speed and delivers his vital message.
That this is the same SERVANT a* appeared at the end of the last scene seems to be certain as he
returns with a message that OCTAVIUS has already come to Rome, which bears a relationship to
ANTONY'S earlier injunction to warn OCTAVTUS against coming. He was introduced into the
earlier part of this scene, as ANTONY requested, and made his exit in the riot over CESAR'S
corpse. As he appears ANTONY moves quickly down to him i.e. The function of the scene
is to continue the action by giving us a final and vivid development in the fact that ' Brutus
and Cassius Are rid like madmen through the gates of Home." This consummates the work
of ANTONY and crowns it with success. It makes the scene complete.
[How now, fellow!
SERVANT. Sir, Octavius is already come to Rome.
ANTONY. Where is he?
SERVANT. He and Lepidus are at Caesar's house.
ANTONY. And thither will I straight to visit him.
He comes upon a 12wish. Fortune is 13merry,
And in this mood will give us any thing.
SERVANT. I heard him say, Brutus and Cassius
Are 14rid like madmen through the gates of Rome.
ANTONY. 15Belike they had some notice of the people,
How I had mov'd them. Bring me to Octavius.]
Lights dim quickly on the word cue. The CROWD noises continue,
although much more distant.
Note on the Crowd movements. The movement to the R. and
back again after ANTONY'S exposure of the body should be done as
one man. This is important because it shows the united mind pro-
duced by ANTONY'S oratory and government of his resources and
dramatizes the emotional urge to which he has now roused them. But
it must be united in action and voice.
SCENE III
THE TRAGEDY OF JULIUS C^SAR
67
[SCENE III
The second pair of grey curtains, B in Groundplan I.
A street.
Critical observations upon scenes, their meaning and values in this
edition are not carried beyond the point of practical service. In most
modern productions, the curtain comes down on the last scene as on
the end of an act. Shakespeare's intention in this short scene is
fairly obvious. He simply wishes to show the practical effect of
ANTONY'S incitement carried to a demonstration of violence upon
an individual. In its general composition it draws two distinct
human elements ; the cultured, self-possessed scholar and poet and
the coarse, revolutionary citizens, grossly self-assertive, pugnaciously
humorous, and proud of that undisciplined passion which flashes
up at anything which even suggests itself as being antagonistic. It
is an eternal picture, true for all times. It will be noted that they
kill CINNA with a ghastly joke on their lips, a sardonic touch but
faithful to nature. Plutarch furnishes the source of the scene.
Cinna the Poet enters between the curtains. He wears a plain
white toga (toga virilis). He comes down c. meditatively. When
he reaches there he pauses for a moment and then speaks in a
cultured and a thoughtful way. Note that the scene is played in
daylight. CINNA'S reference about ' to-night ' is to backward, not
present time.
CINNA. I dreamt to-night that I did feast with Caesar,
And things unluckily charge my ^fantasy :
I have no will to wander forth of doors,
2Yet something — leads me — forth.
The CROWD noises swell up and then a group of CITIZENS enter from
R. They are dishevelled, and some carry bludgeons and some
others are smeared with blood. The FOURTH CITIZEN is slightly
drunk. They enter just as CINNA turns to go R. He stops dead.
Some come to R.C., whilst others go round behind CINNA to L.,
including the SECOND and THIRD CITIZENS. If possible have a
large number on the stage, both for effect and also to enable
them to mask CINNA at the end when he is borne down, presumably
to be torn to pieces.
FIRST CITIZEN. What is your name?
SECOND CITIZEN. 3Whither are you going?
THIRD CITIZEN. Where do you dwell?
FOURTH CITIZEN. 4Are you a married man or a bachelor?
[A laugh from some of the CROWD.
SECOND CITIZEN. Answer every man Mirectly.
FIRST CITIZEN. Ay, and briefly.
FOURTH CITIZEN. Ay, and 6wisely.
THIRD CITIZEN. Ay, and truly, you were best.
CINNA. 7 What is my name ? Whither am I going? Where do I
dwell? 8Am I a married man or a bachelor? 9Then, to answer
every man directly and briefly, \ wisely and truly : \ ^wisely I say, I
am a bachelor.
SECOND CITIZEN. That's as much as to say, they are fools that
marry : you'll bear "me a bang for that, I fear. 12Proceed ; |
^directly.
ACT m, sc. in
SCENE III
A street.
[11 i.e. , my mind is being filled with notions
of ill-omen. ' Fantasy ' is here used in
the sense of imagination, purely as a
faculty. Its root meaning is to make
visible. See previous notes onthis word
and phantasms. Note the peculiar
use of unluckily, which is used in
the sense of nature, not manner.
' To-night ' in the line above means
last night. For the explanation of this,
see M. of V., note 4, p. 28.
[2] Speak this line with the strong sense of
being irresistibly impelled.
[3] He proceeds to L. as he enters and
goes hurriedly round to cut off
CINNA'S retreat, accompanied by the
Third Citizen, who drops down
below him. Let these three lines be
spoken sharply and swiftly, consistent
with the intense nature of the scene as
far as these men are concerned. They
are like beasts after their prey.
[4] This man is not incoherently drunk, but
just sufficiently so to be coarsely and
aggressively facetious. He enters
below the First Citizen.
[5] i.e., without any indirect methods.
They want plain facts, not eloquence,
such as they have had from BRUTUS.
[6] Carefully in regard to what you do say.
They are not tolerating any aggressive-
ness or insults.
[7] Very collectedly. CINNA is not in the
least bit ruffled, but wears the composure
of his class and cultured mind, as well
as manifesting the modesty of true cour-
age against the CITIZEN'S boorishness.
He weighs each of their questions with
care and deliberately notes them.
[8] He indicates the FOURTH CITIZEN
don-n R. with his finger as he remembers
this very important [sic] question.
[9] He deliberates just for a moment and
then measures out his reply in a careful
and gentle way, looking at the respective
questioners as he touches the adverbs.
[10] This word is used in the double sense of
being wise in avoiding marriage and of
answering wisely as requested. There
is a suggestion of dry humour in this.
[11] i.e., the ethical dative — ' You'll bear a
bang to my credit '. He is not satisfied
with CINNA'S style and feels that he is
not answering in a direct way, but with
a play upon words. He becomes
threatening.
[12] Abruptly.
[13] Peremptorily. See note 5, above.
68
THE TRAGEDY OF JULIUS CJESAR
ACT III, SCENE III
ACT in, sc. in
[1] Again, a double meaning.
[2] This Citizen moves up to Cinna
aggressively.
[3] Without the slightest disturbance and
very nicely.
[4] Again, very simply and nicely. This
form of treatment makes the following
episode more repellent.
[5] The FIRST CITIZEN sees red immedi-
ately. He goes behind CINNA and grips
him by the throat.
[6] Going up to him irith a wild laugh
at his grim joke. Blood-lust demands
his life at any cost.
[7] By this time he and the other leaders
have reached CINNA and are grappling
with him, and on this line they bear him
down. The remainder of the Citi-
zens close round, just leaving the
centre group visible.
[8] With a brutal laugh.
[9] The Crowd close right round the
group.
[10] There is a final scream from CINNA. A
knife is lifted up and brought down for
an obvious and grim purpose. The
CITIZEN breaks out of the CROWD with
his blood-stained knife and leaves the
others to the rest of the task. He gets
busy directing the CITIZENS, who are
madly excited, and rushes through his
speech.
CINNA. 1Directly, I am going to Caesar's funeral.
FIRST CITIZEN. 2As a friend or an enemy?
CINNA. 3As a friend.
SECOND CITIZEN. That matter is answered directly.
FOURTH CITIZEN. For your dwelling, briefly.
CINNA. Briefly, I dwell by the Capitol.
THIRD CITIZEN. Your name, sir, truly.
CINNA. 4Truly, my name is Cinna.
[A yell of anger from the CROWD.
FIRST CITIZEN. 5Tear him to pieces ; he's a conspirator.
CINNA. I am Cinna the poet, I am Cinna the poet.
FOURTH CITIZEN. 6Tear him for his bad verses, tear him for his
bad verses.
CINNA. I am not Cinna the conspirator.
FOURTH CITIZEN.' 7It is no matter, his name's Cinna ; 8pluck
but his name out of his heart, and turn him 9going.
[A brutal laugh from the CROWD.
THIRD CITIZEN. Tear him, tear 10him! Come, brands, ho! fire-
brands : to Brutus', to Cassius' ; burn all : some to Decius' house,
and some to Casca's ; some to Ligarius' : away, go!
[Exeunt.]
Quick dim on the word cue and lower tabs.
It will be seen how this scene brings a completeness to the act as a dramatic quantity. CAESAR
has been slain ; the CONSPIRATORS have ascended in achievement and descended in confusion.
Thus is the note of tragedy established for what was thought to be a purgative, and universal
benefit by BRUTUS is turned to woe and out of his sacrifice has arisen the demon bastard of
Murder with its cry of ' Havoc ! ' in place of the looked-for spirit of peace and goodwill with
its blessing of liberty.
ACT IV, SCKNE I
THE TRAGEDY OF JULIUS C^SAR
69
ACT THE FOURTH
[SCENE I
A house in Rome.
The same set as Act II, Scene II (Illustration 3, page 34).
A table and three stools round it are placed c. By the L. of the
table stands a capsa or bookcase containing scrolls. A scroll is
on the table together with a pen and inkstand. By each column
R. and L., is a candelabrum bearing a lamp which is unlighted.
(See Plates I and II in the preface for these properties.)
This short scene introduces the Fourth Act of the play, whose function
will be more fully dealt with in the note preceding the third scene.
Coming after the tremendous pitch of the last act, it gives a respite
to the action by its quieter nature and so heightens the effect of the
more intense passages that come both before and after. It is more
a study of character than a dramatic episode. ANTONY has been
brought into the play with a great emphasis and the effect gained
by his work in the oration scene is brought to season this scene
purely by the interest that that appearance has attached to him.
Thus with this credit value Shakespeare opens his new act and,
likewise, new development, by introducing a character which is now
one of the principal ones of the play (since in ANTONY and BRUTUS
the action is now centred), and commences with his fresh and well-
established interest, out of which he creates a contrast for BRUTUS in
his later appearance. The scene is at once relaxing and transitional,
yet carrying with it an hereditary interest aroused by its preceding
period.
ANTONY is discovered seated above the table, with LEPIDUS on his
R. and OCTAVIUS on his L. All are dressed in their pratexta togas.
ANTONY has the scroll opened before him and the pen in his
hand.
ANTONY. 1These many then shall die ; their names are 2prick'd.
OCTAVIUS. 3Your brother too must die ; consent you, Lepidus?
LEPIDUS. 4I do consent —
OCTAVIUS. 5Prick him down, Antony.
LEPIDUS. 6Upon condition Publius shall not live,
Who is your sister's son, Mark Antony.
ANTONY. 7He shall not live ; look, with a spot I damn 8him.
9But, Lepidus, go you to Caesar's house ;
Fetch the will hither, and we shall determine
How to cut off some 10charge in legacies.
LEPIDUS. "What, shall I find you here?
OCTAVIUS. Or here, or at the Capitol. [Exit LEPIDUS R.
ANTONY. "This is a 13slight 1 4unmeritable man,
Meet to be sent on errands : is it fit, |
ACT IV, SC. I
ACT IV
SCENE I
A house in Rome.
[1] Businesslike and to the point.
[2] See note 31, p. 52.
[3] Indicating LEPIDUS.
[4] Quite firmly. He is a tried and valiant
soldier.
[5] Come in quickly with this. ANTONY
pricks another name on the list.
[6] LEPIDUS proceeds determinedly.
[7] ANTONY first looks at him, but does not
register any emotion. This is a tit-for-
tat bargain which ANTONY has to obey.
He doesn't quite like it, but it has to be
done. He writes the name down. It
was not on the list.
[8] He pricks it.
[9] He is not taking any more chances with
LEPIDUS and so politely gets rid of him.
[10] i.e., expense (by cutting out legacies).
Note how in these few opening lines the
character of the man has been so clearly
established.
[11] Rising.
[12] The business-like methods of LEPIDUS
and his demands for ANTONY'S signing
his nephew's life away have aroused
feelings which, carefully concealed
before, although evidenced in the act of
getting rid of him, now come out in a
burst of bitter contempt as he flings down
the pen.
[13] i.e. , miserable, trivial, used merely as an
opprobrious term.
[14] i.e., one who merits nothing ; worthless.
70
THE TRAGEDY OF JULIUS CAESAR
ACT IV
ACT IV, SC. I
[1] i.e., the world as governed by three men.
It is threefold because it is shared by
them as principal rulers.
[2] OCTAVITTS is not passionate, but is firm
and, obviously, not at all afraid of
ANTONY.
[3] Lot., proscrib-6re, to write in front of;
to write before the world ; to proclaim a
person to be outlawed and/or condemned
to death.
[4] ANTONY is heated but not violent. The
speech is moderate in speed. Don't
rush it, but keep it contemptuous. Pre-
serve its character.
[5] i.e., honours which will bring them bad
repute. Slander is from a source
which means a stumbling-block, a trap.
This source, Anglo-Fr. esclaundre,
O.Fr. esclandre, was an alteration of
escandle, from Lot. scandalum.
[6] Point this line with a slight emphasis.
[7] Just the slightest pause after this word
to emphasize it as well as what follows it.
[8] Merely an epithet" used as an intensive
to illustrate his unwanted state.
[9] i.e., on.
[10] Calmly and entirely unaffected by
ANTONY'S diatribe. He is himself a
man of high courage, tolerant here but
later in the play showing his authority
over ANTONY.
[11] Sharply, but don't make him noisy.
[12] i.e., for him.
[13] To turn or wheel. Pronounce the i as
in time. It was a name used in relation-
ship to horse-management.
[14] i.e., bodily.
[15] i.e., degree. To taste a thing is to
sample a certain amount of it. Hence
amount-degree.
[16] i.e., weak, without any sterling, virile
qualities. Notice how ANTONY reverts
to this particular form of opprobrium.
Before he wag slight and unmeritable.
[17] i.e., addicted to.
[18] The Folio reading is objects, arts, which
has been changed at different times to
abject arts, abject arts. Taking the
present reading of the Cambridge text it
can be accepted in the senses of the fol-
lowing words. Abjects, things dis-
carded (lit. cast away); orts, things
left over (fragments of no value, the word
meaning fragments of food, scraps),
whilst imitations simply means the fol-
lowing of other men's ideas, the most ex-
pressive words being used by ANTONY to
suggest the contempt that he feels. He is
simply amplifying his epithet, ' barren-
spirited ', a predominant thought in his
mind which gives his incensed tongue an
imitative vocabulary.
[19] Dismiss with impatience as one not to be
too tolerated. ' Property ' means some-
thing subjective. It is another derisive
epithet of expressive quality.
[20] Leavethe contempt and cyme to business.
Keep the speed moderate but emphatic
and the treatment colloquial. We are
now reaching the active plot once again.
Here it is introduced and later in the
play developed.
[21] This is the principal line of the passage.
Strike it, but not with any rhetorical
strength.
[22] The Second Folio followed by the rest
reads ' and our best meangs stretched
out '. Ft is the present line. Its
meaning is let our means be reviewed,
stretched open for examination.
[23] He rises, rolling up the scroll. He
then comes down R. of the table.
[24] i.e., how uncertain matters may be best
considered. Note the elliptical nature
of the construction at this point, ' sit in
council ' meaning to sit in council in
order to discuss.
[25] Rising and speaking firmly.
[26] He comes up to Antony and speaks
quietly but significantly.
The Hhree-fold world divided, | he should stand |
One of the three to share it?
OCTAVIUS. 2So you thought him,
And took his voice who should be prick'd to die
In our black sentence and 3proscript i on.
ANTONY. 40ctavius, I have seen more days than you :
And though we lay these honours on this man,
To ease ourselves of divers 5slanderous loads,
He shall but bear them as the ass bears gold,
6To groan and sweat under the bus i ness,
Either led or driven, as we \ 7point 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 8shake his ears
And graze 9in commons.
OCTAVIUS. 10You may do your will :
But he's a tri'd and valiant sold i er.
ANTONY. 11So is my horse, Octavius, and for that
I do appoint 12him store of provender :
It is a creature that I teach to fight,
To 13wind, to stop, to run directly on,
His ^corporal motion govern'd by my spirit.
And, in some 15taste, is Lepidus but so ;
He must be taught, and train' d, and bid | go forth ;
A "barren-spirited fellow ; one that "feeds
On 18abjects, orts and imitat i ons,
Which, out of use and stal'd by other men,
Begin his fashion : 19do not talk of him
But as a property. 20And now, Octavius,
Listen great things : Brutus and Cassius
Are levying powers : 21we must straight make head :
Therefore let our alliance be combin'd,
Our best friends made, our meanes 22stretch'd ;
23And let us presently go sit in council,
How 24covert matters may be best disclos'd,
And open perils surest answered.
OCTAVIUS. 25Let us do so : for we are at the stake,
And bay'd about with many enemies ;
26And some that smile have in their hearts, I fear,
Millions of mischiefs.}
Lights dim quickly on the word cue. Lower Tabs and strike the
columns, etc.
SCENE II
THE TRAGEDY OF JULIUS dESAR
71
SCENE II
The First pair of grey traverse curtains.
Camp near Sardis. Before BRUTUS' tent.
After ANTONY, BRUTUS. This scene now introduces the leading charac-
ter in its first new dramatic situation, the estrangement of itself from
that other with which it has hitherto been so closely associated in the
critical accomplishment of the catastrophe. This is a situation and
one which is made the theme of the next big scene. Further observa-
tions of greater detail will be made in the introduction to that scene.
Here we merely consider the situation for the purposes of determining
the treatment of this interlude. Against the ascending ANTONY,
proud, haughty and bitter, we see the modest, patient BRUTUS, meeting
a bitter disappointment with dignity and quelling any slight tendency
of passion that occurs. Thus character is played against character
and a prelude to a scene of great power begun.
Drum. Enter BRUTUS, LUCILIUS, LUCIUS from L. TITINIUS and
PINDARUS are discovered c., PINDARUS being on the L. of TITINIUS,
BRUTUS comes to L.C. TITINIUS and PINDARUS salute BRUTUS.
who returns it before speaking. BRUTUS, LUCILIUS and TITINIUS
wear their red military tunics and over it their red cloaks, BRUTUS
the paludamentum, TITINIUS the abolla. LUCIUS wears his white
or cream tunic with a sagum. PINDARUS wears his red tunic with
a sagum. All wear daggers (pugio) attached to their hips.
Armour was not worn until battle was imminent.
BRUTUS. 1Stand, ho!
LUCILIUS. 2Give the word, ho ! and stand.
BRUTUS. 3What now, Lucilius! is Cassius near?
LUCILIUS. He is at hand ; and Pindarus is come
To do you 4salutation from his master.
BRUTUS. He ^greets me well. 6Your master, Pindarus,
In his own change, 7or by ill officers,
Hath given me some worthy cause to wish
Things done undone : but if he be at hand,
I shall be 8satisfi'd.
PINDARUS. 8I do not doubt
But that my noble master will appear
Such as he is, \ full of ^regard and honour.
BRUTUS. 11He is not doubted. 12A word, Lucilius,
How he receiv'd you : let me be *3resolv'd.
LUCILIUS. 14With courtesy and with respect enough ;
But not with such familiar "instances,
Nor with such free and friendly conference,
As he hath us'd of old.
BRUTUS. 16Thou hast describ'd
A hot friend cooling : [ever note, Lucilius,
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 17hot at hand,
[A distant march, which draws nearer though never reaching
to full pitch.
Make gallant show and promise of their 18mettle ;
But when they should endure the bloody spur,
ACT IV, SC. It
SCENE II
Camp near Sardis. Before BRUTUS'
tent.
[1] This order means halt. He speaks
as he walks to L.C. This walk is
brisk. He is now in the field.
[2] Lucilius follows and turns and
gives the order.
[3] He turns to Lucilius and speaks in
a business-like way, but quite kindly.
[4] i.e., to give salutation or greeting to him.
[5] Accent this word. BRUTUS implies that
he greets him well, but his actions are not
consistent with this greeting.
[6] He turns to PINDARUS and speaks with
a slight directness. He is not violent
but restrained for reasons of caution that
ill-feeling may not be suspected between
himself and CASSIUS.
[7] He gains complete control of his feelings
and speaks in a tolerant tone.
[8] i.e., informed by CASSIUS so that there is
no more need to dilate upon the subject.
[9] PINDARUS is dignified but not arrogant.
He is very loyal. CASSIUS spared his
life.
[10] See note 1, p. 53.
[11] BRUTUS' reply matches the nobility of
PINDARUS.
[12] He turns to Lucilius and moves
with him a little down L. He is
quiet and colloquial.
[13] See note 5, p. 50.
[14] I/UCILIUS continues in a confidential
manner.
[15] i.e., forms of address.
[16] BRUTUS takes this speech simply and
without any bitterness. The sentiment
that does flavour it is that of sadness.
It is important to observe this treatment
because immediately following it comes
CASSIUS' passionate address and the
contrast of the two characters must be
established : here the enduring BRUTUS
is making balanced observations as
against the forthcoming heat of the
impulsive CASSIUS.
[17] i.e. , at the start.
[18] i.e. , quality. Titinius and Pindarus
move to R.C., where they stand looking
off R. in the expectancy of CASSIUS'
arrival.
72
THE TRAGEDY OF JULIUS CAESAR
ACT IV
ACT IV, SC. H
They
[1] This word is used transitively,
drop the high promise.
[2] A contemptuous term for a horse.
Origin unknown.
[3] Note the inflexion in order to particu-
larize the fact.
[4] Now Sart, a town of Asia Minor, the
capital of the old kingdom of Lydia.
[5] i.e., courteously. Note BRUTUS' care to
exhibit politeness. He is going to meet
CASSIUS and not wait for him to come.
Again he shows tact as well as patience.
[6] Cassius comes up to Brutus and
speaks with great heat.
[7] BRUTUS' reply is one of sincere and
kindly arrangement.
[8] Keep up the heated and sharp treatment.
He is eaten up with rage, and this com-
placent attitude of BRUTUS maddens
him.
[9] i.e., controlled. Those on either side of
the stage tactfully turn away from the
scene.
[10] i.e., wrongful actions. One nature con-
ceals the other.
[11] BRUTUS restrains him by a strong
though subdued remonstrance. He does
not match CASSIUS' heated pitch, but
at the same time he is authoritative with-
out making the scene a public brawl.
[12] See note 25, p. 18.
[13] BRUTUS does not indicate them in any
way other than by this reference. They
are, of course, off stage.
[14] i.e., quarrel. ' Wrangle ' gives a better
sense picture.
[15] i.e., expound, fully explain.
[16] He turns to PINDARUS on his K.
PINDARUS at once turns to CASSIUS.
[17] Brutus likewise turns to Lucilius,
who at the same time turns to
Brutus.
They 1fall their crests and like deceitful 2 jades
Sink in the 3tridl.] Conies his army on?
LUCILIUS. They mean this night in 4Sardis to be quarter'd ;
[The march ceases.
The greater part, the horse in general,
Are come with Cassius. [Trumpet-call off R.
BRUTUS. Hark ; he is arriv'd :
March 5gently on to meet him.
BRUTUS and LUCILIUS move a step or two towards c., when CASSIUS
is quickly on the scene. He loses no time whatever in reaching
BRUTUS. He enters R., comes to R.C., turns and calls off R.
BRUTUS turns and does likewise L. The three ' Stands ! ' are
taken by various voices offstage on either side simultaneously
during which CASSIUS, BRUTUS and the others salute. This all
takes place in a very short space of time, so that there is no
appreciable wait. CASSIUS wears his red tunic and military
cloak (paludamentum) and a dagger attached to his belt.
CASSIUS. Stand, ho !
BRUTUS. Stand, ho ! Speak the word along.
FIRST SOLDIER. Stand!
SECOND SOLDIER. Stand!
THIRD SOLDIER. Stand!
CASSIUS. 6Most noble brother, you have done me wrong.
BRUTUS. 7Judge me, you gods! wrong I mine enemies?
And, if not so, how should I wrong a brother?
CASSIUS. 8Brutus, this 9sober form of yours hides 10wrongs ;
And when you do them —
BRUTUS. "Cassius, be content ;
Speak your 12griefs softly : I do know you well.
Before the eyes of both our 13armies 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.
CASSIUS. 16Pindarus,
Bid our commanders lead their charges off
A little from this ground.
BRUTUS. "Lucilius, do you the like, and let no man
Come to our tent till we have done our conference.
Let Lucius and Titinius guard our door. [Exeunt.
Everybody salutes and all except CASSIUS and BRUTUS make quick
exits R. and L. The Curtains open and the two principals proceed
into the tent.
SCENE III
THE TRAGEDY OF JULIUS C.^SAR
73
SCENE III
ACT re, sc. in
SCENE III
ILLUSTRATION No. 6
BRUTUS' tent.
The note preceding the foregoing scenes of this act have been prepared to a
certain extent for this scene. The Fourth Act usually takes the
situation created by the catastrophe and develops it to its further and
final issue. In this play the development of that situation gives place
to development of character since at the end of this act the situation
of the action is precisely the same as at the opening. BRUTUS has
been the leading character throughout, and where drama retires to a
state of minor agency poetry comes in and leads the play on its
course. For the interest of this scene is provided by the phases
through which BRUTUS is made to pass ; and his own reaction to the
circumstances those phases produce, their effects balanced one against
the other ; and the cumulative effects of them alone are responsible for
the great value of this scene. This is due to his manifestations of
a high as well as a humble spirit, a facing of broken friendship,
bereavement, and a threatening future with a great courage, the action
of which creates his spirit, his character, and expresses that character
in the nature of poetic refinement. The scene is like a book of several
chapters which develop each other's units into a parable of sublime
beauty. He is shown in weakness and in strength, in dignity and
humility ; face to face with the challenge of temporal power and
finally by the grim spirit world and the dark power of evil fate.
On the hidden frame of drama Shakespeare lays the grace of poetic
BRUTUS' tent.
The setting of this scene is bare
and intentionally so since it
is the complement to the
action — the isolation of
strong character in and its
reaction to the element of an
inhospitable fate.
74
THE TRAGEDY OF JULIUS C^SAR
ACT IV
ACT IV, SC. Ill
[1] i.e., pronounced judgment against.
[2] i.e., reported (by note or despatch).
[3] i.e., ignored (by the authorities).
[4] By the end of CASSIUS' speech BRUTUS
has carefully laid his cloak on the stool.
Here be advances towards Cassius.
He replies with a firm tone. Don't
make him just easy. He has powerful
feelings that are strongly governed and
must offer a strength to the scene though
of a much quieter and more concentrated
kind.
[5] i.e., you made yourself appear igno-
minious by supporting a man of this
kind.
[6] Now CASSIUS adds more vexation to his
lines which gives this passage' its proper
character. If this is attempted too early
the effect is lost here. Note the short
and sharp syllables that make this speech
and the smoother ones of BRUTUS'
following reply.
[7] i.e., little. This word is from Lot.
nescious, ignorant. It has many devel-
opments from foolish, little, extrava-
gant, from which last meaning it may
have issued in a more modified sense of
showy, andthence pretty or attractive.
[8] i.e.,its. See note 31, p. 10.
[9] i.e., that every IMle offence should bring
forth a comment upon itself.
[10] With a well-governed directness, BRUTUS
sends this home to CASSIUS. His pace
is just moderate and his emphasis is
more in his generally strong delivery
than in the picked words. Give him the
treatment of steadier balance as opposed
to CASSIUS' more strenuous punctuation.
Keep the characters defined.
[11] This is figurative for a disposition to
take bribes.
[12] i.e., bargain.
[13] i.e., those who are not worthy of the
offices they bargain for.
[14] This stroke of BRUTUS raises CASSIUS'
temper to white heat. The subject of the
quarrel becomes forgotten in the tempest of
passion and his hand flies to his dagger,
which he half draws. Notice again
the value of the reserved treatment in the
opening of the scene. He takes this line
in a tone of utter consternation fused
with intense heat. Then he realizes that
it is BRUTUS that has spoken thus and
the immediate impulsive rage passes as
he thrusts his weapon back and proceeds
with an anger that is repressed but
earnest.
[15] Without a pause BRUTUS hits again
with a stinging tongue. He plays with
his words, not hurrying but dwelling
with a biting ease upon them. Here we
have the repeated contrast of the char-
acters once again. Also we see BRUTUS'
spirit in its chastening mood, unsparing
of its lash, no longer the tolerant but the
merciless friend. The meaning of the
passage is that CASSIUS' honouring of
this practice by his own indulgence as
well as by pleading for those who commit
it causes chastisement, personified to
give it its bigger meaning of destroying
evil, to hide its head in shame because
CASSIUS was once its most devoted instru-
ment as BRUTUS recalls a moment later
and now he is himself corrupt and a per-
verter of justice.
[16] The Folio places a query after this word.
Howe altered it to an exclamation mark,
which has been adopted ever since.
CASSIUS is for a moment amazed at this
remark of BRUTUS and doesn't under-
stand where chastisement comes into it.
Hence the query is right and helps the
sense because BRUTUS continues in
answer to the question.
[17] BRUTUS comes in with arresting strength.
He is now taking charge of the scene.
CASSIUS i* getting a blow straight from
the shoulder, and the immense facts of
the past are thrust at him to bring him to
correction. It is a speech of fire, senti-
beauty and his admiration for ' the ancient Roman honour ' and
' The constant service of the antique world ' begins to find the fullness
of expression in a vivid though deeply tragic form.
As they move up into the scene, each one removes his cloak. These
cloaks are fastened on the R. shoulder by a pin (fibula). For the
actual time that either BRUTUS or CASSIUS wear them they do
not require to be fastened on to the tunic but merely into shape.
CASSIUS performs this with the haste of his passion and flings
it down over the stool R.C. BRUTUS removes his in a more leisurely
way and lays it on the stool beside the table. The opening
positions into which they move are : — BRUTUS above the stool,
CASSIUS c. Keep the stool well in to begin with and set this
entire unit to allow for CESAR'S appearance.
CASSIUS commences more by sharp abruptness than by extreme vehemence. If he commences on
too high or strained a note he has nothing left for the passages when matter is left behind and pure
passion alone predominates. Here there is a subject of argument, not merely heated feeling.
Remember that he is a man of character and therefore something solid must appear in him,
otherwise the scene is a brawl. We have the clash of characters, and character there must be.
CASSIUS. That you have wrong'd me doth appear in this :
You have 1condemn'd and 2noted Lucius Pella
For taking bribes here of the Sardians ;
Wherein my letters, praying on his side,
Because I knew the man, were ^slighted off.
From here until further notice, keep these two men directly facing each other. They are each
giants in their own way, and this stationary and challenging attitude, with their conflicting
characters, maintains a masculine consistency which is only broken when the stronger leaves
the weaker and abandons the contest in contempt. It helps to make this point stronger when
it arrives.
Also keep the speeches knitted together almost without pause between each. The steadier
pace of BRUTUS will ensure that there will not be any effect of rushing. A powerful character
is thus given to the scene as well as adding to those of the two men concerned. BRUTUS restrains
himself until he reaches ' Remember March . . . ' otherwise his necessary strength at that
point would disappear in mere noise.
BRUTUS. 4You wrong'd 5yourself to write in such a case.
CASSIUS. 6In such a time as this it is not meet
That every 7nice offence should bear 8his 9comment.
BRUTUS. 10Let me tell you, Cassius, you yourself
Are much condemn'd to have an nitching palm,
To sell and 12mart your offices for gold
To 13undeservers.
CASSIUS. 14I an itching palm !
You know that you are Brutus that speaks this,
Or, by the gods, this speech were else your last.
BRUTUS. 15The name of Cassius honours this corruption,
And chastisement doth therefore | hide his head.
CASSIUS. "Chastisement?
BRUTUS. 17Remember 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? 18What, | shall one of us, \
That struck the foremost man of all this world
19But for supporting robbers, | 20shall we now
ment and logic, characteristic of BRUTUS'
quality, spoken with a fearless emphasis
and solid passion. Don't make him
noisy. His opening line has a just
anger in it, and the rest follow obedient
to the big feelings behind them.
[18] He brings this and the next line out with
searching emphasis. It is the text of
what follows and incidentally still shows
the undisturbed regard that he had for
CJBSAK. Note his use of the word ' vil-
lain ' just before. It is his love for
that adds to his anger since he
had to sacrifice him merely to find his
confederates becoming baser still.
[19] ' Ccesar was but a favourer and suborner
of all them that did robbe and spoile by
his countenance and authority.' —
Plutarch. Note the stress on support-
ing.
[20] From here he works up to the climax of
three lines below by intense deliberation.
Don't hurry. Make the whole passage
compelling in word and phrase.
SCENE III
THE TRAGEDY OF JULIUS (LESAR
75
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.
CASSIUS. 2Brutus, 3bait not me •
I'll not endure it : 4you forget yourself,
To 5hedge me in ; I am a soldier, I,
Older in practice, abler than yourself
To make ^conditions.
BRUTUS. 7Go to ; you are not, Cassius.
CASSIUS. 8I am.
BRUTUS. 9I say you are not.
CASSIUS. 10Urge me no more, I shall forget myself ;
11 Have mind upon your 12health, tempt me no farther.
BRUTUS. 13Away, 14slight man!
CASSIUS. 15Is 't possible?
BRUTUS. 16Hear me, for I will speak.
17Must I give way and 18room to your rash choler?
Shall I be frighted when -a madman 19stares?
CASSIUS. 20O ye gods, ye gods! must I endure all this?
BRUTUS. 21A11 this I | ay, | more : 22fret till your proud heart
break ;
Go show your slaves how choleric you are,
And make your bondmen tremble. 23Must I 2*budge?
Must I ^observe you? must I stand \ and crouch \
Under your Z6testy humour? 27By the gods,
You shall 2Sdigest the 29venom of your 30spleen,
Though it do 31 split you ; 32for, from this day forth,
I'll use you for my mirth, \ yea, | for my laughter,
When you are 33waspish.
CASSIUS. 34Is it come to this?
BRUTUS. 35You say you are a better soldier :
Let it appear so ; make your 36vaunting true,
And it shall please me well : for mine own part,
I shall be glad to learn of noble 37men.
CASSIUS. 38You wrong me every way ; you wrong me, Brutus ;
39I said, an elder soldier, not a better :
agony. He staggers to the stool R.
where he collapses and buries his face in
his hands.
[21] BRUTUS relentlessly pillories him. He
is not showing any mercy. Incisiveness
is his keynote and time his assistant to
the scourge. Make the phrase tell by
marking the important words, and
neither hurry nor shout.
[22] i.e., fume or rage. From O.E. fretan,
to eat.
[23] These questions are asked with scathing
irony.
[24] i.e., wince, flinch. This line is quoted
by the O.E.D. with other examples of this
meaning after the Fr. bouger.
[25] i.e., be forced to respect your rage.
[26] i.e., heady, headstrong. Anglo-Fr.
testif, -ive from teste, head.
[27] His irony changes to a fierce anger, deep
and working up to ' split you '.
[28] i.e., eradicate, subdue by control.
[29] i.e., the bitter essence.
[30] The spleen was considered to be the seat
of the emotions. Here, of course, it
refers to a fit of passion. — N.V.
[31] This word receives the capital emphasis
of the whole passage and the phrase lifts
itself out in a flash of intense vehemence,
not wild but merely a free development of
the highly heated feeling that has insti-
tuted the foregoing. On the end of
this phrase there is a smothered
cry from Cassius, n-ho is still holding
his face between his hands as he leans
forward on the stool.
[32] His anger turns to biting ridicule. He
takes his time to point almost every
word. Rhetoric and vehemence give
place to the ease of caustic, the ease that
chooses irritative words to do its work
with a just emphasis.
[33] i.e., possessed by passion.
[34] CASSIUS bitterly sobs out this line, his
face still buried in his hands. He is in
the same position as before.
[35] Now he changes to polite sarcasm.
Keep the treatment colloquial and easy
but expressive. The wave of intense
anger has passed but he is still pungent
in this aftermath.
[36] i.e., boasting, presumption.
[37] He moves to the lower corner of
the table and idly picks up a scroll.
[38] Cassius rises impulsively, but
remains where he is. His passion is
emphatic but not so violent as before.
[39] This shows his state of mind when he
said it. There is no doubt that he is
quite honest in his belief.
ACT IV, so. in
[I] He looks at CASSIUS for just a second's
pause, in which words terminate but
feeling continues. Then he continues
in the tones of the utmost contempt. He
keeps his eyes fixed on CASSIUS and does
not move as yet.
[2] CASSIUS has no reply other than another
bluster of temperament. His proud
nature will not yield to correction even
when administered in such a form at
BRUTUS has given it. Inwardly he
knows that he is a beaten man, and
merely strives to retain some sort of
ruined dignity by this petty assertion of
himself. Thus his pride plumes itself
with the great matter of BRUTUS' speech
left ignored which makes him really look
stupid.
[3] i.e., incite. It is not a duplication of
bay as some would have it. CASSIUS is
delivering an injunction roused by
BRUTUS' last line. Characteristic of
people in this state of mind they seize
upon some final point upon which to
retaliate when there is nothing before it
but what is against them. The imme-
diate following of ' bait ' by ' not ' is
merely the imperative construction which
also accentuates the negative of the pro-
noun. ' Not ' coming after ' me ' would
weaken the nature of the injunction.
[4] He is fumbling for self-assertiveness and
this comes out with a sudden attack.
After all, a great point has been put to
him and his speech shows that he is
unable to meet it and merely replies with
this weak and futile aggressiveness.
[5] i.e., circumvent. Here again he is
avoiding the issue and returning to an
early grievance. BRUTUS looks at him
steadily as he is thus floundering in his
purely temperamental fury.
[6] i.e. , to confer offices and govern. It is a
continuation of his temperamental
flurry.
[7] BRUTUS is himself still primed with the
high feeling of his last speech and gives
this to CASSIUS with a strong note. His
patience is beginning to break down.
[8] CASSIUS retorts immediately with sharp
rage.
[9] BRUTUS hits back with increased force.
[10] Again, CASSIUS is for a moment in-
coherent with rage. BRUTUS' firm hand-
ling and his pointed accusation of in-
fidelity to the cause of justice have exas-
perated him to an excessive degree. His
passion comes out with a congested
intensity that makes BRUTUS turn upon
him with contempt.
[II] He moves close up to Brutus, livid,
and his hand again goes to his dagger.
[121 i.e., safety.
[13] Brutus* only reply to this is one of
contempt and he turns away to above
the stool L. This is the first time
that he has made a movement
from him and simply shows that he
cannot tolerate this unmanly indulgence
in passion any further.
[14] See note 13, p. 69.
[15] CASSIUS is altogether beyond himself.
This is a gross insult to him as a soldier.
[16] Brutus turns and raps this out. Now
his own passion is breaking loose
in disgust at CASSIUS' ungoverned
tempest. He has done wrong, ignored
the recall to the demands of his former
achievement as a champion of justice
and merely become more womanish.
BRUTUS cannot stand it any longer and
lets himself go. His force consists as
before of his matter more than pure rage.
With BRUTUS it is anger, with CASSIUS
temper. BRUTUS gets under his words
and makes them live their parts.
[17] He moves to Cassius.
[18] i.e., lit., accommodate — tolerate.
[19] i.e. , glares menacingly. Note how the
construction in treatment of CASSIUS'
character is here indicated.
[20] He turns front and puts his hands to his
head and delivers this in a semi-hys-
terical way as though he were actually
suffering from a tremendous mental
70
THE TRAGEDY OF JULIUS C^SAR
ACT IV
ACT IV, SC. Ill
[1] He is weary ofallthis andmerely replies
with a light irritability as he reads the
scroll,
[2] With the tone of ' Don't be absurd ' and
without violence as he reads.
[3] CASSIUS is again beginning to strain
himself in passion.
[41 Still quiet but emphatic.
[5] BRUTUS looks over his shoulder at him
and delivers this as a firm rebuke to a
stupid boast.
[6] With a suppressed frenzy.
17; With a movement towards Brutus
which is immediately restrained by
BRUTUS' strong assertion.
[8] He puts the scroll down on the
table with sudden vehemence and
turns to Cassius.
[9] i.e., base.
[10] He shows his feelings but they are not
aggressive .
[11] i.e., questionable means.
[12] Means other than direct or honest.
[13] He again reverts to his quieter treatment
only with a more deliberate measure than
before. He is repeating former matter
and doing so because it is the basis of his
quarrel with CASSIUS. But avoid any
offensiveness.
[14] A general term for his forces. A legion
never exceeded six thousand men.
[15] Just a slight pause before this word.
Then he proceeds with a deep sentiment
quietly expressed. This is very effective
after the riot that has raged.
[16] Cassius turns front. It digs Jiime
and his own remorse is beginning to
set in.
[17] Now he begins to assert himself more
rhetorically, gradually working up to the
last line of his speech. But keep the
pace and tone dignified. Don't become
merely loud, but strong.
[18] i.e. , mean. Money is a very poor thing
compared with friendship. Notice his
use of the word counters which is
functionary, and thus the qualitative
analysis of his phrase.
[19] He now reaches the fullness of his
rhetoric and turns and raises his eyes
upward.
[20] He makes a slight pause before this and
then gives it the power of his feelings in
a lower but strong pitch. He turns
away and moves L. after he has
said it.
[21] Here again CASSIUS is simply the victim
of his feelings. He does not face the '
issue with a confession but with an
emotional denial, which he himself
knows is not true. It is merely the
action of his temperament that contra-
venes truth because he is ashamed of
it. He turns suddenly towards
Brutus, and speaks, passionately but
not angrily.
[22] BRUTUS remains with his back tmoards
CASSIUS and replies quietly but firmly.
He, like CASSIUS, is free from all bitter-
ness.
[23] He comes impulsively to C. He
implies the meaning ' I know I did, but
say I didn't."
[24] Now his grief is developing into the
characteristic excess of his nature's
mould.
[25] i.e., torn, broken.
[26] He speaks quietly, although remonstra-
tively. This short relaxation in the
passionate nature of the scene has the
function of resting both actor and audi-
ence, as well as allowing for the change
of treatment in CASSIUS' own character.
He is passing from one extreme of pas-
sion to another and the process has
to be artistically achieved both by drama-
tist and actor.
[27] Here is an implied confession stealing
through a mild reprimand. That is
CASSIUS : his pride will never give way.
' Bear ' means to bear with.
[28] i.e., by adding severe reprimand. To-
wards the end of this line he turns up
Did I say, better?
BRUTUS.
CASSIUS.
BRUTUS.
CASSIUS.
BRUTUS.
CASSIUS.
BRUTUS.
CASSIUS.
1If you did, I care not.
When Caesar liv'd, he durst not thus have mov'd me.
2Peace, peace ! you durst not so have tempted him.
3I durst not!
4No.
What, durst not tempt him!
5For your life you durst not.
6Do not presume too much upon my love ;
I may do that I shall be 7sorry for.
BRUTUS. 8You have done that you should be sorry for.
Brutus moves to C. He is perfectly self-possessed and his speech is a steady recapitulation of
the situation that has arisen between himself and CASSIUS, entirely devoid of animosity but
dignified and assertive in its moral themes, and with a wholesome and reproachful sentiment
characterizing its final passages. He brings the scene into a steadier phase, dropping from the
higher tension of conflict into the clear temperance of a logical emotion which expounds and
appeals at the same time. Against this comes CASSIUS' medley of passion in his own approach-
ing speech.
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 deni'd me :
For I can raise no money by 9vile means :
10By heaven, I had rather coin my heart,
And drop my blood for 11drachmas, than to wring
From the hard hands of peasants \ their vile trash
By any x indirection. 13I did send
To you for gold to pay my 14legions,
Which you deni'd me : 15was that done like l6Cassius? \
Should / have answer'd Caius Cassius so?
17When Marcus Brutus grows so covetous,
To lock such 18rascal counters from his friends, |
19Be ready, gods, with all your thunderbolts, |
20Dash him to pieces!
CASSIUS. 21I deni'd you not.
BRUTUS. 22You did.
CASSIUS. 23I did not : he was but a fool
That brought my answer back. 24Brutus hath 25riv'd my heart :
26 A friend should 27bear his friend's infirmities,
But Brutus makes mine 28greater than they are.
BRUTUS. 29I do not, till you 30practise them on me.
CASSIUS. 31You love me not.
BRUTUS. I do not like your faults.
CASSIUS. 32A friendly eye could never see such faults.
BRUTUS. 33A flatterer's would not, though they do appear
As huge as high 34Olympus.
CASSIUS, accused, lashed, and corrected by BRUTUS' firmness, here discharges his spirit in a con-
fusion of grief and anguish. This is the last phase of this highly emotional scene which by
degrees is moving from the pitch of frenzy, anger and pride into one of yielding sentiment.
Here is the dissolution of the tempest that ' Bursts like a breaking heart and dies in foam '.
In one final spasm he rises to the pitch of intense compunction and pride, anguish and remorse
lay themselves in his excessive nature at the feet of BRUTUS. On the opening line he turns
fully front and extends his arms in a wide attitude of appeal.
CASSIUS. Come, Antony, and young Octavius, come,
stage, obviously suffering from grief
and compunction.
[29] Quite quietly and kindly.
[30] i.e., perform, put into practice.
[31] He is struggling with a coming volume
of further emotion.
[32] He turns to Brutus impulsively but
not aggressively. There is a strength
in this dialogue which is leading up to
that of CASSIUS' long speech and the
lines of each character are knit together.
[33] Brutus turns and meets this with an
immediate counter-stroke which is strong
and direct. This leads into the renewed
higher pitch of the scene.
[34] See note 1, p. 47.
SCENE III
THE TRAGEDY OF JULIUS CAESAR
77
Revenge yourselves 1 alone on Cassius,
For Cassius is aweary of the world ;
2Hated 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 3conn'd by rote,
To cast into my teeth. 4O, I could weep
My spirit from mine eyes ! 5There is my dagger,
And here \ my naked breast ; | within, \ a heart
Dearer than 6Plutus' mine, \ richer than gold :
7If that thou be'st a Roman, | take it forth ;
I, that denied thee gold, will give my heart :
Strike, as thou didst at Ccesav ; 8for I know,
When thou didst hate him worst, thou lovedst him better
Than ever thou lovedst Cassius.
BRUTUS holds the situation for a moment and then proceeds in a quiet conversational tone of com-
plete condescension towards CASSIUS, followed by an intensely kindly comment upon him.
BRUTUS. Sheathe your dagger :
Be angry when you will, it shall have 9scope ;
Do what you will, "dishonour shall be humour.
O Cassius, | you are 11yoked with a lamb,
That carries anger as the flint bears fire,
Who, | much enforced, shows a hasty spark
And straight is cold again.
CASSIUS. 12Hath Cassius liv'd
To be but mirth and laughter to his Brutus,
When grief and blood ill-temper 'd vexeth him?
BRUTUS. 13When I spoke that, I was ill-temper 'd too.
CASSIUS. 14Do you confess so much? 15Give me your hand.
BRUTUS. 16And my heart too.
CASSIUS. 17O Brutus!
BRUTUS. What's the matter?
CASSIUS. Have not you love enough to bear with me,
When that rash 18humour which my mother gave me
Makes me forgetful?
BRUTUS. 19Yes, Cassius, and from henceforth,
When you are — 20over-earnest with your Brutus,
He'll think your mother chides, and leave you 21so.
POET [Off R.]. Let me go in to see the generals ;
There is some grudge between 'em ; 'tis not meet
They be alone.
LUCILIUS [Off R.] You shall not come to them.
POET [Off R.] Nothing but death shall stay me.
In Plutarch, the intruder was Marcus Phaonius, who had been, a friend and follower of Goto;
not a poet, but one who assumed the character of a cynic philosopher. — Steevens.
PHAONIUS enters as though he has run past the guards and comes
to R.C. He is followed closely by LUCILIUS and TITINIUS, who
stand above him. LUCIUS remains a little to the R. of them.
PHAONIUS wears a dark-coloured mantle (abolla) over his grey
tunic.
The propriety of this scene being included is a matter for individual choice. It is not any violation
of good taste because it separates two scenes of great emotional intensity ivhich, if run one
upon the other, adds toomuch of the one quality and robs the succeeding one of its own individual
pathos. They are quite different in nature.
CASSIUS. How now! what's the matter?
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 22ye.
CASSIUS. 23Ha, ha! how vilely doth this cynic rhyme!
ACT IV, SC. Ill
[I] i.e., on CASSIUS alone.
[2] From here until ' my teeth ' he com-
mences to increase his pace and become
stronger and stronger, making that point
the apex of his crescendo. Let the pace
gather as th-e lines proceed, so that ice
feel that he is being swept along and up
by the rapid release of his feelings.
[3] i.e., learnt by heart. ' Kote ' means
repetition, ' routine ', from O.Fr. rote,
Mod. Fr. route, a road, beaten track.
[4] His feelings have mounted to breaking-
point and develop into a poignant cry.
[5] The turning-point has been reached and
he arrives at compunction. Don't hurry
too much. He has just been travelling
at high speed whilst his feelings were
developing. Now he reaches a definite
notion and there is a certain amount of
dwelling upon his phrases in order to em-
phasize them. After a moment's pause
he draws his dagger and offers the
handle towards Brutus whilst he
opens his tunic with his remaining hand.
He goes down on one knee.
[6] The Folio reads Pluto. Plutus was the
god of riches, Pluto the god of the
infernal regions.
[7] In these three lines he sustains a fully
rhetorical and passionate strength.
[8] Here his emotion begins to weaken him.
The strong impulsiveness of the preced-
ing lines is spending itself out, and
although he does not actually break down
his phrases halt until after ' better '
there is a critical pause followed by a
mild collapse on his last line. Then
his head sinks and the dagger
drops to the ground and we realize
that he is completely spent out,
[9] i.e., free play.
[10] Even a dishonourable action shall be
regarded as a mere caprice of the
moment. — N.V. This rather shows the
weariness of BRUTUS, weary of the
quarrel, weary in his mind with all his
other troubles eating with their cares.
He would regard the action merely as a
humour and not as a deliberate act from
lack of principle. This is not toleration
so much as a reactionary indulgence that
argues a spent soul.
[II] Literally, joined with. ' Your nature
is shared with ..."
[12] CASSIUS speaks with a tone of reproach
mingled with sadness and in the same
subdued key as BRUTUS. His head
•is still bent downwards.
[13] Brutus moves up to Cassius with a
decisive, reconciliatory impulse.
[14] CASSIUS looks up with a sudden joy.
[15] He rises and extends his hand to
BRUTUS. As in everything else, so now
CASSIUS' emotions are sudden and exces-
sive. Here there is a certain modifica-
tion in his treatment consistent with the
solemn nature of the moment, but the
characteristic is present.
[16] BRUTUS takes CASSIUS' hand in the
Roman style and places his other hand
on the clasp. He is quiet, although very
moved.
[17] This again is a sudden effusion of a
troubled mind. BRUTUS replies with a
kindly question.
[18] Here better read as temperament, pure
and simple.
[19] With great gentleness.
[20] This is merely an epithet carefully chosen
to meet the needs of the moment. He
makes a slight pause before speaking it
as though to mark his modified intention.
[21] Brutus holds the situation for a moment
and then stoops and picks up the
dagger which he hands to CASSIUS, who
replaces it in his sheath.
[22] ' M y Lords, I pray you hearken both to
me, For I have seen mo years than suchie
three ' — from Plutarch. It is a doggerel
translation from Homer.
[23] CASSIUS soon lights up at this diversion.
The vile rhyme is due to the doggerel
endings.
78
THE TRAGEDY OF JULIUS C^SAR
ACT IV
ACT IV, SC. Ill
[1] BRUTUS becomes imperative. The irri-
tation of a tired mind shows itself.
[2] i.e., impudent.
[3] i.e., fashion of his mind.
[4] i.e., I'll allow for his behaviour when he
knows the fit time or occasion on which to
practise it.
[5] Jig has been variously applied to signify
a rapid or lively dance or a song or bal-
lad of lively, jocular, mocking character.
Jigging meant singing, playing or com-
posing jigs. BRUTUS simply reduces him
to the quality of one of these ' jiggers '.
[6] Used in an opprobrious sense, as was
frequently done from the late 1.6th c.
O.E.D. quotations are from 1581 to
1764. The word literally means one
who shares bread with another and had
an honourable significance which re-
mained concurrent with the contemptu-
ous one. The last sense was probably
derived from parasitical associations of
this kind.
[7] CASSIUS' tone explains the exit of the
POET. He moves towards him, and he
just turns and goes.
[8] He speaks quietly and ivith feeling.
[9] The weariness begins to show itself and
with it his humanity. This is spoken
with a big sigh as he moves to the
stool R. of the table and sits.
[10] i.e., from.
[11] See note 25, p. 18.
[12] Keep it quiet and colloquial.
[13] This word qualifies the nature of evils
and makes them all accidental. The
context shows that, since BRUTUS merely
speaks of evils and not any particular
one. CASSIUS implies that he is not
meeting the visitations of fortune with
the constancy of the stoic philosophy
which taught endurance and ascent
above all affliction in the serenity of a
high discipline of soul. ' Accident ' is
from Lot. accidens — accid-8re, to fall,
to happen, through the Fr., of which it
is an adoption.
[14] Quietly and with a pause after the colon.
He is facing oblique L. seated upon the
stool.
[15] Just slow up on these three words and
give a slight emphasis to ' dead ', which
relieves the statement from flatness and
adds the appeal of his sensitivity.
[16] This is a slight cry from CASSIUS, just a
note of sudden pain which indicates the
effect that this news has upon his own
highly sensitive mind. It might be his
own wife. In addition, something of
remorse for all that has happened strikes
him at the same moment . Hear in mind
that this has a very great effect upon him
because he again refers to her later on.
Also remember the excessive measures in
which he feels any emotional quantity
at any time and more especially now
when in this abnormal condition.
' Portia ' follows in something of the
same tone, dumbfounded pain.
[17] BRUTUS remains perfectly still as before.
He again strikes the word ' dead ' with
a slight emphasis. It does so humanize
the man and penetrates the disciplined
acceptance of her death with the slight
indication of a conscious and irrevocable
loss. Although we might readily sym-
pathize with him over a plain statement
of the fact, that sympathy is deepened
when, coupled with resignation, there is
the faint sign of his feelings. It saves
himfrommarbleremotenessthat wehave
checked elsewhere, and makes him warm.
[18] CASSIUS maintains his high emotional
pitch without any forceful addition. It
is he who supplies this complementary
quality which subsidizes the deeper but
more restrained emotion of BRUTUS.
Together they strike the true chord of
pathos.
[19] This is not used in the sense of touching
or arousing pity. That meaning did
not arise until the early Wth c. (See
O.E.D.) It signifies rather that it
touches BRUTUS so nearly.
BRUTUS. 1Get you hence, sirrah ; 2saucy fellow, hence!
CASSIUS. Bear with him, Brutus ; 'tis his 3fash i on.
BRUTUS. I'll know his humour when he knows his 4time :
What should the wars do with these 5 jigging fools?
"Companion, hence!
CASSIUS. 7Away, away, be gone ! [Exit POET R. quickly.
BRUTUS. Lucilius and Titinius, bid the commanders
Prepare to lodge their companies to-night.
CASSIUS. And come yourselves, and bring Messala with you
Immediately to us. [Exeunt LUCILIUS and TITINIUS R.
BRUTUS. Lucius, a bowl of wine! [Exit LUCIUS R.
[Lights begin to dim.
CASSIUS. 8I did not think you could have been so angry.
BRUTUS. 9O Cassius, I am sick 10of many 11griefs.
CASSIUS. 12Of your philosophy you make no use,
If you give place to 1 Accidental evils.
BRUTUS. 14No man bears sorrow better : 15Portia is dead.
CASSIUS. 16Ha! Portia!
BRUTUS. "She is dead.
CASSIUS. 18How 'scaped I killing when I cross'd you so?
0 insupportable and "touching loss !
Upon what sickness?
BRUTUS. 20Impatient of my absence,
And 21grief [ that young Octavius with Mark Antony
Have made themselves so strong : for with her death
That tidings came : with this she fell 22distract, |
And, | her attendants absent, | 23swallow'd fire.
CASSIUS. 24And died so?
BRUTUS. . 25Even so.
CASSIUS. O ye immortal gods!
[The lights are very dim.
CASSIUS closes the short scene with quiet but stupendous awe. It has been one of great sublimity.
It requires the separation from the different quality of the quarrel scene which the entrance of
the poet gives to it, and that isolation which « picture of value requires in order to show its
true worth.
LUCIUS re-enters after a moment's pause with a tray bearing a
crater of wine, cups, a large ladle and a lighted candle in its
holder. He crosses behind the two men and places his tray on
the table L.C. The lights rise as the candle appears.
BRUTUS. 26Speak no more of her. 27Give me a bowl of wine.
In this I bury all unkindness, Cassius. [Drinks.
CASSIUS. 28My heart is thirsty for that noble 29pledge.
Fill, Lucius, till the wine o'erswell the cup ;
1 cannot drink too much of Brutus' love.
[Drinks. LUCIUS remains between them.
[20] Quietly and simply.
121] A slight pause after this word to mark
it as the cause. Then run the rest of the
line on to the following one.
[22] i.e. , became distracted, broken by her
grief.
[23] Pronounce these two words with equal
emphasis. The dramatic notion of this
speech, besides being that of grief, also has
a certain element of ominous foreboding.
[24] Slowly, quietly and on the high note of
wonderment.
[25] A slight pause before he speaks. Then
it is almost in a whisper and his head
sinks. He may admire her for her deed,
but he also feels the loss.
[26] Brutus rises and moves to Cassius.
[27] Cassius puts his hand on Brutus'
shoulder and that is all. Brutus then
turns to Lucius, who brings the
wine to him on his L. He then
returns, fllls the other cup and
brings it to Cassius. Each cup is
filled by the large ladle, which is
quicker and more correct. BRUTUS now
brings the scene to a normal level.
[28] CASSIUS i* not ' hearty ' so much as
eager for the sign of complete reconcilia-
tion.
[29] i.e., to give that noble pledge or assur-
ance. Probably the strict word should
be ' pledging '.
SCENE III
THE TRAGEDY OF JULIUS CAESAR
79
LUCIUS waits until they have both drunk, takes their cups to the
tray, puts the candle on the table and then puts the tray on the
table up L. After this he stands by the table up L.
BRUTUS. 1Come in, Titinius!
Re-enter TITINIUS, with MESSALA, R. MESSALA is a general and wears
his paludamentum over his tunic and carries tabulae (fig. 23, plate
II). They come to R.C. and salute. MESSALA is above TITINIUS. If
possible, play this scene purely in the light of the candle with the
slightest assistance from a spot. The effect that is seen in ,
Rembrandt's ' Christ Before Pilate ' should be aimed at.
Welcome, good Messala.
2Now sit we close about this taper here,
And call in question our Necessities.
CASSIUS. Portia, art thou gone?
BRUTUS. No more, I pray you.
BRUTUS moves back to the top of the table. CASSIUS follows and stands beside him on his R.
BRUTUS speaks as he moves. Now commence a new phase of the scene, close, sharp, and
businesslike. Bear in mind that MESSALA knows of PORTIA'S death and is studying BRUTUS.
BRUTUS' clear and undisturbed behaviour later provokes MESSALA'S inquiry as to whether
BRUTUS is aware of his wife's death.
Messala, I have here received 4letters,
That young Octavius and Mark Antony
Come down upon us with a mighty power,
5Bending their expedition toward 6Phi/zppi.
MESSALA. Myself have letters of the self-same 7tenour.
BRUTUS, With what addition?
MESSALA. That by "proscription and 9bills 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 !
MESSALA. Cicero is dead,
And by that order of prescript i on.
As stated above, MESSALA is a little puzzled by BRUTUS' self-possession. He asks this question
curiously but diplomatically. The abrupt and businesslike tone of the scene now ceases and
gives place to a slight softening. BRUTUS looks steadily at MESSALA when making his reply
and betrays no sign of emotion. The whole treatment of the following short scene is one of quiet
strength. Emotions are kept entirely subjective beneath a calm control and evidence themselves
merely as fundamental elements to inspire the situation and not to control it.
A great deal has been written about this scene, and many think it to be a second version of
PORTIA'S death which was printed by an oversight in the Folio. Leaving all argument, the present
editor admits the scene as being intentional. The death of PORTIA would be universally known
as a matter of sensational interest and if the news had been conveyed to MESSALA in his dis-
patches it only stands to reason that he would expect BRUTUS to be informed. The interruption
is quite natural following upon the undisturbed bearing of BRUTUS and the episode simply
introduces a dramatic element into what is primarily a play and not merely a talk. BRUTUS
is unavoidably brought into a situation which he faces in the best possible way. The whole
situation is handled with a careful repression and avoids any forced heroics. It softens
the firm atmosphere of military debate but does not weaken it. It must be consistently treated
to match the masculine power with which the scene is now braced.
Had you your letters from your wife, my lord? [
BRUTUS. No, Messala.
MESSALA. Nor nothing in your 10letters writ of her?|
BRUTUS. Nothing, Messala.
MESSALA. "That, methinks, is strange. |
BRUTUS. Why ask you? hear you aught of her in yours?
MESSALA. 12No, my lord.
BRUTUS. 13Now, as you are a Roman, tell me true,
MESSALA. 14Then like a Roman bear the truth I tell :
For certain she is dead, and by strange manner.
ACT iv, sc. in
[1] BRUTUS strikes a bold note once again
to start the scene on its fresh course.
[2] He indicates the table L.
[3] Messala and Titinius move behind
Brutus to the table, TITINIUS re-
maining R. and MESSALA going L. As
they are crossing, CASSIUS speaks his
line quietly and unobtrusively. Brutus
goes down to him and delivers his
own quiet injunction and then moves
to bis seat above the table. Cas-
sius follows up and stands beside
Brutus.
[4] i.e., despatches.
[5] i.e., directing.
[6] In pronunciation, the first two ' i's ' are
short and the third long. The second
' i ' takes an emphatic beat. This pro-
nunciation stands throughout. It was
a town in Macedonia named after
Phillip ofMacedon.
[7] i.e., bearing. Through Fr. from Lat.
tenor-em, course, import (of a law, etc.)
from tengre, to hold.
[8] See note 3, p. 70.
[9] Merely a redundancy of proscription.
[10] Emphasized because it means particular
letters — despatches.
[11] He looks at TITINIUS. It is merely the
exchange of glances when a matter of
delicate moment arises which closely
concerns a present third party.
[12] He answers with a suddenness that
implies a change of mind or rather the
wish not to lead in to an embarrassing
matter.
[13] Quietly and firmly.
[14] With a quiet and simple directness.
80
THE TRAGEDY OF JULIUS CAESAR
ACT IV
ACT IV, SC. HI
[1] Why, what, how were all frequently
used in a purely exclamatory tense.
[2] i.e., at sometime, one day.
[3] Still quietly and firmly. Keep the
manly character of the whole scene un-
broken.
[4] CASSIUS, who is standing beside BRUTUS,
adds his own quiet observation. It dif-
fers from MESSALA'S by its comparative
quality and has the slightest touch of
emotion in consequence. He refers to
the precept as distinct from character ;
theory alone as apart from the power to
practise it.
[5] i.e., present, that which is in hand and
has to be dealt with ; substantial de-
mands as opposed to reflective indulgences.
[6] i.e., defensire power. Nimbleness ex-
presses itself.
[7] BRUTUS is referring to their present
locality.
[8] i.e. , unwilling.
[9] i.e., recruits and probably supplies.
[10] i.e., through or among them.
[11] i.e., greater number.
[12] Dwell upon the points established in these
lines and develop their important nature.
[13] CASSIUS comes in quickly as though
bursting with advice. BRUTUS stops
him authoritatively but quietly.
[14] He proceeds with a steadier pace than
before, just placing the important facts
before them. This is the determining
speech of the consultation. Don't
hammer it. out but make the details signifi-
cant without being rhetorical. Add the
earnestness of the situation to the de-
livery of the words.
[15] i.e., we have taxed the powers of our
friends to the utmost.
[16] i.e., the preparations made to fulfil our
purpose are complete and nothing more
can be added to them.
[17] This is the summarizing line of this
passage, and is taken slower to mark its
full significance.
[18] He eases slightly from the mere enforce-
ment of concrete facts to the quieter
emphasis of an impressive moral truth.
Keep it colloquial but pointed.
[19] i.e., imprisoned.
[20] Take this passage a little more slowly.
It is the ultimate point of his counsel.
[21] i.e., tide.
[22] i.e., the direction of the tide seawards.
[23] i.e., hopes. Ventures is used in the
sense of cargoes or investments, goods
ventured in the ocean voyage.
24] There is just a slight pause whilst this
matter has its effect and then CASSIUS
breaks in fully reconciled to BRUTUS'
plan.
[25] i.e., we will ourselves be mobile and not,
as he himself originally suggested, leave
that to the enemy.
[26] i.e., satisfy in a small way. This word
is rarely used as a verb, its function
being that of a noun or adjective. A
niggard is someone who is mean. Its
origin is obscure.
[27] They all rise.
[28] He moves to the stool R., where he
gets his cloak and puts it on, moving a
little to R. below the stool as he does so.
Titinius and Messala move to C.
and then face BRUTUS. MESSALA is
up stage.
[29] He turns to Lucius, who is by the
table up L.
[30] Brutus crosses and shakes hands
with each as he addresses them.
[31] They salute and move across
above Casslus out of sight R. as
though standing at the tent door.
[32] CASSIUS has been waiting R., a little
embarrassed after having fixed his cloak.
He turns towards Brutus as the
others leave, and then after a moment's
pause moves up to him. BRUTUS
speaks quietly and composedly. Don't
develop the emotion. The situation is
powerful enough without any excessive
emphasizing. Earnestness and sincer-
BRUTUS. 1Why, farewell, Portia. We must die, Messala :
With meditating that she must die 2once
I have the patience to endure it now.
MESSALA. 3Even so great men great losses should endure.
CASSIUS. 4I have as much of this in art as you,
But yet my nature could not bear it so.
BRUTUS now revives the note of military debate. From now on, the scene becomes fairly rapid and
colloquial, though assertive. These men know their minds. Don't hurry too much, but simply
adopt the pace of men engaged upon urgent discussions with quick intelligences alert to com-
parative qualities. A certain sharpness of treatment is necessary. We have had a quiet and
impressive scene just beforehand and very shortly we enter into another phase, where quietness,
f simplicity and colloquial tenderness take the reins of action. Note how the character of CASSIUS
it used to vitalize the renewal of the former quality.
BRUTUS. Well, to our work 5alive. What do you think
Of marching to Phi/z'ppi presently?
CASSIUS. I do not think it good.
BRUTUS. Your reason?
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, 6defence and nimbleness.
BRUTUS. Good reasons must of force give place to better.
The people 'twixt Phi/z'ppi and 7this ground
Do stand but in a 8forc'd affect i on,
For they have grudged us 9contribut i on :
The enemy marching along 10by them,
By them shall make a "fuller number up,
Come on refresh'd, new-added and encourag'd ;
12From which advantage shall we cut him off
If at Phi/ippi we do face him there,
These people at our back.
CASSIUS. 13Hear me, good brother.
BRUTUS. Under your pardon. 14You must note beside
That we have tri'd the 15utmost of our friends,
Our legions are brim-full, | our cause is 16ripe :
The enemy increaseth every day ;
17We, at the height, are ready to decline.
18There 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.
20On such a full 21sea are we now afloat,
And we must take the 22current when it serves,
Or | lose our "ventures.
CASSIUS. 24Then, with your will, go on ;
We'll along Z5ourselves and meet them at Phi/ippi.
BRUTUS. The deep of night is crept upon our talk,
And nature must obey necessity ;
Which we will 26niggard with a little rest.
There is no more to 27say?
CASSIUS. No more. Good night :
Early to-morrow will we rise and 28hence.
BRUTUS. 29Lucius! My gown. [Exit LUCIUS R.
30Farewell, good Messala :
Good night, 31Titinius : 32noble, noble Cassius,
Good night, and' good repose.
ity are the required elements. Brutus
holds out his hand and Cassius
takes it, but bows his head until
BRUTUS has finished speaking.
SCENE III
THE TRAGEDY OF JULIUS CAESAR
81
"Good night, Lord Brutus.
CASSIUS. *O my dear brother!
This was an ill beginning of the night :
Never come such division 'tween our souls !
Let it not, Brutus.
BRUTUS. Every thing is well.
CASSIUS. 2Good night, my lord.
BRUTUS. Good night, good 3brother.
TITINIUS.
MESSALA.
BRUTUS. Farewell, every one.
After the tempest of the quarrel and the earnestness of the council we reach a scene of great kindli-
ness and relaxation. Here again, the circumstances concentrate upon BRUTUS' character, for
we know the tribulations in which he is involved and yet he is able to show a care and sympathy
for others . And so gradually the scene sinks with a poetic gradation to the lonely figure reading
his book by candlelight, and out of its repose rises the sudden spectre both of past and future
and a horror seizes the silence and gloom and brings BRUTUS to a sudden renewal of his grip
with events.
LUCIUS re-enters with the gown (synthesis) . Inside this will be the
pocket containing the libellus or leaved book. LUCIUS assists
BRUTUS into the gown.
Give me the gown. 5Where is thy instrument?
LUCIUS. 6Here in the tent.
BRUTUS. What, thou speak'st drowsily?
Poor knave, I blame thee not ; thou art 7o'er-watch'd.
Call Claudius and 8some other of my men ;
I'll have them sleep on cushions in my tent.
[LUCIUS goes R. and calls off.
LUCIUS. Varro and Claudius!
[BRUTUS takes the book out of an inside pocket of the gown.
Enter VARRO and CLAUDIUS from R. These two men are soldiers, riot
officers. At a later moment he addresses CLAUDIUS as ' sirrah ',
' fellow ' and ' thou ', and the incident here shows desire to evidence
his democratic spirit by offering them this relaxation in his tent
— probably suggested by the realization that LUCIUS was o'er-
watch'd which would lead him to think of his guard. They only
represent two of his guard as the text shows. They are dressed
in steel loricas and carry rectangular shields and single pila. See
Plates I, II, III.) They come to R.c. and salute. LUCIUS picks
up his instrument from the palliasses and stands up c.
VARRO. Calls my lord?
BRUTUS. 9I 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. 10So please you, we will stand and llwatch your pleasure.
BRUTUS. I will not have it so : lie down, good sirs ;
12It may be I shall otherwise bethink me.
13Look, Lucius, here's the book I sought for so ;
I put it in the pocket of my gown.
Do not play this scene with the obsession of any forthcoming drama. Let it be an intimate and
entirely unforced interlude between these two, unburdened either by tragedy or any overdrawn
sentiment. Only at the last does any deeper feeling of the play's tragedy come in and then it is
with one slight stroke that relates the situation with the play.
LUCIUS. I was sure your lordship did not give it me.
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. 15Ay, my lord, an 't please you.
BRUTUS. It does, my boy :
ACT iv, sc. m
[1] Quietly but with a touch of earnest
appeal. Don't ' act ' it.
[2] He salutes. Note his formal address as
to the commander and BRUTUS' informal
reply.
[3] CASSIUS pauses as though touched by
this final courtesy of BRUTUS, and as
though about to become emotional.
Then he turns and moves off R.
quickly.
[4] After CASSIU8 it out of sight and whilst
BRUTUS is still looking after him, these
two men are heard off R. as from the
tent entrance.
[5] He turns to Lucius.
[6] He stifles a yawn.
[7] i.e., burdened with over-watching.
BRUTUS speaks very kindly to LUCIUS.
[8] i.e., an, a singular sense which is now
obsolete (some and other).
[9] Easily and nicely. Note the emphasis
on sleep.
[10] With a mild amazement. They are on
guard duty and discipline and custom
prompt a reasonable remonstrance.
[11] i.e., look for as opposed to sleep and
wait for him to wake them.
[12] Here the two soldiers look irresolute and
BRUTUS warns them jokingly that he
may change his mind if they don't take
the opportunity. This gives him a
sense of humour which is very valuable
particularly at this point in the scene.
He says this with a whimsical tone and
a smile. LUCIUS also smiles. They
take off their helmets, lay down the
shields and lie with their heads on
the cushions, VARRO being on the R.
of CLAUDIUS. Brutus moves to the
seat R. of the table and sits.
[13] Lucius conies down to Brutus.
[14] He takes hold of LUCIUS' arm. Keep
the whole attitude and scene one of simple
humility. His thought for the two
soldiers and his modest jest with them,
and this asking of pardon from LUCIUS.
are single strokes, few in number, but
they point an appealing touch of genuine
and sympathetic if not great character.
There seems to be something of Shake-
speare's own nature here. Keep him
colloquial and as a father to child.
[15] With a great willingness that struggles
through his tiredness, shouting the ready
response that BRUTUS' gentleness wakens
in him.
G*
82
THE TRAGEDY OF JULIUS C^SAR
ACT IV
ACT IV, SO. in
[1] This is taken almost lightly without
destroying the delicate nature of the
moment. It just furnishes the slight
contrast for what follows in the next
speech.
[2] Again, simply.
[3] Here the sense of impending fate breaks
through in one short sentence. It is just
sufficient to introduce that sense of what
he is feeling in himself and at the same
time expresses that simple nature of a
truly great man, the honest affection for
another soul independent of its station.
It brings his humility to its perfection.
He looks straight at LUCIUS and speaks
simply and slowly, and after this phrase
heaves a short sigh whilst his voice grows
softer as he concludes. The whole situa-
tion backed by what has gone before acts
the real pathos of the moment, and there
must be no forceful striving for it. It is
the softest part of the valley between the
crags and it is the crags which give it
depth and sweetness.
[4] Brutus turns front, takes up his
book and searches quietly for his place.
He was actually engaged on abridging a
copy of Pausanias. This would really
be written in scroll form but we have
to conform to the requirements of the text
and provide a leaved book.
[5] As LUCIUS' voice ceases, BRUTUS looks
down at him. The word ' sleepy '
means having produced sleep, cf.
sterile curse.
[6] Take these lines with a quiet sadness.
[7] A mace was a weapon and BRUTUS'
figure of speech draws its superior
action upon the player who makes music
the subject of his art.
[8] He strokes LUCIUS' head. ' Knave '
is used in its pure sense of ' boy '.
[9] He simply stoops down, still sit-
ting, and picks up the instrument
which he puts on the table.
[10] He puts his book on the table.
[11] See note 2, p. 17.
[12] In tense awestruck tones. His nerves
are beginning to lighten.
[13] He slowly rises and lifts the candle
above his head and bends forward very
slightly as though sensing something
dreadful. He speaks in a fearful
whisper.
[14] He begins to move backwards
slowly towards C. as he realizes that
it is Something. His voice is still a
whisper but is more active with the
realization that he is addressing an
actual being.
[15] i.e., to stand on end.
[16] Just a slight pause as he has to break
through the paralysis of his fear when he
does speak.
[17] BRUTUS having withdrawn the light to c.
leaves C^SAR very dim, and also a
remote figure that is equally remote from
earthliness.
[18] i.e., the spirit that bodes ill. At this
point Lucius stirs and makes a
moaning cry. OESAR speaks in a
faint high-pitched voice, which draws
out its tones in a melancholy way. The
Elizabethan notion was, as CALPURNIA
tells us, that ghosts ' squeaked ', but
don't be literal here in the application
of this belief.
I trouble thee too much, but thou art willing.
LUCIUS. It is my duty, sir.
BRUTUS. 1I 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.
BRUTUS. 2It was well done ; and thou shalt sleep again.
I will not hold thee long : 3if I do live,
I will be good to 4thee. [Music, and a song.
LUCIUS sinks down beside BRUTUS' stool and proceeds to sing a very
simple song. His position shows him sitting back on his heels
and leaning beside the stool. As Mr. Dennis Arundell has pointed
out, there are occasions in Shakespeare when these songs are
introduced merely to create an atmosphere to a situation which
can be obtained on the modern stage by lighting and other aids
to illusion. This is an instance, and the song chosen must be
something of an unobtrusive kind and whose tune suits the
situation. There must not be anything of the nature of a purely
vocal number about it. It should be modest and capable of being
trailed away into silence as LUCIUS falls asleep. This he does
after a judicious interval and his head falls against the stool and
his instrument just sinks into his lap. It will be seen by the
context that the song deals with Sleep since BRUTUS remarks upon
the fact that slumber has silenced the singer who plays music to
it. This selection of a theme about sleep is a very natural develop-
ment of LUCIUS' own o'er-watched mind. He puts a brave coun-
tenance over his utter weariness, but here it takes its leadership
and induces the subject of his real desire.
5This is a sleepy tune. 6O murderous slumber,
[The lights begin to dim.
Lay'st thou thy leaden 7mace upon my boy,
That plays thee music? 8Gentle 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 9thee ; and, good boy, good night.
10Let me see, let me see ; is not the leaf turn'd down
Where I left reading? Here it is, I think.
The lights have dimmed right out, leaving only the candlelight.
This effect gives the illusion of the ill-burning taper without the
taper itself having to act the part.
Almost in a moment we rise to an intense climax. It has been prepared for by the lightness of
the reposeful scene just concluded, and now grows sheer to the height of an unearthly drama.
No contrast could ever be greater, no scene be brought to a close with a more sudden and gripping
effect. Don't rush it to begin with. BRUTUS, like any other man confronted with the like
phenomenon, especially when it has the appearance of someone who has been loved and assas-
sinated, is paralysed with a reasonable and human terror, but it is a terror which analyses
its subject by a dramatic process, which holds us, and does not dissipate itself in mere hysteria.
Note the remoteness established between the two by the use of the distant, rhetorical ' thee '.
How ill this taper burns! Ha! who comes here?
I think it is the weakness of mine eyes
That shapes this "monstrous apparit i on. |
The GHOST OF CAESAR now appears in the extreme corner of the
tent down L. from behind the masking front curtain.
12It comes upon me. | 13Art thou | any thing? |
14Art thou some god, some angel, or some devil,
That makest my blood cold, and my hair to 15stare?
16Speak to me what thou art.
GHOST. "Thy 18evil spirit, Brutus.
SCENE III
THE TRAGEDY OF JULIUS (LESAR
83
BRUTUS. 1Why comest thou?
GHOST. To tell thee thou shalt see me at 2Phi/zppi.
BRUTUS. 3Well ; then I shall see thee again.
GHOST. Ay, at Phi/zppi. [He exits down L.
BRUTUS. 4Why, I will see thee at Phi/zppi then.
Now I have taken heart thou vanishest.
6I11 spirit, I would hold more talk with thee.
6Boy, I Lucius ! Varro ! Claudius ! Sirs, awake !
'Claudius !
LUCIUS. 8The strings, my lord, are 9false.
BRUTUS. 10He thinks he still is at his instrument.
"Lucius, awake!
LUCIUS. My lord?
The following variations in treatment of this phase should be very carefully observed because a
strict control is extremely necessary. A scene of intense emotion must be allowed its full character.
Speed is not the vehicle until it is firmly bridled and introduced in its proper proportions.
In this scene BRUTUS has been aroused to a condition of shock which is searching the whole
resource of his mind. The abnormal visitation has bewildered him and its self-declared evil
significance stirred him to an alertness, but there is nothing tangible to grasp ! It is this which
produces these sudden changes as well as the nature of these changes. The whole episode
coming after the easy and colloquial flow of the gentle scene preceding it thus gains a sharp
relief and a dramatic power.
BRUTUS. 12Didst thou dream, Lucius, that thou so criedst out?
LUCIUS. My lord, I do not know that I did cry.
BRUTUS. Yes, that thou didst : 13didst thou see — anything?
LUCIUS. "Nothing, my lord.
BRUTUS. 15Sleep again, Lucius. 16Sirrah Claudius!
Fellow thou, awake !
VARRO. 17My lord?
CLAUDIUS. My lord?
BRUTUS. "Why did you so cry out, sirs, in your sleep?
VARRO. ) _. . . , -
Did we, my lord?
CLAUDIUS, j
BRUTUS. 19Ay : saw 20you any thing?
VARRO. No, my lord, I saw nothing.
CLAUDIUS. Nor I, my lord.
BRUTUS. 21Go and commend me to my brother Cassius ;
Bid him set on his powers betimes before,
And we will follow.
VARRO.
CLAUDIUS.
It shall be done, my lord.
They salute and exeunt R. LUCIUS is still by the stool looking at
BRUTUS in fear. BRUTUS remains standing c. and looking straight
in front of him.
His thoughts are mingled, and this visitation, whether actual or imagined, argues the premonition
of great danger. Hut he marches to it, not from it.
The lights fade out slowly and the grey curtains close.
ACT iv, so. ra
[1] He recovers his voice and alters it to a
low, intense tone which is almost a moan,
as though he is unable to meet the in-
crease of his sorrows.
[2] VARRO and CLAUDIUS each utter a sharp
suppressed cry as of pain. Caesar
turns and moves to bis exit.
[3] Both ' Well ' and ' Why ' are used as
exclamations.
The sight of CESAR'S commencing to
disappear, which is virtually what his
movement indicates, begins to relieve
the strain from BRUTUS' nerves and his
voice grows firmer.
[4] He gathers courage although we feel by
the construction of the line that it is
something of an effort in the attempt to
reassert what has already been said.
He is pulling himself together, but there
is an element of disconcertedness about
him, an alarm which vitalizes him both
now and throughout what follows.
[5] He moves quickly to below the
table, still holding the candle above his
head as though searching for the ap-
parition. The pace is quick and his
voice sharp and highly wrought.
[6] There is just a slight pause whilst his
mind seeks to resolve itself out of its dis-
order. Then, still looking towards
the exit down L., he calls out these
names sharply.
[7] He turns as he calls this name, still
holding the candle above his head as he
would do with his mind in the condition
it is.
[8] Just beginning to wake up.
[9] i.e., out of tune.
[10] He puts the candle on the table and goes
up to the R. of Lucius, shaking him
by the shoulder.
[11] Lucius answers with a startled cry and
suddenly half rises to one knee.
[12] BRUTUS wants to make his question
clear and LUCIUS is alarmed. He there-
fore drops his vehemence and asks his
question with a great and careful earnest-
ness. Don't lower the tension by being
merely slow but by deliberate change of
treatment that is still strong.
[13] With a very searching anxiety.
[14] Still half frightened. BRUTUS' own
intensity makes him realize that some-
thing is amiss. BRUTUS looks at him
for a second or two, as the former is still
mentally confronted with the uncertain
mystery.
[15] Then he stands erect and faces
front, speaking in a slow detached way.
Lucius does not sleep but rises and
stands watching. He senses alarm
and disturbance.
[16] Here he suddenly recollects the cries of
the other two and is seized with the hope
of a solution. He goes up to the L.
of Claudius as he calls. His form of
address shows the urge of his authority
to secure his purpose. This is, of
course, spoken sharply.
[17] They wake instantly and rise swiftly to
their feet.
[18] Take this with a sharper treatment than
used in the question to LUCIUS. He is
addressing his men in an authoritative
as well as an urgent way.
[19] Again sharply, and then a pause to
make his following statement fully
effective.
[20] LUCTU8 didn't see anything ; did they f
[21] He looks at them for a moment and then
moves slowly centre, looking straight
out in front. He speaks with a level
tone, giving orders but thinking in his
mind that danger is near and must be;
anticipated.
84
THE TRAGEDY OF JULIUS C^SAR
ACT V
ACT V, 8C. I
ACT V
SCENE I
The plains of Philippi.
{!] Make this speech virile and open it
with relish. Although a young man,
he is full of vigour and spirit and a
little superior as he thinks in thus
showing up ANTONY'S wrong judgment
(eternal youth I). This haughtiness is
maintained throughout the scene. He
is certainly not eating out of ANTONY'S
hand. He is almost another Hotspur,
high-tempered, imperious and self-
willed. He makes a strong contrast to
BRUTUS a little later.
(2] i.e. , what we wished for has come to pass.
[3] i.e., armies.
[4] i.e. , threaten.
(5] i.e., attacking us before we invite tattle.
(6] ANTONY replies with a knowing self-
assurance. The younger man is carried
away by appearances. The older one
is a strategist.
[7] ' I read their intentions.'
18] i.e. , they could be well contented — prefer.
ACT THE FIFTH
Third pair of grey curtains, J in Groundplan II.
SCENE I
The plains of Philippi.
This act brings together the opposing elements of the play. That,
nominally, is its function ; but after establishing the one side in their
persons they are withdrawn and operate only by their effects and in so
doing display the reactions of the two principal characters, BRUTUS
and CASSIUS, to the consequences of events, giving a sequence of
intensely emotional episodes that end in the disaster of BRUTUS' own
spiritual collapse, his momentary recovery and then his death. By
degrees the scenes concentrate upon these two men and then upon
BRUTUS only. The interest is sustained purely by character, and the
headings to and the treatment of each scene will handle this interest
in the various forms. In this one, the opposing forces are introduced,
their animosity made patent, and then OCTAVIUS and ANTONY dis-
appear in person, leaving the play in the hands of the two other
principals until the concluding phases.
One general observation might be made in the survey of the whole
act, and that is that Shakespeare does not allow the sentimental element
to drown the activity of the action. Each scene begins and ends with
a virile note, creating a lively stimulant both before and after the
profounder measures that come between. Only in the final scene
does this principle alter and then, as we shall see, with striking effect.
OCTAVIUS and ANTONY enter R. and come to R., not R.C. ANTONY is
on the L. of OCTAVIUS. Behind them in the entrance stand the
STANDARD-BEARER bearing the eagle or legionary standard (aquila).
Beside him is another bearing the praetorian standard. Both
men are dressed as described in the costume glossary. On either
side is a TRUMPETER. Each carries a tuba. Behind them are
other trumpeters each carrying the round cornu. These men
wear the steel lorica armour. There are several OFFICERS, who,
with the two principals, wear the brass armour of their rank,
OCTAVIUS wearing a white paludamentum, ANTONY a crimson one,
fringed with gold. The other OFFICERS wear the red abolla. The
helmets of the four chief characters have a panache or crest of
red feathers that reach to the base of the crown. There is no
tail to the Roman helmet. The lower officers have horse-hair
crests.
OCTAVIUS. 1Now, Antony, our hopes are 2answered :
You said the enemy would not come down,
But keep the hills and upper reg i ons ;
It proves not so : their 8battles are at hand ;
They mean to *warn us at Philippi here,
6 Answering before we do demand of them.
ANTONY. 6Tut, I am in their 7bosoms, and I know
Wherefore they do it : 8they could be content
SCENE I
THE TRAGEDY OF JULIUS CAESAR
85
To visit other places ; 1and 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 from L. He is a light-armed skirmishing soldier
(veletes) wearing a leather jerkin, shoulder armour like the lorica
pieces. He carries an elliptical shield and a light lance and
wears a sword on his right side. He enters running and comes
c. He speaks excitedly.
MESSALA. Prepare you, generals :
The enemy comes on in gallant show ;
Their 2bloody sign of battle is hung out,
And something 3to be done 4immediately.
ANTONY. Octavius, lead your battle 5softly on,
Upon the left hand of the "even field.
OCTAVIUS. 7Upon the right hand I ; keep thou the left.
ANTONY. 8Why do you cross me in this 9exigent?
OCTAVIUS. 10I do not cross you ; but I will do so.
Enter from L. BRUTUS and CASSIUS, BRUTUS being up stage. Behind
them come LUCILIUS, TITINIUS, MESSALA, young CATO, DARDANIUS,
CLITO, STRATO and VOLUMNIUS. They form two groups, the first
three being together and adjacent to BRUTUS and CASSIUS. The
others are a little up stage above the first party. They actually
only come on a few steps before BRUTUS stops and speaks. Thus
the entrance will more or less be filled. All will be dressed in
full armour and wearing their respective cloaks, the lesser OFFICERS
wearing the abolla. Some, including CASSIUS, wear a gold belt
round their breastplates and all have drawn swords. If any
further numbers should be required, we can just see another
legionary standard and soldiers in steel loricas, carrying trumpets
as before. Don't bring on ' the bloody sign of battle'.
BRUTUS. They stand, and would have "parley.
CASSIUS. Stand fast, Titinius : we must out and talk.
OCTAVIUS. 12Mark Antony, shall we give sign of battle?
ANTONY. 13No, Caesar, we will answer on their charge.
14Make forth ; the generals would have some 15words.
OCTAVIUS. 16Stir not until the signal.
BRUTUS. 17Words before blows : is it so, countrymen?
OCTAVIUS. 18Not that we love words better, \ as you do.
BRUTUS. 19Good words are better than bad strokes, Octavius.
ANTONY. 20In your bad strokes, Brutus, you give good words :
Witness the hole you made in Caesar's heart,
Crying ' Long live ! hail, Caesar ! '
CASSIUS. 21Antony,
The 22posture of your blows are yet unknown ;
But for your words, they rob the 23Hybla bees,
And leave them honeyless.
ANTONY. Not stingless too.
BRUTUS. O, yes, and soundless too ;
For you have stol'n their buzzing, Antony,
And very wisely threat before you sting.
From this point the scene begins its accentuated vitality. In this speech rely more upon emphasis
than upon speed for effect. It will be found to be a passage where the words themselves image
the thoughts and dramatize them. Use this function to its full advantage, working only upon
a vehement increase from ' Whilst damned Casca . . . '
ACT V, SO. I
[1] i.e., and they come down. They would
rather go elsewhere, but they come down
from the hills to try and make us believe
that they have courage.
[2] ' The next morning by break of day, the
signal of battle was set in BRUTUS' and
CASSIUS' camp, which was an arming
scarlet coat.'— North's Plutarch (N.V.).
This would be an abolla. Arming coat
i« a cloak worn over armour, coat merely
being the Elizabethan use of the word
for a covering and thus translated by
North.
[3] i.e., is going to be done. The verb is in
the line above is common to this one.
[4] He moves across to the group in
the entrance.
[5] i.e., without exertion. Some glossaries
read this for slowly.
[6] i.e., both armies are equal in number
and quality.
[7] OCTAVIUS asserts his supercilious tem-
perament.
[8] ANTONY shows fire.
[9] i.e., crisis, or urgent need. From Lot.
exigent-em, pr.pple. o/exigSre, to drive
(ex, out + ag8re, to drive).
[10] The meaning of ' cross ' in these two
lines is that of ' thwart ' or ' hinder '
for a purpose. OCTAVIUS merely asserts
that he is not hindering ANTONY out of
any rivalry, but he has made up his mind
that he is going to take the right wing.
The very use of the word by ANTONY as
well as his line implies a suggestion that
the idea of suspected rivalry is in his
mind.
[11] i.e. , talk. Brutus and Cassius enter
with swords drawn, obviously ready
to fight. The sight of their foes standing
without their swords in hand is a sur-
prise, and BRUTUS t« quick to announce
the fact so as to prevent an assault.
[12] OCTAVIUS is impetuous, and seeing them
ready for fight is eager to engage them.
[13] ANTONY is restrained. Let the others
begin the battle. They themselves will
answer only on assault.
[14] i.e., advance or move out.
[15] They move to R.C.
[16] After a step or so Octavius turns to
the group R.
[17] He advances a pace or two. He is
dignified and strong.
[18] OCTAVIUS is anxious to show his feel-
ings. He didn't ask for the talk.
[19] Calmly but meaningly. Wholesome
words will do more good than destructive
strokes.
[20] ANTONY begins to add edge to the debate.
He comes in quickly on his cue. Don't
make him vehement but ironical.
[21] Cassius steps up beside Brutus,
just leaving him clear in the line of sight
of the audience.
[22] i.e., character, quality. The context
gives this meaning. ' Posture ' means
position, attitude, and therefore char-
acter.
[23] A town in Sicily celebrated for the honey
produced by the bees in the surrounding
hills.
86
THE TRAGEDY OF JULIUS CAESAR
ACT V
ACT V, SO. I
[1] Any punctuation different from this is
obviously wrong. The Folios are as
printed here.
[2] i.e. , because they showed courtesy and
adulation to CJBSAR and yet had swords
ready to kill him. Also, ANTONY gets
in a final ironical retort to CASSIUS on
the subject of words. He brings this
out with scathing emphasis,
[3] Cassius immediately crosses
Brutus in a blaze of fury. Brutus
grips his arm as he passes and stops
him. He then turns to Brutus.
[4] i.e., ANTONY'S. // CASSIUS had had
his way ANTONY would have been as-
sassinated with C.&SAR as we know.
[5] Octavius moves across Antony
and stands level with CASSIUS. // the
stage is small it is better for him to
remain where he is. He keeps the
scene alive by a determined challenge.
He does not shout but remains strong
and virile.
[ 6] The matter with which we are principally
concerned, the avenging of CESAR'S
death.
[7] i.e., determining of the cause. ' Argu-
ing ' is elliptical for arguing about
it.
[8] He speaks this word in a sharply arrest-
ing way and pauses after it for a
moment.
[9] He draws the sword on this line and
brings it down pointing towards them on
the word ' conspirators '.
[10] i.e., himself. His title was Octavianus
Caesar, and later by special decree of the
senate it was prefixed with Augustus.
He was the nephew of JULIUS C^SAB
and was adopted by him as a son.
[11] He is disclaiming the applicability of the
epithet to himself, and at the same time
maintaining a dignity in his delivery.
[12] He has no traitors in his own ranks,
therefore he cannot die. P. Simpson
(Sh. Punctuation, p. 67) says : 'It is
the function of the colon (in the Folio) to
mark an emphatic pause. Compare its
use in the Prayer Book to point the
Psalms for singing. Compare also
' O pardon me, thou bleeding piece of
Earth : That I am . . .' — N.V.
[13] Make this line more cutting than violent.
It is a retort implying that BRUTUS is a
traitor. OCTAVIUS' use of the word
' traitors ' is in the sense of those who
became CESAR'S enemies. BRUTUS' use
of the word is in the sense of those who
are antagonistic to republican ideals
which he and his party represent.
[14] BRUTUS answers with a strong but im-
pressive note. He is not a prig, but
knows what he stands for and later lays
down his life for. Prigs don't do that.
[15] i.e., bad tempered, headstrong. The
derivation of the word is unknown.
The word ' boy ' became attached to
OCTAVIUS because of his youth and is an
historical fact. Take this line easily
and make the contempt cutting.
[16] i.e., one who participates in masques.
A masque was a festive occasion on
which grotesque visages were worn.
The name is frequently used to denote a
revel or any other festive celebration.
[17] i.e., the same old CASSIUS, ' old ' mean-
ing as he used to be. It is said with
quiet amusement.
[18] Octavius moves briskly across to
R. and resumes the life of the scene. He
turns as he reaches the R.
[19] i.e., appetites, or here, more strongly,
courage.
[20] Cassius moves quickly up to the
R.C. and gives this wild release to his
impulse.
[21] i.e., the hazard or chance of fate.
|22] Brutus moves down L.C. as he
speaks. Lucilius joins him and
moves down with him on his L.
[23] Cassius moves to C. and Messala
comes to him.
[24] i.e., as on.
[25] EPICURUS disregarded omens as illusions
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,
And bow'd like bondmen, kissing Caesar's feet ;
Whilst damned Casca, like a *cur, \ behind
Struck Caesar on the neck. O you zflatterers\
CASSIUS. 3Flatterers ! Now, Brutus, thank yourself :
*This tongue had not offended so to-day,
If Cassius might have rul'd.
OCTAVIUS. 5Come, come, the 6cause : if arguing make us sweat,
The ''proof of it will turn to redder drops.
"Look ;
9 1 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 10Caesar
Have added slaughter to the sword of traitors.
BRUTUS. Caesar, thou canst not die by traitors' hands,
Unless thou bring'st them liwith thee.
OCTAVIUS. So I 12hope ;
I was not born to die on 13 Brutus' sword.
BRUTUS. 14O, if thou wert the noblest of thy strain,
Young man, thou couldst not die more honourable.
CASSIUS. A 15peevish schoolboy, worthless of such honour,
Join'd with a 16masker and a reveller!
ANTONY. 17Old Cassius still!
OCTAVIUS. 18Come, Antony ; away!
Defiance, traitors, hurl we in your teeth ;
If you dare fight to-day, come to the field :
If not, when you have "stomachs.
[OCTAVIUS exits R., followed by ANTONY and the others.
CASSIUS. 20Why, now, blow wind, swell billow, and swim bark!
The storm is up, and all is on the 2 hazard.
BRUTUS. 22Ho, Lucilius ! hark, a word with you.
LUCILIUS. My lord?
CASSIUS. 23Messala!
MESSALA [standing forth]. What says my general?
Take this speech in a colloquial way without any violence whatever, but with animation and respect
for the importance of the things touched on. It is that trickle of apprehension which foretells
tragedy, a trickle which is only such because of the courage of the man that keeps back the
main flood. From here onwards there is the indication of apprehension and the manifestation
of courage and spirit that checks it. In order to avoid extremes either of fear or bombastic
heroics keep the treatment smooth. The situation is suggested more than defined and the
strength of character can only be distilled by its firm and resolved address to the threats of fate.
From now onwards the contest with that fate commences and never once is there any flinching
either from its whispers or its blows.
CASSIUS. Messala,
This is my birthday ; 24as 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 25Epicurus strong,
And his opinion : 26now I change my mind,
of sense. CASSIUS had a great belief in
his doctrine.
[26] He becomes a little quieter. It is simply
a slight acknowledgment of his fears.
This speech taken colloquially and inti-
mately after the outburst following
OCTAVIUS' exit makes its effect com-
pelling. The note of an unsuspected
situation is always arresting. Don't
force it. It declares itself by Us nature.
SCENE I
THE TRAGEDY OF JULIUS CAESAR
87
And partly credit things that do ^presage.
2Coming from Sardis, on our 3former 4ensign
Two mighty eagles fell, and there they perch 'd,
Gorging and feeding from our soldiers' hands ;
Who to Phi^ppi here 5consorted us :
6This morning are they fled away and gone ;
And in their steads do ravens, crows and 7kites
Fly o'er our heads and downward look on us,
As we were 8sickly prey : 9their shadows seem
A canopy most fatal, under which
Our army lies, | ready to give up the ghost.
MESSALA. 10Believe not so.
CASSIUS. 11I but believe it partly,
For I am fresh of spirit and resolv'd
To meet all perils very 1 Constantly.
BRUTUS. 13Even so, Lucilius.
CASSIUS. 14Now, most noble Brutus,
The gods to-day stand friendly, that we may,
15Lovers in peace, lead on our days to age !
But, since the affairs of men rest 16still incertain,
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?
BRUTUS realizes what CASSIUS means and proceeds to state his views on the matter. He is colloquial
and without any trace of dramatizing his feelings. He speaks straightforwardly with just the
slight trace of hesitancy at ' I know not how,' which illustrates his approach to a deep personal
conviction. Give the whole a tone of being something very private and intimate.
BRUTUS. Even by the rule of that philosophy
By which I did blame 17Cato for the death
Which he did give himself : I know not how : |
But I do find it cowardly and vile,
18For fear of what might fall, 19so to prevent
The time of life : arming myself with patience
To stay the providence of some high powers
That govern us below.
The above speech has been the subject of many discussions which occupy four pages of the N. V.
It is an adaptation of a speech from Plutarch. Accepting the text, which is that of the Folio
although the punctuation is changed, we offer the following paraphrase : 'I am determined
by the same rule as that which made me condemn Cato for taking his life. I feel that it is
cowardly to take one's life for fear of something that may happen, and I abide with patience
the will and ordinance of the gods.'
Mr. W. E. Holloway suggests that the significance of ' I know not
how ' is that of uncertainty, proceeding from a mind that is beginning
to feel the strain of its burdens, and simply expressing this fact
parenthetically. ' I don't know what to make of things.' It indi-
cates the tiredness that makes BRUTUS unusual from his hitherto
accustomed composure. He resumes with corrective vigour.
CASSIUS. 20Then, if we lose this battle,
You are contented to be led in ^triumph
22Thorough the streets of Rome?
The contingency that CASSITTS puts before BRUTUS is one that BRUTUS has not anticipated. In
Plutarch the speech referred to above goes on to say : ' but being now in the midst of danger,
I am of a contrary mind '. It is probable that the shame of defeat and the failure to accomplish
his purpose as well as a return to Rome in bondage give his spirit a just cause for altering his
mind. He blamed CATO merely as a witness of his death. Now, however, the consequences of
failure both to himself and Rome as personal experience convince him that it is nobler to die
whether in battle or by his own hand. He speaks as though confronted with a new and very
vital fact, and greets it with a great earnestness. Don't overload with heavy sentiment.
BRUTUS. No, Cassius, no : think not, | thou noble Roman, |
ACT v, sc. i
[1] i.e. , foretell, or more literally, forbode.
[2] This was a favourable sign.
[3] i.e., foremost.
[4] i.e.', standard.
[5] i.e., accompanied.
[6] Quietly but significantly.
[7] A bird of prey. The significance is that
whereas formerly they were attended by
Jones' birds who fed from them, they are
now being waited for by birds of prey
who feed on dead bodies.
[8] i.e., sickening for death, doomed.
[9] For a moment CASSIUS drops from re-
sisting altitudes into the valley of his
despair.
[10] MESSALA is encmiraging in his tone.
[11] CASSIUS pulls himself together at once
and his courage speaks.
[12] i.e., strictly in accordance with the de-
mands of the higher principles.
[13] Brutus leaves Lucilius, who returns
to the group up L. and Brutus moves
up to Cassius. There is a mutual
salute as BRUTUS and LUCILIUS
separate
[14] CASSIUS. becomes very earnest and de-
liberate. There is no rush or vehemence
but a deep courage facing the future,
which is felt to be very uncertain. The
sentiments disclosed in his last speech
underlie this one, but they are being
met, not yielded to.
115] See note 3, p. 40.
[16] i.e., always.
[17] Cato the Younger, a governor of Utica,
who, rather than fall into the hands of
JULIUS OESAR, killed himself when
Utica was besieged. He was the father
of PORTIA.
[18] i.e., because of fear of the future.
[19] i.e., in this manner to interfere with
life's period.
Note 12 on page 86 opposite helps to con-
firm Mr. Holloway's suggestion. The
colon acted as an equivalent for the
modern dash. Modern editions print
a comma after ' how '.
[20] CASSIUS asks this with very deep concern.
It is a rhetorical question implying that
he will never allow this to happen.
He grips Brutus' arm.
[21] See notes on this word in earlier refer-
ences. The prisoners of note were led in
triumph in the procession.
[22] See note 6, p. 50.
88
THE TRAGEDY OF JULIUS CLESAR
ACT V
ACT V, SC. I
[1] i.e., a mind that is greater than to ac-
commodate himself to such a shame.
What was thought to be great in bowing
to consequences is now in the light of
these possibilities a weakness. What
was before a great attitude now re-
quires to be greater still.
[2] i.e., must end it one way or the other.
[3] He offers CASSIUS hit hand and he takes
it. The two men look steadily at each
other. Let the sentiment be deep and
strong.
[4] It will be a tremendous moment, the sign
of a great achievement concluded.
[5] // they do not meet any more in freedom
it was well done that death should make
it a final meeting.
[6] CASSIUS reciprocates BRUTUS' courage.
He is a little quieter, being more sus-
ceptible to emotion.
[7] Here BRUTUS ends the sentiment and
gives an order. It is not an abrupt
change, but the quiet urge of discipline
to leave personal matters for duty.
[8] They both salute each other. Casslus
crosses to his eagle standard-
bearer (signifer), to give him marching
orders. The army always followed the
standard-bearer. He raises his stand-
ard and the others follow suit.
[9] During this conference of CASSIUS with
the signifers, BRUTUS remains c. Here
again is that glimpse into the ever-
working anxiety that takes courage more
than blows.
[10] He turns to the others L. and then
makes a movement as though
going off R. when the lights dim out.
SCENE II
The field of Battle.
[11] ' In the meantime Brutus, that led the
right wing, sent little bills to the colonels
and captains of private bands, in which
he wrote the word of battle.' — Plutarch.
BRUTUS is urgent but not yet too
vigorous.
[12] Here he does develop his vigour to the
full. He moves to the L. as the sudden
increase of noise occurs.
[13] i.e., lack of fighting ardour.
[14] From the hills where they are posted in
reserve.
That ever Brutus will go bound to Rome ;
He bears Hoo great a mind. But this same day
2Must end that work the Ides of March begun.
And whether we shall meet again I know not :
Therefore our everlasting farewell take.
3For ever, and for ever, farewell, Cassius !
If we do meet again, why, | *we shall smile ;
If not, why then this parting was Swell made.
CASSIUS. 6For 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. 7Why then, lead 8on. 9O, that a man might know
The end of this day's business ere it come!
But it sufnceth that the day will end,
And then | the end is known. "Come, ho ! away ! [Exeunt.
Lights dim on the word cue just as BRUTUS moves.
[SCENE II
First pair of grey curtains.
The field of Battle.
Enter BRUTUS and MESSALA from between the curtains. BRUTUS
comes c., followed by MESSALA on his R. Battle sounds are heard
off stage.
BRUTUS. Ride, ride, Messala, ride, and give these "bills
Unto the legions on the other side :
[Loud trumpet call off L. and shouts.
12Let them set on at once ; for I perceive
But 13cold demeanour in Octavius' wing :
And sudden push gives them the overthrow.
Ride, ride, Messala : let them all licome down.
[Exit MESSALA L.]
Lights fade on a quick dim on word cue.
SCENE III
THE TRAGEDY OF JULIUS CAESAR
89
SCENE III
ACT V, SC. Ill
Scene III
ILLUSTRATION No. 7
Figures A, F, E, D are alone required for this scene.
Another part of the field.
Succeeding upon the more static nature of Scene I , this scene puts into practical terms the courage
which ig suggested by its important predecessor. Shakespeare now concentrates his action upon
two characters alone, CASSIUS and BRUTUS, and spends them wisely in their exploitation and
deaths. Here, battle brings its calamity, but it is not defeat but grief that destroys the passionate
CASSIUS. The scene is played with the development of its action concentrated in the reaction
of the principal figure, and every moment is a throe of that highly-wrought spirit under afflicting
events, development and final catastrophe. Seep it thus primed. Cassius is discovered C.
with drawn sword. Titinius with drawn sword is R. CASSIUS is holding the eagle
standard that he has taken from his standard-bearer. This man is lying dead over L.C. He is
dressed in the standard-bearer's costume. Note that CASSIUS has a gold belt round his armour
and that the armour is unstrapped at one side. This will enable him to shed his armour for his
death. TITINIUS' reference to the setting sun must not be taken too literally as indicating the
actual time of day or that it really means that sunset is taking place. If we do this our last scene
would, strictly speaking, be played in darkness. Therefore in lighting this scene, use a soft
light suggestive of approaching evening, and one which can still be softened even more for the
final scene without robbing it of visibility. Note that CASSIUS is without his cloak and sword
belt, both of which lie behind him.
Alarums off R.
CASSIUS. 1O, look, Titinius, look, the villains fly!
Myself have to mine 2own turn'd enemy :
This 3ensign here of mine was turning back ;
I slew the coward, and did take 4it from him.
TITINIUS. O Cassius, Brutus gave the word too early ;
Who, having some Advantage on Octavius,
Took it too eagerly : his soldiers fell to 6spoil,
Whilst we by Antony are all enclos'd.
Enter PINDARUS from R. He runs to CASSIUS.
Another part of the field.
When painting this set, aim at getting the
rocks to look sharp and jagged, and
with something of a cruel nature.
This again dramatizes the circum-
stances of the action and especially
emphasizes the fact of the final scene
of the play. Paint the rocks dark
in colour with sharp high lights.
[1] With intense anguish.
[2] i.e., my own men.
[3] i.e., bearer of the ensign or standard.
[4] i.e., the standard.
[5] i.e., having gained a slight supremacy
over OCTAVIUS. Keep this speech
vehement andfullofthe sense of disaster.
[6] i.e., plunder.
90
THE TRAGEDY OF JULIUS CAESAR
ACT V
ACT V, SC. in
[1] Keep up the intensity of the action and
sustain the spirit of the scene. This
speech builds up on the last one and
adds real disaster to that threatening in
the speech O/TITINIUS.
[2] Note the sudden and extreme pitch.
[3] Cassius effectively meets this pitch by
going up to the mound and firmly
planting his standard upon it in the
prepared notch. He is resolute in tone
and action.
[4] Pindarus runs up between the
other two and mounts the hill a
little.
{5] Just a short pause to make certain.
Then he confirms it with a great alarm.
(6] He goes to Titinius and grips him by
the arm. TITINIUS is still looking off R.
Take this speech quickly and with intense
feeling. He is asking for something to
be done, not giving an order.
[7] Not repeated, but ultimate action, a com-
mon use of the word in Shakespeare.
[8] Responding to CASSIUS' urgent plea
without a pause. He runs off R.
[9] Don't pause but continue the quick
action of the scene. There must not be
any break until the appropriate moment.
He turns and indicates his order to
Pindarus, who mounts to the top
of the rock.
[10] CASSIUS was short-sighted.
(11 j He moves to C. The action rests for
a moment but is held by the fact that we
are waiting for a development. CAS-
SIUS, for all his attempted hopes, feels
the hand of events against him and
weakens once again in this disclosure.
(12] i.e., circuit of time. CASSIUS' birthday
is his death day, and he knows it.
[13] He turns towards Pindarus, and
with a sharp rally brings himself back
to events. ' Sirrah ' is used as a form
of address towards an inferior, cf.
' Sirrah Claudius ', IV, m.
{14] This line is a cry of anguish and must
come suddenly.
[15] Take this speech with a graphic inten-
sity and, as it were, live the excitement
and suspense it describes. Observe the
various pauses between the various inci-
dents. Let the pace be quick and grip-
ping.
{16] This is an excited urge to TITINIUS him-
self.
[17] i.e.. This is a verb distinct from alight
and means to relieve the horse or vehicle
of one's weight. Keep the suspense
alive.
(18] This is agony to him.
[19] This is drawn out like a bitter cry.
(20] CASSIUS covers his face with the back of
his clenched hand as though suffering
from terrible shock.
[21] With a sharp and agonized note. Pin-
darus begins to descend, still looking
at the distant group off R.
[22] With acute emotion.
[23] This may be figurative, but moreprobably
it denotes his acute imagination as though
he himself had seen the incident happen.
[24] He turns to Pindarus and speaks
with rapid vehemence, not loud but very
intense. His own peculiarly impulsive
temperament is now hurrying him to his
death. He allows no time for thought
or for any possibility of mistake. His
premonitions, the shock of experienced
defeat have burdened him beyond control
and his weakness lets in the full flood of
shame : ' Old Cassius still ! ' Let us see
this fierce impetuousness at work.
[25] A celebrated country of Asia. The
Parthians were naturally strong and
warlike and were esteemed the most ex-
pert horsemen and archers in the world.
— Lempritre.
[26] i.e., put thee under oath because, saving
thy life.
[27] i.e., strive to do, not merely seek in a
half-hearted way.
[28] The pace slackens and he becomes im-
perative.
[29] Bring this out as an incentive to the deed.
PINDARUS. xFly further off, my lord, fly further off ;
Mark Antony is in your tents, my lord :
Fly, therefore, noble Cassius, fly zfar off.
CASSIUS. 3This hill is far enough. Look, look, Titinius ;
Are those my tents where I perceive the 4fire?
TITINIUS. 6They are, my lord.
CASSIUS. 6Titinius, if thou lovest 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.
TITINIUS. 8I will be here again, even with a thought.
[Exit R.
CASSIUS. 9Go, Pindarus, get higher on that hill ;
My sight was ever 10thick ; regard Titinius,
And tell me what thou notest about the field.
[PINDARUS ascends the hill.
nThis day I breathed first : time is come round,
And where I did begin, there shall I end ;
My life is run his 12compass. 13Sirrah, what news?
PINDARUS. 14O my lord!
CASSIUS. What news?
PINDARUS. 15Titinius is enclosed round about
With horsemen, that make to him on the spur ; |
Yet he spurs on. | Now they are almost on him. |
16Now, Titinius I Now some 17light. 18O, he lights too.
"He's ta'en.
[Distant shout off R.
And, hark! they shout for joy.
CASSIUS. 20Come down ; behold 21no more.
22O, coward that I am, to live so long,
To see my best friend ta'en before my 23face!
PINDARUS comes R. of CASSIUS. CASSIUS suddenly unbuckles the
strap that is round his armour and takes off his armour which he
drops on to his cloak.
24Come hither, sirrah :
In 25Parthia did I take thee prisoner ;
And then I 26swore thee, saving of thy life,
That whatsoever I did bid thee do,
Thou shouldst "attempt it. 28Come now, keep thine oath ;
29Now be a 30freeman ; and with this good sword,
That ran through Caesar's bowels, | search this 31bosom.
32Stand not to answer : 33here, take thou the 34hilts ;
3?And when my face is cover'd, as 'tis now,
Guide thou the 36sword. 37Caesar, thou art reveng'd,
[30] i.e., in your own right without a master.
CASSIUS' death would confer this upon
him.
[31] Pindarus makes an appeal as
though horrified.
[32] CASSIUS hurls this out in a frenzy of
impatience.
[33] He thrusts the hilt into Pindarus'
hand.
[34] This word was frequently used in the
plural. Shakespeare uses it for six out
out of the nine times the term occurs in
his plays.
[35] Putting his arm across his face.
[36] As Pindarus closes with him he
turns Cassius so that he masks
him whilst thrusting the sword
into him. Then he withdraws it
and steps back to R. a few steps.
Cassius sinks upon his knee, un-
covering his face.
[37] Note how his last thought is in sub-
mission to OiESAR as though it were his
spirit which he felt was confounding his
hopes and shadowing his thoughts of
victory, and that this act was offered as
one that would give the urgent demand
for satisfaction.
SCENE III
THE TRAGEDY OF JULIUS CAESAR
91
1Even with the sword that kilPd thee
PINDARUS. 2So, I am free ; yet would not so have been,
Durst I have done my will. 3O Cassius!
4Far from this country Pindarus shall run,
Where never Roman shall take 5note of him. [Exit L.
MESSALA. It is but change, Titinius ; for Octavius ^
Is overthrown by noble Brutus' power,
As Cassius' legions are by Antony. [ 6
TITINIUS. These tidings will well comfort CassiusJ
Re-enter MESSALA and TITINIUS from R. MESSALA comes first.
TITINIUS wears a roughly woven garland on his brow. Plutarch
records that he was crowned with a ' garland of triumphe ' which
was made of laurel or bay.
MESSALA. Where did you leave him?
TITINIUS. All Misconsolate,
With Pindarus his bondman, on this hill.
MESSALA. 8Is not that he that lies upon the ground?
TITINIUS. 9He lies not like the living. 10O my heart!
MESSALA. • "Is not that he ?
TITINIUS. 12No, 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 13day is gone ;
Clouds, dews and dangers come ; 14our deeds are done!
15Mistrust of my "success hath done this deed.
MESSALA. 17Mistrust of good success hath done this deed.
O hateful 18error, melancholy's child,
Why dost thou show to the 19apt thoughts of men
The things that are not? O error, soon conceiv'd,
Thou never com'st unto a 20happy birth,
But 21kill'st the mother that engender 'd thee!
TITINIUS. 22What, Pindarus! where art thou, Pindarus?
MESSALA. 23Seek him, Titinius, whilst I go to meet
The noble Brutus, thrusting this report
Into his ears : 24I 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 R.
He comes back to Cassius and sinks beside him once again. His emotion is deep, so
deep that he sacrifices himself in his regard for CASSIUS ; but it must not be ' handed over '
in a melodramatic way. He commences with a great tenderness mingled with grief. His
voice takes an upward inflexion at the ends of his sentences to preserve continuity and a gradual
lifting of his voice. The speed also increases from the last phrase of the second line to ' give
it thee '.
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? 25Didst thou not hear their shouts?
26Alas, thou hast 27misconstru'd every thing!
But, 28hold thee, take this garland on thy brow ;
Thy Brutus bid me give it thee, and I
Will do his bidding. 29Brutus, come apace,
And see how I 30regarded Caius Cassius.
31 By your leave, gods : this is a Roman's part :
32Come, Cassius' sword, and find Titinius' heart.
ACT V, SC. Ill
[1] He gasps this line out spasmodically as
though his life was ebbing on the agony
of his wound. The line is deliberately
short. At the end of it he appears as
though he were unable to speak further,
and then falls forward and turns
over on to his back. As he falls he
gasps out a last cry of highly wrought
anguish. His head is pointing down
stage. If possible, he should fall above
the line of the second pair of curtains.
[2] He looks down on CASSIUS and realizes
his freedom out of his horror.
[3] A sudden reaction sets in. He drops
the sword and covers his face with his
hands.
[4] He uncovers his face and begins to
want to rush from the place that has
witnessed such horror. His feelings
suddenly work up to a swift vehemence
and at the end he runs off ~L.
[5] i.e., see him. It shows his idea of
wishing to be so utterly remote from this
place with its associations so far away
that no Roman exists there.
[6] This is heard off stage R.
[7] i.e., completely broken.
[8] Messala suddenly stops and asks
this with a sudden anxiety.
[9] Titinius moves quickly to Cassius,
speaking as he goes and with appre-
hension. When he reaches him he goes
down beside him.
[10] With intense but subdued grief.
[11] He comes to Cassius' feet.
[12] Keep his grief deep and not loud.
[13] TITINIUS realizes exactly what has hap-
pened and feels that their own hopes are
all shattered.
[14] All our efforts and strivings are at an
end.
[15] i.e., misconception.
[16] i.e., the fortunate meeting with the
friends and their excited greeting.
[17] This is merely his own sad comment upon
the fact that a wrong understanding of
good fortune was responsible for this
terrible event. Take this speech a little
simpler and not so emotionally as the
matter just passed. He is quiet and
poignant, but not vehement.
[18] i.e., misunderstanding, in an absolute
sense of the word. Through Fr. from
Lat. error-em, from errore, to wander.
[19] i.e., active, the nature of thoughts.
[20] i.e., free from danger.
[21] This is a hyperbole, a poetic exaggera-
tion. Error does not always kill the
person who fosters it, but perhaps
Messala is simply thinking of it in cases
similar to this — its extreme penalty.
' Mother ' is used for parent in a poetic
sense.
[22] Titinius changes the emotional nature
of the scene by rising abruptly and
going up stage, calling to R. and L.for
PINDAKUS. This break is necessary
because of the further emotional develop-
ment soon to come.
[23] Quicken the lines a little here.
[24] He drops his listless tone for a mildly
bitter one, but is stillintense with feeling.
[25] This comes out with a poignant em-
phasis.
[26] The tone reverts to pure and intense
sorrow.
[27] i.e., mistaken, misinterpreted.
[28] This is purely a rhetorical statement.
He takes the wreath off his own brow
and just raises CASSIUS' head so as to
allow of the garland to be slipped on.
[29] He rises and faces K. His tone is now
rhetorical.
[30] i.e., esteemed.
[31] He turns front again. He begs leave
of the gods to take his life as it is a
Roman's nature to do so, ' part ' mean-
ing obligation.
[32] He picks up CASSIUS' sword where it
was dropped by PINDAKUS.
92
THE TRAGEDY OF JULIUS CJESAR
ACT V
ACT V, SC. HI
[1] Brutus speaks as he enters from
L.
[2] This passage shows that the practice of
the stage to show death by lying with the
face upward is as old as the time
of Shakespeare. — J. Hunter. — N.V.,
264/103. As this was probably a tra-
ditional attitude it points to being a much
older usage. Brutus stops as he
speaks this line. His apprehensiveness
arrests him. Then he moves to
Cassius round by the L. side of the
body. Cato comes to the R. of
Titinius. Lucilius follows Brutus
and stands above c. The others remain
in the entrance R.
[3] He delivers this short speech with a quiet
submissiveness to what he realizes is an
inevitable authority over the events of
the time. CJESAR'S spirit has cried
' Havoc ' to death and CASSIUS is the
spoil.
[4] i.e., walks among them from its realms
of Hades. Notice how with his own
death later, he bids this spirit to be still
and satisfied.
[5] i.e., into.
[6] i.e., appropriate, deserving.
[7] Keep this subdued but emotional.
[8] BRUTUS speaks with contemplative quiet
as he looks down upon the two bodies.
Keep the whole speech subdued and inti-
mate. Remember that before the others
he has to show a manly courage as well
as sorrow, and that he succeeds to a scene
of great passionate quality and demon-
strative anguish.
[9] This is an apostrophe to his greatness.
Here it also describes the gradual decay
that is setting in to their strength, the
falling to pieces of their cause. This
line is historical fact. BRUTUS declared
that CASSIUS deserved to be called the
last of all the Romans.
[10] i.e., more. His grief is now controlled
and its dryness does not betoken the debt
that he will pay when they are not
present.
[11] He addresses CASSIUS with a note of
intimate assurance.
[12] He is on the verge of paying the debt in
their presence, but masters himself as at
the end of his last scene with CASSIUS
and firmly gives this order. Quicken
the pace and end the scene on a note of
valour.
[13] A small island in the JUgean Sea on the
coast of Thrace, famed for its great fruit-
fulness and fertility.
[14] i.e., funeral ceremonies.
[15] Brutus crosses in front of Lucilius
to R.C.
[16] He stops. These two men are among the
group R. In Labeo the ' e ' is almost
elided.
SCENE IV
Another part of the field.
TITINIUS faces up stage. He raises the sword and brings it down,
seemingly under his armour, so that he apparently plunges the
blade downward into his heart. He bends forward on the moment
of the blow and then after withdrawing the sword he staggers
towards CASSIUS, falls first on one knee and then forward and
over on to his back with his head lying on CASSIUS' breast.
Thus a necessary amount of care will be needed in arranging
a proper relative position before TITINIUS falls. This can be
finally obtained during the actual moment of his stabbing himself,
when he can stagger to his prescribed point as he is bent with the
blow.
MESSALA re-enters from R. and goes to up stage R. BRUTUS
follows. He speaks his line as he enters. He is followed by
LUCILIUS and young CATO and behind them come a group of
GENERALS and the two STANDARD-BEARERS (legionary and prae-
torian) and trumpeters. This CATO was the son of Cato of Utica.
See note 17, p. 87.
Re-enter MESSALA, with BRUTUS, young CATO, and others.
BRUTUS. 1Where, where, Messala, doth his body lie?
MESSALA. Lo, yonder, and Titinius mourning it.
BRUTUS. Titinius' face is zupward.
CATO. He is slain.
BRUTUS. K) Julius Caesar, thou art mighty yet!
Thy spirit walks 4abroad, and turns our swords
6In our own 6proper entrails.
CATO. 7Brave Titinius!
Look, whe'er he have not crown 'd dead Cassius !
BRUTUS. 8Are yet two Romans living such as these?
The 9last of all the Romans, fare thee well!
It is impossible that ever Rome
Should breed thy fellow. Friends, I owe 10moe tears
To this dead man than you shall see me pay.
UI shall find time, Cassius, | I shall find time.
12Come therefore, and to 13Thasos send his body :
His 14funerals shall not be in our camp,
Lest it discomfort us. 15Lucilius, come,
And come, young Cato ; let us to the field.
16 [Labeo and Flavius, set our battles on.]
'Tis three o'clock ; and, Romans, yet ere night
We shall try fortune in a second fight. [Exeunt.
MESSALA turns and takes CASSIUS' standard as BRUTUS and the
others exeunt R. This is the cue for the lights to dun quickly,
and the tabs are lowered, if the position of the bodies so requires.
SCENE IV
Second pair of grey curtains.
Another part of the field.
This short scene, so often cut, serves to space two scenes of a highly
emotional nature as well as to add a note of vigour that sets off the
poetic drama of what is to follow. It carries on the spirit of valour.
BRUTUS and his supporters are not to be daunted no matter what
defeats or disasters have operated against them, and the incident
thereby gives us a more complete and just picture of BRUTUS in his
SCENE IV
THE TRAGEDY OF JULIUS CAESAR
93
final scene where we see him beaten after a strenuous fight and not
merely discouraged by CASSIUS' death. It softens the passage of the
action and makes the final development less abrupt. It also intro-
duces the highly poetic attempt of LUCILIUS to seek to save BRUTUS
by offering himself as his commander and by his fine tribute, con-
centrating the entire interest upon the leading character of the play
with whose death it virtually finishes. It is not merely worth the
playing as a piece of good drama, but has an essential demand to
be included in the poetic and dramatic construction of the play.
The stage direction which indicates the fighting forces engaged in action is merely to show
that a battle is in progress. Actually it is not required, and unless done with great skill is
more amusing than convincing. It is better omitted.
This scene must be played with the greatest vigour. It is the last desperate effort of these men
against fatal odds and they are going to show fight and make their weakening comrades do
the same. Sear in mind the observation of the above paragraph.
After the tabs rise bring up the lights on a quick resistance.
BRUTUS is discovered L., CATO c., MESSALA up L.C., LUCILIUS over
R.C. with FLAVIUS exhaustedly leaning with his arm on LUCILIUS'
shoulder and with his head resting on it. His back is to the
audience. Battle noises are heard off L. and R.
BRUTUS. Yet, countrymen, O, yet hold up your heads 1
CATO. What bastard doth not? Who will go with me?
I will proclaim my name about the field.
2I am the son of Marcus Cato, ho !
A foe to tyrants, and my country's friend ;
3I am the son of Marcus Cato, ho !
BRUTUS. 4And I am Brutus, Marcus Brutus, I ;
Brutus, my country's friend ; know me for Brutus!
[Exit L., followed by MESSALA and FLAVIUS. LUCILIUS
reaches as far as c., when he stops, held by the spectacle of
the fight between CATO and his enemies.
LUCILIUS. 5O young and noble Cato, art thou down?
Why, now thou diest as 6bravely as Titinius,
And mayst be 7honour'd, being Cato's son.
Enter from R. two SOLDIERS in steel loricas with rectangular
shields and drawn swords. They run in as though having seen
LUCILIUS from a distance and one goes behind him and then
confronts him as he moves L., looking off at the battle. This man
is the FIRST SOLDIER.
FIRST SOLDIER. Yield, or thou diest.
The following incident is simply a valiant attempt on the part of LUCILIUS to save his friend
BRUTUS by impersonating him. Following upon CATO'S sacrifice this attempted one exemplifies
the spirit that is abroad beside CESAR'S. It is founded upon fact. Make him vehemently
earnest.
LUCILIUS. 8Only I yield to die :
[Offering money.] [9There is so much that thou wilt kill me straight ;]
Kill Brutus, and be honour'd in his death.
FIRST SOLDIER. We must not. A noble prisoner !
SECOND SOLDIER. 10Room, ho ! Tell Antony, Brutus is ta'en.
FIRST SOLDIER. "I'll tell the news. Here comes the general.
Enter ANTONY R. Behind him come a number of GENERALS and
the legionary and praetorian STANDARD BEARERS and trumpeters.
They remain in the entrance.
12Brutus is ta'en, Brutus is ta'en, my lord.
ANTONY. 13 Where is he?
LUCILIUS. 14Safe, Antony ; Brutus is safe enough :
ACT T, SC. IV
[1] i.e., he is a bastard who does not. This
is used as a term of opprobrium. Play
this opening with tremendous vigour.
[2] He turns towards L. and hurls this
towards the enemy.
[3] He runs off L. as he says this and
keeps it up until a clash of swords indi-
cates that he is engaged in fight.
[4] He turns towards L. FLAVIUS
rouses himself and prepares to follow
BRUTUS.
[5] Make him vivid.
[6] i.e., not merely valiantly fighting, but
with the high nobility of spirit that shone
in TITINIUS. He obviously was going
to his death and made an example of
courage in his sacrifice.
[7] i.e., honoured with a worthy funeral.
[8] i.e., I only yield to die, I deliberately
yield to death.
[9] A Roman costume will not allow of this
line to be spoken.
[10] He turns and calls this off towards R.
Make it a fact of great moment.
[11] This one is eager with the news and
runs across to R. to go and tell it
when he sees ANTONY coming and stops.
[12] Very elated with his news. LUCILIUS
turns away.
[13] He asks this eagerly. Even if he had
seen LUCILIUS he knows only too well
that he is not BRUTUS.
[14] LUCILIUS turns and delivers this fine
speech with great sincerity. It is short
but very conspicuous. It is the emo-
tional quality of the situation and of
LUCILIUS in this moment of high endea-
vour that gives it such distinctive poetic
quality.
94
THE TRAGEDY OF JULIUS C.ESAR
ACT V
ACT V, SC. IV
[1] This is not a confusion of thought.
Although Lucmus has said that he
will never be taken_ alive, his fervent
admiration for him is so great that he is
carried away by his feelings to state that
however he should be found he will be
like himself. Note the contagious
quality of BRUTUS' character to all
around him.
[2] i.e., true to his character as he is univer-
sally known. This is confirmed by
LUCILIUS' speech over BRUTUS' body
(q.v.).
[3] ANTONY'S own appreciation of LUCI-
LIUS' fine spirit is revealed in this
speech. The man's zeal for the finer
standards of life and honour compel
ANTONY'S respect. He opens quietly
and knowingly.
[4] He crosses to Lucilius, looking at
him as he is speaking. As he does so
the SOLDIER on LUCILIUS' R. steps back.
[5] He turns to the group in the en-
trance and comes out with a stronger
note of command. It is again to be
noted how Shakespeare terminates this
and the last two scenes with a reversion
to strong treatment. Sentiment, how-
ever fine, does not preserve the mascu-
linity of the action and these endings
have unimportant effect upon preserving
the strength of the play. Even the
famous Tent Scene closes on a note of
action. They all thus gradually com-
bine to give the great effect to the opening
of the following scene, and by their con-
trast concentrate upon the broken
BRUTUS to emphasize his abnormal and
tragic condition.
SCENE V
Another part of the field.
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 ^live or dead,
He will be found like 2Brutus, like himself.
ANTONY. 3This is not Brutus, friend, but, I assure you,
A prize no less in worth : keep this man safe,
Give him all kindness : 4I had rather have
Such men my friends than enemies. 6Go on,
And see whe'er Brutus be alive or dead,
And bring us word unto Octavius' tent
How every thing is chanced.
Quick dim on the word cue.
SCENE V
See Illustration No. 7, on p. 89. Figure A is removed half out of
sight, B is set well up stage and C. well below it. Strike E and D.
See Groundplan II.
It has already been pointed out that the opening of this scene differs
from its immediate predecessors in its complete change of character.
The entrances have been arranged to develop this character. STRATO
appears in a state of complete exhaustion, sinks upon the mound
and in a moment or so his sword falls from his unconscious hand
as he drops to sleep. BRUTUS appears, his cloak and armour shed,
unapt to wear it any longer, careless of danger. We last saw him
charging boldly against a whole field of enemies. We now see him,
not only incapable of physical effort, but with a mind that has
become a prey to devouring grief and a gate to death instead of to
endeavour. This is the tragedy of the man. Gradually the action
has concentrated upon him, clearing the stage of all others and leaving
him alone the centre of all interest. The contrast of every form of
high courage, moral as well as physical, lies behind this present
picture and gives the relief to his pitiable condition. No man of his
character shows such a change unless the mind has grown too weak
for its burden. The spirit having gone, only a gaunt image remains.
This is the last manifestation of BRUTUS' humanity. He is not
merely weary, not at all afraid, but in that condition of mind when
he is insensible to sentiments, incapable of reasoning with the gods
or philosophy about death, and the man is made evident in his mental
collapse. Thus there should be the suggestion of an abnormal condition
in the treatment of the opening of the scene and not merely that of a
tired man wanting to escape from the world. BRUTUS in his normal
condition would not do that. It is a -sense of overstrain that is
needed, the notion of mental and spiritual collapse which gives us
the realization of the great price that his nobility, his patience and
his courage have asked of his powers. His composition has not
been of marble purity but of mortal frailty and the sensitiveness of
human feeling. This finally exemplifies the fact. It is helped in a
great degree by the treatment of the two men CLITUS and DARDANIUS,
whose evidences of intense shock and awe contribute to the sense of
some terribly tragic change in BRUTUS.
SCENE V
THE TRAGEDY OF JULIUS CLESAR
95
The means are not great and this dissertation may seem out of all
proportion to possibility ; but it has been presented to bring the actor
into the line of thought that has governed the study of the character
throughout the play and to enable him to use what opportunity there
is to give a last touch to one of whom it is finally said that ' This was
a man ' ; and to be that man had cost him all his mortal power.
There are no sounds of battle to open with. STRATO enters R.2.E.
in an exhausted condition. He staggers across to the L. and sinks
down upon the mound and lies on his side with his head on his
outstretched arm. He remains like this for a second or two only
and then his sword slips down from his hand which is hanging
limply by his exposed side, and clatters to the ground. He lies
just as he falls in utter weariness and goes straight off to sleep.
Make this entrance and business a fully developed, individual
incident because it expresses and establishes the situation.
VOLUMNIUS follows and comes to above STRATO, putting one foot
on the mound and holding his head in his hand as his arm rests
upon his knee. Then BRUTUS enters ; he has shed his armour
which CLITUS, who is following him, carries. Apart from the
fact that this is primarily a convenience in order to allow for the
stabbing that brings his death, it also suggests his complete
physical exhaustion and with it his disregard of attack. He sits
c. CLITUS deposits the armour and cloak on the ground above
him and stands with DARDANIUS, looking at BRUTUS.
BRUTUS. 1Come, poor 2remains of friends, rest on this rock.
CLITUS. Statilius show'd the 3torch-light, but, my lord,
He came not back : he is or ta'en or slain.
BRUTUS. 4Sit thee down, Clitus : slaying is the ^ord ;
It is a deed in 6fashion. 7Hark thee, Clitus.
CLITUS. 8What, I, my lord? 9No, not for all the world.
BRUTUS. Peace then, no 10words.
CLITUS. "I'll rather kill myself.
BRUTUS. 12Hark thee, Dardanius.
DARDANIUS. 13Shall I do such a deed?
CLITUS. 14O Dardanius!
DARDANIUS. O ClitUS !
CLITUS. What ill request did Brutus make to thee?
DARDANIUS. To kill him, Clitus. Look, he "meditates.
CLITUS. Now is that noble vessel full of 16grief,
That it runs over even at his eyes.
BRUTUS. Come hither, good Volumnius ; 17list a word.
VOLUMNIUS. 18What says my lord?
BRUTUS. 19Why, 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 Phi/zppi fields :
20I know my hour is come.
VOLUMNIUS. 21Not so, my lord.
BRUTUS. 22Nay, I am sure it is, Volumnius.
23Thou seest the 24world, Volumnius, how it goes ;
Our enemies have beat us to the pit :
[A distant trumpet off R.
eager for what he wants, but not ex-
citedly so. BRUTUS, even in this mood,
shows a characteristic temperance. His
earnestness is strenuous, but it is sup-
pressed.
[24] i.e., the condition of events.
ACT v, sc. v
[1] He enters and approaches the C.
of the rock, where he sinks down
upon it, and after depositing his sword
beside him, he leans forward and
covers his face with his hands.
After a short while he sits up and
speaks his line with a curious weakness
as though he had lost all interest in
everything. There is just something a
little strange about him, a man thor-
oughly human and one who has been
strained beyond his powers. The other
two do not sit down. They realize the
condition of things.
[2] i.e., remnants.
[3] ' Statilius volunteered to penetrate the
enemy lines and to show the torch if he
found that there had not been any great
quantity of men slain.' — Plutarch.
CLITUS speaks half fearfully.
[4] With the quietness of a mind numbed
by the pressure of events.
[5] It is the prevailing word in everything
at the moment. Clitus moves hesi-
tantly to Brutus, somewhat afraid of
his manner.
[6] This may very probably refer to the
deaths of CASSIUS and TITINIUS, facts
which have preyed upon his high sensi-
tivity since CASSIUS was his dearest
friend. It may also refer to the general
slaughter of battle. He turns his face
front and speaks with a peculiarly bitter
laugh.
[7] He draws Clitus down beside him
and whispers to him.
[8] Startled, but not loud.
[9] He rises. This again is not loud but
very decisive.
[10] i.e. , Don't say anything about it. Make
this quick and confidential.
[11] He says this moving away down B.C.
BRUTUS shows signs of suppressed
agitation as though scarcely able to
grapple with the terrible feelings that are
raging within him and which have
roused his numbed mind into great sen-
sitivity.
[12] Then as in a throe, although subdued,
he suddenly calls to DARDANIUS.
DARDANIUS goes as fearfully as CLITUS.
BRUTUS grips him and pulls him down
and obviously whispers to him with great
earnestness. CLITUS turns and watches
anxiously.
[13] His face shows horror and he rises,
backing away from Brutus, speak-
ing his line as he does go almost in an
awestruck whisper.
[14] Make these two exclamations con-
sistent with the nature of their experi-
ence. This treatment enables the
dramatic shock to be established, which
is the feature here intended, the awful
calamity that has now overtaken the
heroic and the stoical BRUTUS. It
interprets tragedy and great tragedy.
The next line and a half take the same
treatment. After DARDANIUS has left
BRUTUS, the latter sits thinking with his
hand supporting his brow upon his knee.
[15] i.e., thinking hard. It has a more in-
tensive meaning than merely thinking
quietly to himself. At this word he
lifts his face so that his hand supports
his chin. Take this and the following
speech quietly and full of the deep
pathos of the moment.
[16] See note 25, p. 18.
[17] i.e., listen.
[18] He comes up to Brutus.
[19] Brutus picks up his sword, rises
and speaks with a directness that comes
from a complete assuredness of his fate.
It is not forced, but just strangely calm
and about moderate pace. He looks
straight at VOLUMNIUS.
[20] Here he becomes slower and with a
simple unforced emphasis.
[21] Sharply disturbed.
[22] With the same steady quietness.
[23] Just a slight pause and then he begins to
quicken his pace. His note of appeal
comes through his words now. He is
96
THE TRAGEDY OF JULIUS CAESAR
ACT V
ACT V, SC. V
[1] Now his feelings grow more demonstra-
tive. He takes VOLUMNIUS' arm and
speaks with urgent warmth of feeling and
intimacy of style. Keep the pace fairly
fast.
[2] See note 34, p. 90. He is close to
VOLUMNIUS and puts the sword to his
hand, not in a bold open manner but in
an intimate and pressing way.
[3] He starts back with strong repugnance.
[4] He comes to the R. of DARDANIUS.
[5] He remains where he is and simply
addresses each in a rapid manner.
Keep the pace quick.
[6] Here he suddenly finds his revived spirit,
and it rises above its bondage with a
sudden freedom. This passage is not
something just tacked on for a rhetorical
effect, but is a product of the man's
sudden realization of the redemption
behind his shame. Death now comes
with honour and he looks on both indif-
ferently. Death now is not suicide but
sacrifice ; one which enables him to
expiate his killing of CAESAR. The con-
solation of his unfailing friends leads
to the greater joy which is not a drug but
an inspiration, a peak of conquest sud-
denly reaching to the skies above the
burial of all his hopes. The scene is
warm with human truth and is not
merely a progress of technical opera-
tions.
[7] i.e., the poor nature of a military con-
guest as opposed to the victory of self-
sacrifice in the cause of honour.
[8] He relaxes into a softer sentiment.
[9] He softens still more. The spark that
flashed now expires inthepoetic fineness
of his intense weariness. His pace
becomes slower and his feelings expand
into the sense of the rest he yearns for.
[10] Give these two words an equal but not
forceful emphasis. It is as though he
welcomed the thing he had longed for
and found the means to satisfy his
conscience regarding CESAR'S death.
[11] CLITUS again breaks the scene with a
highly imperative plea.
[12] BRUTTJS comes in immediately strong
and sharp. Those named in the text
immediately run off L. Strato is
about to follow up when Brutus
stops him. It is probably in order to
prevent STRATO from hearing the
earlier part of the scene that Shake-
speare has made him sleep as well as
for the dramatic effect of his so doing.
BRUTUS is able to take him by surprise,
and aided by the emergency of the
moment, with the enemy almost upon
them, is able to persuade him to do this
deed.
[13] Quickly and earnestly.
[14] i.e., respect for high principles.
[15] i.e., taste, flavour. M.E., smech,
smack, apparently an alteration ofO.E.,
smaec, smack, a noun of the same
meaning.
[16] He holds his sword out to STRATO.
[17] He pauses just for a moment. Then,
realizing what will happen to BRUTUS,
he nerves himself to the task and speaks
firmly, offering his hand to BRUTUS,
who takes it.
[18] He says this with genuine gratitude.
Then STRATO holds the sword out, and
as BRUTUS urges himself on it he turns
his head away. Then he draws it out
and stands back. BRUTUS sinks to
his knee, facing front.
[19] As with CASSIUS, so with BRUTUS.
CMSA.R is his last thought and the visita-
tions of that restless ghost that has
demanded appeasement.
[20] STRATO adopts the same form of treat-
ment as did LUCILIUS in the last scene,
proud and fearless.
[21] i.e., burn him on his funeral pyre.
[22] i.e., BRUTUS, and nobody else conquered
BRUTUS.
[23] Lucilius moves to the R. side of
Brutus and goes down on one knee.
It is more worthy to leap in ourselves
Than tarry till they push us. 1Good Volumnius,
Thou know'st that we two went to school together :
Even for that our love of old, I prithee,
Hold thou my sword- 2hilts, whilst I run on it.
VOLUMNIUS. 3That's not an office for a friend, my lord.
[Trumpet off R. nearer than before and subdued cries.
STRATO suddenly awakes, rises and picks up his sword.
CLITUS runs up R. and looks off R. DARDANIUS goes up R.C.,
facing BRUTUS.
CLITUS. 4Fly, fly, my lord ; there is no tarrying here.
BRUTUS. 5Farewell to you ; and you ; and you, Volumnius.
Strato, thou hast been all this while asleep ;
Farewell to thee too, Strato. 6Countrymen, |
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 7vile conquest shall attain unto.
8So, fare you well at once ; for Brutus' tongue
Hath almost ended his life's history :
9Night hangs upon mine eyes ; my bones would rest,
That have but labour'd to attain | 10this hour.
[Another trumpet sounds off R., very near, and cries of
"Fly, fly, fly!" are heard.
CLITUS. "Fly, my lord, fly.
BRUTUS. 12Hence! I will follow.
[Exeunt CLITUS, DARDANIUS and VOLUMNIUS L.
13I prithee, Strato, stay thou by thy lord :
Thou art a fellow of a good 14respect ;
Thy life hath had some 15smatch of honour in it :
16Hold then my sword, and turn away thy face,
While I do run upon it. Wilt thou, Strato? [Trumpet off R.
STRATO. "Give me your hand first : fare you well, my lord.
BRUTUS. Farewell, good 18Strato. Caesar, now be still :
19I kill'd not thee with half so good a will.
BRUTUS falls forward and turns on to his back. STRATO stands
looking at him without attempting to move. OCTAVIUS enters
R., speaking as he appears. MESSALA is on his L. Behind them
come ANTONY and LUCILIUS on his R. The STANDARD-BEARERS
with the legionary and praetorian standards, and if available, the
vexillium or cavalry standard, TRUMPETERS, and a group of
GENERALS fill up the entrance. OCTAVIUS and MESSALA stop
R.C., whilst the former makes his sharp inquiry.
OCTAVIUS. What man is that?
MESSALA. My master's man. Strato, where is thy master?
STRATO. 20Free from the bondage you are in, Messala :
The conquerors can but make a 21fire of him ;
For Brutus Z2only overcame himself
And no man else hath honour by his death.
LUCILIUS. So Brutus should be found. 23I thank thee, Brutus,
That thou hast prov'd Lucilius' 24saying true.
Then he speaks. He is quiet and deeply
appreciative. Retnember his lines in
Sc. I V. Keep this situation to these two
with STRATO adjacent and don't bring
the others across until afterwards.
[24] See note 13, p. 38.
SCENE V
THE TRAGEDY OF JULIUS C.ESAR
97
OCTAVIUS. XA11 that serv'd Brutus, I will 2entertain them.
3Fellow, wilt thou bestow thy time with me?
STRATO. Ay, if Messala will 4prefer me to you.
OCTAVIUS. 6Do so, good Messala.
MESSALA. How died my master, Strato?
STRATO. I held the sword, and he did run on it.
MESSALA. Octavius, then take him to follow thee,
That did the latest service to my master.
ANTONY. 6This was the noblest Roman of them all :
All the conspirators, save only he,
Did that they did in 7envy of great Caesar ;
8He only, | in a 9general honest thought
And common good to all, \ made 10one of them.
uHis life was 12gentle, and the "elements
So mix'd in him | that Nature might stand up
And say to all the world ' 14This was a man ! '
OCTAVIUS. "According to his virtue let us 16use him,
With all respect and rites of burial.
17Within my tent his bones to-night shall lie,
18Most like a soldier, | 19order'd | honourably.
[OCTAVIUS and ANTONY extend their swords in salute.
20So call the field to rest, and let's away,
To part the glories of this happy day. [Exeunt.
A quick curtain descends on the last word. Respect has been paid
to BRUTUS, the sentiment is finished and the action closes on a
strong note of victory. Vale !
THE END.
[20] Now he strikes the final note of
strength on which the play has begun,
continued and ended. Throughout
its length it has been composed of men
and women who faced up to things,
and has been built to that classical
standard of the conception of courage
and honour that met and faced life
and death without flinching or loosen-
ing sentimentality and with the same
masculine temperance that wrote the
epitaph of the Three Hundred at
Thermopylae :
' Tell the Spartans at their bidding,
Stranger, here in death we lie.'
ACT V, SC. V
[1] Octavius advances to C., Messala
with him. Antony follows. The
ultimate positions place OCTAVIUS and
ANTONY by the feet of BRUTUS and
MESSALA on the L. of OCTAVIUS.
[2] i.e., take them into his service. It is
formed from Lot. inter, among +
tengre, to hold.
[3] To STRATO.
[4] i.e., advance. STRATO, like all others
associated with BRUTUS, maintains a
certain dignity. He is not yielding to
OCTAVIUS except through MESSALA,
BRUTUS' friend.
[5] Accepting the situation with under-
standing.
[6] ANTONY has been standing looking down
upon BRUTUS and thinking his own
thoughts. He breaks into this speech out
of his meditations. The value of the
short preceding scene is that it separates
the sentimental passages and also
enables ANTONY to develop this speech
out of a period of silence and thinking,
and not merely adding it to a number of
other speeches. He takes it with a
quiet deliberation, not forcing it rhetori-
cally, but by its great and noble senti-
ments.
[7] Hatred. See note 21, p. 27.
[8] Separate these two words and give them
individuality. Both this and the follow-
ing line are treated with a careful de-
livery of each phrase.
[9] i.e., an honest and sincere thought in
everything he did.
[10] i.e., made himself one of the people.
[11] He now touches a slight tenderness.
[12] i.e., governed by gentleness of culture
and high principle, not aggressive in
self-interest.
[13] i.e., the four humours, blood, phlegm,
choler. melancholy. He becomes a little
quicker and stronger.
[14] Don't force this. Make it dignified but
not ' theatrical '.
[15] He proceeds with a quiet strength to
match ANTONY'S note.
[16] i.e., treat.
[17] Maintain a quiet soldierly firmness.
The play must end in a masculine note
although softened by a deep sentiment.
[18] i.e., with the most that can be done to
signify that he was a great soldier.
[19] Separate these words and give them their
distinct values. After they have been
spoken, OCTAVIUS draws his sword and
salutes BRUTUS.
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