am ashamed I did yield to them.- And look where Publius is come to fetch me. As that same ague which hath made you lean.- Bru. Cæsar, 'tis strucken eight. See! Antony, that revels long o' nights, Ant. I heard a bustling rumour, like a fray, Por. Come hither, fellow: At mine own house, good lady. Por. What is't o'clock ? Por. Thou hast some suit to Cæsar, hast thou Sooth. That I have, lady: if it will please Cæsar So to most noble Cæsar. To be so good to Cæsar, as to hear me, Cas. Bid them prepare within: I am to blame to be thus waited for.- Treb. Cæsar, I will-and so near will I be, [Aside. That your best friends shall wish I had been further. Cas. Good friends, go in, and taste some wine with me; And we, like friends, will straightway go together. [Exeunt. SCENE III. The same. A Street near the Capitol. Enter ARTEMIDORUS, reading a Paper. Here will I stand, till Cæsar pass along, [Exit. If thou read this, O Cæsar, thou may'st live; Por. Why, know'st thou any harm's intended towards him? Sooth. None that I know will be, much that I fear may chance. [Exit. Good morrow to you. Here the street is narrow: ACT III. [Exeuns SCENE I. The same. The Capitol; the Senate Cas. The ides of March are come. Art. O, Cæsar, read mine first; for mine's a suit CESAR enters the Capitol, the rest following. All Pop. I wish, your enterprize to-day may thrive. Fare you well. [Advances to CESAR. Bru. What said Popilius Lena? Cat. First, mighty liege, tell me your highness' pleasure, What from your grace I shall deliver to him.' 4 Mr. Tyrwhitt says, The introduction of the Soothsayer here is unnecessary, and improper. All that he is made to say should be given to Artemidorus; who is seen and accosted by Portia in his passage from his first stand to one more convenient.' 5 These words Portia addresses to Lucius, to deceive him, by assigning a false cause for her present perturbation. Cas. He wish'd,to-day our enterprize might thrive. I fear our purpose is discover'd. Bru. Look, how he makes to Cæsar: Mark him. Cas. Casca, be sudden, for we fear prevention. Brutus, what shall be done? If this be known, Cassius or Cæsar never shall turn back, For I will slay myself. Bru. Cassius, be constant : Popilius Lena speaks not of our purposes; For, look, he smiles, and Cæsar doth not change. Cas. Trebonius knows his time; for, look you, Brutus, He draws Mark Antony out of the way. [Exeunt ANTONY and TREBONIUS. CESAR and the Senators take their seats. Dec. Where is Metellus Cimber? Let him go, And presently prefer his suit to Cæsar. Bru. He is address'd:' press near, and second him. Cin. Casca, you are the first that rears your2 hand. Cas. Are we all ready? what is now amiss, That Cæsar and his senate must redress? Met. Most high, most mighty, and most puissant Cæsar, Metellus Cimber throws before thy seat An humble heart : [Kneeling. If thou dost bend, and pray, and fawn for him, Met. Is there no voice more worthy than my own, Bru. I kiss thy hand, but not in flattery, Cæsar; Desiring thee, that Publius Cimber may Have an immediate freedom of repeal. 1 i. e. he is ready. 2 According to the rules of modern grammar Shakspeare should have written his hand; but other instances of similar false concord are to be found in his compositions. Steevens is angry with Malone for laying them to the charge of the poet, and would transfer them to the player-editors or their printer. Ritson thinks the words Are we all ready? "should be given to Cinna, and not to Cæsar. 8 Pre-ordinance for ordinance already established. 4 The old copy erroneously reads the lane of children.' Lawe, as anciently written, was easily confounded with lane. 5 Ben Jonson has shown the ridicule of this passage in the Induction to The Staple of News; and notices it in his Discoveries as one of the lapses of Shakspeare's pen; but certainly without that malevolence which has been ascribed to him: and be it observed, that is almost the only passage in his works which can justly be construed into an attack on Shakspeare. He has been accused of quoting the passage unfaithfully; but Mr. Tyrwhitt surmised, and Mr. Gifford is decidedly of opinion, that the passage originally stood as cited by Jonson; thus : Met. Cæsar, thou dost me wrong. Cas. What, Brutus! Cas. Pardon, Casar; Cæsar, pardon: Cas. Cæsar, did never wrong, but with just cause.' Mr. Tyrwhitt has endeavoured to defend the passage by observing, that wrong is not always a synonymous term for injury; and that Cæsar is meant to say, that he doth not inflict any evil or punishment but with just cause. "The fact seems to be (says Mr. Gifford,) that this verse, which closely borders on absurdity, without being absolutely absurd, escaped the poet in the heat of composition; and being one of those quaint slips which are readily remembered, became a jocular and familiar phrase for reproving (as in the passage of Ben Jonson's Induction) the perverse, and unreasonable expectations of the male or female gossips of the day.' 6 i. e. intelligent, capable of apprehending. 7 i. e. still holds his place unshaken by suit or solicitation, of which the object is to move the person addressed. Hence! wilt thou lift up Olympus? Cas. [CASCA stabs CESAR in the ne k. CESAR Cæs. Et tu, Brute ?-Then, fall, Cæsar. [Dies. The Senators and People retire in confusion. Cin. Liberty! Freedom! Tyranny is dead!Run hence, proclaim, cry it about the streets. Cas. Some to the common pulpits, and cry out, Liberty, freedom, and enfranchisement! Bru. People, and senators! be not affrighted; Fly not; stand still:-ambition's debt is paid. Casca. Go to the pulpit, Brutus." Dec. Bru. Where's Publius? And Cassius too. Plu 8 Suetonius says, that when Cæsar put Metellu Cimber back he caught hold of Casar's gowne, at both shoulders, whereupon, as he cried out, This is violence, Cassius came in second, full a front, and wounded him a little beneath the throat. Then Cæsar catching Cassius by the arme, thrust it through with his stile or writing punches; and with that, being about to leap forward, he was met with another wound and stayed. Being then assailed on all sides, with three and twenty he was stabbed, during which time he gave but one groan (without any word uttered), and that was at the first thrust; though some have written, that, as Marcus Brutus came running upon him, he said, and thou my sonne. Holland's Translation, 1607. tarch says that, on receiving his first wound from Casca, he caught hold of Casca's sword, and held it hard; and they both cried out, Cæsar in Latin, O vile traitor Casca, what doest thou? and Casca, in Greek, to his brother, Brother, help me.' The conspirators, having then compassed him on every side. hacked and mangled him,' &c.; and then Brutus himself gave him one wound above the privities. Men report also, that Cæsar did still defend himself against the reste, running every way with his bodie; but when he saw Brutus with his sworde drawen, in his hande, then he pulled his gowne over his heade, and made no more resistance. Neither of these writers, therefore, furnished Shakspeare with this exclamation. It occurs in The True Tragedie of Richard Duke of York, 1600; on which he formed the Third Part of King Henry VI.:Et tu, Brute? Wilt thou stab Cæsar too? And is translated in Cæsar's Legend, Mirror for Magis trates, 1587 : And Brutus thou my sonne, quoth I, whom erst I loved best.' The words probably appeared originally in the old Latin play on the Death of Cæsar. 9 We have now taken leave of Casca. Shakspeare knew that he had a sufficient number of heroes on his hands, and was glad to lose an individual in the crowd Casca's singularity of manners would have appeared to little advantage amid the succeeding war and tumult. JULIUS CAESAR. Bru. Talk not of standing;-Publius, good cheer; | Cas. And leave us, Publius; lest that the people, Re-enter TREBONIUS. Cas. Where's Antony? Fled to his house amaz'd: Bru. Fates! we will know your pleasures:- Bru. Grant that, and then is death a benefit: Snall this our lofty scene be acted over, Bru. How many times shall Cæsar bleed in sport, Cas. Re-enter ANTONY. 201 Bru. But here comes Antony.-Welcome, Mark Are all thy conquests, glories, triumphs, spoils, As Caesar's death's hour! nor no instrument Bru. O, Antony! beg not your death of us. Our arms in strength of malice, and our hearts, So oft as that shall be, With all kind love, good thoughts, and reverence.2 So often shall the knot of us be call'd Brutus shall lead; and we will grace his heels Enter a Servant. Bru. Soft, who comes here? A friend of Antony's. Tell him, so please him come unto this place, I'll fetch him presently. 1 Johnson explains this:- Who else may be supposed to have overtopped his equals, and grown too high for the public safety. This explanation will derive more support than has yet been given to it, from the following speech of Oliver, in As You Like it, Act i. Sc. 1, when incensed at the high bearing of his brother Orlando:- Is it even so? begin you to grow upon me? I will physic your rankness.' 2 To you (says Brutus) our swords have leaden points: our arms, strong in the deed of malice they have just performed, and our hearts united like those of brothers in the action, are yet open to receive you with all possible regard. This explanation by Steevens is, it must be confessed, very ingenious; and yet I think we should read, as he himself suggested: 'Our arms no strength of malice ;' Bru. Only be patient, till we have appeas'd Let each man render me his bloody hand: nius. - Gentlemen all,-alas! what shall I say? That I did love thee, Cæsar, O, 'tis true: hart: tained the consistency of Cassius's character, who, 4 Lethe is used by many old writers for death. It appears to have been used as a word of one syllable O world! thou wast the forest to this hart; Cas. Mark AntonyAnt. To beg the voice and utterance of my tongue!- Pardon me, Caius Cassius: And dreadful objects so familiar, The enemies of Cæsar shall say this; Cas. I blame you not for praising Cæsar so; Ant. Therefore I took your hands; but was in- Sway'd from the point, by looking down on Cæsar. Bru. Or else were this a savage spectacle : Ant. That's all I seek: [Aside. That Antony speak in his funeral: By your pardon; Cas. I know not what may fall; I like it not. Bru. Mark Antony, here, take you Cæsar's body. You shall not in your funeral speech blame us, But speak all good you can devise of Cæsar; And say, you do't by our permission; Else shall you not have any hand at all About his funeral: and you shall speak In the same pulpit whereto I am going, After my speech is ended. Ant. I do desire no more. Be it so ; Bru. Prepare the body, then, and follow us. Ant. O, pardon me, thou piece of bleeding earth, 1 This gramatical impropriety is still so prevalent, that the omission of the anomalous & would give some uncouthness to the sound of an otherwise familiar expression. 2 That is, in the course of times 3 By men, Antony means not mankind in general, but those Romans whose attachment to the cause of the conspirators, or wish to revenge Caesar's death, would expose them to wounds in the civil wars which he sup posed that event would give rise to. The generality of the curse is limited by the subsequent words, the parts of Italy,' and 'in these contines.' 4 Cry Havoc, and let slip the dogs of war.' Havoc was the word by which declaration was made, in the military operations of old, that no quarter should be given as appears from the Office of the Constable and Mareschall in the Tyme of Werre,' included in the Black Book of the Admiralty. To let slip a dog was the technical phrase in hunting the hart, for releasing the hounds from the leash or slip of leather by which they were held in hand until it was judged proper to let them pursue the animal chased. That mothers shall but smile, when they behold You serve Octavius Caesar, do you not? Ant. Cæsar, did write for him to come to Rome. Serv. He lies to-night within seven leagues of Rome. Ant. Post back with speed, and tell him what Here is a mourning Rome, a dangerous Rome [Exeunt, with CESAR's Body. SCENE II. The same. The Forum. Enter BRUTUS and CASSIUS, and a Throng of Citizens. Cit. We will be satisfied; let us be satisfied. Bru. Then follow me, and give me audience, friends. Cassius, go you into the other street, And part the numbers. Those that will hear me speak, let them stay here; Of Caesar's death. 1 Cit. I will hear Brutus speak. 2 Cit. I wil hear Cassius; and compare their reasons, When severally we hear them rendered. [Exit CASSIUS, with some of the Citizens, BRUTUS goes into the Rostrum. 3 Cit. The noble Brutus is ascended: Silence! Romans, countrymen, and lovers! hear me for my Bru. Be patient till the last. Steele, in the Tattler, No. 137, and some others after him, think that, by the dogs of war, fire, sword, and famine are typified. So in the Chorus to Act i. of King Henry V. : at his heels, Leash'd in like hounds, should famine, sword, and fire, Crouch for employment.' occurred before in Act i. Sc. 2:5 This jingling quibble upon Rome and room has It is deserving of notice on no other account than as it 'Now is it Rome indeed, and room enough.' shows the pronunciation of Rome in Shakspeare's time. So in Heywood's Rape of Lucrece, 1638: You shall have my room, My Rome indeed; for what I seem to be, 6 Warburton thinks this speech very fine in its kimi, though unlike the laconic style of ancient oratory attri buted to Brutus. Steevens observes that this artificial jingle of short sentences was affected by most of the orators of Shakspeare's time, whether in the pulp JP 2 Cit. Go, fetch fire. 3 Cit. Pluck down benches. 4 Cit. Pluck down forms, windows, any thing. [Exeunt Citizens, with the Body. Ant. Now let it work: Mischief, thou art afoot, Take thou what course thou wilt!-How now, fellow? Enter a Servant. Serv. Sir, Octavius is already come to Rome. Serv. He and Lepidus are at Caesar's house. Serv. I heard him say, Brutus and Cassius [Exeunt. Cin. I dreamt to-night, that I did feast with Caesar, and things unluckily charge my fantasy:1 I have no will to wander forth of doors, Yet something leads me forth. 1 Cit. What is your name? 2 Cit. Whither are you going? 3 Cit. Where do you dwell? 4 Cit. Are you a married man, or a bachelor? 2 Cit. Answer every man directly. 1 Cit. Ay, and briefly. 4 Cit. Ay, and wisely. 3 Cit. Ay, and truly, you were best. Cin. What is my name? Whither am I going? Where do I dwell? Am I a married man, or a bachelor? Then to answer every man directly, and briefly, wisely, and truly. Wisely I say, I am a bachelor. 3 Cit. That's as much as to say, they are fools that marry:-You'll bear me a bang for that, I fear. Proceed; directly. Cin. Directly, I am going to Cæsar's funeral. 1 Cit. As a friend, or an enemy? Cin. As a friend. ACT IV. Juss SCENE I-The same. A Room in Antony's House.2 ANTONY, OCTAVIUS, and LEPIDUS, seated at a Table. Ant. These many then shall die; their names are prick'd. Oct. Your brother too must die; Consent you, Lepidus? Lep. I do consent. But, Lepidus, go you to Cæsar's house; The Capitol. Or here, or at [Exit LEPIDUS. Ant. This is a slight unmeritable man, Meet to be sent on errands: Is it fit, The threefold world divided, he should stand One of the three to share it? Oct. So you thought him; And took his voice who should be prick'd to die, In our black sentence and proscription. Ant. Octavius, I have seen more days than you: And though we lay these honours on this man, To ease ourselves of divers slanderous loads, He shall but bear them as the ass bears gold.5 To groan and sweat under the business, Either led or driven, as we point the way; And having brought our treasure where we will, Then take we down his load, and turn him off, Like to the empty ass, to shake his ears, And graze in commons. Oct. You may do your will; But he's a tried and valiant soldier. Ant. So is my horse, Octavius; and, for that, I do appoint him store of provender. It is a creature that I teach to fight, To wind, to stop, to run directly on; His corporal motion govern'd by my spirit. He must be taught, and train'd, and bid go forth; Our best friends made, and our best means stretch'd out,8 And let us presently go sit in council, Oct. Let us do SO ; for we are at the stake, 2 The place of this scene is not marked in the old 6 Shakspeare had already woven this circumstance copy. It appears from Plutarch and Appian, that these into the character of Justice Shallow: He came ever triumvirs met, upon the proscription, in a little island in the rearward of the fashion; and sung those tunes near Mutina, upon the river Lavinius. That Shak-that he heard the carmen whistle." speare, however, meant the scene to be at Rome may be Laferred from what almost immediately follows:Lep. What, shall I find you here? Oct. Or here, or at the Capitol.' Malone placed the scene in Antony's house. 3 Upton has shown that the poet made a mistake as so this character mentioned by Lepidus; Lucius, not Publius, was the person meant, who was uncle by the mother's side to Mark Antony. 4 i. e. condemn him. ⚫ Vouchsafe to give my damned husband life. Promos and Cassandra, 1578. 3 So in Measure for Measure, Act iii. Sc. 1:like an ass, whose back with ingots bows, Thou bear'st thy heavy riches but a journey. Till death unloads thee.' 7 i. e. as a thing quite at our disposal, and to be treated as we please. Malvolio complains in Twelfth Night: They have propertied me, kept me in darkness.' 8 The old copy gives this line imperfectly :Our best friends made, our means stretch'd.' Malone supplied it thus: Our best friends made, our means stretch'd to the utmost.' The reading of the text is that of the second folio edition, which is suficiently perspicuous. 9 An allusion to bear baiting. Thus in Macbeth, Act v. Sc. 7: They have chain'd me to a stake I cannot fly, But bear-like, I must ght the course |