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PKEFACE. 
 
 The aim in the present volume, as in the others 
 of the series, is to present a satisfactory text with 
 as full an equipment of introduction and notes as 
 is necessary for thorough intelligibility. The sec- 
 tion of the introduction dealing with Shakspere 
 and the drama is intended to give the student a 
 clear idea of the place of the play in literary his- 
 tory. The treatment of the relation of Shaks- 
 pere's Julius Caesar to North's Plutarch is an 
 attempt to solve a difficulty which meets the 
 editor of any of the Eoman plays. A mere state- 
 ment of indebtedness fails to convey a true idea 
 of the real facts of the case ; and the reprinting 
 of the whole text of which Shakspere availed him- 
 self does not explain the situation without much 
 detailed study. The comparative table given on 
 pp. 40-42 tells much at a glance ; and the teacher 
 who wishes to illustrate further Shakspere 's use 
 of his material will find it easy to do so by means 
 of the references to Skeat's Shahespeare' s Plutarch^ 
 a book which every teacher of the play should 
 have at hand. The sections on language and 
 metre present some of the peculiarities of Shaks- 
 pere's English and versification in a more system- 
 atic fashion than is possible in separate notes. 
 
6 PREFACE. 
 
 The task of aesthetic interpretation has been, 
 for the most part, left to the teacher; yet it may 
 be pointed out that this play offers exceptionally 
 good opportunities for explaining the elements of 
 dramatic construction. The action in Julius 
 Caesar is less complicated than in most of Shaks- 
 pere's other tragedies; there is no under plot; and 
 the rise and fall of the action, up to the climax 
 in Caesar's death and down to the catastrophe at 
 Philippi, is easily traced. If we regard the tragedy 
 as a conflict between the party of conspirators and 
 the party of Caesar, we see that the movement 
 which culminates in the assassination deals with 
 the triumph of the former; while in the second 
 part, the friends of Caesar, deprived of his pres- 
 ence but animated by his spirit, avenge his death 
 on his murderers. This final triumph of Caesar's 
 faction, the acknowledgement by Brutus that it is 
 the spirit of Caesar that brings disaster on the 
 conspirators, and the obvious advertising value of 
 the name of Caesar in a title, seem sufficient to 
 answer the much debated question as to why 
 Shakspere called the play Julius Caesar and not 
 Marcus Brutus. 
 
 The admirably conceived contrasts of character, 
 and the elaboration of these from Plutarch's, 
 hints, should give rise to suggestive discussion, 
 oral or written. The play as a whole, while not 
 reaching the pitch of intensity in feeling and 
 expression of the greatest of Shakspere 's trag- 
 
PREFACE. 7 
 
 edies, is less concentrated and difficult in style 
 than, for example, Hamlet or Lear^ while its 
 rhetorical brilliance easily arouses the enthusiasm 
 of even the younger students. 
 
 Attention might profitably be drawn to the 
 political significance of the play. The hopeless- 
 ness of curing national degeneracy by the removal 
 of any one man, and the total failure of the 
 populace to see the aim of the conspirators' action, 
 are most pointedly expressed in the shout of the 
 Third Citizen after the republican speech of 
 Brutus, — "Let him be Caesar." 
 
 For further details on the life and works of 
 Shakspere, the following may be referred to: 
 Dowden's Shahspere Primer and Shahspere^ His 
 Mind and Art; Sidney Lee's Life of William 
 STiahespeare; William Shalcspere, by Barrett Wen- 
 dell; Shahspere and His Predecessors, by F. S. 
 Boas. The most exhaustive account of the Eng- 
 lish Drama is the new three- volume edition of A. W. 
 Ward's History of English Dramatic Literature. 
 Both this work and that of Sidney Lee are rich in 
 bibliographical information. For questions of 
 language and grammar, see A. Schmidt's Shakes- 
 peare Lexicon; J. Bartlett's Concordance to 
 Shahespeare; E. A. Abbott's Shakespearian 
 Grammar; and, for philological commentary on 
 the present play in particular, Eolfe's edition of 
 Craik's English of Shakespeare. For general ques- 
 tions of dramatic construction, see Gustav Frey- 
 
8 PREFACE. 
 
 tag's Technik des Dramas^ translated into English 
 by E. J. McEwen, and Dr. Elisabeth Wood- 
 bridge's The Drama ^ its Law and its Technique, 
 Harvaed Ukiyersity, 
 May, 1901. 
 
CONTENTS 
 
 Preface 5 
 
 Introduction 
 
 I. Shakspere and the English Drama . 11 
 
 II. Julius Caesar 29 
 
 Text 43 
 
 Notes 159 
 
 Word Index . 190 
 
INTKODUCTIOlSr. 
 
 I. SHAKSPEEE AND THE ENGLISH DRAMA. 
 
 The wonderful rapidity of the development of 
 the English drama in the last quarter of the six- 
 teenth century stands in striking contrast to the 
 slowness of its growth before that period. The 
 religious drama, out of which the modern dramatic 
 forms were to spring, had dragged through centu- 
 ries with comparatively little change, and was still 
 alive when, in 1576, the first theatre was built in 
 London. By 1600 Shakspere had written more 
 than half his plays and stood completely master of 
 the art which he brought to a pitch unsurpassed 
 in any age. Much of this extraordinary later 
 progress was due to contemporary causes; but 
 there entered into it also certain other elements 
 which can be understood only in the light of the 
 attempts that had been made in the three or four 
 preceding centuries. 
 
 In England, as in Greece, the drama sprang from 
 religious ceremonial. The Mass, the centre of 
 
 The Drama *^® P^^^^^^ worship of the Eomau 
 before church. Contained dramatic mate- 
 
 shakspere. ^-^-^ -^ ^-^^ gesturcs of the offici- 
 ating priests^ in the narratives contained in the 
 Lessons, and in the responsive singing and chant- 
 
 11 
 
12 INTRODUCTION. 
 
 ing. Latin, the language in which the services 
 were conducted, was unintelligible to the mass of 
 the people, and as early as the fifth century the 
 clergy had begun to use such devices as tableaux 
 vivants of scenes like the marriage in Cana and 
 the Adoration of the Magi to make comprehen- 
 sible important events in Bible history. Later, 
 the Easter services were illuminated by repre- 
 sentations of the scene at the sepulchre on the 
 morning of the Eesurrection, in which a wooden, 
 and afterwards a stone, structure was used for the 
 tomb itself, and the dialogue was chanted by differ- 
 ent speakers representing respectively the angel, 
 the disciples, and the women. From such begin- 
 nings as this there gradually evolved the earliest 
 forms of the Miracle Play. 
 
 As the presentations became more elaborate, 
 the place of performance was moved first to the 
 churchyard, then to the fields, and finally to the 
 streets and open spaces of the towns. With this 
 change of locality went a change in the language 
 and in the actors, and an extension of the field from 
 which the subjects were chosen. Latin gave way 
 to the vernacular, and the priests to laymen ; and 
 miracle plays representing the lives of patron 
 saints were given by schools, trade gilds, and 
 other lay institutions. A further development 
 appeared when, instead of single plays, whole 
 series such as the extant York, Chester, and 
 Coventry cycles were given, dealing in chrono- 
 
 1 
 
SHAKSPERE AND ENGLISH DRAMA. 13 
 
 logical order with the most important events in 
 Bible history from the Creation to the Day of 
 Judgment. 
 
 The stage used for the miracle play as thus 
 developed was a platform mounted on wheels, 
 which was moved from space to space through 
 the streets. Each trade undertook one or more 
 plays, and, when possible, these were allotted with 
 reference to the nature of the particular trade. 
 Thus the play representing the visit of the Magi 
 bearing gifts to the infant Christ was given to the 
 goldsmiths, and the Building of the Ark to the 
 carpenters. The costumes were conventional and 
 frequently grotesque. Judas always wore red 
 hair and a red beard ; Herod appeared as a fierce 
 Saracen ; the devil had a terrifying mask and a 
 tail ; and divine personages wore gilt hair. 
 
 Meanwhile the attitude of the church towards 
 these performances had changed. Priests were 
 forbidden to take part in them, and as early as 
 the fourteenth century we find sermons directed 
 against them. The secular management had a 
 more important result in the introduction of 
 comic elements. Figures such as Noah's wife and 
 Herod became frankly farcical, and whole episodes 
 drawn from contemporary life and full of local 
 color were invented, in which the original aim 
 of edification was displaced by an explicit attempt 
 at pure entertainment. Most of these features 
 were characteristic of the religious drama in gen- 
 
14 INTRODUCTION. 
 
 eral throughout Western Europe. But the local 
 and contemporary elements naturally tended to 
 become national ; and in England we find in these 
 humorous episodes the beginnings of native 
 comedy. 
 
 Long before the miracle plays had reached their 
 height, the next stage in the development of the 
 drama had begun. Even in very early performances 
 there had appeared, among the dramatis personae 
 drawn from the Scriptures, personifications of 
 abstract qualities such as Eighteousness, Peace, 
 Mercy, and Truth. In the fifteenth century this 
 allegorical tendency, which was prevalent also in 
 the non-dramatic literature of the age, resulted in 
 the rise of another kind of play, the Morality, 
 in which all the characters were personifications, 
 and in which the aim, at first the teaching of 
 moral lessons, later became frequently satirical. 
 Thus the most powerful of all the Moralities, 
 Sir David Lindesay's Satire of the Three Estates, 
 is a direct attack upon the corruption in the 
 church just before the Reformation. 
 
 The advance implied in the Morality consisted 
 not so much in any increase in the vitality of the 
 characters or in the interest of the plot (in both 
 of which, indeed, there was usually a falling off), 
 as in the fact that in it the drama had freed 
 itself from the bondage of having to choose its 
 subject matter from one set of sources — the 
 Bible, the Apocrypha, and the Lives of the Saints. 
 
SHAKSPERE AND ENGLISH DRAMA. 15 
 
 This freedom was shared by the Iis^terlude, a 
 form not always to be distinguished from the 
 Morality, but one in which the tendency was to 
 substitute for personified abstractions actual 
 social types such as the Priest, the Pardoner, or 
 the Palmer. A feature of both forms was the 
 Vice, a humorous character who appeared under 
 the various disguises of Hypocrisy, Fraud, and 
 the like, and whose function it was to make fun, 
 chiefly at the expense of the Devil. The Vice 
 is historically important as having bequeathed 
 some of his characteristics to the Fool of the later 
 drama. 
 
 John Heywood, the most important writer of 
 Interludes, lived well into the reign of Elizabeth, 
 and even the miracle play persisted into the 
 reign of her successor in the seventeenth cen- 
 tury. But long before it finally disappeared 
 it had become a mere medieval survival. Anew 
 England had meantime come into being and new 
 forces were at work, manifesting themselves in a 
 dramatic literature infinitely beyond anything 
 even suggested by the crude forms which have 
 been described. 
 
 The great European intellectual movement 
 known as the Renaissance had at last reached 
 England, and it brought with it materials for an 
 unparalleled advance in all the living forms of 
 literature. Italy and the classics, especially, 
 supplied literary models and material. Not only 
 
16 INTRODUCTION. 
 
 were translations from these sources abundant, 
 but Italian players visited England, and per- 
 formed before Queen Elizabeth. France and 
 Spain, as well as Italy, flooded the literary mar- 
 ket with collections of tales, from which, both in 
 the original languages and in such translations as 
 are found in Paynter's Palace of Pleasure (pub- 
 lished 1566-67), the dramatists drew materials 
 for their plots. 
 
 These literary conditions, however, did not do 
 much beyond offering a means of expression.* 
 For a movement so magnificent in scale as that 
 which produced the Elizabethan Drama, some- 
 thing is needed besides models and material. In 
 the present instance this something is to be found 
 in the state of exaltation which characterized the 
 spirit of the English people in the days of Queen 
 Elizabeth. Politically, the nation was at last one 
 after the protracted divisions of the Eeformation, 
 and its pride was stimulated by its success in the 
 fight with Spain. Intellectually, it was sharing 
 with th(B rest of Europe the exhilaration of the 
 Eenaissance. New lines of action in all parts of 
 the world, new lines of thought in all depart- 
 ments of scholarship and speculation, were open- 
 ing up ; and the whole land was throbbing with 
 life. 
 
 In its very beginnings the new movement in Eng- 
 land showed signs of that combination of native 
 tradition and foreign influence which was to char- 
 
SHAKSPERE AND ENGLISH DRAMA. 17 
 
 acterize it throughout. The first regular English 
 comedy, Udall's Ralph Roister Doister was an 
 adaptation of the plot of the Miles Gloriosus of 
 Plautus to contemporary English life. After a 
 short period of experiment by amateurs working 
 chiefly under the influence of Seneca, we come on 
 a band of professional playwrights who not only 
 prepared the way for Shakspere, but in some 
 instances produced works of great intrinsic worth. 
 The mythological dramas of Lyly with the bright 
 repartee of their prose dialogue and the music of 
 their occasional lyrics, the interesting experiments 
 of Greene and Peele, and the horrors of the 
 tragedy of Kyd, are all full of suggestions of what 
 was to come. But by far the greatest of Shaks- 
 pere's forerunners was Christopher Marlowe, who 
 not only has the credit of fixing blank verse as the 
 future poetic medium for English tragedy, but 
 who in his plays from Tamburlaine to Edicard II. 
 contributed to the list of the great permanent 
 masterpieces of the English drama. 
 
 It was in the professional society of these men 
 that Shakspere found himself when he came to 
 
 London. Born in the provincial 
 Early iTife.^ town of Stratford-on-Avon in the 
 
 heart of England, he was bap- 
 tized on April 26, 1564 (May 6th, according to 
 our reckoning). The exact day of his birth is 
 unknown. His father was John Shakspere, a 
 fairly prosperous tradesman, who may be supposed 
 
18 INTRODUCTION. 
 
 to have followed the custom of his class in edu- 
 cating his son. If this were so, William would be 
 sent to the Grammar School, already able to 
 read, when he was seven, and there he would be 
 set to work on Latin Grammar, followed by read- 
 ing, up to the fourth year, in Cato's Maxims^ 
 Aesop's Fables^ and parts of Ovid, Cicero, and 
 the medieval poet Mantuanus. If he continued 
 through the fifth and sixth years, he would read 
 parts of Vergil, Horace, Terence, Plautus, and 
 the Satirists. Greek was not usually taught in 
 the Grammar Schools. Whether he went through 
 this course or not we have no means of knowing, 
 except the evidence afforded by the use of the 
 classics in his works, and the famous dictum of 
 his friend, Ben Jonson, that he had " small 
 Latin and less Greek." What we are sure of is 
 that he was a boy with remarkable acuteness of 
 observation, who used his chances for picking up 
 facts of all kinds ; for only thus could he have 
 accumulated the fund of information which he 
 put to such a variety of uses in his writings. 
 
 Throughout the poet's boyhood the fortunes of 
 John Shakspere kept improving until he reached 
 the position of High Bailiff or Mayor of Stratford. 
 When William was about thirteen, however, his 
 father began to meet with reverses, and these are 
 conjectured to have led to the boy's being taken 
 from school early and set to work. What business 
 he was taught we do not know, and indeed we 
 
SHAKSPERE AND ENGLISH DRAMA. .19 
 
 have little more information about him till the 
 date of his marriage in November, 1582, to Anne 
 Hathaway, a woman from a neighboring village, 
 who was seven years his senior. Concerning his 
 occupations in the years immediately preceding 
 and succeeding his marriage several traditions 
 have come down, — of his having been apprenticed 
 as a butcher, of his having taken part in poaching 
 expeditions, and the like — but none of these is 
 based upon sufiBcient evidence. About 1585 he 
 left Stratford, and probably by the next year he 
 had found his way to London. 
 
 How soon and in what capacity he first became 
 attached to the theatres we are again unable to 
 say, but by 1592 he had certainly been engaged 
 in theatrical affairs long enough to give some 
 occasion for the jealous outburst of a rival play- 
 wright, Eobert Greene, who, in a pamphlet 
 posthumously published in that year, accused him 
 of plagiarism. Henry Ohettle, the editor of 
 Greene's pamphlet, shortly after apologized for his 
 connection with the charge, and bore witness to 
 Shakspere's honorable reputation as a man and to 
 his skill both as an actor and a dramatist. 
 
 Eobert Greene, who thus supplies us with the 
 earliest extant indications of his rival's presence 
 in London, was in many ways a typical figure among 
 the playwrights with whom Shakspere worked 
 during this early period. A member of both 
 universities, Greene came to the metropolis while 
 
20 INTRODUCTION. 
 
 yet a young man, and there led a life of the most 
 diversified literary activity, varied with bouts of 
 the wildest debauchery. He was a writer of 
 satirical and controversial pamphlets, of romantic 
 tales, of elegiac, pastoral, and lyric poetry, a 
 translator, a dramatist, — in fact, a literary jack- 
 of-all-trades. The society in which he lived con- 
 sisted in part of "University Wits" like himself, 
 in part of the low men and women who haunted 
 the vile taverns of the slums to prey upon such as 
 he. **A world of blackguardism dashed with 
 genius," it has been called, and the phrase is fit 
 enough. Among such surroundings Greene lived, 
 and among them he died, bankrupt in body and 
 estate, the victim of his own ill-governed passions. 
 In conjunction with such men as this Shakspere 
 began his life-work. His first dramatic efforts 
 were made in revising the plays of his predeces- 
 sors with a view to their revival on the stage ; and 
 in Titus Andronicus and the first part of Henry 
 VI. we have examples of this kind of work. 
 The next step was probably the production of 
 plays in collaboration with other writers, and to 
 this practice, which he almost abandoned in the 
 middle of his career, he seems to have returned in 
 his later years in such plays as Pericles, Henry 
 VIII., and The Two Noble Kinsmen. How far 
 Shakspere was of this dissolute set to which his 
 fellow-workers belonged it is impossible to tell; 
 but we know that by and by, as he gained mastery 
 
SHAKSPERE AND ENGLISH DRAMA. 21 
 
 over his art and became more and more independ- 
 ent in work and in fortune, he left this sordid 
 life behind him, and aimed at the establishment 
 of a family. In half a dozen years from the time 
 of Greene's attack, he had reached the top of his 
 profession, was a sharer in the profits of his 
 theatre, and had invested his savings in land and 
 houses in his native town. The youth who ten 
 years before had left Stratford poor and burdened 
 with a wife and three children, had now become 
 "William Shakspere, Gentleman." 
 
 During these years Shakspere's literary work 
 was not confined to the drama, which, indeed, 
 was then hardly regarded as a form of literature. 
 In 1593 he published Venus and Adonis, and in 
 1594, Lucrece, two poems belonging to a class of 
 highly wrought versions of classical legends which 
 was then fashionable, and of which Marlowe's 
 Hero and Leander is the other most famous ex- 
 ample. For several years, too, in the last decade 
 of the sixteenth century and the first few years 
 of the seventeenth, he was composing a series 
 of sonnets on love and friendship, in this, too, 
 following a literary fashion of the time. Yet 
 these give us more in the way of self -revelation 
 than anything else he has left. From them we 
 seem to be able to catch glimpses of his attitude 
 towards his profession, and one of them makes us 
 realize so vividly his perception of the tragic risks 
 of his surroundings that it is set down here : 
 
22 INTRODUCTION. 
 
 O, for my sake do you with Fortune chide, 
 
 The guilty goddess of my harmful deeds, 
 That did not better for my life provide 
 
 Than public means which public manners breeds. 
 Thence comes it that my name receives a brand, 
 
 And almost thence my nature is subdued 
 To what it works in, like the dyer's hand: 
 
 Pity me then and wish I were renewed ; 
 "Whilst, like a willing patient, I will drink 
 
 Potions of eisel 'gainst my strong infection; 
 No bitterness that I will bitter think, 
 
 Nor double penance to correct correction. 
 Pity me then, dear friend, and I assure ye 
 
 Even that your pity is enough to cure me. 
 
 It does not seem possible to avoid the inferences 
 lying on the surface in this poem ; but whatever 
 confessions it may imply, it serves, too, to give us 
 the assurance that Shakspere did not easily and 
 Mindly yield to the temptations that surrounded 
 the life of the theatre of his time. 
 
 For the theatre of Shakspere' s day was no very 
 reputable affair. Externally it appears to us now 
 The Eliza- ^ ^^^^ meagre apparatus — almost 
 bethan absurdly so, when we reflect on the 
 
 Theatre. grandeur of the compositions for 
 
 which it gave occasion. A roughly circular 
 wooden building, with a roof over the stage 
 and over the galleries, but with the pit often 
 open to the wind and weather, having very 
 little scenery and practically no attempt at the 
 achievement of stage-illusion, — such was the 
 scene of the production of some of the greatest 
 
SHAKSPERE AND ENGLISH DRAMA. 23 
 
 imaginative works the world has seen. Nor was 
 the audience very choice. The more respectable 
 citizens of Puritan tendencies frowned on the 
 theatre to such an extent that it was found advis- 
 able to place the buildings outside the city limits, 
 and beyond the jurisdiction of the city fathers. 
 The pit was thronged with a motley crowd of 
 petty tradesfolk and the dregs of the town ; the 
 gallants of the time sat on stools on the stage, 
 *' drinking" tobacco and chaffing the actors, their 
 efforts divided between displaying their wit and 
 their clothes. The actors were all male, the 
 women's parts being taken by boys whose voices 
 were not yet broken. The costumes, frequently 
 the cast-off clothing of the gallants, were often 
 gorgeous, but seldom appropriate. Thus the suc- 
 cess of the performance had to depend upon the 
 excellence of the piece, the merit of the acting, 
 and the readiness of appreciation of the audience. 
 This last point, however, was more to be relied 
 upon than a modern student might imagine. 
 Despite their dubious respectability, the Eliza- 
 bethan play-goers must have been of wonderfully 
 keen intellectual susceptibilities. For clever feats 
 in the manipulation of language, for puns, 
 happy alliterations, delicate melody such as we 
 find in the lyrics of the times, for the thunder of 
 the pentameter as it rolls through the tragedies of 
 Marlowe, they had a practiced taste. Qualities 
 which we now expect to appeal chiefly to the 
 
24 INTRODUCTION. 
 
 closet student were keenly relished by men who 
 could neither read nor write, and who at the same 
 time enjoyed jokes which would be too broad, and 
 stage massacres which would be too bloody, for a 
 modern audience of sensibilities much less acute 
 in these other directions. In it all we see how 
 far-reaching was the wonderful vitality of the 
 time. 
 
 This audience Shakspere knew thoroughly, and 
 in his writing he showed himself always, with 
 shakspere's whatever growth in permanent ar- 
 Dramatic tistic qualities, the clever man of 
 
 Deireiopment. ]3^gij^gss yf^nii hig eye on the mar- 
 ket. Thus we can trace throughout the course 
 of his production two main lines : one indicative 
 of the changes of theatrical fashions ; one, more 
 subtle and more liable to misinterpretation, show- 
 ing the progress of his own spiritual growth. 
 
 The chronology of Shakspere's plays will prob- 
 ably never be made out with complete assurance, 
 but already much has been ascertained (1) from 
 external evidence such as dates of acting or pub- 
 lication, and allusions in other works, and (2) 
 from internal evidence such as references to books 
 or events of known date, and considerations of 
 metre and language. The following arrangement 
 represents what is probably an approximately 
 correct view of the chronological sequence of his 
 works, though scholars are far from being agreed 
 upon many of the details. 
 
SHAKSPERE AND ENGLISH DRAMA. 
 
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INTRODUCTION. 
 
 The first of these groups contains three comedies 
 of a distinctly experimental character, and a 
 number of chronicle-histories, some of which, like 
 the three parts of Henry F/., were almost cer- 
 tainly written in collaboration with other play- 
 wrights. The comedies are light, full of ingen- 
 ious plays on words, and the verse is often 
 rhymed. The first of them, at least, shows the 
 influence of Lyly. The histories also betray a 
 considerable delight in language for its own sake, 
 and the Marlowesque blank verse, at its best 
 eloquent and highly poetical, not infrequently 
 becomes ranting, while the pause at the end of 
 each line tends to become monotonous. No copy 
 of Romeo and Juliet in its earliest form is known 
 to be in existence, and the extent of Shakspere's 
 share in Titus Andronicus is still debated. 
 
 The second period contains a group of comedies 
 marked by brilliance in the dialogue ; wholesome- 
 ness, capacity, and high spirits in the main char- 
 acters, and a pervading feeling of good-humor. 
 The histories contain a larger comic element than 
 in the first period, and are no longer suggestive of 
 Marlowe. Khymes have become less frequent, and 
 the blank verse has freed itself from the bondage 
 of the end-stopped line. 
 
 The plays of the third period are tragedies, or 
 comedies with a prevailing tragic tone. Shaks- 
 pere here turned his attention to those elements 
 in life which produce perplexity and disaster, and 
 
SHAKSPERE AND ENGLISH DRAMA. 27 
 
 in this series of masterpieces we have his most 
 magnificent achievement. His power of perfect 
 adaptation of language to thought and feeling 
 had now reached its height, and his verse had 
 become thoroughly flexible without having lost 
 strength. 
 
 In the fourth period Shakspere returned to 
 comedy. These plays, written during his last 
 years in London, are again romantic in subject 
 and treatment, and technically seem to show the 
 influence of the earlier successes of Beaumont and 
 Fletcher. But in place of the high spirits which 
 characterized the comedies of the earlier periods 
 we have a placid optimism, and a recurrence of 
 situations which are more ingenious than plausi- 
 ble, and which are marked externally by reunions 
 and reconciliations and internally by repentance 
 and forgiveness. The verse is singularly sweet 
 and highly poetical ; and the departure from the 
 end-stopped line has now gone so far that we see 
 clearly the beginnings of that tendency which 
 went to such an extreme in some of Shakspere's 
 successors that it at times became hard to dis- 
 tinguish the metre at all. 
 
 In Two Nolle Kinsmen and Henry VIII. ^ 
 Shakspere again worked in partnership, the col- 
 laborator being, in all probability, John Fletcher. 
 
 Nothing that we know of Shakspere's life from 
 external sources Justifies us in saying, as has 
 frequently been said, that the changes of mood in 
 
28 
 
 INTRODUCTION. 
 
 his work from period to period corresponded to 
 changes in the man Shakspere. As an artist he 
 certainly seems to have viewed life now in this 
 light, now in that ; but it is worth noting that the 
 period of his gloomiest plays coincides with the 
 period of his greatest worldly prosperity. It has 
 already been hinted, too, that much of his change 
 of manner and subject was dictated by the vari- 
 ations of theatrical fashion and the example of 
 successful contemporaries. 
 
 Throughout nearly the whole of these marvel - 
 ously fertile years Shakspere seems to have stayed 
 in London; but from 1610 to 1612 
 he was making Stratford more and 
 more his place of abode, and at the 
 same time he was beginning to write less. After 
 1611 he wrote only in collaboration; and having 
 spent about five years in peaceful retirement in 
 the town from which he had set out a penniless 
 youth, and to which he returned a man of reputa- 
 tion and fortune, he died on April 23, 1616. His 
 only son, Hamnet, having died in boyhood, of his 
 immediate family there survived him his wife and 
 his two daughters, Susanna and Judith, both of 
 whom were well married. He lies buried in the 
 parish church of Stratford. 
 
 Sliakspere's 
 Last Tears. 
 
JULIUS CAESAR. 29 
 
 II. JULIUS CAESAR. 
 
 The date of Julius Caesar may, with a fair 
 amount of assurance, be fixed as 1601. The 
 argument against an earlier date, 
 ^**^' apart from the general relation of 
 
 the play to Shakspere's tragic period, is based 
 by Mr. Aldis Wright on the use of the word 
 "eternal," in I. ii. 160. In 1600 Shakspere 
 was still using "infernal" in such passages, but 
 after that date he substituted "eternal," appar- 
 ently out of deference to the Puritan agitation 
 which culminated in legislation against profanity 
 and other abuses on the stage. Other examples 
 of this substitution occur in Hamlet, I. v. 21, 
 and Othello, IV. ii. 130. 
 
 The later limit is fixed by the following passage 
 in Weever's Mirror of Martyrs (published 1601), 
 first noted by Halliwell-Phillipps : 
 
 The many headed multitude were drawn 
 
 By Brutus speech, that Caesar was ambitious, 
 
 When eloquent Mark Antonle had showne 
 His vertues, who but Brutus then was vicious? 
 
 As the speech put into the mouth of Antony in 
 the play is Shakspere's invention, and as the 
 argument of that speech is referred to here, it is 
 evident that the play cannot be later than 1601. 
 It is thus the first of the series of great tragedies 
 which constituted the chief production of Shaks- 
 
30 
 
 INTRODUCTION. 
 
 Source of the 
 Text. 
 
 pere's third period, and which were written when 
 he had achieved complete mastery of all the 
 instruments of expression, when his verse, his 
 diction, and his powers of characterization and 
 dramatic construction were at their best, and 
 when he was using them to deal with the problems 
 of life seriously and profoundly. 
 
 This play, like many others of Shakspere's, 
 seems to have remained unpublished during his 
 lifetime, and to have appeared in 
 print first in the earliest collected 
 edition of his works issued in 1623 
 by the two actors, Heminge and Condell. This 
 volume is usually known as the "First Folio," 
 and from it the present text is taken, with a few 
 alterations drawn from the later Folios and from 
 the suggestions of modern editors. 
 
 The history of Julius Caesar had been treated 
 on the Elizabethan stage before Shakspere wrote 
 his tragedy, but there is no trace 
 of his having made use of any 
 earlier play. He took his subject- 
 matter entirely from Plutarch's lives of Caesar, 
 Brutus, and Antony. These formed part of the 
 admirable series of biographies of the great men 
 of antiquity which Plutarch wrote in the first 
 century a.d., and which were translated from 
 Greek into French by Jacques Amyot, Bishop 
 of Auxerre, in 1559. This French version 
 was in turn put into English by Sir Thomas 
 
 Source of the 
 Plot. 
 
JULIUS CAESAR. 31 
 
 North and published in 1579, and North's version 
 was that used by Shakspere. 
 
 The structure of the play is entirely Shaks- 
 pere's, and many of the finest passages, from the 
 points of view of both characterization and style, 
 are purely the product of his imagination. But 
 there remains an astonishingly large portion of 
 the play in which the language of North is merely 
 turned into blank verse; and much that has 
 puzzled critics in the unheroic character of Caesar 
 himself finds its explanation in the text of 
 Plutarch. 
 
 Shakspere's general method of handling his 
 source may be gathered from a comparison of the 
 following extract with the corresponding passages 
 in the drama : 
 
 For, touching the fires in the element, and spirits 
 running up and down in the night, and also the solitary 
 birds to be seen at noondays sitting in the great market- 
 place, are not all these signs perhaps worth the noting, 
 in such a wonderful chance as happened? But Strabo 
 the philosopher writeth, that divers men were seen 
 going up and down in fire : and furthermore, that there 
 was a slave of the soldiers that did cast a marvellous 
 burning flame out of his hand, insomuch as they that 
 saw it thought he had been burnt ; but when the fire 
 was out, it was found he had no hurt. Caesar self also 
 doing sacrifice unto the gods, found that one of the 
 beasts which was sacrificed had no heart : and that was 
 a strange thing in nature, how a beast could live with- 
 out a heart. Furthermore there was a certain sooth- 
 sayer that had given Caesar warning long time afore, 
 
32 INTRODUCTION. 
 
 to take heed of the day of the Ides of March, (which is 
 the fifteenth of the month), for on that day he should 
 be in great danger. That day being come, Caesar going 
 unto the Senate-house, and speaking merrily unto the 
 soothsayer, told him, "the Ides of March be come": 
 "so they be," softly answered the soothsayer, "but yet 
 are they not past." ^ 
 
 It will be observed that this material is used by 
 Shakspere in four distinct places. The first-men- 
 tioned omens are described by Casca in I. iii. 9ff. 
 The omen of the sacrificial beast without a heart 
 is reported to Caesar by a servant in II. ii. 39, 40. 
 The soothsayer appears in I. ii. 12-24 and III. i. 
 1, 2. In each case the narrative is thrown into 
 drama, and the style is made more vivid. 
 
 How closely at times Shakspere follows his 
 original may be gathered from a comparison such 
 as this : 
 
 So Brutus boldly asked what ' he was, a god or a 
 man, and what cause brought him thither? The spirit 
 answered him, "I am thy evil spirit, Brutus: and thou 
 shalt see me by the city of Philippes. ' ' Brutus being 
 no otherwise afraid, repHed again unto it: "Well, then I 
 shall see thee again." — Shakespeare's Plutarch, p. 136. 
 
 Bru. Art thou anything? 
 
 Art thou some god, some angel, or some devil. 
 That makest my blood cold and my hair to stare? 
 Speak to me what thou art. 
 
 Ghost. Thy evil spirit, Brutus. 
 
 Bru. Why comest thou? 
 
 ^Shakespeare's Plutarch, edited by W. W. Skeat, 
 London and New York, 1893, pp. 97, 98. 
 
 1 
 
JULIUS CAESAR. 33 
 
 Ghost To tell thee thou shalt see me at Phllippl. 
 Bru. Well; then I shall see thee again? 
 Ghost. Ay, at Philippi. 
 Bru. Why, I will see thee at Philippi, then. 
 
 ^Julius Caesar, IV. iii. 279-287. 
 
 The translation of prose into blank verse dia- 
 logue could hardly be made with less change. 
 
 From the table of comparisons between the play 
 and the corresponding passages in North's Plutarch 
 which will be found on pp. 42-44, one can see at a 
 glance the method of selection and rearrangement, 
 and can note the passages which are entirely of 
 Shakspere's invention. Thus the characters of 
 Oasca and Lepidus are hardly hinted at by Plu- 
 tarch, while the boy Lucius, the soliloquy in which 
 the workings of the mind of Brutus are laid bare, 
 the scene in his orchard, the scene in which the 
 conspirators bathe their arms in Caesar's blood, and 
 the soliloquy of Antony over Caesar's dead body, 
 are all wholly Shakspere's. Further, the speeches 
 of Antony and Brutus at Caesar's funeral are 
 elaborated from the slightest hints. 
 
 Julius Caesar is written in the blank verse 
 which, since Marlowe, had been the standard 
 metre of the English drama. The 
 few prose passages in the play 
 occur in pieces of homely dialogue and in the 
 laconic speech of Brutus to the citizens. The 
 normal type of the blank verse has five iambic 
 feet, that is, ten syllables with the accent falling 
 
34 INTRODUCTION. 
 
 on the even syllables. From this regular form, 
 however, Shakspere deviates with great freedom, 
 the commonest variations being the following : 
 
 1. The addition of an eleventh syllable; e.g.^ 
 
 Which give | some soil | perhaps | to my | behav | iours^ 
 
 I. ii. 42. 
 Then, Bru | tus, I | have much I mistook | your pas ] 
 
 sion, I. li. 48. 
 And be | not jeal | ous on | me, gen | tie Bru | tus, I. 
 
 ii. 71. 
 
 Occasionally this extra syllable occurs in the mid- 
 dle of the line, at the main pause known as the 
 caesura, which is most frequent after the third 
 foot; e.g. J 
 
 The melt ] ing spirits | of worn | en, \\ then, coun | try- 
 men 1 , II. i. 132. 
 
 Brutus I and Cae | sar \\ : what should | be in | that 
 *'Cae I sar,'' I. ii. 142. 
 
 2. Frequently what seems an extra syllable is to 
 be slurred in reading; e.g., *' spirits" in the line 
 quoted above is a monosyllable. So 
 
 Being crossed | in con | ference by | some sen | ators ] , 
 I. ii. 188. 
 
 where "Being" is monosyllabic and "conference" 
 dissyllabic. So also "whether" is a monosyl- 
 lable in 
 
 See, whether [ their bas | est met | al be | not moved | , 
 
 I. i. 65. 
 
 Whether Cae | sar will | come forth | to-day | , or no | , 
 
 II. i. 194. 
 
JULIUS CAESAR. 35 
 
 Similarly * 'Either" is a monosyllable in 
 
 Either led | or driv | en, as | we point | the way | , IV. 
 
 i. 23. 
 In some lines it is doubtful whether a syllable is 
 to be slurred or sounded as a light extra syllable, 
 as, e.g.., "together" in 
 Write them | together | , yours is | as fair | a name | , 
 
 I. ii. 144. 
 
 3. Sometimes an emphatic syllable stands alone 
 as a foot, without an unaccented syllable; e.g.., 
 
 Speak I , strike \ , redress | ! Am I | entreat | ed, II. 
 i. 55. 
 
 4. Short lines, lacking one or more feet, occur; 
 e.g., 
 
 Made in his concave shores, I. i. 51. 
 For that which is not in me, I. ii. 65. 
 
 5. Long lines of twelye or thirteen syllables 
 occur; e.g.., 
 
 The old Anchises bear, so from the waves of Tiber, I. 
 
 ii. 114. 
 None that I know will be, much that I fear may chance, 
 
 II. iv. 32. 
 
 To mask thy monstrous visage? Seek none, conspiracy, 
 II. i. 81. 
 
 Usually in such lines some words bearing the 
 metrical accent are quite unemphatic in reading, 
 as in the fourth foot of the first example. 
 
 6. Frequently, especially in the first foot, a 
 trochee is substituted for an iambus, i.e., the 
 
36 INTRODUCTION. 
 
 accent falls on the odd instead of the even syllable ; 
 e.g.. 
 
 Being | mechanical, you ought not walk, I. i. 3. 
 
 Therefore ] , good Brutus, be prepared to hear, I. ii. 66. 
 
 When went there by an age ] since the | great flood, I. 
 ii. 152. 
 
 Till then, my noble friend, 1 chew up | on this, I. ii. 171. 
 
 It must be remembered, however, that some 
 
 words have changed their pronunciation since 
 
 Shakspere's time. Thus "compact" was usually 
 
 accented on the last syllable, as in the following 
 
 line, 
 
 t_ 
 But what compact mean you to have with us, III. i. 216. 
 
 Again, from 
 
 Even at the base of Pompey's statue. III. ii. 198, 
 
 we see that "statue" was sometimes trisyllabic, 
 
 and from 
 
 Fearing to strengthen that impati-ence, II. i. 248, 
 
 that "impatience" had four syllables. 
 
 Although differences between the language of 
 Shakspere and that of our own day are obvious to 
 the most casual reader, there is a 
 risk that the student may under- 
 estimate the extent of these differences, and, 
 assuming that similarity of form implies iden- 
 tity of meaning, miss the true interpretation. 
 The most important instances of change of 
 meaning are explained in the notes; but a 
 
JULIUS CAESAR. 37 
 
 clearer view of the nature and extent of the 
 contrast between the language of Julius Caesar 
 and modern English will be gained by a classifi- 
 cation of the most frequent features of this con- 
 trast. Some of the Shaksperean usages are merely 
 results of the carelessness and freedom which the 
 more elastic standards of the Elizabethan time 
 permitted ; others are forms of expression at that 
 time quite accurate, but now become obsolete. 
 
 (1.) Noui^s. (a) Shakspere frequently uses an 
 abstract noun with *'of" where modern English 
 has an adjective. Thus in Hamlet, I. ii. 4, 
 **brow of woe" = woful brow, and in Twelfth 
 Night, I. V. 77, ** mouse of virtue'* = virtuous 
 mouse. So in Julius Caesar, I. ii. 109, * 'hearts 
 of controversy" = controversial feelings; and in I. 
 ii. 40, "passions of some difference" = conflicting 
 passions. Conversely in IV. ii. 16, "familiar 
 instances" = instances of familiarity. 
 
 ip) Abstract nouns are often used in the plural ; 
 e.g., "behaviours," I. ii. 42, 
 
 (2.) Adjectives. Double superlatives occur; 
 e.g., "most unkindest," III. ii. 193; "most 
 boldest," III. i. 122. 
 
 (3.) PRODS'OUisrs. {a) The nominative is often 
 used for the objective, especially after preposi- 
 tions; e.g., "save I," III. ii. 70; "save only he," 
 V. V. 69; "but we," III. i. 96. 
 
 (b) The possessive "its" did not come into 
 common use until after the middle of the seven- 
 
38 INTRODUCTION. 
 
 teenth century, and in Shakspere, as in other 
 early writers, we have "his"; e.g., ''And that 
 same eye . . . Did lose Ms lustre," I. ii. 123, 4. 
 
 (c) Confusion between the personal and reflex- 
 ive forms is common ; e.g.^ ''Submitting me unto 
 the perilous night, " I. iii. 47; "Here is himself ^'^^ 
 III. ii. 207; "J/"?/se?/ have letters," IV. iii. 172. 
 
 {d) The ethical dative is commoner in Shaks- 
 pere than in modern speech; e.g,^ "He plucked 
 me ope his doublet," I. ii. 271, 2. 
 
 (e) The modern distinction among the relative 
 pronouns, ivlio^ tvhich, tliat^ as, is not observed; 
 e.g.^ **a lion who glared," I. iii. 20; "a lamb That 
 carries anger as the flint bears fire. Who, much 
 enforced, shows a hasty spark," IV. iii. 110-112 y 
 "That gentleness And show of love as I was wont 
 to have," I. ii. 33; "Under these hard conditions 
 as this time Is like to lay upon us," I. ii. 174,5; 
 "To such a man That is no fleering tell-tale," I. 
 iii. 116-7. 
 
 (4.) Verbs, (a) A singular verb is often 
 found with a plural subject; e.g,, ^^Is Decius 
 Brutus and Trebonius there?" I. iii. 148; "There 
 is tears for his love," III. ii. 31; "Three parts of 
 him Is ours," I. iii. 154, 5; "There's two or three 
 of us," I. iii. 138. In relative clauses where the 
 relative pronoun refers to "you" used of one 
 person, Shakspere frequently has a singular verb ; 
 e.g., "You know that you are Brutus that speaks 
 this," IV. iii. 13. 
 
JULIUS CAESAR. 39 
 
 {b) Plural verbs occur with singular subjects; 
 e.g,^ **The posture of your blows are yet un- 
 known," V. i. 33, where the irregularity is due 
 to the plural "blows." 
 
 (c) The **n" is frequently dropped from the 
 ending of the past participle of strong verbs ; e,g. , 
 "spoke" for "spoken," II. i. 125. When the 
 word thus produced might be mistaken for the 
 infinitive, the form of the past tense is found; 
 e.g., "took" for "taken," I. ii. 48; 11. i. 50. 
 Three forms of the past participle of "strike" 
 are found in Julius Caesar .^ viz., "struck," I. ii. 
 177; "strucken," II. ii. 114; "stricken," II. 
 i. 192. 
 
 {d) The subjunctive is used for the indicative; 
 e.g., "Such men as he he never at heart's ease," 
 I. ii. 208. 
 
 (e) Verbs of motion are at times omitted; e.g.^ 
 "I'll about and drive away the vulgar," I. i. 73, 4. 
 
 (5.) Adverbs, (a) Double negatives are used 
 with a merely intensive force; e.g., "Nor to 
 no Roman else," III. i. 92; "Yet 'twas not a 
 crown neither," I. ii. 239; "Nor nothing in 
 your letters," IV. iii. 184; "No figures nor no 
 fantasies," II. i. 231. 
 
 ip) The form of the adjective is often used for 
 the adverb; e.g., "This time Is lihe to lay upon 
 us," I. ii. 174, 5; "Every time gentler than 
 other," I. ii. 231; "Thou couldst not die more 
 honour atle,'''' V. i. 60. 
 
40 
 
 INTRODUCTION. 
 
 (6.) Peepositioi^s. These are often omitted; 
 e.g.^ "Worthy note," I. ii. 181; "Arrive the 
 point," I. ii. 110; "Listen great things," IV. i. 
 41. 
 
 COMPARISON OF JULIUS CAESAR AND 
 NORTH'S PLUTARCH 
 
 The italics indicate passages in tlie plays which are not repre- 
 sented in Plutarch. The page references in the third column are 
 to Skeat's Shakespeare's Plutarch. 
 
 The stripping of the images. 
 
 The Lupercalia 
 
 The warning of the Sooth- 
 sayer 
 
 Cassius incites Brutus to 
 conspiracy 
 
 Caesar's description of Cas- 
 sius 
 
 The offer of the crown to 
 Caesar 
 
 Caesar's falling sickness 
 
 Marullus and Flavins si- 
 lenced 
 
 Character of Casca 
 
 Writings thrown in Brutus's 
 way 
 
 Omens before the death of 
 Caesar 
 
 Cassius enlists Casca 
 
 Why the conspirators de- 
 sired Brutus 
 
 II. 
 
 The rdle of Lucius 
 
 Brutus soliloquizes on Caesar 
 
 Conspirators visit Brutus 
 
 by night 
 
 Li 
 
 I. ii. 1-24. 
 
 I.ii. 13;III.i.l 
 1. ii. 34-181.. 
 I. ii. 193-210. 
 
 I. ii. 331-385. 
 1. ii. 353-361. 
 
 L ii. 395 
 
 I. ii. 306-313. 
 
 I.ii. 315 ;iii. 143; 
 II. 1. 41.... 
 
 I. iii. 1-33 . . . 
 I. iii. 41 
 
 I. iii. 140, 156 
 
 II.i.;IV.iii.333 
 II. i. 10 
 
 II. i. 70 
 
 96 
 
 95-6; 163-4 
 
 98 
 
 97; 113 
 
 97; 111 
 
 94-6 
 
 57; 89; 95, 
 
 [etc. 
 96 
 
 97;-113 
 97 
 
 114 
 
JULIUS CAESAR. 41 
 
 JULIUS CAUSAE AND NORTH'S PLUTABGH.— Continued. 
 
 Objection to taking oaths 
 (by Brutus in S. ; by whom 
 is not stated in P.) 
 
 Objection to confiding in 
 Cicero (by Brutus in S. ; 
 by whom is not stated in P. ) 
 
 Brutus objects to killing 
 Antony 
 
 Caesar'' s superstition and 
 love of flattery 
 
 Portia pleads with Brutus . . 
 
 Brutus enlists Caius Liga- 
 rius 
 
 Calpurnia pleads with Cae- 
 sar . , . . 
 
 Decius persuades Caesar 
 
 Conspirators come to escort 
 Caesar 
 
 Petition of Artemidorus .... 
 
 Portia sends messenger to 
 Brutus 
 
 Portia and the Soothsayer . . 
 
 III. 
 
 Cassius fears discovery. 
 
 The assassination 
 
 Bathing in Caesar^s blood . . 
 Antony and the conspirators 
 Brutus gives Antony leave 
 
 to speak 
 
 Antonyms soliloquy over Cae- 
 
 sar^s body ^ 
 
 Brutus to the citizens. 
 
 Antonyms oration 
 
 The riot 
 
 Cinna's dream and death . . . 
 
 IV. 
 
 The triumvirs prick the 
 names 
 
 II. i. 113 
 
 114 
 
 II. i. 141 
 
 114 
 
 II. 1. 154 
 
 119; 164 
 
 II. i. 194 
 
 II. i. 279 ... . 
 
 115 
 
 II. i. 310 ... . 
 
 113 
 
 II. ii. 1 
 
 II. ii. 57 
 
 98; 117 
 99 
 
 II. ii. 108.... 
 II. iii. ; Ill.i. 3 
 
 99 
 
 II. iv. 1 
 
 II. iv. 21 ... . 
 
 117 
 117 
 
 III. i. 13 
 
 III. i. 25 . . . . 
 
 III. i. 106 
 
 III. i. 148.... 
 
 117 
 
 100-1; 118-9 
 
 121; 165 
 
 III. i. 232.... 
 
 121 
 
 III. i. 255.... 
 
 III. ii. 1 
 
 III. ii. 82.... 
 III. ii. 263... 
 III. iii 
 
 [120] 
 
 [121; 165] 
 122 
 102-3; 123 
 
 IV.i. I;iii.l73 
 
 128; 169 
 
42 INTRODUCTION. 
 
 JULIUS CAE8AB AND NORTH'S PLUTAECE.— Continued. 
 
 Antony'' s description of Lep 
 idus 
 
 Quarrel of Brutus and Cas- 
 sius 
 
 The poet interrupts 
 
 Death of Portia 
 
 Brutus counsels an advance . 
 
 The ghost of Caesar 
 
 V. 
 
 Antony and Octavius order 
 
 their array 
 
 The parley 
 
 The omen of the eagles 
 
 Brutus and Cassius discuss 
 
 suicide 
 
 Brutus and Cassius take 
 
 fare^vell 
 
 Brutus pushes Octavius 
 
 hard 
 
 Cassius is overcome 
 
 Death of Cassius 
 
 Titinius kills himself 
 
 Brutus over the body of 
 
 Cassius 
 
 Death of young Cato 
 
 Lucilius mistaken for Bru 
 
 tus 
 
 Death of Brutus 
 
 Antony over the body of 
 
 Brutus 
 
 IV. i. 13 
 
 
 IV. ii, iii.... 
 
 134 
 
 IV. iii. 124 . . 
 
 134 
 
 IV. iii. 147 . . 
 
 151 
 
 IV. iii. 197 . . 
 
 138-9 
 
 IV, iii. 275 . . 
 
 136 
 
 V. i. 1 
 
 
 V. i. 21 
 
 
 V. i. 80 
 
 137 
 
 V. i. 93 
 
 140 
 
 V. i. 116.... 
 
 
 V. ii 
 
 141 
 
 V. iii. 1 
 
 143 
 
 V. iii. 14 
 
 143 
 
 V. iii. 51 
 
 143 
 
 V. iii. 91 ... . 
 
 144 
 
 V. iv. 1 
 
 148 
 
 V. iv. 13 . . . . 
 
 149 
 
 V. V. 1 
 
 104; 150-1 
 
 V. V. 68 
 
 130 
 
JULIUS CAESAR. 
 
 43 
 
DRAMATIS PERSONAE 
 
 J 
 
 triumvirs after the death of 
 Julius Caesar. 
 
 senators. 
 
 Julius Caesar. 
 OcTAVius Caesar, 
 Marcus Antonius 
 M. Aemilius Lepidus 
 Cicero, 
 
 PUBLIUS, 
 
 PopiLius Lena, 
 Marcus Brutus, 
 Cassius, 
 Casca, 
 Trebonius, 
 
 LiGARIUS, 
 
 Decius Brutus, 
 Metellus Cimber, 
 
 CiNNA, 
 
 Flavius and Marullus, tribunes. 
 Artemidorus of Cnidos, a teacher of Rhetoric. 
 A Soothsayer. 
 CiNNA, a poet. Another Poet. 
 
 conspirators against Julius 
 Caesar. 
 
 1 
 
 lucilius, 
 
 Titinius, 
 
 Messala, 
 
 Young Cato 
 
 volumnius, 
 
 Varro, 
 
 Clitus, 
 
 Claudius, 
 
 Strato, 
 
 Lucius, 
 
 Dardanius, 
 
 PiNDARUS, servant to Cassius 
 
 )- friends to Brutus and Cassius. 
 
 J 
 
 servants to Brutus. 
 
 Calpurnia, wife to Caesar. 
 Portia, wife to Brutus. 
 
 Senators, Citizens, Guards, Attendants, etc. 
 
 Scene : Rome; the neighborhood of Sardis; the neigh' 
 borhood of Philippi. 
 
 44 
 
JULIUS CAESAR. 
 ACT FIRST. 
 
 SCESTE I. 
 
 Rome, A street. 
 
 Enter Flavius, MaruUus, and certain Com- 
 moners, 
 
 Flav, Hence! home, you idle creatures, get you 
 home : 
 Is this a holiday? what ! know you not. 
 Being mechanical, you ought not walk 
 Upon a labouring day without the sign 
 5 Of your profession? Speak, what trade art 
 
 thou? 
 First Com. Why, sir, a carpenter. 
 Mar, Where is thy leather apron and thy rule? 
 What dost thou with thy best apparel on? 
 You, sir, what trade are you? 
 10 Sec. Com. Truly, sir, in respect of a fine work- 
 man, I am but, as you would say, a cobbler. 
 Mar. But what trade art thou? answer me 
 directly. 
 
 45 
 
46 JULIUS CAESAR. [Act I. Sc. i. 
 
 8ec. Com, A trade, sir, that, I hope, I may use 
 with a safe conscience; which is, indeed, 
 sir, a mender of bad soles. 15 
 
 Mar. What trade, thou knave? thou naughty 
 knave, what trade? 
 
 8ec. Com. Nay, I beseech you, sir, be not out 
 with me : yet, if you be out, sir, I can mend 
 you. 
 
 Mar. What mean'st thou by that? mend me, 20 
 thou saucy fellow ! 
 
 8ec. Com. Why, sir, cobble you. 
 
 Flav. Thou art a cobbler, art thou? 
 
 Sec. Co7n. Truly, sir, all that I live by is with 
 the awl: I meddle with no tradesman's mat- 
 ters, nor women's matters, but with awl. I 35 
 am, indeed, sir, a surgeon to old shoes ; when 
 they are in great danger, I recover them. 
 As proper men as ever trod upon neat's 
 leather have gone upon my handiwork. 
 
 Flav. But wherefore art not in thy shop to-day? so 
 Why dost thou lead these men about the 
 streets? 
 
 8ec. Com. Truly, sir, to wear out their shoes, to 
 get myself into more work. But, indeed, 
 sir, we make holiday, to see Caesar and to 
 rejoice in his triumph. 35 
 
 Mar. Wherefore rejoice? What conquest brings 
 he home? 
 What tributaries follow him to Kome, 
 To grace in captive bonds his chariot-wheels? 
 
Act I. Sc. i.] JULIUS CAESAR. 47 
 
 You blocks, you stones, you worse than 
 senseless things! 
 40 you hard hearts, you cruel men of Rome, 
 
 Knew you not Pompey? Many a time and oft 
 Have you climb 'd up to walls and battle- 
 ments. 
 To towers and windows, yea, to chimney- 
 tops. 
 Your infants in your arms, and there have 
 sat 
 45 The live-long day, with patient expectation. 
 
 To see great Pompey pass the streets of 
 
 Rome : 
 And when you saw his chariot but appear, 
 Have you not made an universal shout, 
 That Tiber trembled underneath her banks, 
 50 To hear the replication of your sounds 
 
 Made in her concave shores? 
 And do you now put on your best attire? 
 And do you now cull out a holiday? 
 And do you now strew flowers in his way 
 55 That comes in triumph over Pompey's 
 
 blood? 
 Be gone ! 
 
 Run to your houses, fall upon your knees. 
 Pray to the gods to intermit the plague 
 That needs must light on this ingratitude. 
 60 Flav. Go, go, good countrymen, and, for this 
 fault. 
 Assemble all the poor men of your sort ; 
 
48 JULIUS CAESAR. [Act I. So. i. 
 
 Draw them to Tiber banks, and weep your 
 
 tears 
 Into the channel, till the lowest stream 
 Do kiss the most exalted shores of all. 
 
 [Exeunt all the Commoners. 
 See, whether their basest metal be not 65 
 
 mov'd; 
 They vanish tongue-tied in their guiltiness. 
 Go you down that way towards the Capitol ; 
 This way will I : disrobe the images, 
 If you do find them deck'd with ceremonies. 
 Mar. May we do so? 70 
 
 You know it is the feast of Lupercal. 
 Flav. It is no matter ; let no images 
 
 Be hung with Caesar's trophies. I'll about, 
 And drive away the vulgar from the streets : 
 So do you too, where you perceive them 75 
 
 thick. 
 These growing feathers pluck'd from Cae- 
 sar's wing 
 Will make him fly an ordinary pitch. 
 Who else would soar above the view of men 
 And keep us all in servile fearfulness. 
 
 \_Exeunt. 
 
Act I. Sc. ii.] JULIUS CAESAR. 49 
 
 Scene II. 
 
 A pudlic place. 
 
 Flourish. Enter Caesar; Antony, for the course; 
 Calpurnia, Portia, Decius, Cicero, Brutus, 
 Cassius, and Casca; a great crowd following, 
 among them a Soothsayer. 
 
 Caes. Calpurnia! 
 
 Casca. Peace, ho! Caesar speaks. 
 
 Caes. Calpurnia ! 
 
 Cal. Here, my lord. 
 
 Caes. Stand you directly in Antonius' way. 
 
 When he doth run his course. Antonius! 
 5 Ant. Caesar, my lord? 
 Caes. Forget not, in your speed, Antonius, 
 
 To touch Calpurnia ; for our elders say, 
 
 The barren, touched in this holy chase, 
 
 Shake off their sterile curse. 
 Ant. I shall remember : 
 
 10 When Caesar says "do this," it is perform'd. 
 
 Caes. Set on; and leave no ceremony out. 
 
 [Flourish. 
 Sooth. Caesar! 
 Caes. Ha! who calls? 
 
 Casca. Bid every noise be still : peace yet again ! 
 15 Caes. Who is it in the press that calls on me? 
 
 I hear a tongue, shriller than all the music, 
 
50 JULIUS CAESAR. [Act I. Sc. ii. 
 
 Cry *' Caesar!" Speak; Caesar is turn 'd to 
 hear. 
 8ooth. Beware the ides of March. 
 Gaes. What man is that? 
 
 Bru, A soothsayer bids you beware the ides of 
 
 March. 
 Gaes. Set him before me; let me see his face. 20 
 Gas. Fellow, come from the throng; look upon 
 
 Caesar. 
 Gaes. What say'st thou to me now? speak once 
 
 again. 
 Sooth. Beware the ides of March. 
 Gaes. He is a dreamer; let us leave him: pass. 
 
 \_Sennet. Exeunt all except Brutus and 
 Gassius. 
 Gas. Will you go see the order of the course? • 25 
 Bru. Not I. 
 Gas. I pray you, do. 
 Bru. I am not gamesome : I do lack some part 
 
 Of that quick spirit that is in Antony. 
 
 Let me not hinder, Cassius, your desires ; so 
 
 I'll leave you. 
 Gas. Brutus, I do observe you now of late : 
 
 I have not from your eyes that gentleness 
 
 And show of love as I was wont to have : 
 
 You bear too stubborn and too strange a 35 
 hand 
 
 Over your friend that loves you. 
 Bru. Cassius, 
 
 Be not deceiv'd: if I have veil'd my look, 
 
Act I. Sc. ii.] JULIUS CAESAR. 61 
 
 I turn the trouble of my countenance 
 Merely upon myself. Vexed I am 
 40 Of late with passions of some difference, 
 
 Conceptions only proper to myself, 
 Which give some soil perhaps to my behav- 
 iours ; 
 But let not therefore my good friends be 
 
 griev'd — 
 Among which number, Cassius, be you one — 
 45 Nor construe any further my neglect, 
 
 Than that poor Brutus, with himself at war. 
 Forgets the shows of love to other men. 
 Cas. Then, Brutus, I have much mistook your 
 passion ; 
 By means whereof this breast of mine hath 
 buried 
 50 Thoughts of great value, worthy cogitations. 
 
 Tell me, good Brutus, can you see your face? 
 Bru. No, Cassius ; for the eye sees not itself 
 But by reflection, by some other things. 
 Cas. 'Tis just : 
 55 And it is very much lamented, Brutus, 
 
 That you have no such mirrors as will turn 
 Your hidden worthiness into your eye. 
 That you might see your shadow. I have 
 
 heard. 
 Where many of the best respect in Eome, 
 60 Except immortal Caesar, speaking of Brutus 
 
 And groaning underneath this age's yoke. 
 Have wish'd that noble Brutus had his eyes. 
 
52 JULIUS CAESAR. [Act I. Sc. ii. 
 
 Bru. Into what dangers would you lead me, 
 Oassius, 
 That you would have me seek into myself 
 For that which is not in me? 65 
 
 Oas. Therefore, good Brutus, be prepar'd to hear : 
 And since you know you cannot see yourself 
 So well as by reflection, I, your glass, 
 Will modestly discover to yourself 
 That of yourself which you yet know not of. 70 
 And be not jealous on me, gentle Brutus: 
 Were I a common laugher, or did use 
 To stale with ordinary oaths my love 
 To every new protester ; if you know 
 That I do fawn on men and hug them hard 75 
 And after scandal them, or if you know 
 That I profess myself in banqueting 
 To all the rout, then hold me dangerous. 
 
 [Flourish and shout. 
 
 Bru. What means this shouting? I do fear, the 
 people 
 Choose Caesar for their king. 
 
 Cas. Ay, do you fear it? 8o 
 
 Then must I think you would not have it so. 
 
 Bru. I would not, Cassius ; yet I love him well. 
 But wherefore do you hold me here so long? 
 What is it that you would impart to me? 
 If it be aught toward the general good, 85 
 
 Set honour in one eye and death i' th' other, 
 And I will look on both indifferently. 
 For let the gods so speed me as I love 
 
Act I. Sc. ii.] JULIUS CAESAR. 53 
 
 The name of honour more than I fear death. 
 
 90 Cas, I know that virtue to he in you, Brutus, 
 As well as 1 do know your outward favour. 
 Well, honour is the subject of my story. 
 I cannot tell what you and other men 
 Think of this life ; but, for my single self, 
 
 95 I had as lief not be as live to be 
 
 In awe of such a thing as I myself. 
 I was born free as Caesar ; so were you : 
 We both have fed as well, and we can both 
 Endure the winter's cold as well as he: 
 
 100. For once, upon a raw and gusty day. 
 
 The troubled Tiber chafing with her shores, 
 Caesar said to me '*Dar'st thou, Cassius, now 
 Leap in with me into this angry flood, 
 And swim to yonder point?" Upon the 
 word, 
 
 105 Accoutred as I was, I plunged in 
 
 And bade him follow ; so indeed he did. 
 The torrent roar'd, and we did buffet it 
 With lusty sinews, throwing it aside 
 And stemming it with hearts of controversy ; 
 
 110 But ere we could arrive the point propos'd, 
 
 Caesar cried "Help me, Cassius, or I sink!'* 
 I, as Aeneas, our great ancestor, 
 Did from the flames of Troy upon his 
 
 shoulder 
 The old Anchises bear, so from the waves of 
 Tiber 
 
 115 Did I the tired Caesar. And this man 
 
54 JULIUS CAESAR. [Act I. So. ii. 
 
 Is now become a god, and Cassius is 
 
 A wretched creature and must bend his 
 
 body, 
 If Caesar carelessly but nod on him. 
 He had a fever when he was in Spain, 
 And when the fit was on him, I did mark 120 
 How he did shake: 'tis true, this god did 
 
 shake : 
 His coward lips did from their colour fly, 
 And that same eye whose bend doth awe the 
 
 world 
 Did lose his lustre : I did hear him groan : 
 Ay, and that tongue of his that bade the 125 
 
 Eomans 
 Mark him and write his speeches in their 
 
 books, 
 Alas, it cried ''Give me some drink, Titin- 
 
 ius," 
 As a sick girl. Ye gods, it doth amaze me 
 A man of such a feeble temper should 
 So get the start of the majestic world lao 
 
 And bear the palm alone. 
 
 [Shout. Flourish. 
 Bru. Another general shout ! 
 
 I do believe that these applauses are 
 
 For some new honours that are heap'd on 
 
 Caesar. 
 Cas. Why, man, he doth bestride the narrow 135 
 
 world 
 Like a Colossus, and we petty men 
 
Act I. Sc. ii.] JULIUS CAESAR. 55 
 
 Walk under his huge legs and peep about 
 To find ourselves dishonourable graves. 
 Men at some time are masters of their fates : 
 140 The fault, dear Brutus, is not in our stars. 
 
 But in ourselves, that we are underlings. 
 Brutus and Caesar : what should be in that 
 
 "Caesar"? 
 Why should that name be sounded more 
 
 than yours? 
 Write them together, yours is as fair a name ; 
 145 Sound them, it doth become the mouth as 
 
 well; 
 Weigh them, it is as heavy; conjure with 
 
 'em, 
 "Brutus" will start a spirit as soon as 
 
 "Caesar." 
 Now, in the names of all the gods at once. 
 Upon what meat doth this our Caesar feed, 
 150 That he is grown so great? Age, thou art 
 
 sham'd! 
 Kome, thou hast lost the breed of noble 
 
 bloods ! 
 When went there by an age, since the great 
 
 flood. 
 But it was fam'd with more than with one 
 
 man? 
 When could they say till now, that talk'd of 
 
 Eome, 
 155 That her wide walls encompass 'd but one 
 
 man? 
 
56 JULIUS CAESAR. [Act I. Sc. ii. 
 
 Now is it Eome indeed and room enough, 
 When there is in it but one only man. 
 0, you and I have heard our fathers say, 
 There was a Brutus once that would have 
 
 brook 'd 
 The eternal devil to keep his state in Rome leo 
 As easily as a king. 
 
 Bru. That you do love me, I am nothing jealous; 
 What you would work me to, I have some aim : 
 How I have thought of this and of these 
 
 times, 
 I shall recount hereafter ; for this present, i65 
 I would not, so with love I might entreat you. 
 Be any further mov'd. What you have said 
 I will consider ; what you have to say 
 I will with patience hear, and find a time 
 Both meet to hear and answer such high things. 170 
 Till then, my noble friend, chew upon this : 
 Brutus had rather be a villager 
 Than to repute himself a son of Rome 
 Under these hard conditions as this time 
 Is like to lay upon us. 175 
 
 Cas. I am glad that my weak words 
 
 Have struck but thus much show of fire 
 from Brutus. 
 
 Bru. The games are done and Caesar is returning. 
 
 Cas. As they pass by, pluck Casca by the sleeve ; 
 And he will, after his sour fashion, tell you iso 
 What hath proceeded worthy note to-day. 
 Re-enter Caesar and his Train. 
 
Act I. Sc. ii.] JULIUS CAESAR. 57 
 
 Bru. I will do so. But, look you, Cassius, 
 
 The angry spot doth glow on Caesar's brow, 
 And all the rest look like a chidden train : 
 185 Calpurnia's cheek is pale; and Cicero 
 
 Looks with such ferret and such fiery eyes 
 As we have seen him in the Capitol, 
 Being cross 'd in conference by some senators. 
 Cas. Casca will tell us what the matter is. 
 190 Caes. Antonius! 
 Ant. Caesar? 
 
 Caes. Let me have men about me that are fat : 
 Sleek-headed men and such as sleep o' nights : 
 Yond Cassius has a lean and hungry look ; 
 195 He thinks too much : such men are danger- 
 
 ous. 
 Ant. Fear him not, Caesar; he's not dangerous; 
 
 He is a noble Koman and well given. 
 Caes. Would he were fatter ! But I fear him not : 
 Yet if my name were liable to fear, 
 200 I do not know the man I should avoid 
 
 So soon as that spare Cassius. He reads 
 
 much; 
 He is a great observer, and he looks 
 Quite through the deeds of men; he loves no 
 
 plays, 
 As thou dost, Antony; he hears no music; 
 205 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. 
 
58 JULIUS CAESAR. [Act I. Sc. ii. 
 
 Such men as he be never at heart's ease 
 Whiles they behold a greater than them- 
 selves, 
 And therefore are they very dangerous. 210 
 
 I rather tell thee what is to be fear'd 
 Than what I fear; for always I am Caesar. 
 Come on my right hand, for this ear is deaf, 
 And tell me truly what thou think 'st of him. 
 [^Sennet. Exeunt Caesar and all his Train 
 hut Casca. 
 
 Casca. You pull'd me by the cloak; would you 215 
 speak with me? 
 
 Bru. Ay, Casca; tell us what hath chanc'd to-day, 
 That Caesar looks so sad. 
 
 Casca. Why, you were with him, were you not ? 
 
 Bru. I should not then ask Casca what had 220 
 chanc'd. 
 
 Casca. Why, there was a crown offer 'd him : and 
 being offer 'd him, he put it by with the 
 back of his hand, thus; and then the people 
 fell a- shouting. 
 
 Bru. What was the second noise for? 225 
 
 Casca. Why, for that too. 
 
 Cas. They shouted thrice : what was the last cry 
 for? 
 
 Casca. Why, for that too. 
 
 Bru. Was the crown offer 'd him thrice? 
 
 Casca. Ay, marry, was't, and he put it by thrice, 230 
 every time gentler than other; and at every 
 putting-by mine honest neighbours shouted. 
 
Act I. Sc. ii.] JULIUS CAESAR. 59 
 
 Gas. Who offer 'd him the crown? 
 Casca. Why, Antony. 
 235 Bru, Tell us the manner of it, gentle Casca. 
 Casca. I can as well be hang'd as tell the man- 
 ner of it: it was mere foolery; I did not 
 mark it. I saw Mark Antony offer him a 
 crown;— yet 'twas not a crown neither, 
 340 'twas one of these coronets ; — and, as I told 
 
 you, he put it by once : but, for all that, to 
 my thinking, he would fain have had it. 
 Then he offer'd it to him again; then he put 
 it by again: but, to my thinking, he was 
 245 very loath to lay his fingers off it. And 
 
 then he offer'd it the third time; he put it 
 the third time by: and still as he refus'd it, 
 the rabblement shouted and clapp'd their 
 chapp'd hands and threw up their sweaty 
 250 night-caps and utter' d such a deal of stink- 
 
 ing breath because Caesar refus'd the crown 
 that it had almost chok'd Caesar; for he 
 swounded and fell down at it : and for mine 
 own part, I durst not laugh, for fear of open- 
 255 ing my lips and receiving the bad air. 
 
 Cas. But, soft, I pray you: what, did Caesar 
 
 swound? 
 Casca. He fell down in the market-place, and 
 
 foam'd at mouth, and was speechless. 
 Bru. 'Tis very like: he hath the falling sickness. 
 260 Cas. No, Caesar hath it not; but you and I 
 
 And honest Casca, we have the falling sickness. 
 
60 JULIUS CAESAR. [Act I. Sc. ii. 
 
 Casca, I know not what you mean by that ; but 
 I am sure Caesar fell down. If the tag-rag 
 people did not clap him and hiss him, ac- 
 cording as he pleas 'd and displeas'd them, 265 
 as they use to do the players in the theatre, 
 I am no true man. 
 
 Bru. What said he when he came unto himself? 
 
 Casca. Marry, before he fell down, when he 
 perceiv'd the common herd was glad he 270 
 refus'd the crown, he plucked me ope his 
 doublet and offer 'd them his throat to cut. 
 An I had been a man of any occupation, if 
 I would not have taken him at a word, I 
 would I might go to hell among the rogues. 275 
 And so he fell. When he came to himself 
 again, he said. If he had done or said any 
 thing amiss, he desir'd their worships to 
 think it was his infirmity. Three or four 
 wenches, where I stood, cried "Alas, good 280 
 soul!" and forgave him with all their hearts: 
 but there's no heed to be taken of them ; if 
 Caesar had stabb'd their mothers, they would 
 have done no less. 
 
 Bru, And after that, he came, thus sad, away? 285 
 
 Casca. Ay. 
 
 Gas. Did Cicero say any thing? 
 
 Casca. Ay, he spoke Greek. 
 
 Cas. To what effect? 
 
 Casca. Nay, an I tell you that, I'll ne'er look you 290 
 i' th' face again : but those that understood 
 
Act I. Sc. ii.] JULIUS CAESAR. 61 
 
 him smil'd at one another and shook their 
 heads ; but, for mine own part, it was Greek 
 to me. I could tell you more news too: 
 295 Marullus and Flavins, for pulling scarfs off 
 
 Caesar's images, are put to silence. Fare 
 you well. There was more foolery yet, if I 
 could remember it. 
 Cas. Will you sup with me to-night, Casca? 
 300 Casca. No, I am promis'd forth. 
 
 Cas. Will you dine with me to-morrow? 
 
 Casca. Ay, if I be alive and your mind hold and 
 
 your dinner worth the eating. 
 Cas. Good: I will expect you. 
 805 Casca. Do so. Farewell, both. [Exit. 
 
 Bru. What a blunt fellow is this grown to be ! 
 
 He was quick mettle when he went to school. 
 Cas. So is he now in execution 
 
 Of any bold or noble enterprise, 
 310 However he puts on this tardy form. 
 
 This rudeness is a sauce to his good wit. 
 Which gives men stomach to digest his words 
 With better appetite. 
 Bru. And so it is. For this time I will leave 
 you: 
 315 To-morrow, if you please to speak with me, 
 
 I will conae home to you ; or, if you will, 
 Come home to me, and I will wait for you. 
 Cas. I will do so : till then, think of the world. 
 
 [Exit Brutus, 
 Well, Brutus, thou art noble ; yet, I see, 
 
62 JULIUS CAESAR. [Act I. Sc. iii. 
 
 Thy honourable metal may be wrought 820 
 
 From that it is disposed: therefore it is meet 
 That noble minds keep ever with their likes ; 
 For who so firm that cannot be seduc'd? 
 Caesar doth bear me hard; but he loves 
 
 Brutus : 
 If I were Brutus now and he were Cassius, 325 
 He should not humour me. I will this night, 
 In several hands, in at his windows throw, 
 As if they came from several citizens, 
 Writings all tending to the great opinion 
 That Rome holds of his name; wherein 330 
 
 obscurely 
 Caesar's ambition shall be glanced at : 
 And after this let Caesar seat him sure; 
 For we will shake him, or worse days endure. 
 
 [Exit. 
 
 SCEN^E III. 
 
 The same. A street. 
 
 Thunder and lightning. Enter, from opposite 
 sides, Casca, with his sword drawn, and 
 Cicero. 
 
 Cic. Good even, Casca: brought you Caesar 
 home? 
 "Why are you breathless? and why stare you 
 so? 
 
Act I. Sc. iii.] JULIUS CAESAR. 63 
 
 Casca. Are not you mov'd, when all the sway of 
 earth 
 Shakes like a thing unfirm? Cicero, 
 5 I have seen tempests, when the scolding 
 
 winds 
 Have riv'd the knotty oaks, and I have seen 
 The ambitious ocean swell and rage and 
 
 foam, 
 To be exalted with the threat 'ning clouds: 
 But never till to-night, never till now, 
 10 Did I go through a tempest dropping fire. 
 
 Either there is a civil strife in heaven. 
 Or else the world, too saucy with the gods, 
 Incenses them to send destruction. 
 Cic. Why, saw you any thing more wonderful? 
 15 Casca. A common slave — you know him well by 
 sight — 
 Held up his left hand, which did flame and 
 
 burn 
 Like twenty torches join'd, and yet his hand, 
 Not sensible of fire, remain 'd unscorch'd. 
 Besides — I ha' not since put up my sword — 
 20 Against the Capitol I met a lion. 
 
 Who glared upon me, and went surly by. 
 Without annoying me: and there were 
 
 drawn 
 Upon a heap a hundred ghastly women. 
 Transformed with their fear; who swore 
 they saw 
 25 Men all in fire walk up and down the streets. 
 
64 JULIUS CAESAR. [Act I. Sc. iii. 
 
 And yesterday the bird of night did sit 
 Even at noon-day upon the market-place, 
 Hooting and shrieking. When these prodigies 
 Do so conjointly meet, let not men say 
 ''These are their reasons; they are natural;" 30 
 For, I believe, they are portentous things 
 Unto the climate that they point upon. 
 Cic, Indeed, it is a strange-disposed time : 
 
 But men may construe things after their 
 
 fashion. 
 Clean from the purpose of the things them- 35 
 
 selves. 
 Comes Caesar to the Capitol to-morrow? 
 Casca. He doth ; for he did bid Antonius 
 
 Send word to you he would be there to-mor- 
 row. 
 Cic. Grood night then, Casca : this disturbed sky 
 
 Is not to walk in. 
 Casca. Farewell, Cicero. 40 
 
 [Exit Cicero. 
 Enter Cassius. 
 Cas. Who's there? 
 Casca. A Roman. 
 
 Cas. Casca, by your voice. 
 
 Casca. Your ear is good. Cassius, what night is 
 
 this! 
 Cas. A very pleasing night to honest men. 
 Casca. Who ever knew the heavens menace so? 
 Cas. Those that have known the earth so full of 45 
 faults. 
 
Act I. Sc. iii.] JULIUS CAESAR. 65 
 
 For my part, I have walk'd about the streets, 
 Submitting me unto the perilous night, 
 And, thus unbraced, Oasca, as you see. 
 Have bar'd my bosom to the thunder-stone ; 
 50 And when the cross blue lightning seem'd to 
 
 open 
 The breast of heaven, I did present myself 
 Even in the aim and very flash of it. 
 Casca. But wherefore did you so much tempt the 
 heavens? 
 It is the part of men to fear and tremble, 
 55 When the most mighty gods by tokens send 
 
 Such dreadful heralds to astonish us. 
 Gas. You are dull, Casca, and those sparks of 
 life 
 That should be in a Koman you do want, 
 Or else you use not. You look pale and gaze 
 60 And put on fear and cast yourself in wonder, 
 
 To see the strange impatience of the heavens: 
 But if you would consider the true cause 
 Why all these fires, why all these gliding 
 
 ghosts. 
 Why birds and beasts from quality and kind, 
 65 Why old men, fools, and children calculate. 
 
 Why all these things change from their 
 
 ordinance 
 Their natures and preformed faculties 
 To monstrous quality, why, you shall find 
 That heaven hath infus'd them with these 
 spirits, 
 
66 JULIUS CAESAR. [Act I. So. iii. 
 
 To make them instruments of fear and warn- 70 
 ing 
 
 Unto some monstrous state. 
 
 Now could I, Casca, name to thee a man 
 
 Most like this dreadful night, 
 
 That thunders, lightens, opens graves, and 
 roars 
 
 As doth the lion in the Capitol, 75 
 
 A man no mightier than thyself or me 
 
 In personal action, yet prodigious grown 
 
 And fearful, as these strange eruptions are. 
 Casca. 'Tis Caesar that you mean; is it not, Oas- 
 
 sius? 
 Cas. Let it be who it is : for Romans now so 
 
 Have thews and limbs like to their ancestors ; 
 
 But, woe the while! our fathers' minds are 
 dead, 
 
 And we are govern'd with our mothers' 
 spirits ; 
 
 Our yoke and sufferance show us womanish. 
 Casca. Indeed, they say the senators to-morrow 85 
 
 Mean to establish Caesar as a king ; 
 
 And he shall wear his crown by sea and land, 
 
 In every place, save here in Italy. 
 Cas. I know where I will wear this dagger then ; 
 
 Cassius from bondage will deliver Cassius : 9o 
 
 Therein, ye gods, you make the weak most 
 strong ; 
 
 Therein, ye gods, you tyrants do defeat: 
 
 l^or stony tower, nor walls of beaten brass, 
 
Act I. Sc. iii.] JULIUS CAESAR. 67 
 
 IsoT airless dungeon, nor strong links of iron, 
 95 Can be retentive to the strength of spirit ; 
 
 But life, being weary of these worldly bars, 
 Never lacks power to dismiss itself. 
 If I know this, know all the world besides, 
 That part of tyranny that I do bear 
 100 I can shake off at pleasure. 
 
 [Thunder still. 
 Oasca. So can I : 
 
 So every bondman in his own hand bears 
 The power to cancel his captivity. 
 Cas. And why should Caesar be a tyrant then? 
 Poor man ! I know he would not be a wolf, 
 105 But that he sees the Eomans are but sheep : 
 
 He were no lion, were not Eomans hinds. 
 Those that with haste will make a mighty fire 
 Begin it with weak straws: what trash is 
 
 Kome, 
 What rubbish and what offal, when it serves 
 no For the base matter to illuminate 
 
 So vile a thing as Caesar ! But, grief, 
 Where hast thou led me? I perhaps speak 
 
 this 
 Before a willing bondman ; then I know 
 My answer must be made. But I am arm'd, 
 115 And dangers are to me indifferent. 
 
 Casca. You speak to Casca, and to such a man 
 That is no fleering tell-tale. Hold, my hand : 
 Be factious for redress of all these griefs, 
 And I will set this foot of mine as far 
 
68 JULIUS CAESAR. [Act I. Sc. iii. 
 
 As who goes farthest. 
 Gas, There's a bargain made. 120 
 
 Now know you, Casca, I have mov'd already 
 Some certain of the noblest-minded Romans 
 To undergo with me an enterprise 
 Of honourable- dangerous consequence; 
 And I do know, by this, they stay for me 125 
 In Pompey's porch: for now, this fearful 
 
 night, 
 There is no stir or walking in the streets ; 
 And the complexion of the element 
 In favour 's like the work we have in hand, 
 Most bloody, fiery, and most terrible. i3o 
 
 Casca. Stand close awhile, for here comes one in 
 
 haste. 
 Cas. 'Tis Oinna; I do know him by his gait; 
 He is a friend. 
 
 Enter Cinna. 
 
 Cinna, where haste you so? 
 Oin. To find out you. Who's that? Metellus 
 
 Cimber? 
 Cas. No, it is Casca; one incorporate 135 
 
 To our attempts. Am I not stay'd for, 
 Oinna? 
 Cin. I am glad on't. What a fearful night is 
 this! 
 There's two or three of us have seen strange 
 sights. 
 Cas. Am I not stay'd for? tell me. 
 Gin. Yes, you are. 
 
Act I. Sc. iii.] JULIUS CAESAR. 69 
 
 140 Oassius, if you could 
 
 But win the noble Brutus to our party — 
 Cas. Be you content: good Cinna, take this 
 paper, 
 And look you lay it in the praetor's chair, 
 Where Brutus may but find it ; and throw this 
 145 In at his window ; set this up with wax 
 
 Upon old Brutus' statue : all this done, 
 Kepair to Pompey's porch, where you shall 
 
 find us. 
 Is Decius Brutus and Trebonius there? 
 Cin. All but Metellus Cimber; and he's gone 
 150 To seek you at your house. Well, I will hie. 
 
 And so bestow these papers as you bade me. 
 Cas. That done, repair to Pompey's theatre. 
 
 [Exit Cinna, 
 Come, Casca, you and I will yet ere day 
 See Brutus at his house : three parts of him 
 155 Is ours already, and the man entire 
 
 Upon the next encounter yields him ours. 
 Casca. 0, he sits high in all the people's hearts: 
 And that which would appear offence in us. 
 His countenance, like richest alchemy, 
 160 Will change to virtue and to worthiness. 
 
 Cas. Him and his worth and our great need of 
 him 
 You have right well conceited. Let us go. 
 For it is after midnight ; and ere day 
 We will awake him and be sure of him. 
 
 [Exeunt. 
 
ACT SECOND. 
 
 Scene I. 
 
 Rome, Brutus'' s orchard. 
 Enter Brutus. 
 
 Bru. What, Lucius, ho! 
 
 I cannot by the progress of the stars. 
 Give guess how near to day. Lucius, I say ! 
 I would it were my fault to sleep so soundly. 
 When, Lucius, when? awake, I say! what, 5 
 Lucius ! 
 
 Enter Lucius, 
 Luc. Call'd you, my lord? 
 Bru, Get me a taper in my study, Lucius : 
 
 When it is lighted, come and call me here. 
 Luc, I will, my lord. [Exit. 
 
 Bru. It must be by his death : and for my part, 10 
 I know no personal cause to spurn at him, 
 But for the general. He would be crown'd : 
 How that might change his nature, there's 
 
 the question. 
 It is the bright day that brings forth the 
 
 adder ; 
 And that craves wary walking. Crown him ? 15 
 
 — that ; — 
 And then, I grant, we put a sting in him, 
 That at his will he may do danger with. 
 
 70 
 
AcTlLSc. i.] JULIUS CAESAR. 71 
 
 The abuse of greatness is, when it disjoins 
 Eemorse from power : and, to speak truth of 
 
 Caesar, 
 20 I have not known when his affections swayed 
 
 More than his reason. But 'tis a common 
 
 proof. 
 That lowliness is young ambition's ladder, 
 Whereto the climber upward turns his face ; 
 But when he once attains the upmost round, 
 25 He then unto the ladder turns his back, 
 
 Looks in the clouds, scorning the base degrees 
 By which he did ascend. So Caesar may; 
 Then, lest he may, prevent. And, since the 
 
 quarrel 
 Will bear no colour for the thing he is, 
 30 Fashion it thus ; that what he is, augmented, 
 
 Would run to these and these extremities : 
 And therefore think him as a serpent's egg 
 Which, hatch 'd, would, as his kind, grow 
 
 mischievous. 
 And kill him in the shell. 
 
 Re-enter Lucius. 
 
 85 Luc. The taper burneth in your closet, sir. 
 
 Searching the window for a flint, I found 
 This paper, thus seal'd up; and I am sure 
 It did not lie there when I went to bed. 
 
 \^Gives Mm the letter, 
 Bru. Get you to bed again ; it is not day. 
 40 Is not to-morrow, boy, the ides of March? 
 
72 JULIUS CAESAR. [Act II. So. i 
 
 Luc. I know not, sir. 
 
 Bru. Look in the calendar, and bring me word. 
 Luc. I will, sir. [Exit. 
 
 Bru. The exhalations whizzing in the air 
 
 Give so much light that I may read by them. 45 
 [ Opens the letter and reads. 
 
 "Brutus, thou sleep 'st : awake, and see thyself. 
 Shall Rome, etc. Speak, strike, redress ! " 
 
 "Brutus, thou sleep 'st: awake!" 
 Such instigations have been often dropp'd 
 Where I have took them up. so 
 
 *' Shall Kome, etc." Thus must I piece it 
 
 out: 
 Shall Rome stand under one man's awe? 
 
 What, Rome? 
 My ancestors did from the streets of Rome 
 The Tarquin drive, when he was call'd a 
 
 king. 
 *' Speak, strike, redress!" Am I entreated 55 
 To speak and strike? Rome, I make thee 
 
 promise ; 
 If the redress will follow, thou receivest 
 Thy full petition at the hand of Brutus ! 
 
 Re-enter Lucius. 
 
 Luc. Sir, March is wasted fifteen days. 
 
 [Knocking within. 
 Bru. 'Tis good. Go to the gate; somebody 60 
 knocks. [Exit Lucius, 
 
Act II. Sc. i.] JULIUS CAESAR. 73 
 
 Since Cassius first did whet me against 
 
 Caesar, 
 I have not slept. 
 
 Between the acting of a dreadful thing 
 And the first motion, all the interim is 
 65 Like a phantasma, or a hideous dream : 
 
 The Genius and the mortal instruments 
 Are then in council ; and the state of man, 
 Like to a little kingdom, suffers then 
 The nature of an insurrection. 
 
 Re-enter Lucius. 
 
 70 Luc, Sir, 'tis your brother Cassius at the door, 
 Who doth desire to see you. 
 Bru. Is he alone? 
 
 Luc. No, sir, there are moe with him. 
 Bru. Do you know them? 
 
 Luc. No, sir ; their hats are pluck'd about their 
 ears. 
 And half their faces buried in their cloaks, 
 75 That by no means I may discover them 
 
 By any mark of favour. 
 Bru. Let 'em enter. 
 
 \^Exit Lucius, 
 They are the faction. conspiracy, 
 Sham'st thou to show thy dang'rous brow by 
 
 night, 
 When evils are most free? 0, then by day 
 80 Where wilt thou find a cavern dark enough 
 
 To mask thy monstrous visage? Seek none, 
 conspiracy ; 
 
74 JULIUS CAESAR. [Act II. Sc. i. 
 
 Hide it in smiles and affability : 
 
 For if thou path, thy native semblance on, 
 
 Not Erebus itself were dim enough 
 
 To hide thee from prevention. , 85 
 
 Enter the conspirators^ Cassius, Casca, Decius, 
 Cinna, Metellus Cimber^ and Trehonius. 
 
 Cas. I think we are too bold upon your rest : 
 Good morrow, Brutus ; do we trouble you? 
 
 Bru. I have been up this hour, awake all night. 
 Know I these men that come along with you? 
 
 Cas. Yes, every man of them ; and no man^here 90 
 But honours you ; and every one doth wish 
 You had but that opinion of yourself 
 Which every noble Roman bears of you. 
 This is Tf ebonius. 
 
 Bru. He is welcome hither. 
 
 Cas. This, Decius Brutus. 
 
 Bru. He is welcome too. 95 
 
 Cas. This, Casca; this, Cinna; and this, Metel- 
 lus Cimber. 
 Bru. They are all welcome. 
 
 "What watchful cares do interpose themselves 
 
 Betwixt your eyes and night? 
 
 Cas. Shall I entreat a word? 100 
 
 [Brutus and Cassius whisper. 
 
 Dec. Here lies the east : doth not the day break 
 
 here? 
 Casca. No. 
 
 Cin. 0, pardon, sir, it doth; and yon gray lines 
 
 That fret the clouds are messengers of day. 
 
Act II. Sc. i.] JULIUS CAESAR. 75 
 
 105 Casca. You shall confess that you are both 
 deceiv'd. 
 Here, as I point my sword, the sun arises, 
 Which is a great way growing on the south. 
 Weighing the youthful season of the year. 
 Some two months hence up higher toward 
 the north 
 110 He first presents his fire ; and the high east 
 
 Stands, as the Capitol, directly here. 
 Bru. Give me your hands all over, one by one. 
 Cas. And let us swear our resolution. 
 Bru. No, not an oath : if not the face of men, 
 115 The sufferance of our souls, the time's 
 
 abuse, — 
 If these be motives weak, break off betimes, 
 And every man hence to his idle bed; 
 So let high-sighted tyranny range on. 
 Till each man drop by lottery. But if these, 
 120 As I am sure they do, bear fire enough 
 
 To kindle cowards and to steel with valour 
 The melting spirits of women, then, country- 
 men, 
 What need we any spur but our own cause. 
 To prick us to redress? what other bond 
 125 Than secret Eomans, that have spoke the 
 
 word. 
 And will not palter? and what other oath 
 Than honesty to honesty engag'd. 
 That this shall be, or we will fall for it? 
 Swear priests and cowards and men cautelous, 
 
76 JULIUS CAESAR. [Act II. Sc. i. 
 
 Old feeble carrions and such suffering souls i3o 
 That welcome wrongs ; unto bad causes swear 
 Such creatures as men doubt; but do not 
 
 stain 
 The even virtue of our enterprise, 
 Nor th' insuppressive mettle of our spirits, 
 To think that or our cause or our perform- 135 
 
 ance 
 Did need an oath ; when every drop of blood 
 That every Koman bears, and nobly bears. 
 Is guilty of a several bastardy. 
 If he do break the smallest particle 
 Of any promise that hath pass'd from him. 140 
 
 Cas. But what of Cicero? shall we sound him? 
 I think he will stand very strong with us. 
 
 Casca. Let us not leave him out. 
 
 Cin. No, by no means. 
 
 Met. 0, let us have him, for his silver hairs 
 
 Will purchase us a good opinion 145 
 
 And buy men's voices to commend our 
 
 deeds : 
 It shall be said, his judgment rul'd our 
 
 hands ; 
 Our youths and wildness shall no whit appear, 
 But all be buried in his gravity. 
 
 Bru. 0, name him not: let us not break with 150 
 him; 
 Eor he will never follow any thing 
 That other men begin. 
 
 Cas. Then leave him out. 
 
Act II. Sc. i.] JULIUS CAESAR. 77 
 
 Casca. Indeed he is not fit. 
 
 Dec. Shall no man else be touch 'd but only 
 Caesar? 
 155 Cas. Decius, well urg'd: I think it is not meet, 
 Mark Antony, so well belov'd of Caesar, 
 Should outlive Caesar : we shall find of him 
 A shrewd contriver; and, you know, his 
 
 means. 
 If he improve them, may well stretch so far 
 160 As to annoy us all : which to prevent, 
 
 Let Antony and Caesar fall together. 
 Bru, Our course will seem too bloody, Caius 
 Cassins, 
 To cut the head off and then hack the limbs, 
 Like wrath in death and envy afterwards; 
 165 For Antony is but a limb of Caesar : 
 
 Let us be sacrificers, but not butchers, Caius. 
 We all stand up against the spirit of Caesar; 
 And in the spirit of men there is no blood : 
 0, that we then could come by Caesar's 
 spirit, 
 170 And not dismember Caesar ! But, alas, 
 
 Caesar must bleed for it! And, gentle 
 
 friends. 
 Let's kill him boldly, but not wrathfully; 
 Let's carve him as a dish fit for the gods, 
 Not hew him as a carcass fit for hounds : 
 175 And let our hearts, as subtle masters do. 
 
 Stir up their servants to an act of rage. 
 And after seem to chide 'em. This shall make 
 
78 JULIUS CAESAR. [Act II. So. i. 
 
 Our purpose necessary and not envious: 
 Which so appearing to the common eyes, 
 We shall be call'd purgers, not murderers. iso 
 And for Mark Antony, think not of him ; 
 For he can do no more than Caesar's arm 
 When Caesar's head is off. 
 
 Cas. Yet I fear him; 
 
 For in the ingrafted love he bears to Caesar — 
 
 Btii. Alas, good Cassius, do not think of him: iss 
 If he love Caesar, all that he can do 
 Is to himself, take thought and die for 
 
 Caesar : 
 And that were much he should; for he is 
 
 given 
 To sports, to wildness and much company. 
 
 Treb. There is no fear in him ; let him not die ; 190 
 For he will live, and laugh at this hereafter. 
 
 l^Clock strihes. 
 
 Brtt. Peace ! count the clock. 
 
 Cas. The clock hath stricken three. 
 
 Treh. 'Tis time to part. 
 
 Cas. But it is doubtful yet, 
 
 Whether Caesar will come forth to-day, or no ; 
 For he is superstitious grown of late, 195 
 
 Quite from the main opinion he held once 
 Of fantasy, of dreams and ceremonies : 
 It may be, these apparent prodigies. 
 The unaccustom'd terror of this night, 
 And the persuasion of his augurers. 
 May hold him fi'om the Capitol to-day. 
 
 200 
 
Act II. Sc. i.] JULIUS CAESAR. 79 
 
 Dec. Never fear that : if he be so resolv'd, 
 I can o'ersway him; for he loves to hear 
 That unicorns may be betray' d with trees, 
 205 And bears with glasses, elephants with holes, 
 
 Lions with toils and men with flatterers; 
 But when I tell him he hates flatterers, 
 He says he does, being then most flattered. 
 Let me work ; 
 310 For I can give his humour the true bent, 
 
 And I will bring him to the Capitol. 
 Cas. Nay, we will all of us be there to fetch him. 
 Bru. By the eighth hour : is that the uttermost? 
 Cin. Be that the uttermost, and fail not then. 
 215 Met. Caius Ligarius doth bear Caesar hard. 
 
 Who rated him for speaking well of Pompey : 
 I wonder none of you have thought of him. 
 Bru. Now, good Metellus, go along by him : 
 
 He loves me well, and I have given him 
 reasons ; 
 220 Send him but hither, and I'll fashion him. 
 
 Cas. The morning comes upon 's: we'll leave 
 you, Brutus. 
 And, friends, disperse yourselves; but all 
 
 remember 
 What you have said, and show yourselves 
 true Eomans. 
 Bru. Good gentlemen, look fresh and merrily ; 
 225 Let not our looks put on our purposes. 
 
 But bear it as our Eoman actors do. 
 With untir'd spirits and formal constancy: 
 
80 JULIUS CAESAR. [Act II. Sc. i. 
 
 And so good morrow to you every one. 
 
 \^Exeunt all hut Brutus. 
 Boy! Lucius! Fast asleep? It is no matter ; 
 Enjoy the honey-heavy dew of slumber : 280 
 
 Thou hast no figures nor no fantasies, 
 Which busy care draws in the brains of men : 
 Therefore thou sleep 'st so sound. 
 
 Enter Portia, 
 
 Por. Brutus, my lord! 
 
 Bru. Portia, what mean you? wherefore rise you 
 
 now? 
 
 It is not for your health thus to commit 235 
 
 Your weak condition to the raw cold morning. 
 
 Por. !Nor for yours neither. You've ungently, 
 
 Brutus, 
 
 Stole from my bed : and yesternight, at sup- 
 per, 
 
 You suddenly arose, and walk'd about. 
 
 Musing and sighing, with your arms across, 240 
 
 And when I ask'd you what the matter was, 
 
 You star'd upon me with ungentle looks; 
 
 I urg'd you further; then you scratch'd your 
 
 head. 
 
 And too impatiently stamp'd with your foot; 
 
 Yet I insisted; yet you answer 'd not, 245 
 
 But, with an angry wafture of your hand, 
 
 Gave sign for me to leave you : so I did ; 
 
 Fearing to strengthen that impatience 
 
 Which seem'd too much enkindled, and withal 
 
 Hoping it was but an effect of humour, aso 
 
Act II. Sc. i.J JULIUS CAESAR. 81 
 
 Which sometime hath his hour with every 
 
 man. 
 It will not let yon eat, nor talk, nor sleep, 
 And could it work so much upon your shape 
 As it hath much prevail' d on your condition, 
 255 I should not know you, Brutus. Dear my 
 
 lord, 
 Make me acquainted with your cause of grief. 
 Bru. I am not well in health, and that is all. 
 For. Brutus is wise, and, were he not in health, 
 He would embrace the means to come by it. 
 260 Bru. Why, so I do. Good Portia, go to bed. 
 For. Is Brutus sick? and is it physical 
 
 To walk unbraced and suck up the humours 
 Of the dank morning? What, is Brutus sick, 
 And will he steal out of his wholesome bed, 
 265 To dare the vile contagion of the night 
 
 And tempt the rheumy and unpurged air 
 To add unto his sickness? No, my Brutus; 
 You have some sick offence within your mind, 
 Which, by the right and virtue of my place, 
 270 I ought to know of : and, upon my knees, 
 
 I charm you, by my once commended beauty, 
 By all your vows of love and that great vow 
 Which did incorporate and make us one. 
 That you unfold to me, yourself, your half, 
 875 Why you are heavy, and what men to-night 
 
 Have had resort to you : for here have been 
 Some six or seven, who did hide their faces 
 Even from darkness. 
 
82 JULIUS CAESAR. [Act II. Sc. i. 
 
 Bru. Kneel not, gentle Portia. 
 
 For. I should not need, if you were gentle 
 Brutus. 
 Within the bond of marriage, tell me, Brutus, 28o 
 Is it excepted I should know no secrets 
 That appertain to you? Am I yourself 
 But, as it were, in sort or limitation. 
 To keep with you at meals, comfort your bed, 
 And talk to you sometimes? Dwell I but in 285 
 
 the suburbs 
 Of your good pleasure? If it be no more, 
 Portia is Brutus' harlot, not his wife. 
 
 Bru. You are my true and honourable wife, 
 As dear to me as are the ruddy drops 
 That visit my sad heart. 290 
 
 Por. If this were true, then should I know this 
 secret. 
 I grant I am a woman ; but withal 
 A woman that Lord Brutus took to wife: 
 I grant I am a woman ; but withal 
 A woman well-reputed, Cato's daughter. 295 
 
 Think you I am no stronger than my sex. 
 Being so father 'd and so husbanded? 
 Tell me your counsels, I will not disclose 'em : 
 I have made strong proof of my constancy, 
 Giving myself a voluntary wound 300 
 
 Here, in the thigh: can I bear that with 
 
 patience. 
 And not my husband's secrets? 
 
 Bru, ye gods! 
 
Act II. Sc. i] JULIUS CAESAR. 83 
 
 Bender me worthy of this noble wife ! 
 
 [Knocking within. 
 Hark, hark! one knocks: Portia, go in 
 awhile ; 
 805 And by and by thy bosom shall partake 
 
 The secrets of my heart. 
 All my engagements I will construe to thee, 
 All the charactery of my sad brows : 
 Leave me with haste. [Exit Portia.] 
 
 Lucius, who's that knocks? 
 Re-enter Lucius with Ligarius. 
 
 310 Luc. Here is a sick man that would speak with 
 you. 
 
 Bru. Caius Ligarius, that Metellus spake of. 
 Boy, stand aside. Oaius Ligarius ! how? 
 Lig. Vouchsafe good morrow from a feeble 
 
 tongue. 
 Bru. 0, what a time have you chose out, brave 
 Caius, 
 315 To wear a kerchief! Would you were not 
 
 sick ! 
 Lig. I am not sick, if Brutus have in hand 
 
 Any exploit worthy the name of honour. 
 Bru. Such an exploit have I in hand, Ligarius, 
 Had you a healthful ear to hear of it. 
 330 Lig. By all the gods that Romans bow before, 
 
 I here discard my sickness ! Soul of Eome ! 
 Brave son, deriv'd from honourable loins! 
 Thou, like an exorcist, hast conjur'd up 
 My mortified spirit. Now bid me run, 
 
84 JULIUS CAESAR. [Act II. Sc. ii. 
 
 And I will strive with things impossible ; 825 
 
 Yea, get the better of them. What's to do? 
 Bru. A piece of work that will make sick men 
 
 whole. 
 Lig, But are not some whole that we must make 
 
 sick? 
 Bru. That must we also. What it is, my Caius, 
 
 I shall unfold to thee, as we are going sso 
 
 To whom it must be done. 
 Lig. Set on your foot, 
 
 And with a heart new-fir'd I follow you, 
 
 To do I know not what : but it sufficeth 
 
 That Brutus leads me on. 
 Bru. Follow me, then. 
 
 [Exeunt. 
 
 Scene II. 
 
 Caesar'' s house. 
 
 Thunder and lightning. Enter Caesar^ in his 
 night-gown. 
 
 Caes. Nor heaven nor earth have been at peace 
 
 to-night : 
 Thrice hath Calpurnia in her sleep cried out, 
 **Help! ho! they murther Caesar!" Who's 
 
 within? 
 
 Enter a Servant, 
 Serv. My lord? 
 
Act II. So. ii.] JULIUS CAESAR. 85 
 
 5 Caes. Go bid the priests do present sacrifice 
 And bring me their opinions of success. 
 Serv, I will, my lord. \Exit, 
 
 Enter Calpurnia, 
 Cah What mean you, Caesar? think you to walk 
 forth? 
 You shall not stir out of your house to-day. 
 10 Caes, Caesar shall forth : the things that threat- 
 ened me 
 Ne'er look'd but on my back; when they 
 
 shall see 
 The face of Caesar, they are yanished. 
 Cal. Caesar, I never stood on ceremonies, 
 
 Yet now they fright me. There is one 
 within, 
 15 Besides the things that we have heard and 
 
 seen, 
 Kecounts most horrid sights seen by the 
 
 watch. 
 A lioness hath whelped in the streets ; 
 And graves have yawn'd, and yielded up 
 
 their dead; 
 Fierce fiery warriors fight upon the clouds, 
 30 In ranks and squadrons and right form of 
 
 war, 
 Which drizzled blood upon the Capitol ; 
 The noise of battle hurtled in the air, 
 Horses did neigh, and dying men did groan. 
 And ghosts did shriek and squeal about the 
 streets. 
 
86 JULIUS CAESAR. [Act II. Sc. ii. 
 
 Caesar! these things are beyond all nse, 25 
 
 And I do fear them. 
 Cues. "What can be avoided 
 
 Whose end is purposed by the mighty gods? 
 
 Yet Caesar shall go forth ; for these predic- 
 tions 
 
 Are to the world in general as to Caesar. 
 Cal. When beggars die, there are no comets seen ; 30 
 
 The heavens themselves blaze forth the death 
 of princes. 
 Caes. Cowards die many times before their deaths ; 
 
 The valiant never taste of death but once. 
 
 Of all the wonders that I yet have heard, 
 
 It seems to me most strange that men should 35 
 fear, 
 
 Seeing that death, a necessary end, 
 
 Will come when it will come. 
 
 Re-enter Servant. 
 
 What say the augurers? 
 Serv. They would not have you to stir forth to- 
 day. 
 Plucking the entrails of an offering forth. 
 They could not find a heart within the beast. 40 
 Caes. The gods do this in shame of cowardice : 
 Caesar should be a beast without a heart, 
 If he should stay at home to-day for fear. 
 No, Caesar shall not : danger knows full well 
 That Caesar is more dangerous than he : 45 
 
 We are two lions litter 'd in one day, 
 And I the elder and more terrible : 
 
Act II. Sc. ii.] JULIUS CAESAR. 87 
 
 And Caesar shall go forth. 
 Cdl. Alas, my lord, 
 
 Your wisdom is consum'd in confidence. 
 
 50 Do not go forth to-day: call it my fear 
 
 That keeps you in the house, and not your 
 
 own. 
 We'll send Mark Antony to the senate-house j 
 And he shall say you are not well to-day : 
 Let me, upon my knee, prevail in this. 
 
 55 Caes. Mark Antony shall say I am not well ; 
 
 And, for thy humour, I will stay at home. 
 
 Enter Decius. 
 Here's Decius Brutus, he shall tell them so. 
 Dec. Caesar, all hail! good morrow, worthy 
 Caesar : 
 I come to fetch you to the senate-house. 
 60 Caes. And you are come in very happy time, 
 To bear my greetings to the senators 
 And tell them that I will not come to-day : 
 Cannot, is false, and that I dare not, falser : 
 I will not come to-day : tell them so, Decius. 
 65 Cah Say he is sick. 
 
 Caes. Shall Caesar send a lie? 
 
 Have I in conquest stretch 'd mine arm so far, 
 To be afeard to tell graybeards the truth? 
 Decius, go tell them Caesar will not come. 
 Dec. Most mighty Caesar, let me know some 
 cause, 
 70 Lest I be laugh 'd at when I tell them so. 
 
 Caes. The cause is in my will ; I will not come ; 
 
88 JULIUS CAESAR. [Act II. So. ii. 
 
 That is enougli to satisfy the senate. 
 But for your private satisfaction, 
 Because I love you, I will let you know : 
 Calpurnia here, my wife, stays me at home : 75 
 She dreamt to-night she saw my statue. 
 Which, like a fountain with an hundred 
 
 spouts. 
 Did run pure blood;" and many lusty Komans 
 Came smiling, and did bathe their hands in 
 
 it: 
 And these does she apply for warnings, and so 
 
 portents. 
 And evils imminent ; and on her knee 
 Hath begg'd that I will stay at home to-day. 
 Dec. This dream is all amiss interpreted ; 
 It was a vision fair and fortunate : 
 Your statue spouting blood in many pipes, 85 
 In which so many smiling Romans bath'd. 
 Signifies that from you great Rome shall suck 
 Reviving blood, and that great men shall 
 
 press 
 For tinctures, stains, relics and cognizance. 
 This by Calpurnia's dream is signified. 90 
 
 Caes. And this way have you well expounded it. 
 Dec. I have, when you have heard what I can 
 
 say: 
 And know it now : the senate have concluded 
 To give this day a crown to mighty Caesar. 
 If you shall send them word you will not 95 
 
 come. 
 
Act II. Sc. ii.] JULIUS CAESAR. 89 
 
 Their minds may change. Besides, it were a 
 
 mock 
 Apt to be rendered, for some one to say, 
 * 'Break up the senate till another time. 
 When Caesar's wife shall meet with better 
 
 dreams." 
 100 If Caesar hide himself, shall they not 
 
 whisper, 
 **Lo, Caesar is afraid?" 
 Pardon me, Caesar ; for my dear dear love 
 To your proceeding bids me tell you this; 
 And reason to my love is liable. 
 105 Caes. How foolish do your fears seem now, 
 
 Calpurnia ! 
 I am ashamed I did yield to them. 
 Give me my robe, for I will go. 
 
 Enter PuUius, Brutus, Ligarius, Metellus, 
 Casca, Trebonius, and Ciniia. 
 
 And look where Publius is come to fetch me. 
 Puh, Good morrow, Caesar. 
 ^«^«- Welcome, Publius. 
 
 no What, Brutus, are you stirr'd so early too? 
 
 Good morrow, Casca. Caius Ligarius, 
 Caesar was ne'er so much your enemy 
 As that same ague which hath made you lean. 
 What is 't o'clock? 
 ■^^^- Caesar, 't is strucken eight. 
 
 115 Caes. I thank you for your pains and courtesy. 
 
 Enter Antony. 
 
90 JULIUS CAESAR. [Act II. Sc. HI 
 
 See ! Antony, that revels long o' nights, 
 Is notwithstanding up. Good morrow, 
 Antony. 
 Ant, So to most noble Caesar. 
 Caes. Bid them prepare within : 
 
 I am to blame to be thns waited for. 
 Now, Cinna: now, Metellus: what, Tre- 120 
 
 bonius ! 
 I have an hour's talk in store for you; 
 Eemember that you call on me to-day: 
 Be near me, that I may remember you. 
 Trei. Caesar, I will: [Aside] and so near will 
 I be. 
 That your best friends shall wish I had been 125 
 further. 
 Caes. Good friends, go in, and taste some wine 
 with me; 
 And we, like friends, will straightway go 
 together. 
 Bru. [Aside"] That every like is not the same, 
 Caesar, 
 The heart of Brutus yearns to think upon ! 
 
 [Exeunt. 
 
 Scene III. 
 
 A street near the Capitol. 
 Enter Artemidorus, reading a paper. 
 
 Art. Caesar, beware of Brutus; take heed of Cassius; 
 come not near Casca; have an eye to Cinna; trust 
 
Act II. Sc. iv.] JULIUS CAESAR. 91 
 
 not Trebonius ; mark well Metellus Cimber : Decius 
 Brutus loves thee not : thou hast wronged Caius 
 5 Ligarius. There is but one mind in all these men, 
 
 and it is bent against Caesar. If thou beest not 
 immortal, look about you : security gives way to 
 conspiracy. The mighty gods defend thee ! Thy 
 lover, Artemidorus. 
 
 10 Here will I stand till Caesar pass along, 
 
 And as a suitor will I give him this. 
 
 My heart laments that virtue cannot live 
 
 Out of the teeth of emulation. 
 
 If thou read this, Caesar, thou mayst live ; 
 15 If not, the Fates with traitors do contrive. 
 
 [Exit, 
 
 SCEIfTE IV. 
 
 Another part of the sa7ne street^ hefore the 
 house of Brutus. 
 
 Enter Portia and Lucius. 
 
 Por. I prithee, boy, run to the senate-house ; 
 Stay not to answer me, but get thee gone : 
 Why dost thou stay? 
 Luc. To know my errand, madam. 
 
 Por. I would have had thee there, and here again, 
 5 Ere I can tell thee what thou shouldst do 
 
 there. 
 constancy, be strong upon my side, 
 Set a huge mountain 'tween my heart and 
 tongue ! 
 
92 JULIUS CAESAR. [Act II. Sc. iv. 
 
 I have a man's mind, but a woman's might. 
 
 How hard it is for women to keep counsel! 
 
 Art thou here yet? 
 Luc. Madam, what should I do? lo 
 
 Eun to the Capitol, and nothing else? 
 
 And so return to you, and nothing else? 
 Por. Yes, bring me word, boy, if thy lord look 
 well, 
 
 For he went sickly forth : and take good note 
 
 What Caesar doth, what suitors press to him. is 
 
 Hark, boy! what noise is that? 
 Luc. I hear none, madam. 
 Por. Prithee, listen well; 
 
 I heard a bustling rumour, like a fray, 
 
 And the wind brings it from the Capitol. 
 Luc. Sooth, madam, I hear nothing. so 
 
 Enter the Soothsayer. 
 
 Por. Come hither, fellow: which way hast thou 
 been? 
 
 Sooth. At mine own house, good lady. 
 
 Por. What is 't o'clock? 
 
 Sooth. About the ninth hour, lady. 
 
 Por. Is Caesar yet gone to the Capitol? 
 
 Sooth. Madam, not yet : I go to take my stand, 25 
 To see him pass on to the Capitol. 
 
 Por. Thou hast some suit to Caesar, hast thou not? 
 
 Sooth. That I have, lady : if it will please Caesar 
 To be so good to Caesar as to hear me, 
 I shall beseech him to befriend himself. so 
 
Act II. Sc. iv.] JULIUS CAESAR. 93 
 
 Por. Why, know'st thou any harm's intended 
 
 towards him? 
 Sooth. None that I know will be, much that I fear 
 may chance. 
 Good morrow to you. Here the street is 
 
 narrow : 
 The throng that follows Caesar at the heels, 
 35 Of senators, of praetors, common suitors, 
 
 Will crowd a feeble man almost to death : 
 I'll get me to a place more void, and there 
 Speak to great Caesar as he comes along. 
 
 [Exit. 
 Por. I must go in. Ay me, how weak a thing 
 40 The heart of woman is! Brutus, 
 
 The heavens speed thee in thine enterprise ! 
 [To herself^ Sure, the boy heard me: [To 
 
 Lucius] Brutus hath a suit 
 That Caesar will not grant. 0, 1 grow faint. 
 Eun, Lucius, and commend me to my lord; 
 45 Say I am merry : come to me again. 
 
 And bring me word what he doth say to thee. 
 
 [Exeunt severally. 
 
ACT THIED. 
 
 SCEN"E I. 
 
 Rome. Before the Capitol. 
 
 A crowd of people; among them Artemidorus and 
 the Soothsayer. Flourish. Enter Caesar, 
 Brutus, CassiuSy Casca, Decius, Metellus, 
 Trehonius, Cinna, Antony, Lepidus, Popi- 
 lius, Publius, and others. 
 
 Gaes. [To the Soothsayer.^ The ides of March are 
 come. 
 
 Sooth. Ay, Caesar; but not gone. 
 
 Art. Hail, Caesar ! read this schedule. 
 
 Dec. Trebonius doth desire you to o'er-read, 
 
 At your best leisure, this his humble suit. 5 
 
 Art. Caesar, read mine first; for mine's a suit 
 That touches Caesar nearer: read it, great 
 Caesar. 
 
 Caes. What touches us ourself shall be last served. 
 
 Art. Delay not, Caesar; read it instantly. 
 
 Caes. What, is the fellow mad? 
 
 Pul. Sirrah, give place, lo 
 
 Cas. What, urge you your petitions in the street? 
 Come to the Capitol. 
 
 Caesar goes up to the Senate-House, the rest fol- 
 lowing. 
 
 Pop. I wish your enterprise to-day may thrive. 
 
 94 
 
Act III. Sc. i.] JULIUS CAESAR. 95 
 
 Cas. What enterprise, Popilius? 
 Pop, Fare you well. 
 
 [Advances to Caesar. 
 15 Bru. What said Popilius Lena? 
 
 Gas. He wished to-day our enterprise might 
 thrive. 
 I fear our purpose is discovered. 
 Bru. Look, how he makes to Caesar : mark him. 
 Gas. Casca, be sudden, for we fear prevention. 
 30 Brutus, what shall be done? If this be 
 
 known, 
 Cassius or Caesar never shall turn back, 
 For I will slay myself. 
 Bru. Cassius, be constant: 
 
 Popilius Lena speaks not of our purposes ; 
 For, look, he smiles, and Caesar doth not 
 change. 
 35 Gas. Trebonius knows his time; for, look you, 
 Brutus, 
 He draws Mark Antony out of the way. 
 
 [Exeunt Antony and Trehonius. 
 Dec. Where is Metellus Cimber? Let him go. 
 
 And presently prefer his suit to Caesar. 
 Bru. He is addressed : press near and second him. 
 30 Gin. Casca, you are the first that rears your hand. 
 Gaes. Are we all ready? What is now amiss 
 
 That Caesar and his senate must redress? 
 Met. Most high, most mighty, and most puissant 
 Caesar, 
 Metellus Cimber throws before thy seat 
 
96 JULIUS CAESAR. [Act III. Sc. i. 
 
 An htimble heart, — [Kneeling. 
 
 Caes. I must prevent thee, Cimber. 35 
 
 These crouchings and these lowly courtesies 
 Might fire the blood of ordinary men, 
 And turn pre-ordinance and first decree 
 Into the law of children. Be not fond, 
 To think that Caesar bears such rebel blood 4o 
 That will be thaw'd from the true quality 
 With that which melteth fools ; I mean, sweet 
 
 words. 
 Low-crooked court 'sies and base spaniel -fawn- 
 ing. 
 Thy brother by decree is banished : 
 If thou dost bend and pray and fawn for 45 
 
 him, 
 I spurn thee like a cur out of my way. 
 Know, Caesar doth not wrong, nor without 
 
 cause 
 "Will he be satisfied. 
 
 Met. Is there no voice more worthy than my own. 
 To sound more sweetly in great Caesar's ear so 
 For the repealing of my banish'd brother? 
 
 Bru. I kiss thy hand, but not in flattery, Caesar ; 
 Desiring thee that Publius Cimber may 
 Have an immediate freedom of repeal. 
 
 Caes. What, Brutus ! 
 
 Cas. Pardon, Caesar; Caesar, pardon: 55 
 
 As low as to thy foot doth Cassius fall. 
 To beg enfranchisement for Publius Cimber. 
 
 Caes. I could be well mov'd, if I were as you : 
 
Act III. So. i.] JULIUS CAESAR. 97 
 
 If I could pray to move, prayers would move 
 me: 
 60 But I am constant as the northern star, 
 
 Of whose true-fix 'd and resting qualil^ 
 There is no fellow in the firmament. 
 The skies are painted with unnumber'd 
 
 sparks, 
 They are all fire and every one doth shine ; 
 «5 But there's but one in all doth hold his place : 
 
 So in the world: 't is furnish 'd well with 
 
 men, 
 And men are flesh and blood, and apprehen- 
 sive; 
 Yet in the number I do know but one 
 That unassailable holds on his rank, 
 70 TJnshak'd of motion: and that I am he, 
 
 Let me a little show it, even in this ; 
 That I was constant Cimber should be 
 
 banish 'd. 
 And constant do remain to keep him so. 
 Cin. Caesar, — 
 
 Caes. Hence! wilt thou lift up Olympus? 
 
 75 Dec. Great Caesar, — 
 
 Caes. Doth not Brutus bootless kneel? 
 
 Casca. Speak, hands, for me! 
 
 \_Casca first, then the other Conspirators and 
 Marcus Brutus stal Caesar. 
 Caes. EttUyBrute! Then fall, Caesar! [Dies. 
 Cin, Liberty ! Freedom ! Tyranny is dead ! 
 Run hence, proclaim, cry it about the streets. 
 
98 JULIUS CAESAR. [Act III. So. i. 
 
 Oas. Some to the common pulpits, and cry out so 
 
 *' Liberty, freedom, and enfranchisement!" 
 Bru. People and senators, be not affrighted; 
 
 Fly not ; stand still : ambition's debt is paid. 
 Casca. Go to the pulpit, Brutus. 
 Dec. And Cassius too. 
 
 Bru. Where's Publius? 85 
 
 Cin. Here, quite confounded with this mutiny. 
 Met. Stand fast together, lest some friend of 
 Caesar's 
 
 Should chance — 
 Bru. Talk not of standing. Publius, good cheer; 
 
 There is no harm intended to your person, 90 
 
 Nor to no Roman else : so tell them, Publius. 
 Gas. And leave us, Publius ; lest that the people. 
 
 Rushing on us, should do your age some mis- 
 chief. 
 Bru. Do so : and let no man abide this deed. 
 
 But we the doers. 
 
 Re-enter Trehonius. 
 Gas. Where is Antony? 95 
 
 Treh. Fled to his house amaz'd: 
 
 Men, wives and children stare, cry out and 
 run 
 
 As it were doomsday. 
 Bru. Fates, we will know your pleasures: 
 
 That we shall die, we know; 't is but the 
 time 
 
 And drawing days out, that men stand upon. 100 
 Gas. Why, he that cuts off twenty years of life 
 
Act III. Sc. i.] JULIUS CAESAR. 99 
 
 Outs off so many years of fearing death. 
 Bru. Grant that, and then is death a benefit : 
 So are we Caesar's friends, that have abridged 
 105 His time of fearing death. Stoop, Romans, 
 
 stoop. 
 And let us bathe our hands in Caesar's blood 
 Up to the elbows, and besmear our swords : 
 Then walk we forth, even to the market- 
 place. 
 And, waving our red weapons o'er our heads, 
 110 Let's all cry "Peace, freedom and liberty!" 
 
 Gas. Stoop, then, and wash. How many ages 
 hence 
 Shall this our lofty scene be acted over 
 In states unborn and accents yet unknown ! 
 Bru. How many times shall Caesar bleed in 
 sport, 
 115 That now on Pompey's basis lies along 
 
 •^ No worthier than the dust ! 
 
 Gas, So oft as that shall be, 
 
 So often shall the knot of us be call'd 
 The men that gave their country liberty. 
 Dec. What, shall we forth? 
 Gas. Ay, every man away: 
 
 130 Brutus shall lead ; and we will grace his heels 
 
 With the most boldest and best hearts of 
 
 Rome. 
 
 Enter a Servant. 
 
 Bru. Soft! who comes here? A friend of An- 
 tony's. L.ofC. 
 
100 JULIUS CAESAR. [Act III. Sc. i. 
 
 Serv. Thus, Brutus, did my master bid me kneel ; 
 Thus did Mark Antony bid me fall down ; 
 And, being prostrate, thus he bade me say : 125 
 Brutus is noble, wise, valiant, and honest ; 
 Caesar was mighty, bold, royal, and loving ; 
 Say I love Brutus, and I honour him ; 
 Say I fear'd Caesar, honour'd him, and lov'd 
 
 him. 
 If Brutus will vouchsafe that Antony i30 
 
 May safely come to him, and be resolv'd 
 How Caesar hath deserv'd to lie in death, 
 Mark Antony shall not love Caesar dead 
 So well as Brutus living; but will follow 
 The fortunes and affairs of noble Brutus 135 
 
 Thorough the hazards of this untrod state 
 With all true faith. So says my master 
 Antony. 
 
 Bru, Thy master is a wise and valiant Eoman ; 
 I never thought him worse. 
 Tell him, so please him come unto this place, i40 
 He shall be satisfied ; and, by my honour. 
 Depart untouch 'd. 
 
 Serv. I'll fetch him presently. YExit 
 
 Bru. I know that we shall have him well to 
 friend. 
 
 Cas. I wish we may : but yet have I a mind 
 
 That fears him much ; and my misgiving still 145 
 Falls shrewdly to the purpose. 
 
 Bru. But here comes Antony. 
 
 Re-enter Antony. 
 
Act III. Sc. i.] JULIUS CAESAR. 101 
 
 Welcome, Mark Antony. 
 Ant. mighty Caesar ! dost thou lie so low? 
 Are all thy conquests, glories, triumphs, 
 spoils, 
 150 Shrunk to this little measure? Fare thee 
 
 well. 
 I know not, gentlemen, what you intend. 
 Who else must be let blood, who else is rank : 
 If I myself, there is no hour so fit 
 As Caesar's death hour, nor no instrument 
 155 Of half that worth as those your swords, 
 
 made rich 
 With the most noble blood of all this world. 
 I do beseech ye, if you bear me hard, 
 Now, whilst your purpled hands do reek and 
 
 smoke, 
 Eulfil your pleasure. Live a thousand years, 
 160 I shall not find myself so apt to die : 
 
 No place will please me so, no mean of death, 
 As here by Caesar, and by you cut ofi. 
 The choice and master spirits of this age, 
 Bric. Antony, beg not your death of us. 
 165 Though now we must appear bloody and cruel, 
 
 As, by our hands and this our present act. 
 You see we do, yet see you but our hands 
 And this the bleeding business they have 
 
 done: 
 Our hearts you see not; they are pitiful; 
 170 And pity to the general wrong of Kome — 
 
 As fire drives out fire, so pity pity — 
 
102 JULIUS CAESAR. [Act III. Sc. i. 
 
 Hath done this deed on Caesar. For your 
 
 part, 
 To yon our swords have leaden points, Mark 
 
 Antony : 
 Our arms, in strength of malice, and our 
 
 hearts 
 Of brothers' temper, do receive you in 175 
 
 "With all kind love, good thoughts, and 
 
 reverence. 
 Cas. Your voice shall he as strong as any man's 
 
 In the disposing of new dignities. 
 Bru. Only he patient till we have appeas'd 
 
 The multitude, beside themselves with fear, iso 
 And then we will deliver you the cause, 
 Why I, that did love Caesar when I struck 
 
 him. 
 Have thus proceeded. 
 Ant. I doubt not of your wisdom. 
 
 Let each man render me his bloody hand : 
 First, Marcus Brutus, will IJshake with you ; 185 
 Next, Caius Cassius, do I take your hand ; 
 Now, Decius Brutus, yours; now yours, 
 
 Metellus ; 
 Yours, Cinna ; and, my valiant Oasca, yours ; 
 Though last, not least in love, yours, good 
 
 Trebonius. 
 Gentlemen all, — alas, what shall I say? i9o 
 
 My credit now stands on such slippery 
 
 ground, 
 That one of two bad ways you must conceit me. 
 
Act III. Sc. i.] JULIUS CAESAR. 103 
 
 Either a coward or a flatterer. 
 That I did love thee, Caesar, 0, 'tis true: 
 195 If then thy spirit look upon us now. 
 
 Shall it not grieve thee dearer than thy death, 
 To see thy Antony making his peace. 
 Shaking the bloody fingers of thy foes, 
 Most noble ! in the presence of thy corse? 
 200 Had I as many eyes as thou hast wounds, 
 
 Weeping as fast as they stream forth thy 
 
 blood, 
 It would become me better than to close 
 In terms of friendship with thine enemies. 
 Pardon me, Julius! Here wast thou bay 'd, 
 brave hart; 
 205 Here didst thou fall ; and here thy hunters 
 
 stand, 
 Sign'd in thy spoil, and crimson'd in thy 
 
 lethe. 
 world, thou wast the forest to this hart; 
 And this, indeed, world, the heart of thee. 
 How like a deer, strucken by many princes, 
 210 Dost thou here lie ! 
 
 Cas, Mark Antony, — 
 
 Ant. Pardon me, Caius Cassius : 
 
 The enemies of Caesar shall say this; 
 Then, in a friend, it is cold modesty. 
 Cas. I blame you not for praising Caesar so ; 
 215 But what compact mean you to have with us? 
 
 Will you be prick'd in number of our friends; 
 Or shall we on, and not depend on you? 
 
104 JULIUS CAESAR. [Act III. Sc. i. 
 
 Ant, Therefore I took your hands, but was, 
 indeed, 
 Sway'd from the point, by looking down on 
 
 Caesar. 
 Friends am I with you all and love you all, 220 
 Upon this hope, that you shall give me 
 
 reasons 
 Why and wherein Caesar was dangerous. 
 
 Bru. Or else were this a savage spectacle : 
 Our reasons are so full of good regard 
 That were you, Antony, the son of Caesar, 225 
 You should be satisfied. 
 
 Ant. That's all I seek: 
 
 And am moreover suitor that I may 
 Produce his body to the market-place ; 
 And in the pulpit, as becomes a friend, 
 Speak in the order of his funeral. 230 
 
 Bru. You shall, Mark Antony. 
 
 Cas. Brutus, a word with you. 
 
 [Aside to Bru. 'I You know not what you do: 
 
 do not consent 
 That Antony speak in his funeral : 
 Know you how much the people may be mov'd 
 By that which he will utter? 
 
 Bru. By your pardon : 235 
 
 I will myself into the pulpit first. 
 And show the reason of our Caesar's death : 
 What Antony shall speak, I will protest 
 He speaks by leave and by permission, 
 And that we are contented Caesar shall 340 
 
Act III. Sc. i.] JULIUS CAESAR. 105 
 
 Have all true rites and lawful ceremonies. 
 It shall advantage more than do us wrong. 
 Cas. I know not what may fall ; I like it not. 
 Bru. Mark Antony, here, take you Caesar's body. 
 345 You shall not in your funeral speech blame 
 us, 
 But speak all good you can devise of Caesar, 
 And say you do't by our permission; 
 Else shall you not have any hand at all 
 About his funeral : and you shall speak 
 350 In the same pulpit whereto I am going. 
 After my speech is ended. 
 Ant. Be it so; 
 
 I do desire no more. 
 Bru. Prepare the body then, and follow us. 
 
 [Exeunt all but Antony. 
 Ant. 0, pardon me, thou bleeding piece of earth, 
 255 That I am meek and gentle with these 
 butchers ! 
 Thou art the ruins of the noblest man 
 That ever lived in the tide of times. 
 "Woe to the hand that shed this costly blood ! 
 Over thy wounds now do I prophesy, — 
 360 Which, like dumb mouths, do ope their ruby 
 lips. 
 To beg the voice and utterance of my 
 
 tongue — 
 A curse shall light upon the limbs of men ; 
 Domestic fury and fierce civil strife 
 Shall cumber all the parts of Italy ; 
 
106 JULIUS CAESAR. [Act III. Sc. i. 
 
 Blood and destruction shall be so in use 266 
 
 And dreadful objects so familiar 
 
 That mothers shall but smile when they 
 
 behold 
 Their infants quarter'd with the hands of 
 
 war; 
 
 All pity chok'd with*custom of fell deeds : 
 And Caesar's spirit, ranging for revenge, 27o 
 "With Ate by his side come hot from hell. 
 Shall in these confines with a monarch's voice 
 Cry "Havoc," and let slip the dogs of war; 
 That this foul deed shall smell above the 
 
 earth 
 "With carrion men, groaning for burial. 275 
 
 Enter a Servant, 
 You serve Octavius Caesar, do you not? 
 
 8erv. I do, Mark Antony. 
 
 A7it. Caesar did write for him to come to Kome. 
 
 Serv. He did receive his letters, and is coming ; 
 
 And bid me say to you by word of mouth — 280 
 Caesar! — [Seeing the hody. 
 
 Ant, Thy heart is big, get thee apart and weep. 
 Passion, I see, is catching; for mine eyes. 
 Seeing those beads of sorrow stand in thine. 
 Began to water. Is thy master coming? gss 
 
 Serv, He lies to-night within seven leagues of 
 Eome. 
 
 Ant, Post back with speed and tell him what hath 
 chanc'd: 
 Here is a mourning Kome, a dangerous Rome, 
 
Act III. Sc. ii.] JULIUS CAESAR. 107 
 
 No Rome of safety for Octavius yet ; 
 290 Hie hence, and tell him so. Yet, stay awhile ; 
 
 Thou shalt not back till I have borne this 
 corse 
 
 Into the market-place : there shall I try. 
 
 In my oration, how the people take 
 
 The cruel issue of these bloody men ; 
 295 According to the which, thou shalt discourse 
 
 To young Octavius of the state of things. 
 
 Lend me your hand. 
 
 [Exeunt with Oaesar''s body. 
 
 Scene II. 
 
 The Forum, 
 Enter Brutus and Cassius, and a throng of 
 Citizens. 
 Citizens. We will be satisfied; let~us be satisfied. 
 Bru. Then follow me, and give me audience, 
 friends. 
 Cassius, go you into the other street, 
 And part the numbers. 
 5 Those that will hear me speak, let 'em stay 
 
 here; 
 Those that will follow Cassius, go with him ; 
 And public reasons shall be rendered 
 Of Caesar's death. 
 First at. I will hear Brutus speak. 
 10 Sec. at. I will hear Cassius ; and compare their 
 reasons. 
 
108 JULIUS CAESAR. [Act III. So. ii. 
 
 When severally we hear them rendered. 
 \^Exit Cassius, with some of the Citizens, 
 Brutus goes into the pulpit. 
 
 Third Cit. The noble Brutus is ascended : silence I 
 
 Bru. Be patient till the last. 
 
 Romans, countrymen, and lovers! hear me 
 for my cause, and be silent, that you may is 
 hear : believe me for mine honour, and have 
 respect to mine honour, that you may be- 
 lieve : censure me in your wisdom, and awake 
 your senses, that you may the better judge. 
 If there be any in this assembly, any dear 20 
 friend of Caesar's, to him I say, that Brutus' 
 love to Caesar was no less than his. If then 
 that friend demand why Brutus rose against 
 Caesar, this is my answer r—ISTot that I lov'd 
 Caesar less, but that I lov'd Eome more^; 25 
 Had you rather Caesar were living and die 
 all slaves, than that Caesar were dead, to 
 live all free men? As Caesar lov'd me, I 
 weep for him ; as he was fortunate, I rejoice 
 at it ; as he was valiant, I honour him : but, 30 
 as he was ambitious, I slew him. There is 
 tears for his love; joy for his fortune; hon- 
 our for his valour; and death for his ambi- 
 tion. Who is here so base that would be a 
 bondman? If any, speak; for him have I 35 
 offended. Who is here so rude that would 
 not be a Roman? If any, speak; for him 
 have I oSended. Who is here so vile that 
 
Act hi. Sc. ii.] JULIUS CAESAR. 109 
 
 will not love his country? If any, speak ; for 
 40 him have I offended. I pause for a reply. 
 
 All. None, Brutus, none. 
 
 Bru. Then none have I offended. I have done 
 no more to Caesar than you shall do to 
 Brutus. The question of his death is en- 
 45 roll'd in the Capitol; his glory not exten- 
 
 uated, wherein he was worthy, nor his 
 offences enforced, for which he suffered 
 death. 
 
 Enter Antony and others^ with Caesar'' s tody. 
 Here comes his body, mourn'd by Mark An- 
 50 tony : who, though he had no hand in his 
 
 death, shall receive the benefit of his dying, 
 a place in the commonwealth ; as which of 
 you shall not? With this I depart, — that, 
 as I slew my best lover for the good of Eome, 
 55 I have the same dagger for myself, when it 
 
 shall please my country to need my death. 
 All. Live, Brutus! live, live! 
 First Git. Bring him with triumph home unto his 
 
 house. 
 Sec. Git. Give him a statue with his ancestors. 
 60 Third Git. Let him be Caesar. 
 
 Fourth Git. Caesar's better parts 
 
 Shall be crown'd in Brutus. 
 First Git, We'll bring him to his house 
 
 With shouts and clamours. 
 Bru. My countrymen, — 
 
 8ec. Git. Peace, silence! Brutus speaks. 
 
110 JULIUS CAESAR. [Act III. Sc. ii. 
 
 First at. Peace, ho! 
 
 Bru. Good countrymen, let me depart alone, 
 
 And, for my sake, stay here with Antony: 65 
 
 Do grace to Caesar's corpse, and grace his 
 speech 
 
 Tending to Caesar's glories; which Mark 
 Antony, 
 
 By our permission, is allow'd to make. 
 
 I do entreat you, not a man depart 
 
 Save I alone, till Antony have spoke. [Exit, to 
 First at. Stay, ho ! and let us hear Mark Antony. 
 Third at. Let him go up into the public chair ; 
 
 We'll hear him. Noble Antony, go up. 
 Ant. For Brutus' sake, I am beholding to you. 
 
 [Goes into the pulpit. 
 Fourth at. What does he say of Brutus? 
 Third at. He says, for Brutus' sake, 75 
 
 He finds himself beholding to us all. 
 Fourth at. 'T were best he speak no harm of 
 
 Brutus here. 
 First at. This Caesar was a tyrant. 
 Third at. Nay, that's certain: 
 
 We are blest that Eome is rid of him. 
 Sec. at. Peace ! let us hear what Antony can say. 80 
 Ant, You gentle Komans, — 
 Citizens. Peace, ho ! let us hear him. 
 
 Ant. Friends, Romans, countrymen, lend me 
 v' your ears ; 
 
 I come to bury Caesar, not to praise him. 
 
 The evil that men do lives after them; 
 
Act III. Sc. ii] JULIUS CAESAR. Ill 
 
 85 The good is oft interred with their bones ; 
 
 So let it be with Caesar. The noble Brutus 
 
 Hath told you Caesar was ambitious : 
 
 If it were so, it was a grievous fault, 
 
 And grievously hath Caesar answer'd it. 
 90 Here, under leave of Brutus and the rest — 
 
 For Brutus is an honourable man; 
 
 So are they all, all honourable men — 
 
 Come I to speak in Caesar's funeral. 
 
 He was my friend, faithful and just to me : 
 95 But Brutus says he was ambitious ; 
 
 And Brutus is an honourable man. 
 
 He hath brought many captives home to 
 Kome, 
 
 Whose ransoms did the general coffers fill ; 
 
 Did this in Caesar seem ambitious? 
 100 When that the poor have cried, Caesar hath 
 
 wept: 
 
 Ambition should be made of sterner stuff : 
 
 Yet Brutus says he was ambitious ; 
 
 And Brutus is an honourable man. 
 
 You all did see that on the Lupercal 
 105 I thrice presented him a kingly crown. 
 
 Which he did thrice refuse : was this ambition? 
 
 Yet Brutus says he was ambitious ; 
 
 And, sure, he is an honourable man. 
 
 I speak not to disprove what Brutus spoke, 
 no But here I am to speak what I do know. 
 
 You all did love him once, not without 
 cause • 
 
112 JULIUS CAESAR. [Act III. Sc. ii. 
 
 What cause withholds you then, to mourn for 
 him? 
 
 judgement ! thou art fled to brutish beasts, 
 And men have lost their reason. Bear with 
 
 me; 
 My heart is in the coffin there with Caesar, lis 
 ^ And I must pause till it come back to me. 
 First at. Methinks there is much reason in his 
 
 sayings. 
 8ec. at. If thou consider rightly of the matter, 
 
 Caesar has had great wrong. 
 Tliird at. Has he, masters? 
 
 1 fear there will a worse come in his place. lao 
 Fourth Git. Mark'd ye his words? He would not 
 
 take the crown ; 
 Therefore 't is certain he was not ambitious. 
 First at. If it be found so, some will dear abide it. 
 8ec. at. Poor soul ! his eyes are red as fire with 
 
 weeping. 
 Third Cit. There's not a nobler man in Rome 
 
 than Antony. 125 
 
 Fourth at. Now mark him, he begins again to 
 
 speak. 
 Ant. But yesterday the word of Caesar might 
 Have stood against the world; now lies he 
 
 there, 
 And none so poor to do him reverence. 
 
 masters, if I were dispos'd to stir iso 
 Your hearts and minds to mutiny and rage, 
 
 1 should do Brutus wrong, and Cassius wrong, 
 
Act ni. Sc. ii.] JULIUS CAESAR. 113 
 
 Who, you all know, are honourable men : 
 I will not do them wrong ; I rather choose 
 185 To wrong the dead, to wrong myself and you, 
 
 Than I will wrong such honourable men. 
 But here's a parchment with the seal of Cae- 
 sar; 
 I found it in his closet, 't is his will : 
 Let but the commons hear this testament — 
 140 Which, pardon me, I do not mean to read — 
 
 And they would go and kiss dead Caesar's 
 
 wounds 
 And dip their napkins in his sacred blood, 
 Yea, beg a hair of him for memory. 
 And, dying, mention it within their wills, 
 145 Bequeathing it as a rich legacy 
 
 V Unto their issue. 
 Fourth at. We'll hear the will: read it, Mark 
 
 Antony. 
 
 All. The will, the will ! we will hear Caesar's will. 
 
 Ant. Have patience, gentle friends, I must not 
 
 read it; 
 
 150 It is not meet you know how Caesar lov'd you. 
 
 You are not wood, you are not stones, but 
 
 men; 
 And, being men, hearing the will of Caesar, 
 It will inflame you, it will make you mad : 
 'T is good you know not that you are his heirs ; 
 155 For, if you should, 0, what would come of it! 
 
 Fourth at. Eead the will; we'll hear it, Antony; 
 You shall read us the will, Caesar's will. 
 
114 JULIUS CAESAR. [Act III. Sc. ii. 
 
 Ant. Will you be patient? will you stay awhile? 
 I have o'er shot myself to tell you of it: 
 I fear I wrong the honourable men leo 
 
 Whose daggers have stabb'd Caesar ; I do fear 
 it. 
 
 Fourth Git. They were traitors : honourable men ! 
 
 All. The will! the testament ! 
 
 Sec. at. They were villains, murderers ; the will! 
 read the will. les 
 
 Ant. You will compel me, then, to read the will? 
 Then make a ring about the corpse of Caesar, 
 And let me show you him that made the will. 
 Shall I descend? and will you give me leave? 
 
 Several Git. Come down. vm 
 
 Sec. Git. Descend. 
 
 Third Git. You shall have leave. 
 
 [Antony comes down from the pulpit. 
 
 Fourth Git. A ring; stand round. 
 
 First Git. Stand from the hearse, stand from the 
 body. 
 
 Sec. Git. Eoom for Antony, most noble Antony. 175 
 
 Ant. Nay, press not so upon me; stand far off. 
 
 Several Git. Stand back ; room ; bear back ! 
 
 Ant. If you have tears, prepare to shed them now. 
 You all do know this mantle : I remember 
 The first time ever Caesar put it on ; 180 
 
 'T was on a summer's evening, in his tent, 
 That day he overcame the Nervii : 
 Look, in this place ran Cassius' dagger 
 through : 
 
Act III. Sc. ii.] JULIUS CAESAR 115 
 
 See what a rent the envious Casca made : 
 185 Through this the well-beloved Brutus stabb'd ; 
 
 And as he pluck'd his cursed steel away, 
 Mark how the blood of Caesar foUow'd it, 
 As rushing out of doors, to be resolved 
 If Brutus so unkindly knock'd, or no ; 
 190 For Brutus, as you know, was Caesar's angel: 
 
 Judge, you gods, how dearly Caesar lov'd 
 
 him! 
 This was the most unkindest cut of all ; 
 For when the noble Caesar saw him stab, 
 Ingratitude, more strong that traitors' arms, 
 195 Quite vanquish 'd him: then burst his mighty 
 
 heart ; 
 And, in his mantle muffling up his face, 
 Even at the base of Pompey's statue. 
 Which all the while ran blood, great Caesar 
 
 fell. 
 0, what a fall was there, my countrymen! 
 200 Then I, and you, and all of us fell down, 
 
 Whilst bloody treason flourish 'd over us. 
 0, now you weep; and, I perceive, you feel 
 The dint of pity : these are gracious drops. 
 Kind souls, what, weep you when you but 
 behold 
 205 Our Caesar's vesture wounded? Look you 
 
 here, {^Lifting Caesar'' s mantle, 
 
 \ Here is himself, marr'd, as you see, with 
 traitors. 
 First at, piteous spectacle! 
 
116 JULIUS CAESAR. [Act III. Sc. ii. 
 
 Sec, at, noble Caesar! > 
 
 Third Cit. woful day! 
 
 Fourth Git. traitors, villains! 210 
 
 First Git. most bloody sight! 
 
 8ec. Git. We will be reveng'd. 
 
 All. Kevenge! About! Seek! Bum! Eire! Kill! 
 Slay! 
 Let not a traitor live ! 
 
 Ant. Stay, countrymen. 
 
 First Git. Peace there ! hear the noble Antony. 215 
 
 Sec. Git. We'll hear him, we'll follow him, we'll 
 die with him. 
 
 Ant. 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 : 220 
 What private griefs they have, alas, I know not, 
 That made them do it: they are wise and 
 
 honourable, 
 And will, no doubt, with reasons answer you. 
 I come not, friends, to steal away your hearts : 
 I am no orator, as Brutus is ; 225 
 
 But, as you know me all, a plain blunt man. 
 That love my friend; and that they know 
 
 full well 
 That gave me public leave to speak of him : 
 For I have neither wit, nor words, nor 
 
 worth, 
 Action, nor utterance, nor the power of 230 
 speech, 
 
Act III. So. ii.] JULIUS CAESAR. 117 
 
 To stir men's blood: I only speak right on; 
 I tell you that which you yourselres do 
 
 know ; 
 Show you sweet Caesar's wounds, poor, poor, 
 
 dumb mouths, 
 And bid them speak for me: but were I 
 Brutus, 
 235 And Brutus" Antony, there were an Antony 
 
 Would ruffle up your spirits and put a tongue 
 In every wound of Caesar that should move 
 ^ The stones of Kome to rise and mutiny. 
 All. We'll mutiny. 
 240 First Git. We'll burn the house of Brutus. 
 
 Third Cit. Away, then! come, seek the conspir- 
 ators. 
 Ant. Yet hear me, countrymen; yet hear me 
 
 speak. 
 All. Peace, ho! Hear Antony. Most noble 
 
 Antony ! 
 Ant. Why, friends, you go to do you know not 
 what : 
 245 Wherein hath Caesar thus deserv'd your 
 
 loves? 
 Alas, you know not : I must tell you, then : 
 You have forgot the will I told you of. 
 All, Most true. The will! Let's stay and hear 
 
 the will. 
 Ant. Here is the will, and under Caesar's seal. 
 350 To every Roman citizen he gives. 
 
 To every several man, seventy-five drachmas. 
 
 \y 
 
118 JULIUS CAESAR. [Act III. Sc. ii. 
 
 Sec. at. Most noble Caesar! We'll revenge his 
 death. 
 
 Third Cit. royal Caesar! 
 
 Ant. Hear me with patience. 
 
 All. Peace, ho! 355 
 
 Ant. Moreover, he hath left you all his walks, 
 His private arbours and new-planted orchards. 
 On this side Tiber; he hath left them you, 
 And to your heirs forever, common pleasures. 
 To walk abroad, and recreate yourselves. 260 
 
 Here was a Caesar ! when comes such another? ; 
 
 First Cit. Never, never. Come, away, away ! 
 We'll burn his body in the holy place, 
 And with the brands fire the traitors' houses. 
 Take up the body. 265 
 
 Sec. Cit. Go fetch fire. 
 
 Third Cit. Pluck down benches. 
 
 Fourth Cit. Pluck down forms, windows, any 
 thing. [Exeunt Citizens with the lody. 
 
 Ant. Now let it work. Mischief, thou art afoot, 
 
 Take thou what course thou wilt ! ^ 
 
 Enter a servant. 
 
 How now, fellow ! sto 
 
 Serv. Sir, Octavius'is already come to Eome. 
 
 Ant. Where is he? 
 
 Serv. He and Lepidus are at Caesar's house. 
 
 Ant. And thither will I straight to visit him : 
 
 He comes upon a wish. Fortune is merry, 275 
 And in this mood will give us any thing. 
 
 Serv. I heard him say, Brutus and Cassius 
 
Act hi. Sc. iii.] JULIUS CAESAR. 119 
 
 Are rid like madmen through the gates of 
 Eome. 
 Ant. Belike they had some notice of the people, 
 280 How I had mov'd them. Bring me to Oc- 
 
 tavius. \^Exeunt. 
 
 Scene III. 
 
 A street. 
 
 Enter Cinna the poet. 
 
 Gin. I dreamt to-night that I did feast with 
 Caesar, 
 And things unluckily charge my fantasy : 
 I have no will to wander forth of doors, 
 Yet something leads me forth. 
 
 Enter Citizens. 
 
 5 First Git. What is your name? 
 
 Sec. Git. Whither are you going? 
 
 Third Git. Where do you dwell? 
 
 Fourth Git. Are you a married man or a bach- 
 elor? 
 
 Sec. Git. Answer every man directly. 
 10 First Git. Ay, and briefly. 
 
 Fourth Git. Ay, and wisely. 
 
 Third Git. Aj, and truly, you were best. 
 
 Gin. What is my name? Whither am I going? 
 
 Where do I dwell? Am I a married man or a 
 
 15 bachelor? Then, to answer every man 
 
120 JULIUS CAESAR. [Ac?r III. Sc. iii. 
 
 directly and briefly, wisely and truly : wisely 
 
 I say, I am a bachelor. 
 Sec. at. That's as much as to say, they are fools 
 
 that marry: you'll bear me a bang for that, 
 
 I fear. Proceed ; directly. 20 
 
 Cin. Directly, I am going to Caesar's funeral. 
 First at. As a friend or an enemy? 
 an. As a friend. 
 
 8ec. at. That matter is answered directly. 
 Fourth at. For your dwelling, — briefly. 25 
 
 an. Briefly, I dwell by the Capitol. 
 Third at. Your name, sir, truly. 
 an. Truly, my name is Cinna. 
 First at. Tear him to pieces; he's a conspirator. 
 an. I am Cinna the poet, I am Cinna the poet. 30 
 Fourth at. Tear him for his bad verses, tear him 
 
 for his bad verses. 
 an. I am not Cinna the conspirator. 
 Fourth at. It is no matter, his name's Cinna; 
 
 pluck but his name out of his heart, and turn 35 
 
 him going. 
 Third at. Tear him, tear him! Come, brands, 
 
 ho! fire-brands: to Brutus', to Cassius'; 
 
 burn all: some to Decius' house, and some 
 
 to Casca's; some to Ligarius': away, go! 40 
 
 [Exeunt. 
 
ACT FOURTH. 
 
 Scene I. 
 
 A house in Rome. 
 
 Antony^ OctaviuSy and Lepidus^ seated at a table. 
 
 Ant. These many, then, shall die; their names 
 
 are prick 'd. 
 Oct. Your brother too must die; consent you, 
 
 Lepidus? 
 Lep. I do consent, — 
 
 Oct. Prick him down, Antony. 
 
 Lep. Upon condition Publius shall not liye, 
 5 Who is your sister's son, Mark Antony. 
 
 Ant. He shall not live ; look, with a spot I damn 
 him. 
 But, Lepidus, go you to Caesar's house; 
 Fetch the will hither, and we shall determine 
 How to cut off some charge in legacies. 
 10 Lep. What, shall I find you here? 
 Oct. Or here, or at the Capitol. 
 
 [Exit Lepidus, 
 Ant. This is a slight unmeritable man. 
 Meet to be sent on errands : is it fit. 
 The three-fold world divided, he should stand 
 15 One of the three to share it? 
 
 Oct. So you thought him; 
 
 121 
 
122 JULIUS CAESAR. [Act IV. Sc. i. 
 
 And took his voice who should be prick 'd to 
 
 die, 
 In our black sentence and proscription. 
 Ant. Octavius, I have seen more days than you: 
 And though we lay these honours on this 
 
 man, 
 To ease ourselves of divers sland'rous loads, 20 
 He shall but bear them as the ass bears gold, 
 To groan and sweat under the business, 
 Either led or driven, as we point the way; 
 And having brought our treasure where we 
 
 will. 
 Then take we down his load, and turn him 25 
 
 off. 
 Like to the empty ass, to shake his ears, 
 And graze in commons. 
 Oct. You may do your will ; 
 
 But he's a tried and valiant soldier. 
 Ant. So is my horse, Octavius ; and for that 
 
 I do appoint him store of provender : 30 
 
 It is a creature that I teach to fight. 
 
 To wind, to stop, to run directly on. 
 
 His corporal motion govern 'd by my spirit. 
 
 And, in some taste, is Lepidus but so ; 
 
 He must be taught and train'd and bid go 85 
 
 forth ; 
 A barren-spirited fellow ; one that feeds 
 On abjects, orts and imitations, 
 Which, out of use and staled by other men, 
 Begin his fashion : do not talk of him, 
 
Act IV. Sc. ii.] JULIUS CAESAR. 123 
 
 40 But as a property. And now, Octavius, 
 
 Listen great things : — Brutus and Oassius 
 Are levying powers : we must straight make 
 
 head: 
 Therefore let our alliance be combin'd, 
 Our best friends made, our means stretch'd; 
 45 And let us presently go sit in council, 
 
 How covert matters may be best disclosed, 
 And open perils surest answered. 
 Oct. Let us do so : for we are at the stake, 
 And bay'd about with many enemies; 
 50 And some that smile have in their hearts, I 
 
 fear, 
 Millions of mischiefs. {^Exeunt. 
 
 Scene II. 
 
 Camp near Sardis. Before Brutus'' s tent. 
 
 Drum. Enter Brutus, Lucilius, Lucius, and 
 Soldiers J Titinius and Pindarus meeting 
 them,. 
 
 Bru. Stand, ho! 
 
 Lucil. Give the word, ho ! and stand. 
 Bru. What now, Lucilius! is Cassius near? 
 Lucil. He is at hand; and Pindarus is come 
 5 To do you salutation from his master. 
 
 Bru. He greets me well. Your master, Pin- 
 darus, 
 In his own change, or by ill officers, 
 
124 JULIUS CAESAR. [Act IV. Sc. ii. 
 
 Hath given me some worthy cause to wish 
 
 Things done, undone : but, if he be at hand, 
 
 I shall be satisfied. 
 Pin. I do not doubt lo 
 
 But that my noble master will appear 
 
 Such as he is, full of regard and honour. 
 Bru. He is not doubted. A word, Lucilius, 
 
 How he received you : let me be resolved. 
 Lucil. With courtesy and with respect enough ; is 
 
 But not with such familiar instances, 
 
 Nor with such free and friendly conference. 
 
 As he hath used of old. 
 Bru, Thou hast described 
 
 A hot friend cooling : ever note, Lucilius, 
 
 "When love begins to sicken and decay, so 
 
 It useth an enforced ceremony. 
 
 There are no tricks in plain and simple faith ; 
 
 But hollow men, like horses hot at hand, 
 
 Make gallant show and promise of their 
 mettle : 
 
 But when they should endure the bloody spur, 25 
 
 They fall their crests, and, like deceitful 
 jades. 
 
 Sink in the trial. Comes his army on? 
 LuciL They mean this night in Sardis to be 
 quarter 'd; 
 
 The greater part, the horse in general. 
 
 Are come with Cassius. 
 Bru. Hark ! he is arriv'd. so 
 
 [Low march within* 
 
Act IV. Sc. ii.] JULIUS CAESAR. 125 
 
 March gently on to meet him. 
 
 Enter Cassius and his powers. 
 Cas. Stand, ho! 
 
 Bru. Stand, ho ! Speak the word along. 
 First Sol Stand! 
 85 Sec. Sol. Stand! 
 Third Sol Stand! 
 
 Cas. Most noble brother, you have done me wrong. 
 Bru. Judge me, you gods ! wrong I mine enemies? 
 And, if not so, how should I wrong a brother? 
 40 Cas. Brutus, this sober form of yours hides 
 wrongs ; 
 And when you do them — 
 Bru. Cassius, be content; 
 
 Speak your griefs softly : I do know you well. 
 Before the eyes of both our armies here, 
 Which should perceive nothing but love from 
 us, 
 45 Let us not wrangle : bid them move away ; 
 
 Then in my tent, Cassius, enlarge your griefs. 
 And I will give you audience. 
 Cas. Pindarus, 
 
 Bid our commanders lead their charges off 
 A little from this ground. 
 50 Bru. Lucilius, do you the like ; and let no man 
 Come to our tent till we have done our con- 
 ference. 
 Let Lucius and Titinius guard our door. 
 
 \_Bxeunt, 
 
126 JULIUS CAESAR. [Act IV. Sc. iii. 
 
 Scene III. 
 Brutus^ s tent. 
 
 Enter Brutus and Gassius. 
 
 Cas. That you have wrong'd me doth appear in 
 this: 
 You have condemn' d and noted Lucius Pella 
 For taking bribes here of the Sardians ; 
 Wherein my letters, praying on his side 
 Because I knew the man, were slighted off. 5 
 Bru. You wrong'd yourself to write in such a 
 
 case. 
 Cas. In such a time as this it is not meet 
 
 That every nice offence should bear his com- 
 ment. 
 Bru. Let me tell you, Cassius, you yourself 
 
 Are much condemn 'd to have an itching lo 
 
 palm ; 
 To sell and mart your offices for gold 
 To undeservers. 
 Cas. I an itching palm ! 
 
 You know that you are Brutus that speaks 
 
 this, 
 Or, by the gods, this speech were else your 
 last. 
 Bru. The name of Cassius honours this corrup- 15 
 tion. 
 And chastisement doth therefore hide his 
 head. 
 
Act IV. Sc. iii.] JULIUS CAESAR. 127 
 
 Cas. Chastisement! 
 
 Bru. Eemember March, the ides of March re- 
 member : 
 Did not great Julius bleed for justice' sake? 
 20 What villain touch 'd his body, that did stab, 
 
 And not for justice? What, shall one of us. 
 That struck the foremost man of all this world 
 But for supporting robbers, shall we now 
 Contaminate our fingers with base bribes, 
 25 And sell the mighty space of our large 
 
 honours 
 For so much trash as may be grasped thus? 
 I had rather be a dog, and bay the moon. 
 Than such a Roman. 
 Cas. Brutus, bait not me; 
 
 I'll not endure it : you forget yourself, 
 80 To hedge me in ; I am a soldier, I, 
 
 Older in practice, abler than yourself 
 To make conditions. 
 Bru. Go to ; you are not, Cassius. 
 
 Cas. I am. 
 
 Bru. I say you are not. 
 35 Cas. Urge me no more, I shall forget myself ; 
 
 Have mind upon your health, tempt me no 
 farther. 
 Bru. Away, slight man ! 
 Cas. Is 't possible? 
 
 Bru. Hear me, for I will speak. 
 
 Must I give way and room to your rash 
 choler? 
 
128 JULIUS CAESAR. [Acjt IV. Sc. iii. 
 
 Shall I be frighted when a madman stares? 40 
 Cas. ye gods, ye gods ! must I endure all this? 
 Bru. All this! ay, more: fret till your proud 
 heart break ; 
 Go show your slaves how choleric you are, 
 And make your bondmen tremble. Must I 
 
 budge? 
 Must I observe you? must I stand and crouch 45 
 Under your testy humour? By the gods, 
 You shall digest the venom of your spleen, 
 Though it do split you ; for, from this day 
 
 forth, 
 I'll use you for my mirth, yea, for my 
 
 laughter. 
 When you are waspish. 
 Cas. Is it come to this? so 
 
 Bru. You say you are a better soldier : 
 
 Let it appear so ; make your vaunting true. 
 And it shall please me well : for mine own 
 
 part, 
 I shall be glad to learn of noble men. 
 Cas. You wrong me every way; you wrong me, 55 
 Brutus ; 
 I said, an elder soldier, not a better : 
 Did I say ''better"? 
 Bru. If you did, I care not. 
 
 Cas. When Caesar liv'd, he durst not thus have 
 
 mov'd me. 
 Bru. Peace, peace ! you durst not so have tempted 
 him. 
 
Act IV. Sc. iii.] JULIUS CAESAR. 129 
 
 60 Cas. I durst not! 
 Brio, No. 
 
 Cas. What J durst not tempt him ! 
 Bru, For your life you durst not. 
 
 Cas. Do not presume too much upon my love ; 
 I may do that I shall be sorry for. 
 65 Bru. You have done that you should be sorry 
 for. 
 There is no terror, Cassius, in your threats, 
 For I am arm'd so strong in honesty 
 That they pass by me as the idle wind, 
 Which I respect not. I did send to you 
 70 For certain sums of gold, which you denied 
 
 me: 
 For I can raise no money by vile means : 
 By heaven, I had rather coin my heart, 
 And drop my blood for drachmas, than to 
 
 wring 
 From the hard hands of peasants their vile 
 trash 
 75 By any indirection : I did send 
 
 To you for gold to pay my legions, 
 
 Which you denied me: was that done like 
 
 Cassius? 
 Should I have answer 'd Caius Cassius so? 
 When Marcus Brutus grows so covetous, 
 80 To lock such rascal counters from his friends, 
 
 Be ready, gods, with all your thunderbolts; 
 Dash him to pieces ! 
 Gas. I denied you not. 
 
130 JULIUS CAESAR. [Act IV. Sc. iii. 
 
 Bru. You did. 
 
 Gas. I did not : lie was but a fool that brought 
 
 My answer back. Brutus hath riv'd my 85 
 
 heart : 
 A friend should bear his friend's infirmities, 
 But Brutus makes mine greater than they are. 
 
 Bru. I do not, till you practise them on me. 
 
 Gas. You love me not. 
 
 Bru. I do not like your faults. 
 
 Gas. A friendly eye could never see such faults. 90 
 
 Bru. A flatterer's would not, though they do 
 appear 
 As huge as high Olympus. 
 
 Gas. Come, Antony, and young Octavius, come, 
 Eevenge yourselves alone on Cassius, 
 For Cassius is aweary of the world ; 95 
 
 Hated by one he loves ; brav'd by his brother ; 
 Check 'd like a bondman; all his faults 
 
 observ'd. 
 Set in a note-book, learn'd, and conn'd by rote, 
 To cast into my teeth. 0, I could weep 
 My spirit from mine eyes! There is my 100 
 
 dagger. 
 And here my naked breast ; within, a heart 
 Dearer than Plutus' mine, richer than gold: 
 If that thou be'st a Eoman, take it forth; 
 I, that denied thee gold, will give my heart: 
 Strike, as thou didst at Caesar ; for, I know, 105 
 When thou didst hate him worst, thou 
 loved st him better 
 
Act IV. Sc. iii.] JULIUS CAESAR. 131 
 
 Than ever thou lovedst Oassius. 
 Bru, Sheathe your dagger : 
 
 Be angry when you will, it shall have scope; 
 Do what you wili-j dishonour shall be humour. 
 110 Cassius, you are yoked with a lamb 
 
 That carries anger as the flint bears fire ; 
 Who, much enforced, shows a hasty spark, 
 And straight is cold again. 
 Cas. Hath Oassius liv'd 
 
 To be but mirth and laughter to his Brutus, 
 115 When grief and blood ill-temper'd vexeth 
 
 him? 
 Brit. When I spoke that, I was ill-temper'd too. 
 Cas. Do you confess so much? Give me your 
 
 hand. 
 Bru. And my heart too. 
 Cas. Brutus! 
 
 Bru. What's the matter? 
 
 Cas. Have not you love enough to bear with me, 
 120 When that rash humour which my mother 
 
 gave me 
 Makes me forgetful? 
 Bru. Yes, Oassius ; and, from henceforth, 
 
 When you are over-earnest with your Brutus, 
 He'll think your mother .chides, and leave 
 you so. 
 Poet. [^Within.'] Let me go in to see the generals; 
 135 There is some grudge between 'em, 't is not 
 
 meet 
 They be alone. 
 
132 JULIUS CAESAR. [Act IV. Sc. iii. 
 
 Lucil. [Within,] You shall not come to them. 
 Foet, [Within.'] Nothing but death shall stay me. 
 
 Enter Poet, followed hy Lucilius, Titinius, and 
 
 Lucius. 
 Gas. How now ! what's the matter? 
 Poet. For shame, you generals! what do you i30 
 mean? 
 Love, and be friends, as two such men should 
 
 be; 
 For I have seen more years, I'm sure, than ye. 
 Cas. Ha, ha ! how vilely doth this cynic rhyme ! 
 Bru. Get you hence, sirrah ; saucy fellow, hence ! 
 Cas. Bear with him, Brutus ; 'tis his fashion. i35 
 Bru. I'll know his humour, when he knows his 
 time: 
 What should the wars do with these jigging 
 
 fools? 
 Companion, hence! 
 Cas. Away, away, be gone! 
 
 [Exit Poet. 
 Bru. Lucilius and Titinius, bid the commanders 
 
 Prepare to lodge their companies to-night. 140 
 Gas. And come yourselves, and bring Messala 
 with you 
 Immediately to us. 
 
 [Exeunt Lucilius and Titinius. 
 Bru. Lucius, a bowl of wine ! 
 
 [Exit Lucius. 
 Cas. I did not think you could have been so 
 angry. 
 
Act IV. Sc. iii.] JULIUS CAESAR. 133 
 
 Bru. Cassius, I am sick of many griefs. 
 145 Cas. Of your philosophy you make no use, 
 If you give place to accidental evils. 
 Bru. No man bears sorrow better. Portia is 
 
 dead. 
 Cas. Ha! Portia! 
 Bru. She is dead. 
 150 Cas. How 'scaped I killing when I cross'd you so? 
 insupportable and touching loss ! 
 
 Upon what sickness? 
 Bru. Impatient of my absence, 
 
 And grief that young Octavius vdth Mark 
 
 Antony 
 Have made themselves so strong : — ^f or with 
 her death 
 155 That tidings came; — with this she fell dis- 
 
 tract, 
 And, her attendants absent, swallow'd fire. 
 Cas. And died so? 
 Bru. Even so. 
 
 Cas. ye immortal gods ! 
 
 Re-enter Lucius^ with wine and taper. 
 Bru. Speak no more of her. Give me a bowl of 
 wine. 
 In this I bury all unkindness, Cassius. 
 
 \^Drin1cs. 
 
 160 Cas. My heart is thirsty for that noble pledge. 
 
 Fill, Lucius, till the wine o'erswell the cup; 
 I cannot drink too much of Brutus' love. 
 
 [^Drinhs, 
 
134 JULIUS CAESAR. [Act IV. So. iii. 
 
 Bru. Come in, Titinius ! \^Exit Lucius. 
 
 Re-enter Titinius^ with Messala. 
 Welcome, good Messala. 
 
 Now sit we close about this taper here, 165 
 
 And call in question our necessities. 
 
 Gas. Portia, art thou gone? 
 
 Bru. No more, I pray you. 
 
 Messala, I have here received letters. 
 That young Octavius and Mark Antony 
 Come down upon us with a mighty power, * 170 
 Bending their expedition toward Philippi. 
 
 Mes. Myself have letters of the self-same tenour. 
 
 Bru. "With what addition? 
 
 Mes. That by proscription and bills of outlawry, 
 
 Octavius, Antony, and Lepidus, 175 
 
 Have put to death an hundred senators. 
 
 Bru. Therein our letters do not well agree ; 
 Mine speak of seventy senators that died 
 By their proscriptions, Cicero being one. 
 
 Gas. Cicero one! ^ 
 
 Mes. Cicero is dead, I80 
 
 And by that order of proscription. 
 Had you your letters from your wife, my 
 lord? 
 
 Bru. No, Messala. 
 
 Mes. Nor nothing in your letters writ of her? 
 
 Bru. Nothing, Messala. 
 
 Mes. That, methinks, is strange. 185 
 
 Bru. Why ask you? hear you aught of her in 
 yours? 
 
Act IV. Sc. iii.] JULIUS CAESAR. 135 
 
 Mes, No, my lord. 
 
 Bru. Now, as you are a Roman, tell me true. 
 Mes. Then like a Roman bear the truth I tell : 
 190 For certain she is dead, and by strange 
 
 manner. 
 Bru. Why, farewell, Portia. We must die, 
 Messala : 
 With meditating that she must die once, 
 I have the patience to endure it now. 
 Mes. Even so great men great losses should 
 endure. 
 195 Cas. I have as much of this in art as you, 
 But yet my nature could not bear it so. 
 Bru. Well, to our work alive. What do you 
 think 
 Of marching to Philippi presently? 
 Cas. I do not think it good. 
 Bru. Your reason? 
 
 Cas. This it is : 
 
 200 'Tis better that the enemy seek us : 
 
 So shall he waste his means, weary his soldiers, 
 Doing himself offence ; whilst we, lying still. 
 Are full of rest, defence, and nimbleness. 
 Bru. Good reasons must, of force, give place to 
 better. 
 805 ■ The people 'twixt Philippi and this ground 
 Do stand but in a forc'd affection; 
 For they have grudg'd us contribution: 
 The enemy, marching along by them. 
 By them shall make a fuller number up, 
 
136 JULIUS CAESAR. [Act IV. Sc. iii. 
 
 Come on refresh 'd, new-added, and en- sio 
 courag'd ; 
 
 From which advantage shall we cut him off, 
 
 If at Philippi we do face him there, 
 
 These people at our back. 
 Gas. Hear me, good brother. 
 
 Bru. Under your pardon. You must note beside, : 
 
 That we have tried the utmost of our friends, 215 
 
 Our legions are brim-full, our cause is ripe : 
 
 The enemy increaseth every day; 
 
 We, at the height, are ready to decline. 
 
 There is a tide in the affairs of men. 
 
 Which, taken at the flood, leads on to for- 220 
 tune: 
 
 Omitted, all the voyage of their life 
 
 Is bound in shallows and in miseries. 
 
 On such a full sea are we now afloat ; 
 
 And we must take the current when it serves, 
 
 Or lose our ventures. 
 Cas. Then, with your will, go on; 225 
 
 We'll along ourselves, and meet them at 
 Philippi. 
 Bru. The deep of night is crept upon our talk, 
 
 And nature must obey necessity ; 
 
 Which we will niggard with a little rest. 
 
 There is no more to say? 
 Gas. No more. Good night : 230 
 
 Early to-morrow will we rise, and hence. 
 Bru. Lucius! [Enter Lucius. '\ My gown. [Exit 
 Lucius.l Farewell, good Messala: 
 
Act IV. Sc. iii.] JULIUS CAESAR. 137 
 
 Good night, Titinius. Noble, noble Cassius, 
 Good night, and good repose. 
 Gas. my dear brother ! 
 
 235 This was an ill beginning of the night : 
 
 Never come such division 'tween our souls ! 
 Let it not, Brutus. 
 Bru, Every thing is well. 
 
 Gas. Good night, my lord. 
 
 Bru. Good night, good brother. 
 
 Tit. Mes. Good night, Lord Brutus. 
 Bru, Farewell, every one. 
 
 [Exeunt all hut Brutus. 
 Re-enter Lucius^ with the gown. 
 
 240 Give me the gown. Where is thy instru- 
 
 ment? 
 Luc. Here in the tent. 
 
 Bru. "What, thou speak'st drowsily? 
 
 Poor knave, I blame thee not; thou art o'er- 
 
 watched. 
 Call Claudius and some other of my men ; 
 I'll have them sleep on cushions in my tent. 
 345 Luc. Varro and Claudius! 
 
 Enter Varro and Glaudius. 
 
 Var. Calls my lord? 
 
 Bru. I pray you, sirs, lie in my tent and sleep ; 
 It may be I shall raise you by and by 
 On business to my brother Cassius. 
 250 Var. So please you, we will stand and watch your 
 pleasure. 
 
:i 38 JULIUS CAESAR. [Act IV. Sc. iii. 
 
 Bru, I will not have it so : lie down, good sirs ; 
 
 It may be I shall otherwise bethink me. 
 
 Look, Lucius, here's the book I sought for so; 
 
 I put it in the pocket of my gown. 
 Varro and Claudius lie down. 
 Luc. I was sure your lordship did not give it me. 255 
 Bru. Bear with me, good boy, I am much for- 
 getful. 
 
 Canst thou hold up thy heavy eyes awhile. 
 
 And touch thy instrument a strain or two? 
 Luc. Ay, my lord, an 't please you. 
 Bru. It does, my boy: 
 
 I trouble thee too much, but thou art willing. 260 
 Luc. It is my duty, sir. 
 Bru. I should not urge thy duty past thy might ; 
 
 I know young bloods look for a time of rest. 
 Luc. I have slept, my lord, already. 
 Bru. It was well done ; and thou shalt sleep 265 
 again ; 
 
 I will not hold thee long : if I do live, 
 
 I will be good to thee. 
 
 [^Music, and a song. 
 This is a sleepy tune. murd'rous slumber, 
 Lay'st thou thy leaden mace upon my boy. 
 That plays thee music? Gentle knave, good 270 
 
 night ; 
 I will not do thee so much wrong to wake 
 
 thee : 
 If thou dost nod, thou break'st thy instru- 
 ment; 
 
Act IV. Sc. iii.] JULIUS CAESAR. 139 
 
 I'll take it from thee ; and, good boy, good 
 
 night. 
 Let me see, let me see ; is not the leaf turn'd 
 
 down 
 275 Where I left reading? Here it is, I think. 
 
 Enter the Ghost of Caesar. 
 
 How ill this taper burns! Ha! who comes 
 
 here? 
 I think it is the weakness of mine eyes 
 That shapes this monstrous apparition. 
 It comes upon me. Art thou any thing? 
 280 Art thou some god, some angel, or some 
 
 devil, 
 That mak'st my blood cold and my hair to 
 
 stare? 
 Speak to me what thou art. 
 Ghost. Thy evil spirit, Brutus. 
 Bru, Why com'st thou? 
 
 Ghost. To tell thee thou shalt see me at Philippi. 
 285 Bru. Well ; then I shall see thee again? 
 Ghost. Ay, at Philippi. 
 Bru. Why, I will see thee at Philippi, then. 
 
 [Exit Ghost. 
 Now I have taken heart thou vanishest : 
 111 spirit, I would hold more talk with thee. 
 390 Boy, Lucius! Varro! Claudius! Sirs, awake! 
 
 Claudius ! 
 Luc. The strings, my lord, are false. 
 Bru. He thinks he still is at his instrument. 
 
140 JULIUS CAESAR. [Act IV. Sc. iii. 
 
 Lucius, awake! 
 Luc, My lord? 395 
 
 Bru. Didst thou dream, Lucius, that thou so 
 
 criedst out? 
 Luc. My lord, I do not know that I did cry. 
 Bru. Yes, that thou didst: didst thou see any 
 
 thing? 
 Luc. Nothing, my lord. 
 Bru. Sleep again, Lucius. Sirrah Claudius! 300 
 
 [To Varro.] Fellow thou, awake! 
 Var. My lord? 
 Clau. My lord? 
 
 Bru. Why did you so cry out, sirs, in your sleep? 
 Var. Clau. Did we, my lord? 
 
 Bru. Ay : saw you any thing? 305 
 
 Var. No, my lord, I saw nothing. 
 Clau. Nor I, my lord. 
 
 Bru. Go and commend me to my brother Cassius ; 
 
 Bid him set on his powers betimes before, 
 
 And we will follow. 
 Var. Clau. It shall be done, my lord. 
 
 [Exeunt. 
 
ACT FIFTH. 
 
 SCEN"E I. 
 
 The plains of PJiilippi. 
 Enter Octavius, Antony, and their Army. 
 
 Oct, Now, Antony, our hopes are answered : 
 You said the enemy would not come down, 
 But keep the hills and upper regions ; 
 It proves not so : their battles are at hand ; 
 5 They mean to warn us at Philippi here, 
 
 Answering before we do demand of them. 
 Ant. Tut, I am in their bosoms, and I know 
 
 Wherefore they do it : they could be content 
 To visit other places ; and come down 
 10 With fearful bravery, thinking by this face 
 
 To fasten in our thoughts that they have 
 
 courage ; 
 But 'tis not so. 
 
 Enter a messenger. 
 
 Mess. Prepare you, generals : 
 
 The enemy comes on in gallant show; 
 Their bloody sign of battle is hung out, 
 15 And something to be done immediately. 
 
 Ant^ Octavius, lead your battle softly on, 
 
 141 
 
142 JULIUS CAESAR. [Act V. Sc. i. 
 
 Upon the left hand of the even field. 
 Oct. Upon the right hand I ; keep thou the left. 
 Ant. Why do yon cross me in this exigent? 
 Oct. I do not cross you ; but I will do so. ao 
 
 [March. 
 Drum. Enter Brutus., Cassius, and their Army ; 
 
 Lucilius, Titinius, Messala, a7id others. 
 Bru. They stand, and would have parley. 
 Cas. Stand fast, Titinius : we must out and talk. 
 Oct. Mark Antony, shall we give sign of battle? 
 Ant. No, Caesar, we will answer on their charge. 
 
 Make forth ; the generals would have some 25 
 words. 
 Oct. Stir not until the signal. 
 Bru. Words before blows : is it so, countrymen? 
 Oct. Not that we love words better, as you do. 
 Bru. Good words are better than bad strokes, 
 
 Octavius. 
 Ant. In your bad strokes, Brutus, you give good 3o 
 words : 
 
 Witness the hole you made in Caesar's heart, 
 
 Crying ' ' Long live ! hail, Caesar ! ' ' 
 Cas. Antony, 
 
 The posture of your blows are yet unknown; 
 
 But for your words, they rob the Hybla bees. 
 
 And leave them honeyless. 
 Ant. Not stingless too. 35 
 
 Bru. 0, yes, and soundless too; 
 
 For you have stoPn their buzzing, Antony, 
 
 And very wisely threat before you sting. 
 
Act V. Sc. i.] JULIUS CAESAR. 143 
 
 Ant, Villains, you did not so, when your vile 
 daggers 
 40 Hack'd one another in the sides of Caesar: 
 
 You show'd your teeth like apes, and fawn'd 
 
 like hounds, 
 And bow'd like bondmen, kissing Caesar's 
 
 feet ; 
 Whilst damned Casca, like a cur, behind 
 Struck Caesar on the neck. you flatterers ! 
 45 Cas. Flatterers! Now, Brutus, thank yourself: 
 This tongue had not offended so to-day. 
 If Cassius might have rul'd. 
 Oct. Come, come, the cause : if arguing make us 
 sweat. 
 The proof of it will turn to redder drops. 
 50 Look ; 
 
 I draw a sword against conspirators ; 
 
 When think you that the sword goes up 
 
 again? 
 Never, till Caesar's three and thirty wounds 
 Be well aveng'd; or till another Caesar 
 55 Have added slaughter to the sword of traitors. 
 
 Bru. Caesar, thou canst not die by traitors' 
 hands. 
 Unless thou bring 'st them with thee. 
 Oct. So I hope ; 
 
 I was not born to die on Brutus' sword. 
 Bru. 0, if thou wert the noblest of thy strain, 
 60 Young man, thou couldst not die more 
 
 honourable. 
 
[44 
 
 JULIUS CAESAR. [Act V. Sc. i. 
 
 Gas, A peevish schoolboy, worthless of such 
 honour, 
 Join'd with a masker and a reveller ! 
 
 Ant. Old Cassius still ! 
 
 Oct. Come, Antony, away! 
 
 Defiance, traitors, hurl we in your teeth: 
 If you dare fight to-day, come to the field ; 
 If not, when you have stomachs. 
 [Exeunt Octavius, Antony, and their army. 
 
 Oas. Why, now, blow wind, swell billow and 
 swim bark ! 
 The storm is up, and all is on the hazard. 
 
 Bru. Ho, Lucilius ! hark, a word with you. 
 
 Lucil. [Standing forth. '[ My lord? 
 
 [Brutus and Lucilius converse apart. 
 
 Cas. Messala! 
 
 Mes. [Standing forth. ] What says my general? 
 
 Cas. Messala, 
 
 This is my birth-day ; as this very day 
 
 Was Cassius born. Give me thy hand, 
 
 Messala : 
 Be thou my witness that against my will, 
 As Pompey was, am I compell'd to set 
 Upon one battle all our liberties. 
 You know that I held Epicurus strong 
 And his opinion : now I change my mind, 
 And partly credit things that do presage. 
 Coming from Sardis, on our former ensign 
 Two mighty eagles fell, and there they 
 perch 'd. 
 
 70 
 
 75 
 
Act V. Sc. i.J JULIUS CAESAR. 145 
 
 Gorging and feeding from our soldiers' hands ; 
 Who to Philippi here consorted us : 
 This morning are they fled away and gone ; 
 85 And in their steads do ravens, crows and 
 
 kites, 
 Fly o'er our heads and downward look on us, 
 As we were sickly prey : their shadows seem 
 A canopy most fatal, under which 
 Our army lies, ready to give up the ghost. 
 90 Mes. Believe not so. 
 
 Cas. I l)nt believe it partly ; 
 
 For I am fresh of spirit and resolv'd 
 To meet all perils very constantly. 
 Bru. Even so, Lucilius. 
 
 Cas. Now, most noble Brutus, 
 
 The gods to-day stand friendly, that we may, 
 95 Lovers in peace, lead on our days to age ! 
 
 But since the affairs of men rest still incer- 
 
 tain. 
 Let's reason with the worst that may befall. 
 If we do lose this battle, then is this 
 The very last time we shall speak together : 
 100 What are you then determined to do? 
 
 Bru: Even by the rule of that philosophy 
 By which I did blame Cato for the death 
 Which he did give himself, — I know not how, 
 But I do find it cowardly and vile, 
 105 For fear of what might fall, so to prevent 
 
 The time of life: — arming myself with 
 patience 
 
146 JULIUS CAESAR. [Act V. Sc. i. 
 
 To stay the providence of some high powers 
 
 That govern us below. 
 Gas. Then, if we lose this battle, 
 
 You are contented to be led in triumph 
 
 Thorough the streets of Eome? no 
 
 Bru. No, Oassius, no: think not, thou noble 
 Koman, 
 
 That ever Brutus will go bound to Eome ; 
 
 He bears too great a mind. But this same 
 day 
 
 Must end that work the ides of March begun ; 
 
 And whether we shall meet again I know not. ns 
 
 Therefore our everlasting farewell take : 
 
 For ever, and for ever, farewell, Oassius ! 
 
 If we do meet again, why, we shall smile ; 
 
 If not, why then, this parting was well made. 
 Cas, For ever, and for ever, farewell, Brutus ! 120 
 
 If we do meet again, we'll smile indeed; 
 
 If not, 'tis true this parting was well made. 
 Bru. Why, then, lead on. 0, that a man might 
 know 
 
 The end of this day's business ere it come! 
 
 But it sufficeth that the day will end, 125 
 
 And then the end is known. Come, hoi 
 away ! [Exeunt. 
 
Act V. Sc. ii.] JULIUS CAESAR. 147 
 
 Scene II. 
 
 The same. The field of battle. 
 
 Alarum. Enter Brutus and Messala. 
 
 Bru. Ride, ride, Messala, ride, and give these bills 
 Unto the legions on the other side. 
 
 [Loud alarum. 
 Let them set on at once ; for I perceive 
 But cold demeanour in Octavius' wing, 
 5 And sudden push gives them the overthrow. 
 
 Ride, ride, Messala: let them all come down. 
 
 l^Bxeunt. 
 
 SCEKE III. 
 
 Another part of the field. 
 
 Alarums. Enter Cassius and Titinius. 
 
 Cas. 0, look, Titinius, look, the villains fly! 
 Myself have to mine own turn'd enemy: 
 This ensign here of mine was turning back ; 
 I slew the coward, and did take it from him. 
 5 Tit. Cassius, Brutus gave the word too early ; 
 Who, having some advantage on Octavius, 
 Took it too eagerly : his soldiers fell to spoil, 
 Whilst we by Antony are all enclos'd. 
 Enter Pinda^'tis. 
 
148 
 
 JULIUS CAESAR. [Act V. Sc. iii. 
 
 Pin. Fly further off, my lord, fly further off; 
 Mark Antony is in your tents, my lord : 
 Fly, therefore, noble Cassius, fly far off. 
 Cas. This hill is far enough. Look, look, 
 Titinius ; 
 Are those my tents where I perceive the fire? 
 Tit. They are, my lord. 
 Cas, Titinius, if thou lovest me, 
 
 Mount thou my horse, and hide thy spurs in 15 
 
 him, 
 Till he have brought thee up to yonder 
 
 troops, 
 And here again; that I may rest assured 
 Whether yond troops are friend or enemy. 
 Tit. I will be here again, even with a thought. 
 
 [Exit, 
 Cas, Go, Pindarus, get higher on that hill ; 20 
 
 My sight was ever thick ; regard Titinius, 
 And tell me what thou not'st about the field. 
 [Pindarus ascends the hill. 
 This day I breathed first : time is come round, 
 And where I did begin, there shall I end ; 
 My life is run his compass. Sirrah, what 25 
 news? 
 Pin. [Adove.1 my lord! 
 Cas. What news? 
 
 Pin. [Ahove,^ Titinius is enclosed round about 
 With horsemen, that make to him on the spur ; 
 Yet he spurs on. Now they are almost on 30 
 him. 
 
 I 
 
 11 
 
 4i 
 
Act V. Sc. iii.] JULIUS CAESAR. 149 
 
 Now, Titinius! Now some light. 0, he 
 
 lights too. 
 He's ta'en. [Shout.} And, hark! they shout 
 for joy. 
 Cas. Come down, behold no more. 
 
 O, coward that I am, to live so long, 
 35 To see my best friend ta'en before my face! 
 
 Pindarus descends. 
 Come hither, sirrah : 
 In Parthia did I take thee prisoner ; 
 And then I swore thee, saving of thy life, 
 That whatsoever I did bid thee do, 
 40 Thou shouldst attempt it. Come now, keep 
 
 thine oath ; 
 Now be a freeman: and with this good 
 
 sword, 
 That ran through Caesar's bowels, search 
 
 this bosom. 
 Stand not to answer: here, take thou the 
 
 hilts ; 
 And, when my face is cover'd, as 'tis now, 
 45 Guide thou the sword. [Pindarus stais Mm.'] 
 
 Caesar, thou art reveng'd, 
 
 Even with the sword that kill'd thee. 
 
 [Dies. 
 Pin. So, I am free ; yet would not so have been, 
 Durst I have done my will. Cassius, 
 Par from this country Pindarus shall run, 
 50 Where never Eoman shall take note of him. 
 
 [Exit 
 
150 JULIUS CAESAR. [Act V. Sc. iii. 
 
 Re-enter Titinius with Messala. 
 
 Mes, It is but change, Titinius : for Octavius 
 Is overthrown by noble Brutus' power, 
 As Cassius' legions are by Antony. 
 
 Tit. These tidings will well comfort Cassius. 
 
 Mes. Where did you leave him? 
 
 Tit. All disconsolate, 55 
 
 With Pindarus his bondman, on this hill. 
 
 Mes. Is not that he that lies upon the ground? 
 
 Tit. He lies not like the living. my heart ! 
 
 Mes. Is not that he? 
 
 Tit. No, this was he, Messala, 
 
 But Cassius is no more. setting sun, eo 
 
 As in thy red rays thou dost sink to night, 
 So in his red blood Cassius' day is set; 
 The sun of Eome is set ! Our day is gone ; 
 Clouds, dews, and dangers come; our deeds 
 
 are done! 
 Mistrust of my success hath done this deed. 65 
 
 Mes. Mistrust of good success hath done this 
 deed. 
 hateful error, melancholy's child, 
 Why dost thou show to the apt thoughts of 
 
 men 
 The things that are not? error, soon 
 
 conceiv'd, 
 Thou never com'st unto a happy birth, 70 
 
 But kill'st the mother that engender'd thee! 
 
 Tit. What, Pindarus! where art thou, Pindarus? 
 
 Mes. Seek him, Titinius, whilst I go to meet 
 
Act V. So. iii.] JULIUS CAESAR. 151 
 
 The noble Brutus, thrusting this report 
 75 Into his ears ; I may say, thrusting it ; 
 
 For piercing steel and darts envenomed 
 Shall be as welcome to the ears of Brutus 
 As tidings of this sight. 
 Tit. Hie you, Messala, 
 
 And I will seek for Pindarus the while. 
 
 \^Exit Messala. 
 
 80 Why didst thou send me forth, brave Cassius? 
 
 Did I not meet thy friends? and did not they 
 
 Put on my brows this wreath of victory, 
 
 And bid me give it thee? Didst thou not 
 
 hear their shouts? 
 Alas, thou hast misconstrued every thing ! 
 85 But, hold thee, take this garland on thy 
 
 brow; 
 Thy Brutus bid me give it thee, and I 
 Will do his bidding. Brutus, come apace, 
 And see how I regarded Caius Cassius. 
 By your leave, gods: — this is a Koman's 
 part: 
 ^ Come, Cassius' sword, and find Titinius' 
 
 heart. [Kills himself. 
 
 Alarum. Re-enter Messala, with Brutus, young 
 Cato, Strata, Volumnius, and Lucilius. 
 
 Bru. Where, where, Messala, doth his body lie? 
 Mes. Lo, yonder, and Titinius mourning it. 
 Bru. Titinius' face is upward. 
 Cato. He is slain. 
 
152 JULIUS CAESAR. [Act V. So. iii. 
 
 Bru. Julius Caesar, thou art mighty yet ! 
 
 Thy spirit walks abroad, and turns our swords 95 
 In our own proper entrails. [Low alarums. 
 Cato. Brave Titinius ! 
 
 Look, whether he have not crown 'd dead 
 Cassius ! 
 Bru. Are yet two Romans living such as these? 
 The last of all the Romans, fare thee well! 
 It is impossible that ever Rome loo 
 
 Should breed thy fellow. Friends, I owe 
 
 moe tears 
 To this dead man than you shall see me pay. 
 I shall find time, Cassius, I shall find time. 
 Come, therefore, and to Thasos send his 
 
 body: 
 His funerals shall not be in our camp, 105 
 
 Lest it discomfort us. Lucilius, come ; 
 And come, young Cato ; let us to the field. 
 Labeo and Flavins, set our battles on : 
 'Tis three o'clock; and, Romans, yet ere 
 
 night 
 We shall try fortune in a second fight. no 
 
 [Exeunt. 
 
Act V. Sc. iv.] JULIUS CAESAR. 153 
 
 ScEiq-E IV. 
 
 Another part of the field. 
 
 Alarum. Enter fighting ^ Soldiers ofhoth armies ; 
 then Brutus^ young Cato^ LuciliuSy and others. 
 
 Bru. Yet, countrymen, 0, yet hold up your 
 
 heads ! 
 Cato. What bastard doth not? Who will go with 
 me? 
 I will proclaim my name about the field : 
 I am the son of Marcus Cato, ho ! 
 5 A foe to tyrants, and my country's friend; 
 
 I am the son of Marcus Cato, ho ! 
 Bru. And I am Brutus, Marcus Brutus, I; 
 
 Brutus, my country's friend; know me for 
 Brutus ! [Exit. 
 
 Lucil. young and noble Cato, art thou down? 
 10 Why, now thou diest as bravely as Titinius; 
 
 And mayst be honour'd, being Cato's son. 
 First Sol. Yield, or thou diest. 
 Lucil. Only I yield to die : 
 
 There is so much that thou wilt kill me 
 straight ; [ Offering money. 
 
 Kill Brutus, and be honour'd in his death. 
 15 First Sol. We must not. A noble prisoner! 
 Sec. Sol. Room, ho! Tell Antony, Brutus is 
 ta'en. 
 
154 JULIUS CAESAR. [Act V. Sc. v. 
 
 First Sol. I'll tell the news. Here comes the 
 general. 
 
 Enter Antony. 
 
 Briitns is ta'en, Brutus is ta'en, my lord. 
 
 Ant. Where is he? 
 
 Lucil. Safe, Antony ; Brutus is safe enough : 20 
 
 I dare assure thee that no enemy 
 Shall ever take alive the noble Brutus : 
 The gods defend him from so great a shame ! 
 When you do find him, or alive or dead, 
 He will be found like Brutus, like himself. 25 
 
 Ant. This is not Brutus, friend; but, I assure 
 
 yon, 
 
 A prize no less in worth : keep this man safe ; 
 Give him all kindness : I had rather have 
 Such men my friends than enemies. Go on. 
 And see whether Brutus be alive or dead; 30 
 And bring us word unto Octavius' tent 
 How every thing is chanced. \^Exeunt. 
 
 Scene V. 
 
 Another part of the field. 
 
 Enter Brutus,, Dardanius^ Clitus, Strato, and 
 Volumnius. 
 
 Bru. Come, poor remains of friends, rest on this 
 
 rock. 
 Oil. Statilius show'd the torch-light, but, my 
 
 lord, 
 
Act V. Sc. v.] JULIUS CAESAR. 155 
 
 He came not back : he is or ta'en or siain. 
 Bru. Sit thee down, Clitus : slaying is the word ; 
 5 It is a deed in fashion. Hark thee, Clitus. 
 
 [ Whispering, 
 Cli. What, I, my lord? No, not for all the world. 
 Bru. Peace then ! no words. 
 Cli. I'll rather kill myself. 
 
 Bru, Hark thee, Dardanius. [ Whispering, 
 
 Bar. Shall I do such a deed? 
 
 Cli, Dardanius! 
 10 Bar. Clitus ! 
 
 Cli. "What ill request did Brutus make to thee? 
 Bar. To kill him, Clitus. Look, he meditates. 
 Cli. Now is that noble vessel full of grief, 
 That it runs over even at his eyes. 
 15 Bru. Come hither, good Yolumnius ; list a word. 
 Vol, What says my lord? 
 
 Bru. Why, this, Volumnius: 
 
 The ghost of Caesar hath appear 'd to me 
 Two several times by night ; at Sardis once, 
 And, this last night, here in Philippi fields : 
 20 I know my hour is come. 
 
 Vol. ISTot so, my lord. 
 
 Bru. Nay, I am sure it is, Volumnius. 
 
 Thou seest the world, Volumnius, how it goes; 
 Our enemies have beat us to the pit : 
 
 \Low alarums. 
 It is more worthy to leap in ourselves, 
 25 Than tarry till they push us. Good Volum- 
 
 nius, 
 
156 
 
 JULIUS CAESAR. [Act V. Sc. v. 
 
 Thou know'st that we two went to school 
 
 together : 
 Even for that our love of old, I prithee, 
 Hold thou my sword-hilts, whilst I run on it. 
 Vol. That's not an office for a friend, my lord. 
 
 [Alarum still. 
 Cli. Fly, fly, my lord ; there is no tarrying here. 
 £ru. Farewell to you ; and you ; and you, Volum- 
 nius. 
 Strato, thou hast been all this while asleep ; 
 Farewell to thee too, Strato. Countrymen, 
 My heart doth joy that yet in all my life 
 I found no man but he was true to me. 
 I shall have glory by this losing day 
 More than Octavius and Mark Antony 
 By this vile conquest shall attain unto. 
 So fare you well at once; for Brutus' tongue 
 Hath almost ended his life's history : 
 Night hangs upon mine eyes; my bones 
 
 would rest. 
 That have but labour'd to attain this hour. 
 [Alarum. Cry within, "Fly, fly, fly!" 
 Cli. Fly, my lord, fly. 
 
 Bru. Hence ! I will follow. 
 
 [Bxeunt Clitus, Dardanius, and Volumnius. 
 I prithee, Strato, stay thou by thy lord : 
 Thou art a fellow of a good respect; 
 Thy life hath had some smatch of honour 
 
 in it: 
 Hold then my sword, and turn away thy face, 
 
 30 
 
 35 
 
 40 
 
 45 
 
Act V. Sc. v.] JULIUS CAESAR. 157 
 
 While I do run upon it. Wilt thou, Strato? 
 Stra. Give me your hand first. Fare you well, 
 my lord. 
 50 Bru. Farewell, good Strato. \_Runs 07i his 
 sword.] Caesar, now be still: 
 I kill'd not thee with half so good a will. 
 
 [Dies, 
 Alarum. Retreat. Enter Octavius, Antony, 
 
 Messala, Lucilius, and the army, 
 Oct, What man is that? 
 Mes. My master's man. Strato, where is thy 
 
 master? 
 Stra. Free from the bondage you are in, Messala : 
 55 The conquerors can but make a fire of him ; 
 
 For Brutns only overcame himself, 
 And no man else hath honour by his death. 
 Lucil. So Brutus should be found. I thank thee, 
 Brutus. 
 That thou hast prov'd Lucilius' saying true. 
 60 Oct. All that serv'd Brutus, I will entertain them. 
 Fellow, wilt thou bestow thy time with me? 
 Stra. Ay, if Messala will prefer me to you. 
 Oct. Do so, good Messala. 
 Mes. How died my master, Strato? 
 65 Stra. I held the sword, and he did run on it. 
 Mes. Octavius, then take him to follow thee. 
 That did the latest service to my master. 
 Ant. This was the noblest Koman of them all : 
 All the conspirators, save only he, 
 70 Did that they did in envy of great Caesar ; 
 
158 JULIUS CAESAR. [Act V. Sc. v. 
 
 He only, in a general honest thought 
 And common good to all, made one of them. 
 His life was gentle, and the elements 
 So mix'd in him that Nature might stand up 
 And say to all the world "This was a man!" 'J'S 
 Oct. According to his virtue let us use him, 
 With all respect and rites of burial. 
 Within my tent his bones to-night shall lie, 
 Most like a soldier, order'd honourably. 
 So call the field to rest ; and let's away so 
 
 To part the glories of this happy day. 
 
 [Exeunt, 
 
NOTES. 
 
 ABBEEVIATIONS. 
 
 Clar. — Clarendon Press Edition, by W. Aldis Wright. 
 
 G. — Globe Edition of Shakspere. References to other 
 plays of Shakspere's than Julius Caesar are according to 
 this edition. 
 
 Plut.— Shakespeare's Plutarch, edited by W. W. Skeat. 
 
 ACT I. 
 
 I. i. This first scene indicates the existence of the two 
 main forces at work throughout the play, (1) the popularity 
 which is bearing Caesar to the summit of his ambition, and 
 (2) the hatred of the faction of the opposition. It is Shaks- 
 pere's custom thus to strike the key-note at the outset. 
 
 I. i. 3. Being mechanical. Being mechanics or artisans. 
 
 I. i. 10. In respect of. In comparison with. 
 
 I. i. 11. Cobhler. Originally, a "mender," then "clumsy 
 workman." In Shakspere's English the word has no ex- 
 clusive reference to shoes ; hence the repetition of the ques- 
 tion by Marullus. 
 
 I. i. 12. Directly. Straightforwardly. 
 
 I, i. 15. Soles. For another instance of this familiar pun, 
 cf. Mercha,nt of Venice, IV. i. 123, 24, " Not on thy sole, but 
 on thy soul, harsh Jew, Thou makest thy knife keen." 
 
 I. i. 18. Be not out. Do not fall out. The sense of the 
 punning phrase in the next line is, of course, "out at heels." 
 The favorite Elizabethan habit of punning is illustrated 
 again in awl in ver. 25, and in recover in ver. 27, below. 
 
 I. i. 28. Proper. Originally, "having the qualities appro- 
 priate to a man," later, " fine," " handsome." 
 
 I. i. 35-55. Cf . Plut. , p. 91. ' ' But the triumph he made into 
 Rome for the same [i.e., the victory over Pompey's sons], 
 did as much offend the Romans, and more, than anything 
 
 159 
 
160 NOTES. 
 
 that ever he had done before : because he had not overcome 
 captains that were strangers, nor barbarous kings, but had 
 destroyed the sons of the noblest man of Rome, whom 
 fortune had overthrown." Triumph is used in the special 
 Roman sense of the procession and religious ceremonies held 
 in honor of a victorious general on his return to the city 
 after some notable success, 
 
 I. i. 41. Pompey. The great Roman general who had 
 ultimately been overcome by Caesar at Pharsalia in 48 b. c. 
 He had been the champion of the conservative party in 
 Rome. 
 
 I, i. 50. Replication- Echo. 
 
 I. i. 61. Sort. I 
 
 I. i. 65. Whether. Pronounced "whe'er," a contraction 
 common in earlier English. Metal. Used in the meta- 
 phorical sense of "spirit," for which the spelling "mettle" 
 is now customary. Cf . I. ii. 307. 
 
 I. i. 69. Ceremonies. Decorations. Cf . trophies in ver. 73, 
 and scarfs in I. ii. 295. 
 
 I. i. 71. Feast of Lupercal. The Lupercalia, a feast cele- 
 brated by the Romans on the 15th of February in honor of 
 Lupercus, an old god of shepherds. In later times it was 
 associated with the legend of Romulus and the wolf, and 
 also with the worship of Pan, the Greek god of shepherds. 
 Cf. note on I. ii. 1-9. 
 
 I. i. 74. The vulgar. The common people. 
 
 I. i. 77. Pitch. The height to which a falcon could fly. 
 
 I. ii. In this second scene the exposition of the situation 
 in Rolne is more definite. Caesar himself comes upon the 
 stage surrounded by pomp and flattery, and the nature and 
 danger of the opposition is shown in the conversations of 
 Cassius, Brutus, and Casca. 
 
 Stage direction. Antony, for the course. Prepared for 
 running the course, undressed. On course, see next note. 
 
 I. ii. 1-9. Cf. Plut., p. 163, "The manner of this running 
 was thus. On that day there are many young men of noble 
 house, and those specially that be chief officers for that 
 year, who running naked up and down the city, anointed 
 with the oil of olive, for pleasure do strike them they meet 
 in their way with white leather thongs they have in their 
 
NOTES. ^ 161 
 
 hands." The thongs were cut from the hides of goats and 
 dogs sacrificed by the priests of Lupercus. Antony was chief 
 of a new order of these priests. 
 
 I. ii. 12. Soothsayer. See Introduction, pp. 31, 32. 
 
 I. ii. 18. Ides of March. March 15th. 
 
 I. ii. 24. Stage direction. Sennet. A particular set of 
 notes on a trumpet. 
 
 I. ii. 29. Quick. Lively. Cf. its use in the sense of "alive" 
 in " the quick and the dead " in the Apostles' Creed. 
 
 I. ii. 34. Show. Evidence. Cf . I. ii. 47. For the relative 
 as see Introduction, p. 38 (e). 
 
 I. ii. 35. Bear ... a hand. A figure irom horsemanship ; 
 to "bear a rein" and so to "treat." : ,t 
 
 I. ii. 39. Merely. Entirely, altogether; an obsolete use. 
 Cf . Tempest, I. i. 59, " We are merely cheated of our lives 
 by drunkards. " 
 
 I. ii. 40. Cf. Introduction, p. 37 (1.) (a). 
 
 I. ii. 41. Only proper. Belonging exclusively. 
 
 I. ii. 42. Soil. Stain. Behaviours. See Introduction, p. 37 
 
 (l.)(fe). 
 
 I. ii. 44. Be you one. Be assured that you are one. 
 
 I. ii. 48. Mistook,. See Introduction, p. 39 (4.) (c). Passion. 
 Feelings. 
 
 I. ii. 54. Jv^t. True. 
 
 I. ii. 59. Where. Used loosely of occasion rather than of 
 place. Of the hest respect. Of those most highly esteemed. 
 
 I. ii. 62. Had his eyes. By strict grammar, his refers to 
 Brutus and the phrase means " saw clearly." But Wright 
 prefers to take it as a loose phrase for "had their eyes," 
 meaning " saw himself as thes&others see him." 
 
 I. ii. 69. Modestly. Etymologically, "with due measure," 
 " without exaggeration or diminution." Or the idea may 
 be that another man may fittingly enough speak of the qual- 
 ities on which it would not be modest for Brutus himself to 
 dwell. 
 
 I. ii. 71. Jealous on. Suspicious of. 
 
 I. ii. 72. Laugher. Buffoon. The Polios read laughter^ 
 which may be correct in the sense of " object of laughter." 
 
 I. ii. 72, 73. Did use to stale. Were used to make stale 
 with too frequent use. 
 
162 NOTES. 
 
 I. ii. 74. Protester. One who makes strong profession of 
 friendship. 
 
 I. ii. 76. Scandal. Slander. 
 
 I. ii. 77. Profess myself. Supply " a friend." 
 
 I. ii. 78. Bout. Used contemptuously for "company." 
 
 I. ii. 87. Indifferently. Without emotion. The general 
 sense of ver. 86-87 seems to be that Brutus will not be dis- 
 turbed if he has to face the alternatives of honor and death 
 or dishonor and life. The explanation of indifferently as 
 "impartially," given by Wright and other editors, is contra- 
 dicted by ver. 88, 89. 
 
 I. ii. 88. Speed. Make prosperous. 
 
 I. ii. 91. Favour. Appearance. Cf. "ill-favored," etc. 
 
 I. ii. 95. Lief. Pronounce " lieve," to bring out the pun 
 with live. [Clar.] 
 
 I. ii. 100-115. Shakspere seems to have invented this inci- 
 dent. It may have been suggested by the mention of such 
 feats in swimming as we find attributed to Caesar in Plut., 
 
 P;86. 
 
 I. ii. 101. Chafing. "A play upon the two meanings of 
 ' chafe,' which signifies both ' to rub against ' and ' to be 
 angry.' " [Clar.] 
 
 I. ii. 109. Hearts of controversy. Controversial hearts, op- 
 posing courage. See Introduction, p. 37 (1.) (a). 
 
 I. ii. 110. Arrive. Arrive at. See Introduction, p. 39 (6) . 
 
 I. ii, 112, 115. Note the repetition of I. 
 
 I. ii. 114. On the metre of this line see Introduction, 
 p. 35, 5. 
 
 I. ii. 119. Fever. Plut. (p. 57) records that Caesar was in 
 Spain the first time he was seized with the " falling sick- 
 ness." 
 
 I. ii. 122. The inversion of the prose form of statement 
 here (" the colour fled from his lips ") has been taken to sug- 
 gest the figure of a soldier deserting his colors. 
 
 I. ii. 123. Whose tend. The direction of whose glance, i.e., 
 whose glance. 
 
 I. ii. 124. His. Its. See Introduction, p. 37 (3.) (b). 
 
 I. ii. 135, 36. Colossus. Referring to the bronze statue of 
 Apollo at Rhodes, said to have been seventy cubits high. 
 Bestride is used because of the tradition that the figure stood 
 
NOTES. 163 
 
 astride of the mouth of the harbor, so that ships passed 
 between its legs. As a matter of fact, it stood on one side. 
 
 I. ii. 142. For the metre, see Introduction, p. 34, 1. 
 
 I. ii. 146. 'Em. This form, which is very common in the 
 writing's of some of the Elizabethan dramatists, is derived 
 not from them, but from the middle English hem. Cf . III. ii. 5. 
 
 I. ii. 153. Great flood. The deluge of Greek mythology, 
 from which Deucalion and his wife Pyrrha alone survived. 
 
 I. ii. 155. Walls. The Folios read "walkes" which has 
 been defended as meaning " limits." 
 
 I. ii. 156. Rome. Shakspere seems to have pronounced 
 this "Room." The same pun occurs in K. John, III. i. 180, 
 *' That I have room with Rome to curse a while." 
 
 I. ii. 159. A Brutus once. The reference is to Lucius Ju- 
 nius Brutus, who was a leader in the expulsion of the 
 Tarquins and the establishment of a republic in Rome. 
 Plutarch says Marcus Brutus claimed descent from him. 
 
 I. ii. 160. Eternal. For Shakspere's reasons for substitut- 
 ing this word for " infernal," see Introduction, p. 39. 
 
 I. ii. 163. Jealous. Doubtful, suspicious. Cf . I. ii. 71 and 
 note. 
 
 I. ii. 163. Aim. Guess. 
 
 I. ii. 166. So. If, provided that. 
 
 I. ii. 171. Chew. Meditate, ruminate. 
 
 I. ii. 174. These . . . as. See Introduction, p. 38 (3.) (e). 
 
 I. ii. 177. But. Even. 
 
 I. ii. 181. Proceeded. Happened. Worthy note. See Intro- 
 duction, p. 39 (6). 
 
 I. ii. 186. Ferret . . . eyes. A ferret has red eyes. 
 
 I. ii. 193-95. Cf. Plut., p. 97: "Caesar also had Cassius 
 in great jealousy, and suspected him much : whereupon he 
 said on a time to his friends, ' what will Cassius do, think 
 ye? I like not his pale looks.' Another time when Caesar's 
 friends complained unto him of Antonius and Dolabella, that 
 they pretended some mischief towards him: he answered 
 them again, ' As for those fat men and smooth-combed 
 heads,' quoth he, 'I never reckon of them; but these pale- 
 visaged and carrion-lean people, I fear them most,' meaning 
 Brutus and Cassius." 
 
 I. ii. 194. Tond. An obsolete form of " yon." 
 
164 NOTES. 
 
 I. ii. 197. Well-given. Well-disposed. 
 I. ii. 199. My name. The man bearing my name, i.e., I, 
 I. ii. 204. He hea/rs no music. Cf . Merchant of Venice, V. 
 i. 83-88. 
 
 The man that hath no music in himself, 
 Nor is not moved with concord of sweet sounds, 
 Is fit for treasons, stratagems and spoils ; 
 The motions of his spirit are dull as night 
 And his affections dark as Erebus : 
 Let no such man be trusted. 
 
 For the frequency of such, an opinion in Shakspere's day, cf . 
 Chappell, Old Eng-lish Popular Music, I. 59: "During the 
 long reign of Elizabeth, music seems to have been in univer- 
 sal cultivation as well as universal esteem. . . . He who felt 
 not, in some degree, its soothing influences, was viewed as a 
 morose, unsocial being, whose converse ought to be shunned 
 and regarded with suspicion and distrust." 
 
 I. ii. 208. Be. See Introduction, p. 39, (4.) (d). 
 
 I. ii. 209. Whiles. Probably an irregular adverbial geni- 
 tive of the noun "while." It is preserved with an excres- 
 cent "t" in our "whilst." 
 
 I. ii. 213. Caesar's deafness is not mentioned by Plutarch, 
 but appears to be imagined by Shakspere. 
 
 I. ii. 218. Sad. Serious. 
 
 I. ii. 221-84. Cf. Plut., pp. 163, 64. 
 
 I. ii. 230. Marry. Originally an oath by the Virgin Mary. 
 
 I. ii. 231. Gentler. Adjective for adverb. See Introduc- 
 tion, p. 39, (5.) (b). 
 
 I. ii. 239. Not . . . neither. See Introduction, p. 39, (5.) (a). 
 
 I. ii. 240. Coronets. See note on I. ii. 293. 
 
 I. ii. 248. Shouted. The 1st Folio reads " howted," but, as 
 Wright notes, the cry was one of applause. 
 
 I. ii. 253. Swounded. Swooned. A similar inserted "d" 
 appears in " sound," " expound," etc. For Caesar's liability 
 to the epilepsy described here, cf. Plut., pp. 57, 89, 95. 
 
 I. ii. 261. For the metre see Introduction, p. 34, 1 and 2. 
 
 I. ii. 271. Plucked me ope. Me is what is known as an 
 ethical dative = " for me." Here it has no deiinite meaning, 
 but is used merely for vividness. See Introduction, p. 38, 
 (3.) (d). Ope is an obsolete form of " open." 
 
NOTES. 165 
 
 I. ii. 272. Doublet. See note on I. ii. 293. 
 
 I. ii. 273. An. If. Cf . ver. 290, below. A man of any occu- 
 pation. An artisan or tradesman like the rest of the crowd 
 Caesar was addressing. Wrig-ht thinks that there is also a 
 suggestion of the meaning, "a practical man, a man of 
 business." 
 
 I. ii. 293. Greek to me. In using this phrase, as in the 
 mention of douhlet in ver. 272, above, Shakspere was thinking 
 of London rather than of Rome. 
 
 I. ii. 295. Scarfs. Cf . I. i. 69, and note. 
 
 I. ii. 300. I am promised forth. I have accepted an invita- 
 tion to go out. 
 
 I. ii. 307. Quick. Lively. Cf . I. ii. 29, and note. MettU. 
 Spirit. Cf . I. i. 65 and note, and I. ii. 320 and note. 
 
 I. ii. 310. Tardy. Slothful. 
 
 I. ii. 320. Metal. The literal sense of the word is more 
 clearly in the author's mind here than in I. i. 65 or I. ii. 307. 
 
 I. ii. 321. Disposed. " To " is omitted. 
 
 I. ii. 324, Bear me hard. Cherish a grudge against me, 
 hate me. Cf . II. i. 215 and III. i. 157. 
 
 I. ii. 326. Humour me. Win^me to his purposes by playing 
 upon my humor. 
 
 I. ii. 327. Hands. Handwritings. Cf. Plut., p. 97, "Now 
 they that desired change, and wished Brutus only their 
 prince and governor above all other, they durst not come to 
 him themselves to tell him what they would have him to do, 
 but in the night did cast sundry papers into the Praetor's 
 seat, where he gave audience, and the most of them to this 
 effect: 'Thou sleepest, Brutus, and art not Brutus in- 
 deed.' " Cf. I. iii. 142-46, note, and II. i. 46-50. 
 
 I. ii. 329. Tending to. Indicating. 
 
 I. ii. 332, 33. Sure . . . endure. A rhyming couplet fre- 
 quently marked the exit of an actor or the close of a scene 
 in the Elizabethan drama. 
 
 I. iii. Note the effectiveness of the contrast between the 
 superstitious panic of Casca in this scene and his affected 
 cynicism in the previous one. The action in I. ii. took place 
 on February 15th ; I. iii. is on the night before March 15tJi. 
 
 I. iii. 1. Brought. Escorted. 
 
 I. iii. 3. Sway. Regular movement. 
 
166 NOTES. 
 
 I. iii. 12. With. In their attitude towards. 
 
 I. iii. 13. Destruction. Note that the metre requires this 
 word to be pronounced with four syllables. 
 
 I. iii. 14. More wonderful. I.e., than the storm just 
 described. 
 
 I. iii. 15-28. For these portents cf. Plut., pp. 97, 98, or see 
 Introduction, p. 31. Cf . also Hamlet, I. i. 113 fE. 
 
 I. iii. 20. Against. Opposite. 
 
 I. iii. 21. Who. See Introduction, p. 38 (3.) (e). Glared. 
 The folios read glazed, which may be a variant form of the 
 same word. Wright quotes evidence of the modern dialect 
 use of cftoze in the sense of "stare." 
 
 I. iii. 23. Upon a heap. Into a crowd. 
 
 I. iii. 26. Bird of night. The owl, whose hooting was re- 
 garded as of ill omen. 
 
 I. iii. 30. These. Such and such. Cf. II. i. 31. 
 
 I. iii. 32. Climate. Country. 
 
 I. iii. 35. Clean from. Quite away from. 
 
 I. iii. 42. What night. What a night ! 
 
 I. iii. 47. Me. See Introduction, p. 38 (3.) (c). 
 
 I. iii. 48. Unbraced. With clothes unfastened. Cf . 11. i. 262. 
 
 I. iii. 49. Thunder-stone. The stone or bolt which was 
 supposed to fall with the lightning. 
 
 I. iii. 60. Put on. Actually suffer, not "pretend to suf- 
 fer." In. Into. 
 
 I. iii. 63, 64. After why, supply "we see," or some similar 
 phrase. 
 
 I. iii. 64. From quality and kind. Contrary to their dispo- 
 sition and nature. [Clar.] Cf . quality in ver. 68 below. 
 
 I. iii. 65. The reading in the text follows the Folios, and 
 seems to be defensible, taken as meaning that all kinds of 
 people are led to speculate about the strange happenings. 
 The common emendation is: "Why old men fool and 
 children calculate." 
 
 I. iii. 66. Their ordinance. What they are ordained to be. 
 
 I. iii. 67. Preformed faculties. Faculties originally created 
 for special purposes. 
 
 I. iii. 68. Quality. Nature, kind of thing. Cf. I. iii. 64, 
 and note. 
 
 I. iii. 71. State. State of affairs. 
 
NOTES. 167 
 
 I. iii. 75. It seems most natural to understand this as a 
 reference to the lion described by Casca in I. iii. 20-22, and 
 to suppose that Shakspere forgot that it was to Cicero, not 
 to Cassius, that Casca had mentioned it. Or we may sup- 
 pose the prodigy already a matter of common rumor. 
 
 I. iii. 81. Thews. Muscles. 
 
 I. iii. 82. Woe the while. Alas for these times ! 
 
 I. iii. 83. With. Shakspere often uses "with" where we 
 should use "by"; e.g., " Marr'd, as you see, with traitors," 
 III. ii. 206. 
 
 I, iii. 95. " Can forcibly confine spiritual strength." 
 
 I. iii. 114. My answer^ etc. I shall be called on to answer 
 for my words. 
 
 I. iii. 117. Fleering. Grinning, mocking. For that, see 
 Introduction, p. 38, (3.) (e). Hold, my hand. Stop, here's my 
 hand on it. 
 
 I. iii. 118. Factious. Active in organizing a party (with- 
 out the evil implications of the modern usage). 
 
 I. iii. 123. Undergo. Undertake. 
 
 I. iii. 126. Pompey's porch. A porch attached to the theatre 
 built by Pompey on the Campus Martins. Cf. III. i. 12, 
 note. 
 
 I. iii. 128. Complexion of the element. The aspect of the 
 heavens. 
 
 I. iii. 129. Favour. Appearance. Cf. I. ii. 91 and note. 
 
 I. iii. 135. Incorporate. In one body with us, closely 
 united. 
 
 I. iii. 138. There's two, etc. See Introduction, p. 38, (4.) (a) 
 and cf. I. iii. 148. 
 
 I. iii. 142-46. Cf. Plut., p. 112 : " But for Brutus, his friends 
 and countrymen, both by divers procurements and sundry 
 rumours of the city, and by many bills also, did openly call 
 and procure him to do that he did. For under the image 
 of his ancestor Junius Brutus (that drave the kings out of 
 Rome) they wrote : ' O, that it pleased the gods thou wert 
 now alive, Brutus ! ' and again, ' that thou wert here among 
 us now ! ' His tribunal or chair, where he gave audience 
 during the time he was Praetor, was full of such bills: 
 'Brutus, thou art asleep, and art not Brutus indeed.' " Cf. 
 I. ii. 327, note. 
 
168 NOTES. 
 
 I. iii. 144. The logical order is, "Where but Brutus may 
 find it." 
 
 I. iii. 148, 155. See Introduction, p. 38, (4.) (a). 
 
 I. iii. 153. Pompey's theatre. Of. I. iii. 126, note. 
 
 I. iii. 157. Cf. Plut., p. 113. 
 
 I. iii. 159. Alchemy. The old science by which medieval 
 philosophers tried to turn base metals into gold. 
 
 I. iii. 163. Conceited. Conceived, formed an idea of. 
 
 ACT II. 
 
 The second act carries on the exposition of the main char- 
 acters and brings the development of the plot all but to the 
 climax. 
 
 II. i. The first scene elaborates still further the character 
 of Brutus, showing him in a variety of relations — to his 
 attendant, to his friends, and to his wife ; — and by means of 
 soliloquy, brings out clearly his attitude towards Caesar 
 and the proposed assassination. 
 
 II. i. 1. What. A mere exclamation, like when in ver. 5. 
 
 II. i. 12. General. The general public, the community. 
 
 II. i. 18. The ahuse of greatness. The evil which greatness 
 is liable to do. 
 
 II. i. 19. Remorse. Pity (here, as often in Elizabethan 
 English, without the sense of self-reproach for past ac- 
 tions). 
 
 II. i. 30. Affections. Passions in general. Swayed. Gov- 
 erned. 
 
 II, i. 31. Proof. Experience. 
 
 II. i. 33. Climher upward. Some editors put a hyphen 
 between these words to bring out more clearly the relation 
 of upward. 
 
 II. i. 36. Degrees. In the literal sense of " steps." 
 
 II. i. 38. Prevent. The etymological sense of "come be- 
 fore," "anticipate," is still present in the use of the word 
 here. Cf . V. i. 105. Quarrel. Cause of complaint. 
 
 II. 1. 39. Colour. Plausible appearance. The general 
 sense is, "Since no plausible complaint can be based on his 
 present conduct, etc." 
 
 II. i. 31. These and these. Cf . I. iii. 30 and note. 
 
NOTES. 169 
 
 II. i. 35. Closet. For the sense in which this word is 
 used. cf. II. i. 7. 
 
 II. i. 37. Cf . I. ii. 326-30. 
 
 II. i. 40. Ides. The Folios read "first," but the context 
 (e.g., ver. 59) shows that this must be a slip. 
 
 II. i. 44. Exhalgctions. Meteors. 
 
 II. i. 48. I follow Grant White in regarding- this line as 
 part of the soliloquy, not as the end of the letter. Brutus 
 takes up the letter phrase by phrase. Cf. ver. 51 and 55. 
 
 II. i. 50. Took. See Introduction, p. 39 (4.) (c). 
 
 II. i. 56. Thee. To thee, dative case. 
 
 II. i. 59. Fifteen. So the Folios. Most editors have fol- 
 lowed Theobald in changing this to "fourteen." But it 
 appears from ver. 101-110 and 192, 93 that it is past midnight, 
 and that the fifteenth might be regarded as begun, so that 
 Lucius might easily be supposed to use the phrase in the 
 text though Brutus in ver. 40 spoke of the ides as "to- 
 morrow." 
 
 II. i. 64. Motion. Motive, impulse. 
 
 II. i. 66. The Genius, etc. " The reasonable soul and the 
 bodily powers." [Clar.] 
 
 II. i. 67. Man. The Folios read "a man," which disturbs 
 the metre and is not necessary for the sense. 
 
 II. i. 70. Tour brother Cassius. Cassius had married 
 Junia, the sister of Brutus. 
 
 II. i. 72. Moe. The old comparative of "many." 
 
 II. i. 73, 74. Wright notes that Shakspere is here thinking 
 of the slouched hat of his own time rather than of the brim- 
 less ' ' pileus ' ' of the Romans. Cf . I. ii. 240, 272, 293, and notes. 
 
 II. i. 76. Favour. Cf . I. ii. 91, note, and I. iii. 129. 
 
 II. i. 83. Path. If this reading is correct, it must be a 
 verb meaning "walk." Coleridge emended to "put" and 
 omitted the comma, which is found only in the second of 
 the Folios. 
 
 II. i. 84. Erebus. In Greek mythology, the region of 
 nether darkness between Earth and Hades. It is often used 
 of the lower world in general. 
 
 II. i. 104. Fret. Mark with ornamental lines. 
 
 II. i. 107. Growing on. Tending towards, encroaching 
 on. Casca is pointing out that in the early spring the sun 
 
170 NOTES. 
 
 rises to the soutti of east. The conversation is put in 
 merely to give time to Brutus and Cassius for a whispered 
 conference. 
 
 II. i. 108. Weighing. Taking into consideration. To what 
 is this participle related? 
 
 II. i. 117. Hence to his idle hed. Go to iiis bed and lie 
 there idle. 
 
 II. i. 119. By lottery. The implication is that the cruelties 
 of the tyrant will be purely capricious and undeserved. 
 
 II. i. 125. Secret. Having promised secrecy. Spoke. See 
 Introduction, p. 39 (4.) (c). 
 
 II. i. 129. Cautelous. Deceitful. The word cautel orig- 
 inally meant merely " caution " but became degraded to 
 " cunning," " deceit." 
 
 II. i. 130. Carrions. Decaying carcases : used contemp- 
 tuously of infirm old men. 
 
 II. i. 133. Even. All on a high level. 
 
 II. i. 134. Insuppressive. Not to be suppressed. Cf . As 
 You Like It, III. ii. 10, " The fair, the chaste and unexpress- 
 ive she." Mettle. Cf. I. i. 65, I. ii. 307, and notes. 
 
 II. i. 138. Guilty . . . hastardy. Each guilty' of an act 
 that dishonors its origin. 
 
 II. i. 150. Break with him. Tell him of the matter. Cf . 
 the modern sense. 
 
 II. i. 156-91. Cf. Plut., p. 119: " All the conspirators, but 
 Brutus, . . . thought it good also to kill Antonius, because 
 he was a wicked man, and that in nature favoured tyranny : 
 besides also, for that he was in great estimation with sol- 
 diers, having been conversant of long time amongst them : 
 and especially having a mind bent to great enterprises, he 
 was also of great authority at that time, being Consul with 
 Caesar. But Brutus would not agree to it. First, for that 
 he said it was not honest : secondly, because he told them 
 there was hope of change in him. For he did not mistrust 
 but that Antonius, being a noble-minded and courageous 
 man, (when he should know that Caesar was dead), would 
 willingly help his country to recover her liberty, having 
 them an example unto him to follow their courage and 
 virtue." Cf. also Plut., p. 164. 
 
 II. i. 157. Of him. In him. 
 
NOTES. l*?*! 
 
 II. i. 158. Shrewd contriver. Mischievous schemer. 
 
 II. i. 164. Envy. Used in the more general sense of 
 " malice." Cf. envious in ver. 178, below. 
 
 II. i. 166. For the metre, see Introduction, p. 35, 5. 
 
 II. i. 169. Come hy. Get at. 
 
 II. i. 171. Gentle. In Elizabethan English this word fre- 
 quently bears the earlier meaning of "well-born," and so 
 " honorable," as here. 
 
 II. i. 175. Subtle. Working under the surface, dissem- 
 bling. 
 
 II. i. 178. Envious. Cf . note on ver. 164, above. 
 
 II. i. 187. The 1st Folio has a semi-colon after himself. 
 This punctuation, or that adopted in the text, implies the 
 sense, " All the harm he can do is to injure himself, i.e., he 
 can take thought, etc." If the comma or semi-colon after 
 himself be removed, himself becomes intensive instead of 
 reflexive, and we have a case of the split infinitive. Take 
 thought. Become melancholy. This use of thought in the 
 sense of "anxiety," "brooding," is common in Shaks- 
 perean English. Cf . Hamlet, III. i. 84, 85. 
 
 And thus the native hue of resolution 
 
 Is sicklied o'er with the pale cast of thought. 
 
 II. i. 188. " And it would be a good thing if he did so." 
 
 II. i. 190. Fear. Cause of fear. 
 
 II. i. 192. ClocTi. Note the anachronism. Stricken. See 
 Introduction, p. 39 (4.) (c). 
 
 II. i. 194. Whether. See Introduction, p. 34, 3. 
 
 II. i. 196. From. Away from, contrary to. Main. Strong, 
 or, perhaps, "general." 
 
 II. i. 197. Ceremonies. Keligious rites. Contrast the use 
 
 in I. i. 69. 
 II. i. 198. Apparent. Seen by all, and so " undeniable." 
 II. i. 204. Unicorns . . . trees. Unicorns were supposed to 
 be captured by being induced to pursue the hunter, who 
 stepped behind a tree, into which the animal ran his horn 
 and remained fixed. 
 
 II. i. 205. Bears with glasses. Bears were supposed to be 
 fascinated by mirrors, so that the hunters got an opportu- 
 nity for deliberate attack. 
 
172 NOTES. 
 
 II. i. 215. Bear . . . hard. Hate. Cf. I. ii. 324. 
 
 II. i. 218. By him. "Bj his house. 
 
 n. i. 224. Fresh and merrily. Which is the modern idiom, 
 adjective or adverb? 
 
 II. i. 225. Pvt on. Wear the appearance of. 
 
 II. i. 227. Formal constancy. Absence of change in out- 
 ward form. 
 
 II. i. 230. Honey-heavy dew. The Folios have " honey- 
 heavy-dew," and Collier, followed by White and others, 
 emended to " heavy honey-dew." The general meaning is 
 clear. 
 
 n. i. 231. Nor no. See Introduction, p. 39, (5.) (a). 
 
 II. i. 233. Portia. For this scene with Portia, cf. Plut., 
 p. 115. 
 
 II. i. 238. Stole. See Introduction, p. 39, (4.) (c). 
 
 II. i. 246. Wafture. Wave. 
 
 II. i. 248. Impatience. For the metrical value, see Intro- 
 duction, p. 36. 
 
 II. i. 250. Humour. A man's temperament or his mood 
 was supposed to be determined by the predominance of one 
 of the four *' humours," blood, choler, phlegm, and melan- 
 choly, which inhabited the body. From this idea of 
 "mood "(is derived the sense of "caprice." For another 
 use, cf. ver. 262, below. 
 
 II. i. 251. His. Its. See Introduction, p. 37, (3.) (b). 
 
 II. i. 254. Condition. Disposition. 
 
 II. i. 255. Dear my lord. The transposition is due to the 
 frequent close association of the possessive and the noun. 
 So we have often " good my lord " ; in Romeo and Juliet, 
 III. v. 200, "sweet my mother"; and in Troilus and 
 Cressida, V. ii. 109, "poor our sex." 
 
 II. ii. 261. Physical. Wholesome. 
 
 II. i. 262. Unbraced. Cf. I. iii. 48. Humours. Moisture, 
 dampness. 
 
 II. i. 266. Rheumy. Causing rheum or catarrh. 
 
 II. i. 268. Sick offense. Harmful cause of sickness. Cf. 
 "familiar instances" in IV. ii. 16, and see Introduction, 
 p.37, (1.) (a). 
 
 II. i. 271. Charm. Conjure. 
 II. i. 275. Heavy. Sad. 
 
NOTES. 173 
 
 II. i. 283. In sort or limitation. In a limited way, with 
 restrictions. 
 II. i. 284. Keep with. Live with. 
 
 II. i. 285. In the suburbs. In the outskirts, not in the 
 heart. It has been suggested that there is a further refer- 
 ence, viz., to the unsavory reputation which the suburbs 
 of London had in Shakspere's time. 
 
 II. i. 295. Cato^s daughter. Marcus Porcius Gate, sur- 
 named Utieensis, a patriot and Stoic philosopher, was one 
 of the most determined opponents of Caesar. He com- 
 mitted suicide at Utica in N. Africa after Caesar's victory 
 at Thapsus in 46 B.C. On this passage cf. Plut., pp. 115-16: 
 " ' And for myself, I have this benefit moreover, that I am 
 the daughter of Cato, and wife of Brutus. This notwith- 
 standing, I did not trust to any of these things before, until 
 that now I have found by experience that no pain or grief 
 whatsoever can overcome me.' With those words she 
 shewed him her wound on her thigh, and told him what 
 she had done to prove herself." 
 II. i. 299. Constancy. Firmness. Cf . II. i. 227 and II. iv. 6. 
 II. i. 308. Charactery of. What is charactered or writ- 
 ten on. 
 
 II. i. 312. How? An exclamation of surprise at the signs 
 of sickness. 
 
 II. i. 313. Vouchsafe. " Condescend to accept." [Clar.] 
 II. i. 831. To whom. To him to whom. The Folios have 
 a comma after going, a punctuation which compels us to 
 give unfold a double object, (1) what it is, and (2) to whom 
 it must be done. Set on your foot. This seems to be equiva- 
 lent to some such colloquialism as "Go ahead." 
 
 II. ii. This scene serves to display the character of 
 Caesar, and to advance the plans of the conspirators. In 
 his stress upon Caesar's vanity and arrogance Shakspere 
 follows hints in Plutarch's account of Caesar in the last 
 year of his life. The general impression of Caesar given 
 by Shakspere differs from that given by Plutarch, not so 
 much on account of characteristics invented by Shakspere 
 as because the proportions are changed by the omission of 
 the narrative of Caesar's more heroic days which forms 
 the greater part of the Life by Plutarch. It is to be noted 
 
174 NOTES. 
 
 also that the contrast between the character of Brutus as 
 shown in the previous scene and that of Caesar in the 
 present one is emphasized by the contrast of their wives 
 and their respective relations to them. 
 
 II. ii, 1. Have. See Introduction, p. 39, (4.) (b). 
 
 II. ii. 5. Present. Immediate. 
 
 II. ii. 6. Success. This word in older Eng-lish is fre- 
 quently neutral, implying- merely "result." Hence it is 
 often qualified by " good " or " ill." 
 
 II. ii. 10. Shall forth. See Introduction, p. 39, (4.) (e), 
 
 II. ii. 13. Stood on ceremonies. Put stress on religious 
 signs or omens. Cf . the uses of ceremonies in I. i. 69 and 
 II. i. 197. 
 
 II. ii. 14-25. See Introduction, p. 31. 
 
 II. ii. 16. Watch. Wright notes that here again Shaks- 
 pere is thinking of London rather than of Rome. 
 
 II. ii. 30. Bight form of wa/r. All the regular array of 
 battle. 
 
 II. ii. 23. Did neigh. The first Folio reads " do neigh," 
 the others, " did neigh." The confusion of tenses may be 
 intentional, to indicate excitement. Note the variety of 
 tenses throughout the speech. 
 
 II. ii. 18-24. These omens are referred to by Shakspere 
 again in Hamlet, I. i. 113, ff. : 
 
 In the most high and palmy state of Rome, 
 A little ere the mightiest Julius fell, 
 The graves stood tenantless and the sheeted dead 
 Did squeak and gibber in the Roman streets. 
 
 For the chronological relation between Julius Caesar and 
 Hamlet, see Introduction, p. 25. 
 
 II. ii. 25. All use. Which sense of me is here employed? 
 
 II. ii. 42. Should he. Would be. The modern distinction 
 between "should" and "would," "shall" and "will" 
 dates from the seventeenth century, and is not observed by 
 Shakspere. 
 
 II, ii. 46. We are. The Folios read " We heare," but 
 nearly all modern editors emend to "we are" or "we 
 were." 
 
 II. ii. 56. Humour. Whim, caprice. Cf . II. i. 250 and note. 
 
NOTES. 175 
 
 II. ii. 73. Satisfaction. For metrical purposes this word 
 has here five syllables. Cf. impatience in II. i. 248 and see 
 Introduction, p. 36. 
 
 II. ii. 76. Statue. If status is dissyllabic, this line is nine- 
 syllabled. But in Richard III., III. vii. 25, 
 
 But like dumb statues or breathing stones, 
 it has three syllables, and other writers of the time used 
 " statua." Hence editors have here read either " statuS " 
 or "statua." Cf. III. ii. 197. 
 
 II. ii. 89. Tinctures. It was a custom to preserve as 
 relics handerchiefs tinctured or stained with the blood of 
 noted persons. Cognizance. A heraldic term for a badge. 
 
 II. ii. 97. Apt to he rendered. Easily made. 
 
 II. ii. 103. Proceeding. Career. 
 
 II. ii. 104. And reason, etc. My reason (which might 
 have made me hesitate to speak thus) is subject to my 
 affection for you. 
 
 II. ii. 114. Strucken. See Introduction, p. 39, (4.) (c). 
 
 II. ii. 121. Hour's. The metre requires this word to be 
 dissyllabic here. 
 
 II. ii. 129. I Yearns. Shudders. 
 
 II. iii. The chief effect of this short scene is to increase 
 the excitement before the culmination of the conspiracy, by 
 suggesting a possible way of escape for Caesar. 
 
 II. iii. 13. Out of, etc. Free from envious rivalry. 
 
 II. iii. 15. Contrive. Conspire. 
 
 II. iv. The part of the Soothsayer in this scene serves 
 the same dramatic purpose as that of Artemidorus in the 
 previous one. For the rest, the scene elaborates the char- 
 acter of Portia by exhibiting her wifely anxiety. 
 
 II. iv. 6, Constancy. Cf. II. i. 227, II. i. 299 and notes. 
 
 II. iv. 14. Sickly. What part of speech is this? 
 
 II. iv. 32. For the metre, see Introduction, p. 35, 5. 
 
 ACT III. 
 
 In this central act the plot reaches its climax and the 
 counter-plot begins. 
 
 III. i. In the first scene the movement is rapid and the 
 speeches short, whispered, and full of suppressed excite- 
 
l'J'6 NOTES. 
 
 ment (except the lordly utterances of the unconscious 
 Caesar), up to the moment of the assassination. Then, 
 after a moment of consternation, the action pauses while 
 the chief persons utter themselves on the situation. 
 
 III. i. 8. Us ourself. This use of the plural is meant to 
 indicate Caesar's assumption of royalty. It is, of course, 
 English, not Roman. Served. We mig-ht expect a word 
 meaning- "attended to," but it is difficult to get clear evi- 
 dence for this use elsewhere. Wright takes it as mean- 
 ing, "presented," as in the phrase " serve a summons," 
 and Damon suggests that it is a metaphor from the table. 
 
 III. i. 12. Capitol. Shakespere evidently implies here, 
 as in Hamlet, III. ii. 108, 109, that the assassination took 
 place in the Capitol, though Plutarch says Caesar was 
 killed in one of the porches about the Theatre of Pompey. 
 It was here that the Senate was sitting, and here stood the 
 statue of Pompey which Shakspere transfers to the Capitol. 
 It will be remembered that in I. iii. 126 Shakspere uses 
 " Pompey's porch" as the meeting place of the conspira- 
 tors. The stage-directions are modern. 
 
 III. i. 18. Makes to. Makes for, makes his way towards. 
 
 III. i. 19. Sudden. Quick. 
 
 III. i. 22. Constant. Firm. Cf. II. iv. 6 and note. 
 
 III. i, 28. Presently. At once. Cf. II. ii. 5 and note. 
 Prefer. Present. 
 
 III. i. 29. Addressed. Prepared. 
 
 III. i. 30. Is this line strictly grammatical? 
 
 III. i. 38. Pre-ordinanee. About his own decrees Caesar 
 uses language usually associated with divine laws. 
 
 III. i. 39. Law. Johnson's emendation for " lane," the 
 reading of the Folios. Of chUdren, i.e., liable to capricious 
 change. Fond to think. So foolish as to think. 
 
 III. i. 42. With. By. Cf . I. iii. 83 and note. 
 
 III. i. 47, 48. Ben Jonson quoted this passage in an 
 altered form and ridiculed it. " Many times he [Shaks- 
 pere] fell into those things, could not escape laughter, as 
 when he said in the person of Caesar, one speaking to him, 
 'Caesar, thou dost me wrong.' He replied: 'Caesar did 
 never wrong but with just cause,' and such like, which 
 were ridiculous." {Timber^ ed. Schelling, p. 23.) This has 
 
NOTES. 1'^'?' 
 
 led some editors to emend the text in conformity with 
 Jonson's quotation, but no change seems necessary. 
 
 III. i. 51. Repealing. Recalling. Cf. repeal in ver. 54, 
 above. 
 III. i. 57. Enfrancliisement. The rights of a free citizen. 
 
 III. i. 59. Praij to move. Pray others to change. 
 
 III. i. 67. Apprehensive. Intelligent. 
 
 III. i. 69, 70. Holds . . . motion. These words are usually 
 understood to mean " maintains his place, unmoved by any 
 force." 
 
 III. i. 77. "M til, Brute!' This phrase is not found in 
 any of the classical authorities on the death of Caesar, and 
 its source is unknown. "Shakspeare may have taken it 
 from The True Tragedie of Richard Duke of Yorke, where 
 Edward exclaims to Clarence, ' Et tu, Brute, wilt thou 
 stab Caesar too? ' " [Clar.] 
 
 III. i. 80. Common pulpits. Those in the Forum, from 
 which orators addressed the people. 
 
 III. i. 91. Nor . . . no. See Introduction, p. 39, (5.) (a). 
 
 III. i. 94. Abide. Answer for. 
 
 III. i. 95. But we. See Inti-oduction, p. 37, (3.) (a). 
 
 III. i. 100. Stand upon. Concern themselves with, put 
 stress upon. 
 
 III. i. 101, 2. The Folios give the speech to Casea, but 
 most editors agree in assigning it to Cassius, with whose 
 stoicism it is in accord. 
 
 III. i. 115. Pompeifs hasis. On the base of Pompey's 
 statue. Cf . note on III. i. 12. 
 
 III. i. 120. See Introduction, p. 39, (4.) (e). 
 
 III. i. 121. Most boldest. See Introduction, p. 37, (2.). 
 
 III. i. 131. Resolved. Informed. 
 
 III. i. 136. Thorough. The Shaksperean spelling of 
 "through" when dissyllabic. Untrod state. The unex- 
 plored road on which we have entered. 
 
 III. i. 140. So pUase him come. If it be so that it please 
 him to come. Cf . Cymbeline, IV. ii. 394, " So please you en- 
 tertain me." 
 
 III. i. 142. Presently. Cf . III. i. 28 and note. 
 
 III. 1. 143. " I know that he will be a good friend to our 
 cause." 
 
178 NOTES. 
 
 III. i. 145, 46. My misgiving, etc. My fears usually turn 
 out to be only too well founded. Shrewdly is originally 
 " wickedly," but here it is merely intensive. 
 
 III. 1. 152. Be let Mood. Be bled, i.e., die. Rank. Too 
 full-blooded, therefore, "to be bled." There may also be 
 sug-gested the sense of "too flourishing," "increasing in 
 power too rapidly." 
 
 III. i. 157. Bear me hard. Bear me a grudge. Cf . I. ii. 
 324, II. i. 215, and notes. 
 
 III. i. 160. Apt. Fit, ready. 
 
 III. i. 161. Mean. Shakspere uses "means " also. 
 
 III. i. 162. By . . . by. Note the play upon the two uses 
 of by, (1) of place, (2) of agent. 
 
 III. i. 171. Fire . . . fire. The first fire is dissyllabic. 
 
 III. i. 174. In strength of malice. This passage has been 
 suspected, and for malice editors have substituted "wel- 
 come," "amity," etc. But the phrase is parallel to the 
 previous admissions of Brutus implied in "bloody and 
 cruel ' ' and to the contrast drawn above between their hands 
 and their hearts. The general sense is, " Our arms, though 
 their strength has just been manifested in what seems 
 malice, and our hearts in genuine brotherly affection, do 
 receive you." 
 
 III. i. 177. Voice. Often used in sense of "vote." 
 
 III. i. 191. Credit. The way in which I am to be esti- 
 mated, my repute. 
 
 III. i. 192. Conceit. Conceive of. 
 
 III. i. 196. Dearer. More intensely. This intensive use 
 of "dear" is frequent in Shakspere. Cf. Hamlet, IV. iii. 
 43, "We dearly grieve"; Richard II., I. iii. 151, "The 
 dateless limit of thy dear exile," where "dear" means 
 " keenly felt. " The general idea in-Shakspere's use of the 
 word is "coming home to one." 
 
 III. i. 202. Close. Agree. The literal sense is paralleled 
 in the phrase, " to conclude an agreement." 
 
 III. i. 204. Bay'd. Brought to bay. 
 
 III. i. 206. Signed in thy spoil. Bearing the marks of thy 
 destruction. For this use oi signed, cf. Hehry VIII., II. iv. 
 108, " you sign your place and calling." For spoil=ruin, cf. 
 1 Henry IV., HI. iii. 11, "Company, villainous company, 
 
NOTES. 179 
 
 hath been the spotZ of me." Lethe. This is an unsolved puz- 
 zle. Some have avoided the difficulty by reading "death." 
 Elsewhere (2 Henry IV., V. ii. 72, Twelfth Night, IV. i. 66) 
 Shakspere uses "Lethe " correctly as the name of the river 
 of oblivion, and White interprets the present passage thus, 
 "crimsoned in the stream which bears thee to oblivion." 
 Others have supposed it to be from the Latin letum, death, 
 the " h " being due to confusion with Lethe, as it is in 
 the improper form lethum and in the English adjective 
 lethal. 
 
 III. i. 207, 8. Hart . . . heart. This pun occurs also in As 
 You Like It, III. ii. 260, and Twelfth Night, IV. i. 63. 
 
 III. i. 209. Strucken. See Introduction, p. 39 (4.) (c). 
 
 III. i. 213. Modesty. Moderation. 
 
 III. i. 216. Pricked. Marked : from the custom of marking 
 ofE names by pricking them with a metal point instead of 
 a pen. 
 
 III. i. 217. Shall we on. See Introduction, p. 39 (4.) (e) 
 and cf . ver. 236 and 291, below. 
 
 III. i. 224, Full of good regard. " Capable of being placed 
 in a favorable light. " [Clar.] 
 
 > III. i. 228. Produce. Exhibit. The use of to instead of 
 " in " is probably due to a recollection of the use of the Latin 
 produco in the sense of " bring forward." 
 
 III. i. 230. Order of his funeral. Course of his funeral 
 ceremonies. 
 
 III. i. 242. Wrong. Harm. 
 
 in. i. 243. Fall. Befall, happen. 
 
 III. i. 268. For this use of with for " by " cf . I. iii. 83 and 
 note. 
 
 III. i. 271. Ate. The Greek goddess of vengeance. 
 
 III. i. 273. Havoc. Said to be a cry in battle which 
 meant that no quarter was to be given. Let slip. I.e., from 
 the leash. 
 
 III. i. 283. Passion. Grief. Cf. I. ii. 40 and note. 
 
 III. i. 289. Borne. For the pun, cf. I. ii. 156. 
 
 III. i. 294. Issue. Result of the action. 
 
 III. ii. This scene contains in the oration of Antony the 
 force which sets in motion the return action of the drama. 
 Hitherto, the conspirators have carried everything before 
 
180 NOTES. 
 
 them. In the rest of the play we see Caesar's spirit accom- 
 plishing its revenge. 
 
 III. ii. 13-70. Cf. Plut., p. 120. " When the people saw 
 him in the pulpit, although they were a multitude of rake- 
 hels of all sorts, and had a good will to make some stir; yet, 
 being ashamed to do it, for the reverence they bare unto 
 Brutus, they kept silence to hear what he would say. 
 When Brutus began to speak, they gave him quiet audience : 
 howbeit, immediately after, they shewed that they were 
 not all contented with the murther." Shakspere may have 
 taken the hint for the style of this speech by Brutus from 
 the following: " But for the Greek tongue, they do note in 
 some of his epistles, that he counterfeited that brief com- 
 pendious manner of speech of the Lacedaemonians." Plut., 
 p. 107. 
 
 III. ii. 14. Lovers. Friends. Cf. II. iii. 9, and ver. 54, 
 below. 
 
 III. ii. 18. Censure. Judge. 
 
 III. ii. 31, 32. There is tears. See Introduction, p. 38, 
 (4.) (a). 
 
 III. ii. 36. Bude. Barbarous. 
 
 III. ii. .45. Eoctenuated. Made little of. 
 
 III. ii. 47. Enforced. Exaggerated. 
 
 III. ii. 59, 60. Note the dramatic contrast in these two 
 exclamations. The Second Citizen remembers that Brutus 
 is of a family already famous for its hatred of tyrants : the 
 Third Citizen fails entirely to seize the point either of the 
 murder or of Brutus' s defense of it, and is ready to transfer 
 his allegiance from one Caesar to another. The whole 
 political moral of the drama, the hopelessness of destroying 
 tyranny while the people are willing to be tyrannized over, 
 is implied in this cry, *' Let him be Caesar." 
 
 III. ii. 66. Grace. Honor. 
 
 III. ii. 67. Tending to. Cf . I. ii. 329, and note. 
 
 III. ii. 70. Save I. See Introduction, p. 37, (3.) (a). Spoke. 
 See Introduction, p. 39, (4.) (c). 
 
 III. ii. 74. Beholding. An incorrect form of belioldcn, 
 " under obligation." 
 
 III. ii. 82 ff. Cf. Plut., p. 121 : "Afterwards, when Caesar's 
 body was brought into the market place, Antonius making 
 
NOTES 181 
 
 his funeral oration in praise of the dead, according to the 
 ancient custom of Rome, and perceiving that his words 
 moved the common people to compassion, he framed his elo- 
 quence to make their hearts yearn the more; and taking 
 Caesar's gown all bloody in his hand, he laid it open to the 
 sight of them all, showing what a number of cuts and holes 
 it had upon it. Therewithal the people fell presently into 
 such a rage and mutiny, that there was no more order kept 
 among the common people." And again, p, 165 : " When he 
 saw that the people were very glad and desirous also to hear 
 Caesar spoken of, and his praises uttered, he mingled his 
 oration with lamentable words ; and by amplifying of mat- 
 ters did greatly move their hearts and affections unto pity 
 and compassion. ' ' It was from such mere hints as these that 
 Shakspere elaborated Antony's speech. Note that while the 
 matter-of-fact speech of Brutus, aimed at the reason of the 
 citizens, is in prose, Antony's appeal to their feelings is in 
 verse. 
 
 III. ii. 83. Bury. Note the anachronism here, and in ver. 
 115 below. 
 
 III. ii. 98. General coffers. Public treasury. 
 
 III. ii. 112. To. What preposition is used after withhold 
 in modern English! 
 
 III. ii. 115. Coffln. Cf . note on ver. 83 above. 
 
 III. ii. 123. Dear. See Introduction, p. 39, (5.) (b) and cf. 
 III. i. 196, note. Abide. Pay for. Cf . III. i. 95. 
 
 III. ii. 137 fE. On Caesar's will, cf. Plut., pp. 102, 121. 
 
 III. ii. 142. Napkins. Handkerchiefs. This use is still 
 common in Scotland. Cf . II. ii. 88, 89, and note. 
 
 III. ii. 174. Hearse. Bier. 
 
 III. ii. 179 fE. Mantle. Antony's appeal to the emotions of 
 the crowd through Caesar's mantle and his wounds is based 
 upon Plut., pp. 121, 22, and 165. 
 
 III. ii. 182. The Ntrvii. For Caesar's victory over *' the 
 Nervians, the stoutest warriors of all the Belgae," see 
 Plut., p. 61. 
 
 III. ii. 184. Envious. Malicious. Cf. II. i. 164, 178, and 
 notes. 
 
 III. ii. 188. Resolved. Cf. III. i. 131, and note. 
 
 III. ii. 192. Most unkindest. See Introduction, p. 37, (2.). 
 
182 NOTES. 
 
 III. ii. 197. On the metre of this line see Introduction, 
 p. 36, and cf . II. ii. 76 and note. 
 
 III. ii. 206. With. Cf . I. iii. 83, note. 
 
 III. ii. 251. Drachmas. A drachma was equal to about 
 twenty cents in nominal value, but had a much greater 
 purchasing power. 
 
 III. ii. 268. Forms. Benches. 
 
 III. ii. 275. Upon a wish. As soon as wished for. 
 
 III. ii. 279. Belike. Probably. 
 
 ITT, iii. The chief function of this scene is to give the 
 effect of Antony's speech by a picture of the wild passion it 
 has stirred up in the mob. The episode of the death of 
 Cinna is from Plut., pp. 102, 103, 122. 
 
 III. iii. 2. Things unluckily, etc. My imagination is bur- 
 dened with things that forbode ill-fortune. 
 
 III. iii. 12. You were hest. It were best for you. But by 
 the time of Shakspere the dative you had come to be regarded 
 as a nominative, as we see by such analogous phrases as 
 "I were best not call," Cymbeline, III. vi. 19. 
 
 ACT IV. 
 
 In this act we see the two opposing forces preparing for 
 the final struggle. As is often the case in tragedy, the 
 fourth act is the least essential to the action. 
 
 IV. i. The first scene introduces us to the triumvirate 
 who lead the party of revenge. Lepidus, the third member 
 of the triumvirate, is mentioned only to be set aside as of 
 no account. Antony and Octavius plan their campaign 
 together. 
 
 IV. 1. 1. Prick'd. Cf. III. i. 216, and note. 
 
 IV. i. 4. PuUius. According to Plutarch, the person 
 alluded to here was Lucius Caesar, Antony's uncle. 
 
 IV. i. 6. Damn. Condemn to death. 
 
 IV. i. 12. TJnmeritable. Without merit. 
 
 IV. i. 16. Voice. Cf . III. i. 177, note. 
 
 rV. i. 32. Wind. Wheel. 
 
 IV. 1. 34. In some taste. To some extent, in a sense. 
 
 IV. i. 37. Ahjects. Things thrown away. Orts. Broken 
 fragments. This is Staunton's emendation of the Folio 
 
NOTES. 183 
 
 reading, "objects, arts," which is retained by Craik and 
 others. The sense is understood in much the same way in 
 either case, viz., that Lepidus takes up things and practices 
 which other men have rejected as outworn. 
 
 IV. i. 38. Staled. Cf. I. ii. 73. 
 
 IV. i. 39. Begin his fashion. "Are the newest fashion 
 with him." [Clar.] 
 
 IV. i. 40. A property. A chattel, a piece of the furniture 
 on the stage on which we are the actors. 
 
 IV. i. 41. Listen. See Introduction, p. 39, (6.). 
 
 IV. i. 44. This line is defective. The second Folio reads, 
 " and our best means stretched out." 
 
 IV. i. 47. Answered. Met. 
 
 IV. i. 48, 49. At the stake, etc. The figure is from the 
 sport of bear-baiting, in which a bear was tied to a stake 
 and tormented by dogs. Cf . Macbeth, V. vii. 1, 3 : 
 
 They liave tied me to a stake ; I cannot fly, 
 But, bear-like, I must fight the course. 
 
 IV. ii. This scene merely leads up to the quarrel in 
 IV. iii. 
 
 IV. ii. 6. He greets me well. His greeting finds me in good 
 health. 
 
 IV. ii. 7. In his own change. By change in his own feel- 
 ings towards me. It has been proposed to read " charge " 
 for change, with the sense of "by his direct command." 
 
 IV. ii. 13. Full of regard. Full of qualities worthy of 
 regard. 
 
 IV. ii. 14. According to the punctuation in the present 
 text, which here follows the first Folio, we supply " as to " 
 before How, . Some editors put a colon after Lucilius and a 
 comma after you, thus making " How he received you " the 
 object of resolved. For resolved, cf . III. i. 131. 
 
 IV. ii. 16. Familiar instances. See Introduction, p. 37, 
 (1.) (a). 
 
 IV. ii. 33. Hot at hand. Restless when reined in. 
 
 IV. ii. 36. Fall. Used actively in the sense of " lower." 
 
 IV. ii. 40. Sober. Grave, serious. 
 
 IV. ii. 41. Content. Self-contained, calm. 
 
 IV. ii. 46. Enlarge. Enlarge upon, express fully. 
 
184 NOTES. 
 
 IV. ii. 50-52. Craik emended Lucilius to " Lucius " in ver. 
 50, and Let Lucius to " Lucilius " in ver. 52. This improves 
 the metre in ver. 50, and represents Brutus as sending^ 
 Lucius with the message, while the two officers guard the 
 door. Note that it is Lucilius who is on guard at IV. iii. 
 127, below. 
 
 IV. iii. This scene, taken by itself, is perhaps the great- 
 est in the play. The human nature of the two main actors 
 in it is realized with an intensity which Shakspere usu- 
 ally achieves only in his greatest works. On the other 
 hand, as a part of the dramatic action, the scene is much 
 less important. The division between the generals fore- 
 warns us of disaster to the army in battle, but otherwise 
 the plot is hardly advanced by it. 
 
 IV. iii. 2. Noted. Marked for disgrace. The phrase is 
 from Plut., p. 135, "The next day after, Brutus, upon com- 
 plaint of the Sardians, did condemn and note Lucius Pella 
 for a defamed person, that had been a Praetor of the Ro- 
 mans, and whom Brutus had given charge unto : for that he 
 was accused and convicted of robbery and pilfery in his 
 office. This judgment much misliked Cassius, because he 
 himself had secretly (not many days before) warned two of 
 his friends, attainted and convicted of the like offences, and 
 openly had cleared them." 
 
 IV. iii. 5. Were. The first Folio reads " was." Slighted 
 off. Set aside without consideration. 
 
 IV. iii. 8. Nice. Foolish, trivial. His. See Introduction, 
 p. 37, (3.) (b), and cf. ver. 16, below. 
 
 IV. iii. 10. To have. For having. Itching. Covetous, as 
 implied in next line. 
 
 IV. iii. 13. Speaks. See Introduction, p. 38, (4.) (a). 
 
 IV. iii. 23. How does this statement agree with the rea- 
 sons given by Brutus before the assassination? 
 
 IV. iii. 28. Bait. Many editors change this to "bay," 
 but the change is not necessary. 
 
 IV. iii. 30. Hedge me in. Hamper me (by criticising and 
 interfering with my actions) . 
 
 IV. iii. 32. Conditions. I.e., under which a campaign 
 should be conducted. 
 
 IV. iii. 45. Observe. Pay observance or reverence. 
 
NOTES. 185 
 
 IV. iii. 47. Spleen. The spleen was considered the seat of 
 the passions. 
 
 IV. iii. 73. Drachmas. Cf. III. ii. 251 and note. 
 
 IV. iii. 75. Indirection. Methods that are not straight- 
 forward. 
 
 IV. iii. 80. Bascal. Despicable. Counters. Used con- 
 temptuously for *' coins." 
 
 IV. iii. 88. "Brutus does not mean to admit that he is 
 exaggerating, but only that he calls attention to the faults 
 of Cassius when they are practiced upon himself." [Clar.] 
 
 IV. iii. 102. Plutus\ The Folios read "Pluto's," but the 
 god of wealth is obviously meant. 
 
 IV. iii. 109. Shall he humour. Shall be regarded as merely 
 caprice. Uf. II. i. 250, note, and IV. iii. 120, 136. 
 
 IV. iii. 110. Are yoked with. Have the same disposition as. 
 
 IV. iii. 115. Ill-tempered. With the humors badly tem- 
 pered or mixed. Cf. II. i. 250, note. 
 
 IV. iii. 129 ff. Cf. Plut., p. 134. "This Phaonius at that 
 time, in despite of the door-keepers, came into the chamber, 
 and with a certain scofiang and mocking gesture, which he 
 counterfeited of purpose, he rehearsed the verses which old 
 Nestor said in Homer: 
 
 My lords, I pray you hearken both to me, 
 For I have seen mo years than suchie three. 
 
 Cassius fell a-laughing at him, but Brutus thrust him out of 
 the chamber, and called him dog, and counterfeit Cynic." 
 
 IV. iii. 137. Jigging. " Jig" was used of a song as well as 
 of the tune and the dance which accompanied it. 
 
 IV. iii. 138. Companion. Used contemptuously as we 
 often use " fellow." 
 
 IV. iii. 152, 53. Upon. What preposition would be used 
 here in modern English? Cf. ver. 144, above. Impatient . . . 
 grief. Two constructions are confused here, but the sense 
 is clear. The grammatical looseness of the whole passage 
 marks Brutus's strong emotion. 
 
 IV. iii. 166. Call in question. Discuss. 
 
 IV. iii. 184. Nor nothing. See Introduction, p. 39, (5.) (a). 
 
 IV. iii. 191. Why does Brutus here seem to pretend to 
 hear for the first time of Portia's death? 
 
186 NOTES. 
 
 IV. Hi. 195, 96. Cassius means that he also holds the Stoic 
 doctrines, but he cannot so naturally put them in practice. 
 
 IV. iii. 198. Presently. At once. Cf. III. i. 38, 143. 
 
 IV. iii. 203. Offence. Harm. 
 
 IV. iii. 214. Under your pardon. What is the modern 
 idiom? 
 
 IV. iii. 335. Twice before the opinion of Brutus had pre- 
 vailed over that of Cassius — in letting Antony survive 
 Caesar, and in allowing him to address the people. In each 
 case the result was disastrous. 
 
 IV. iii. 336. Along. See Introduction, p. 39, (4.) (e). 
 
 IV. iii. 339. Niggard. Supply " sparingly." 
 
 IV. iii. 331. Hence. See Introduction, p. 39, (4.) (e). 
 
 IV. iii. 343. Knave. Used in the literal sense of " boy" 
 without any bad meaning. Cf . ver. 370, below. Overwatched. 
 Tired out with watching. 
 
 IV. iii. 376. The presence of a ghost was supposed to 
 make the lights burn blue. 
 
 IV. iii. 279. Upon. Towards. See Introduction, pp. 33, 33. 
 
 IV. iii. 381. Stare. Bristle. 
 
 IV. iii. 393. False. Out of tune. 
 
 IV. iii. 308. Set on. Cause to advance. 
 
 ACT V. 
 
 Here the return action, which was begun with Antony's 
 speech in the third act, culminates in the catastrophe of the 
 deaths of the greatest of the conspirators and the overthrow 
 of their army. 
 
 V. i. 3. Regions. A trisyllable. See Introduction, p. 36. 
 V. i. 4. Battles. Battalions. Cf . ver. 16, below, and V. 
 
 iii. 108. 
 
 V. i. 5. Wa/rn. Challenge, summon to fight. 
 
 V. i. 7. Am in their "bosoms. Know their intentions. 
 
 V. i. 10. With fearful bravery. Wright and others take 
 this to mean " with terrible display, thinking to intimidate 
 by ostentation. " But the common Shaksperean use of fearful 
 in the sense of "timorous " seems to suit the context better. 
 
 V. i. 14. Bloody sign. Cf. Plut., p. 139, " The next morn- 
 ing, by break of day, the signal of battle was set out in 
 
NOTES. 187 
 
 Brutus' and Cassius' camp, which was an arming scarlet 
 coat." 
 
 V. i. 17, 18. This discussion about the leadership of the 
 right and left wings is narrated by Plutarch (p. 140) of 
 Brutus and Cassius, but is transferred by Shakspere to 
 Octavius and Antony. 
 V. i. 19. Exigent. Exigency, critical moment. 
 
 V. i. 24, 25. We will answer . . . forth. We will meet them 
 when they charge. Go forward. 
 V. i. 33. Are. See Introduction, p. 39, (4.) (b). 
 
 V. i. 34. Hybla. A town in Sicily noted for its honey. 
 The bees fed on the thyme which grew on the surrounding 
 hills. 
 
 V. i. 52. Up. Into the sheath. 
 
 V. i. 55. Have added another to the list of those slain by 
 the sword of traitors. 
 
 v. i. 59. Strain. Family, race. 
 
 V. i. 60. Honourable. See Introduction, p. 39, (5.) (b). 
 
 v. i. 61. Peevish. Childish. Octavius was only twenty- 
 one. 
 
 V. i. 62. On Antony's reputation for gaiety cf. I. ii, 204; 
 XL i. 188, 89; II. ii. 116. 
 
 v. i. 66. Stomachs. Hearts, courage. Cf. Henry V., IV. 
 iii. 35, 36, " He which hath no stomach to this fight, Let him 
 depart." 
 
 v. i. 72. As. This word is often redundant in Shakspere. 
 Cf. Romeo and Juliet, V. iii. 247, "That he should hither 
 come as this dire night." 
 
 v. i. 77. Held Epicurus strong. Held strongly the doc- 
 trines of Epicurus, and so was skeptical about omens and 
 the like. Cf. Plut., pp. 100, 136. 
 
 V. i. 80. Former. First. Cf. the phrase occurring in ear- 
 lier writers (e.g., Mandeville and More) "our /ormer father 
 Adam," and Chaucer's ^^ Former Age." 
 
 V. i. 92. Constantly. Cf . II. i. 299, III. i. 22, and notes. 
 
 V. i. 95. Lovers. Cf . III. ii. 14, note. 
 
 V. i. 97. With. About. 
 
 v. i. 101 ff, Brutus answers that he has determined to act 
 by the rule by which he blamed Cato's suicide, i.e., as he 
 says after the parenthesis, I know . , . of life, he intends 
 
188 NOTES. 
 
 to await the will of heaven. The ideas thus expressed 
 are inconsistent with Brutus's next speech. One may sup- 
 pose that the suggestion of the humiliation of a triumph 
 changes his resolution. But Wright has pointed out that 
 in the first speech Shakspere was misled by the bad punc- 
 tuation of the corresponding passage in North's Plutarch 
 (p. 140). According to the Greek text of Plutarch, Brutus 
 admits that as a young man he blamed Cato ; but that now, 
 in the midst of danger, he is of a different opinion. 
 
 V. i. 105. Prevent. Anticipate. 
 
 V. i. 106. Time. Period, limit. 
 
 V. i. 109. Triumph. Cf. I. i. 36-50, note. 
 
 v. i. 110. Thorough. Cf . III. i. 137, note. 
 
 V. ii. 1. Bills. Dispatches. 
 
 V. iii. 4. It. The ensign or standard. In the previous 
 line, ensign is used for "standard-bearer," but in V. i. 80 
 as here for " standard." 
 
 V. iii. 18. Tend. Cf. I. ii. 194, note. 
 
 V. iii. 19. With a thought. Cf. "Upon a wish," III, ii. 275 
 and note. 
 
 V. iii. 25. Compass. Circular course. 
 
 V. iii. 38. Saving of thy life. Two interpretations are pos- 
 sible: (1) "When I saved thy life" ; (2) "Except for risking 
 thy life, thou shouldst attempt, etc." The former is that 
 usually accepted, and seems to fit the context better. 
 
 V. iii. 41, 43. Cf. Plut., p. 103, " For he [Cassius], being 
 overcome in battle at the journey of Philippes, slew himself 
 with the same sword with the which he strake Caesar." 
 Search. Probe, pierce. 
 
 V. iii. 51. Change. Exchange ; gain and loss on one side 
 corresponding to loss and gain on the other. 
 
 V. iii. 65, 66. Success. Good success. Cf. II, ii. 6 and note. 
 
 V. iii. 68. Apt. Receptive. 
 
 V. iii. 96. Proper. Merely repeats and emphasizes 
 "own." 
 
 V. iii. 101. Moe. Cf. II. i. 72, note. 
 
 V. iii. 104. Thasos. An island off the coast of Thrace. 
 Cf. Plut., p. 144, "So when he was come thither, after he had 
 lamented the death of Cassius, calling him the last of all the 
 Romans, being unpossible that Rome should ever breed 
 
NOTES. 189 
 
 again so noble and valiant a man as he, he caused his body 
 to be buried, and sent it to the city of Thassos, fearing lest 
 his funerals within his camp should cause great disorder." 
 
 V. iii. 108. Battles. Cf. V. i. 4, note. 
 
 V. iii. 110. Second fight. This second battle was in fact 
 twenty days later. 
 
 V. V. 2. Torch-light. Cf. Plut., p. 150, "Furthermore, 
 Brutus thought that there was no great number of men 
 slain in battle : and to know the truth of it, there was one 
 called StatiUus, that promised to go through his enemies, 
 for otherwise it was impossible to go see their camp : and 
 from thence, if all were well, that he would lift up a torch- 
 light in the air, and then return again with speed to him. 
 The torch light was lift up as he had promised, for Statilius 
 went thither. Now Brutus seeing Statilius tarry long after 
 that, and that he came not again, he said, ' If Statilius be 
 alive, he will come again.' But his evil fortune was such 
 that, as he came back, he lighted in his enemies' hands and 
 was slain." 
 
 v. V. 27. That our love. Cf. the modern idiom " that love 
 of ours." 
 
 V. V. 28. It. Note that the antecedent of it is the first 
 part of the compound " sword-hilts." 
 
 V. V. 45. Respect. Cf . I. ii. 59. 
 
 V. V. 46. Smatch. Smack. 
 
 V. V. 60. Entertain. Take into my service. 
 
 V. V. 62. Prefer. Sometimes used by Shakspere in the 
 sense of " recommend," but here rather "hand over." 
 
 v. V. 69. Save only he. See Introduction, p. 37, (3.) (a). 
 
 V. V. 71, 72. In a general . . . to all. With general honor- 
 able intentions and for the sake of the common good of all. 
 This free use of prepositions has been frequently exempli- 
 fied throughout the play. See Word Index for instances. 
 
 V. V. It is important to notice the stress laid by Shaks- 
 pere on the testimony borne by the enemies of Brutus to the 
 latter's honorable character. A mistake in judgment led 
 him to the assassination of Caesar, and the inevitable Nem- 
 esis followed in the form of physical disaster. But there 
 was no stain on his conscience, and there is no moral catas- 
 trophe as in Macbeth. 
 
WORD INDEX. 
 
 Abide, III. i. 94; III. ii. 123. 
 
 abjects, IV. i. 37. 
 
 abuse, II. i. 18. 
 
 addressed, III. i. 29. 
 
 affections, II. i. 20. 
 
 against, I. iii. 20. 
 
 aim, I. ii. 163. 
 
 alchemy, I. iii. 159. 
 
 an, I.ii. 273. 
 
 answer, I. iii. 114; V. i. 24. 
 
 answered, IV. i. 47. 
 
 Antony's reputation, V. i. 62. Cf. 
 
 I. ii. 204; II. i. 188-9; II. ii. 116. 
 apparent, II. i. 198. 
 apprehensive. III. i. 67. 
 apt, II. ii. 97; III. i. 160; V. iii. 68. 
 are, II. ii. 46; V. i.33. 
 arrive, I. ii. 110. 
 as, V.i. 72. 
 Ate, III. i. 271. 
 away, III. i. 119. 
 awl, I. i. 18, 25. 
 
 Bait, IV. iii. 28. 
 
 basis, III. i. 115. 
 
 bastardy, II. i. 138. 
 
 battles, V. i. 4, 16; V. iii. 108. 
 
 bay»d. III. i. 204. 
 
 be you one, I. U. 44, 
 
 bear ... a hand, I. ii. 35. 
 
 bear . . . hard, I. ii. 324; II. i. 215; 
 
 III. i. 157. 
 bears, II. i. 205. 
 begin his fashion, IV. i. 39, 
 behaviours, I. ii. 42. 
 beholding, III. ii. 74. 
 belike, III. ii. 279. 
 bend, I. ii. 123. 
 bills, V. ii. 1. 
 bird of night, I. iii. 26. 
 
 bosoms, V. i. 7. 
 
 break with, II, i. 150. 
 
 brother Cassius, II. i. 70. 
 
 brought, I. iii, 1. 
 
 Brutus (liucius Junius), I. ii. 159. 
 
 Brutus on suicide, V. i. 101. 
 
 Brutus, thou sleep'st, II. i. 48. 
 
 bury. III. ii.83. 
 
 but, I. ii. 177; I. iii. 144; III. i. 95. 
 
 by . . . by, III, i. 162. 
 
 by him, II. i. 218. 
 
 Call in question, IV. iii. 166. 
 Capitol, III, i. 12. 
 carrions, II. i. 130. 
 Casca, I, iii. 
 Cato, II. 1. 295. 
 cautelous, II. i. 129. 
 censure. III. ii. 18. 
 ceremonies, II, i. 197; II, ii, 13. 
 ceremony, I. i. 69. 
 chafing, I. ii, 101. 
 change, IV. ii, 7; V. iii. 51. 
 charactery, II, i. 308, 
 charm, II. i. 271. 
 chew, I. ii. 171. 
 clean from, I. iii. 35. 
 clock, II. i. 192. 
 close. III. i. 202. 
 closet, II. i. 35. 
 climate, I. iU, 32. 
 climber upward, II. i, 23, 
 cobbler, I. i. 11. 
 coffin. III. ii. 115. 
 cognizance, II. ii. 89. 
 Colossus, I. ii. 136. 
 colour, I. ii. 122; II. i, 29. 
 come by, II. i. 169. 
 common pulpits, III, i. 80. 
 companion, IV. iii. 138. 
 
 190 
 
WORD INDEX. 
 
 191 
 
 compass, V. iil. 25. 
 complexion, I. iii. 128. 
 conceit, III. i. 192. 
 conceited, I. iii. 162. 
 condition, II. i. 254. 
 conditions, IV. iii. 32. 
 constancy, II. iv. 6. 
 constant. III. i. 22. 
 constantly, V. i. 92. 
 content, IV. ii. 41. 
 contrive, II. iii. 15. 
 contriver, II. i. 158. 
 coronet, I. ii. 240. 
 course, I. ii. 1-9. 
 credit, III. i. 191. 
 
 Damn, IV. i. 6. 
 
 deaftiess, Caesar's, I. ii. 213. 
 
 dear, III. ii. 123. 
 
 dear my lord, II. i. 255. 
 
 dearer. III. i. 196. 
 
 death of Portia, IV. iii. 191. 
 
 degrees, II. i. 26. 
 
 did neigh, II. ii. 23. 
 
 difference, I. ii. 40. 
 
 disposed, I. ii. 321. 
 
 doublet, I. ii. 272. 
 
 drachmas. III. ii. 251; IV. iii. 73. 
 
 Element, I. iii. 128. 
 enforced. III. ii. 47. 
 enlarge, IV. ii. 46. 
 entertain, V. v. 60. 
 envious, II. i. 178; III. ii, 184. 
 envy, II. i. 164. 
 Epicurus, V. i.77. 
 Erebus, II. i. 84. 
 M tu, Brute! III. i. 77. 
 eternal, I. ii. 160. 
 even, II. i. 133. 
 exhalations, II. i. 44. 
 exigent, V. i. i9. 
 extenuated. III. ii. 45. 
 eyes, had his, I. ii. 62. 
 
 Factious, I. iii. 118. 
 fall, III. 1. 243; IV. ii. 26. 
 
 falling sickness, I. Ii. 119. 
 
 false, IV. iii. 292. 
 
 familiar instances, IV. ii. 16. 
 
 favour, I. ii 91 ; I. iii. 129; II. i. 76. 
 
 fear, II. i. 190. 
 
 fearful, V. i. 10. 
 
 ferret . . . eyes, I. ii. 186. 
 
 fever, I. ii. 119. 
 
 fifteen, II. i. 59. 
 
 fire. III. i. 171. 
 
 fleering, I. iii. 117. 
 
 flood, I. ii. 152. 
 
 fool, I. iil. 65. 
 
 formal, II. i. 227. 
 
 former, V. i. 80. 
 
 forms. III. ii. 268. 
 
 forth. III. i. 119. 
 
 fret, II. i. 104. 
 
 from, II. i. 196. 
 
 ftall of regard, IV. ii. 12. 
 
 General, II. i. 12; III. ii. 98. 
 
 Genius, II. i. 66. 
 
 gentle, II. i. 171. 
 
 glared, I. iii. 21. 
 
 good regard. III. i. 224. 
 
 grace. III. il. 66. 
 
 greets me well, IV. ii. 6. 
 
 growing on, II. i. 107. 
 
 Hands, I. ii. 327. 
 
 hart. III. i. 207-8. 
 
 hats, II. i. 73. 
 
 have, II. ii. 1. 
 
 havoc. III. i. 273. 
 
 heap, I. iii. 23. 
 
 hearse, III. ii. 174. 
 
 heart, III. i. 207-8. 
 
 hearts of controversy, I. ii. 109. 
 
 heavy, II. i. 275. 
 
 hedge, IV. iii. 30. 
 
 hence, IV. iii. 231. 
 
 his, I. ii. 124; II. i. 251; IV. iii. 8. 
 
 hold, my hand, I. iii. 117. 
 
 holds . . . motion, III. i. 69. 
 
 honey-heavy dew, II. i. 230, 
 
 hot at hand, IV. ii. 23. 
 
 how, II. i. 312. 
 
192 
 
 WORD INDEX. 
 
 humour (noun), II. i. 250; II. ii. 56; 
 
 IV. iil. 109. 
 humour (verb), I. ii. 326. 
 humours, II. i. 262. 
 Hyhla, V. i. 34. 
 
 1, I. Ii. 112, 115. 
 
 Ides, I. ii. 19; II. 1.40. 
 
 idle, II. i. 117. 
 
 ill-tempered, IV. iii. 115. 
 
 Impatient, IV. iii. 152. 
 
 in, I. iii. 60; V. v. 71-2. 
 
 incorporate, I. iii. 135. 
 
 Indifferently, I. ii. 87. 
 
 indirection, IV. iii. 75. 
 
 Instances, IV. ii. 16. 
 
 insuppressive, II. i. 134. 
 
 is (With plural subject), I. iii. 148, 
 
 155; III. ii. 31-2. 
 issue. III. i. 294. 
 it, V. iii.4; V. v. 28. 
 
 Jealous, I. ii. 71, 162. 
 jigging, IV. iii. 137. 
 Jonson, III. i. 47-8. 
 just, I. ii. 54. 
 
 Keep with, II. i. 284. 
 kind, I. iii. 64. 
 knave, IV. iii. 242, 
 
 liaugher, I. ii. 72. 
 law of children. III. i. 39. 
 let blood. III. i. 152. 
 lethe. III. i. 206. 
 liable, II. ii. 104. 
 lief, I. ii.95. 
 limitation, II. i, 283. 
 lion, I. iii. 75. 
 lottery, II. i. 119. 
 lovers. III. ii. 14. 
 liucius, IV. ii. 50-3. 
 liupercal, I. i. 71. 
 
 Mam, II. i. 196. 
 marry, I. ii. 230. 
 me, I. ii. 271; I. iii. 47. 
 mean, III. i. 161. 
 
 mechanical, I. i. 3. 
 merely, I. ii. 39. 
 metal, I. i. 65; I. ii. 320. 
 mettle, II. i. 134; IV. ii.24. 
 misgiving. III. i. 145. 
 mistook, I. il. 48. 
 modestly, I. ii. 69; III. i. 213. 
 moe, II. i. 72; V. iii. 101. 
 most boldest. III. i. 121. 
 most unkindest. III. ii. 192. 
 motion, II. i. 64. 
 much, II. i. 188. 
 music, I. ii. 204. 
 
 Name, I. ii. 199. 
 
 napkins. III. ii. 142. 
 
 Nervii, III. ii. 182. 
 
 nice, IV. iii. 8. 
 
 niggard, IV. iii. 229. 
 
 nor ... no. III. i. 91; IV. iii. 184. 
 
 not . . . neither, I. ii. 239. 
 
 noted, IV. iii. 2. 
 
 Observe, IV. iii. 45, 
 occupation, I. ii. 273. 
 o'crwatched, IV. iii. 242. 
 of, II. i. 157. 
 offence, IV. ill. 202. 
 on, III. i. 217. 
 ope, I. ii. 271. 
 order. III. i. 230. 
 ordinance, I. iii. 66. 
 orts, IV. i. 37. 
 out, I.i.l8. 
 
 Passion, I. ii. 48; III. i. 283. 
 path, II. i. 83. 
 peevish, V. i. 61. 
 physical, II. i. 261. 
 pitch, I. i. 77. 
 Plutus, IV. iii. 102. 
 Pompey, I. i. 41. 
 Pompey's porch, I. iii. 126. 
 Pompey's theatre, I. iii. 152. 
 portents, II. ii. 24. 
 Portia's death, IV. iu. 191. 
 practise, IV. iii. 88. 
 
WORD INDEX. 
 
 193 
 
 pray to move, III. i. 59. 
 
 prefer. III. I. 28; V. v.62. 
 
 preformed, I. iii. 67. 
 
 pre-ordlnance, III. i. 38. 
 
 present, II. ii. 5. 
 
 presently. III. i. 28, 142; IV. ili. 198. 
 
 prevent, II. i. 28; V. i. 105. 
 
 prick'd. III. i. 216; IV. i. 1. 
 
 priests of liupercus, I. li. 1-9. 
 
 proceeded, I. ii. 181. 
 
 proceeding, II. li. 103. 
 
 produce. III. 1. 228. 
 
 profess, I. ii. 77. 
 
 promised forth, I. li. 300. 
 
 proof, II. 1. 21. 
 
 proper, I. i. 28; I. ii. 41; V. Iii. 96. 
 
 property, IV. i. 40. 
 
 protester, I. ii. 74. 
 
 Publlus, IV. i. 4. 
 
 put on, I. iii. 60; II. i. 225. 
 
 Quality, I. iii. 64, 68. 
 quarrel, II. i. 28. 
 quick, I. ii. 29, 307. 
 
 Rank, III. 1. 152. 
 
 rascal, IV. iii. 80. 
 
 rears. III. i. 30. 
 
 recover, 1. 1. 27. 
 
 regard. III. i. 224; IV. ii. 12. 
 
 regions, V. i. 3. 
 
 remorse, II. i. 19. 
 
 repealing. III. i. 51. 
 
 replication, I. i. 50. 
 
 resolved, HI. i. 131; III. ii. 188; 
 
 IV. ii. 14. 
 respect, I. i.lO; I. ii, 59: V. v. 45, 
 retentive, I. iii. 95. 
 rheumy, II. i. 266. 
 right form, II. li. 20. 
 Rome, I. ii. 156; III. i. 289. 
 rout, I. ii. 78. 
 rude. III, ii. 36. 
 
 Sad, I. ii. 218. 
 
 save. III. ii. 70; V. V. 69. 
 
 saving, V. iii. 38. 
 
 scandal, I. ii. 76. 
 
 scarfs, I. ii. 295; cf. I. i. 69, note. 
 
 search, V. iii. 42. 
 
 second fight, V. Iii. 110. 
 
 secret, II. i. 125. 
 
 sennet, I. ii. 25, stage direction. 
 
 served. III. i. 8. 
 
 set on, II. i. 331 : IV. lil. 308. 
 
 should, II. ii. 42. 
 
 shouted, I. ii. 248. 
 
 shoT?-, I. ii. 34. 
 
 shrevrd, II. i. 158. 
 
 shrewdly, III. i. 146. 
 
 sick offence, II. i. 268. 
 
 slgn'd. III. i. 206. 
 
 slaughter, V. 1. 55. 
 
 slighted off, IV. iii. 5. 
 
 smatch, V. v. 46. 
 
 so, I. ii. 166. 
 
 so please him, III. 1. 140. 
 
 sober, IV. ii. 40. 
 
 soil, I. ii. 42. 
 
 soles, I. i. 15. 
 
 soothsayer, I. il. 12. 
 
 sort, I.i. 61; II. i. 283. 
 
 speaks, IV. ili. 13. 
 
 speed, I. ii. 88. 
 
 spleen, IV. iii. 47. 
 
 spoil. III. i. 206. 
 
 spoke, II. i. 125. 
 
 stake, IV. i. 48. 
 
 stand upon, III. i. 100. 
 
 stare, IV. iii. 281. 
 
 state, I. iii. 71; II. 1.67. 
 
 statue, II. li. 76; III. ii. 197. 
 
 Stole, IV. iii. 195. 
 
 stomachs, V. i. 66. 
 
 stood on ceremonies, II. ii. 13. 
 
 strain, V.i.59. 
 
 strength of malice, III. i. 174. 
 
 strength of spirit, I. iii. 95. 
 
 stricken, II. 1. 192. 
 
 Btrucken, III. i. 209. 
 
 subtle, II. i. 175. 
 
 suburbs, II. i. 285. 
 
 success, II. ii. 6; V. Iii. 65. 
 
 supporting robbers, IV. iii. 23. 
 
194 
 
 WORD INDEX. 
 
 sway, I. iii. 3. 
 swayed, II. i. 20. 
 swimming, I. ii. 100-115. 
 swonnded, I. ii. 253. 
 
 Thought, II. i. 187. 
 
 tardy, I. ii. 310. 
 
 taste, IV. i. 34. 
 
 teeth of emulation, II. iii. 13. 
 
 tending to, I. ii. 329; III. ii. 67. 
 
 Thasos, v. iii. 104. 
 
 that our love, V. v. 27. 
 
 thee, II. i. 56. 
 
 there's two, I. lil. 138. 
 
 these, I. ii. 174; I. iii. 30. 
 
 these and these, II. i. 31. 
 
 thews, I. iii. 81. 
 
 thorough, III. i. 136; V.l. 110. 
 
 thunder-stone, I. iii. 49o 
 
 time of life, V. i. 106. 
 
 tinctures, II. ii. 89. 
 
 to, in. ii. 112. 
 
 to friend. III. i. 143. 
 
 to have, IV. iii. 10. 
 
 torch-light, V. v. 2. 
 
 triumph, I.i. 35-55; V. i. 109. 
 
 trophies, I. i. 73. 
 
 Unbraced, I. iii. 48; II. i. 262. 
 under your pardon, IV. iii. 214. 
 undergo, I. iii. 123. 
 unicorns, II. i. 204. 
 unluckily. III. iii. 2. 
 unmerltable, IV. i. 12. 
 up, V. i. 52, 
 upon, IV. ill. 152. 
 upon a wish, III. ii. 275. 
 
 upon me, IV. iii. 279. 
 use (noun), II. ii. 25. 
 use (verb), I. ii. 72. 
 
 Voice, in. i. 177; IV. i.l6. 
 vouchsafe, II. i. 313. 
 vulgar, I. i. 74. 
 
 Wafture, II. i. 246. 
 
 walls, I. iL 155. 
 
 warn, V. i. 5. 
 
 watch, II. ii. 16. 
 
 we have, I. ii. 261. 
 
 weighing, II, 1. 108. 
 
 weU-glven, I. ii. 197. 
 
 what, II. i. 1. 
 
 what night, I. iii. 42. 
 
 when, II. i. 1, note; H. 1. 6. 
 
 where, I. ii. 59. 
 
 whether, I. i.65. 
 
 whiles, I. ii. 209. 
 
 who, I. iii. 21. 
 
 whom, II. i. 331. 
 
 why, I. iii. 63-4. 
 
 wind, IV. i. 32. 
 
 with, I. iii. 12, 83; III. i. 42, 
 
 in. U.206; V.i. 97. 
 with a thought, V.iii. 19. 
 woe the while, I. iii. 82. 
 wonderful, I. iii. 14. 
 wrong. III. 1.242. 
 
 Yearns, n. ii. 129. 
 yoked, IV. iii. 110. 
 yond, I. ii. 194. 
 yon were best. III. liL 12. 
 
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