William Shakespeare: The Complete Works 2nd Edition (288 page)
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Authors: William Shakespeare
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BOOK: William Shakespeare: The Complete Works 2nd Edition
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JULIUS CAESAR
ON 21 September 1599 a Swiss doctor, Thomas Platter, saw what can only have been Shakespeare’s
Julius Caesar
‘very pleasingly performed’ in the newly built Globe Theatre—‘the straw-thatched house’—on the south side of the Thames. Francis Meres does not mention the play in
Palladis Tamia
of 1598, and minor resemblances with works printed in the early part of 1599 suggest that Shakespeare wrote it during that year. It was first printed in the 1623 Folio.
Julius Caesar
‘very pleasingly performed’ in the newly built Globe Theatre—‘the straw-thatched house’—on the south side of the Thames. Francis Meres does not mention the play in
Palladis Tamia
of 1598, and minor resemblances with works printed in the early part of 1599 suggest that Shakespeare wrote it during that year. It was first printed in the 1623 Folio.
Julius Caesar
shows Shakespeare turning from English to Roman history, which he had last used in
Titus Andronicus
and
The Rape of Lucrece
. Caesar was regarded as perhaps the greatest ruler in the history of the world, and his murder by Brutus as one of the foulest crimes: but it was also recognized that Caesar had faults and Brutus virtues. Other plays, some now lost, had been written about Caesar and may have influenced Shakespeare; but there is no question that he made extensive use (for the first time in this play) of Sir Thomas North’s great translation (based on Jacques Amyot’s French version and published in 1579) of
Lives of the Noble Grecians and Romans
by the Greek historian Plutarch, who lived from about AD 50 to 130.
shows Shakespeare turning from English to Roman history, which he had last used in
Titus Andronicus
and
The Rape of Lucrece
. Caesar was regarded as perhaps the greatest ruler in the history of the world, and his murder by Brutus as one of the foulest crimes: but it was also recognized that Caesar had faults and Brutus virtues. Other plays, some now lost, had been written about Caesar and may have influenced Shakespeare; but there is no question that he made extensive use (for the first time in this play) of Sir Thomas North’s great translation (based on Jacques Amyot’s French version and published in 1579) of
Lives of the Noble Grecians and Romans
by the Greek historian Plutarch, who lived from about AD 50 to 130.
Shakespeare was interested in the aftermath of Caesar’s death as well as in the events leading up to it, and in the public and private motives of those responsible for it. So, although the Folio calls the play
The Tragedy of Julius Caesar
, Caesar is dead before the play is half over; Brutus, Cassius, and Antony have considerably longer roles, and Brutus is portrayed with a degree of introspection which links him more closely to Shakespeare’s other tragic heroes. Shakespeare draws mainly on the last quarter of Plutarch’s Life of Caesar, showing his fall; he also uses the Lives of Antony and Brutus for the play’s first sweep of action, showing the rise of the conspiracy against Caesar, its leaders’ efforts to persuade Brutus to join them, the assassination itself, and its immediate aftermath as Antony incites the citizens to revenge. The second part, showing the formation of the triumvirate of Antony, Lepidus, and Octavius Caesar, the uneasy alliance of Brutus and Cassius, and the battles in which Caesar’s spirit revenges itself, depends mainly on the Life of Brutus. Facts are often altered and rearranged in the interests of dramatic economy and effectiveness.
The Tragedy of Julius Caesar
, Caesar is dead before the play is half over; Brutus, Cassius, and Antony have considerably longer roles, and Brutus is portrayed with a degree of introspection which links him more closely to Shakespeare’s other tragic heroes. Shakespeare draws mainly on the last quarter of Plutarch’s Life of Caesar, showing his fall; he also uses the Lives of Antony and Brutus for the play’s first sweep of action, showing the rise of the conspiracy against Caesar, its leaders’ efforts to persuade Brutus to join them, the assassination itself, and its immediate aftermath as Antony incites the citizens to revenge. The second part, showing the formation of the triumvirate of Antony, Lepidus, and Octavius Caesar, the uneasy alliance of Brutus and Cassius, and the battles in which Caesar’s spirit revenges itself, depends mainly on the Life of Brutus. Facts are often altered and rearranged in the interests of dramatic economy and effectiveness.
Although Shakespeare wrote the play at a point in his career at which he was tending to use a high proportion of prose,
Julius Caesar
is written mainly in verse; as if to suit the subject matter, the style is classical in its lucidity and eloquence, reaching a climax of rhetorical effectiveness in the speeches over Caesar’s body (3.2). The play’s stage-worthiness has been repeatedly demonstrated; it offers excellent opportunities in all its main roles, and the quarrel between Brutus and Cassius (4.2) has been admired ever since Leonard Digges, a contemporary of Shakespeare, praised it at the expense of Ben Jonson:
Julius Caesar
is written mainly in verse; as if to suit the subject matter, the style is classical in its lucidity and eloquence, reaching a climax of rhetorical effectiveness in the speeches over Caesar’s body (3.2). The play’s stage-worthiness has been repeatedly demonstrated; it offers excellent opportunities in all its main roles, and the quarrel between Brutus and Cassius (4.2) has been admired ever since Leonard Digges, a contemporary of Shakespeare, praised it at the expense of Ben Jonson:
So have I seen, when Caesar would appear,
And on the stage at half-sword parley were
Brutus and Cassius; O, how the audience
Were ravished, with what wonder they went thence,
When some new day they would not brook a line
Of tedious though well-laboured
Catiline
.
THE PERSONS OF THE PLAY
Enter Flavius, Murellus, and certain commoners over the stage
FLAVIUS
Hence, home, you idle creatures, get you home!
Is this a holiday? What, know you not,
Being mechanical, you ought not walk
Upon a labouring day without the sign
Of your profession?—Speak, what trade art thou?
Is this a holiday? What, know you not,
Being mechanical, you ought not walk
Upon a labouring day without the sign
Of your profession?—Speak, what trade art thou?
CARPENTER Why, sir, a carpenter.
MURELLUS
Where is thy leather apron and thy rule?
What dost thou with thy best apparel on?—
You, sir, what trade are you?
What dost thou with thy best apparel on?—
You, sir, what trade are you?
COBBLER Truly, sir, in respect of a fine workman I am but, as you would say, a cobbler.
MURELLUS But what trade art thou? Answer me directly.
COBBLER A trade, sir, that I hope I may use with a safe conscience, which is indeed, sir, a mender of bad soles.
FLAVIUS
What trade, thou knave? Thou naughty knave, what trade?
COBBLER Nay, I beseech you, sir, be not out with me. Yet if you be out, sir, I can mend you.
MURELLUS
What mean’st thou by that? Mend me, thou saucy fellow?
COBBLER Why, sir, cobble you.
FLAVIUS Thou art a cobbler, art thou?
COBBLER Truly, sir, all that I live by is with the awl. I meddle with no tradesman’s matters, nor women’s matters, but withal I am indeed, sir, a surgeon to old shoes: when they are in great danger I recover them. As proper men as ever trod upon neat’s leather have gone upon my handiwork.
FLAVIUS
But wherefore art not in thy shop today?
Why dost thou lead these men about the streets?
Why dost thou lead these men about the streets?
COBBLER 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.
MURELLUS
Wherefore rejoice? What conquest brings he home?
What tributaries follow him to Rome
To grace in captive bonds his chariot wheels?
You blocks, you stones, you worse than senseless
things!
O, you hard hearts, you cruel men of Rome,
Knew you not Pompey? Many a time and oft
Have you climbed up to walls and battlements,
To towers and windows, yea to chimney-tops,
Your infants in your arms, and there have sat
The livelong day with patient expectation
To see great Pompey pass the streets of Rome.
And when you saw his chariot but appear,
Have you not made an universal shout,
That Tiber trembled underneath her banks
To hear the replication of your sounds
Made in her concave shores?
And do you now put on your best attire?
And do you now cull out a holiday?
And do you now strew flowers in his way
That comes in triumph over Pompey’s blood?
Be gone!
Run to your houses, fall upon your knees,
Pray to the gods to intermit the plague
That needs must light on this ingratitude.
What tributaries follow him to Rome
To grace in captive bonds his chariot wheels?
You blocks, you stones, you worse than senseless
things!
O, you hard hearts, you cruel men of Rome,
Knew you not Pompey? Many a time and oft
Have you climbed up to walls and battlements,
To towers and windows, yea to chimney-tops,
Your infants in your arms, and there have sat
The livelong day with patient expectation
To see great Pompey pass the streets of Rome.
And when you saw his chariot but appear,
Have you not made an universal shout,
That Tiber trembled underneath her banks
To hear the replication of your sounds
Made in her concave shores?
And do you now put on your best attire?
And do you now cull out a holiday?
And do you now strew flowers in his way
That comes in triumph over Pompey’s blood?
Be gone!
Run to your houses, fall upon your knees,
Pray to the gods to intermit the plague
That needs must light on this ingratitude.
FLAVIUS
Go, go, good countrymen, and for this fault
Assemble all the poor men of your sort;
Draw them to Tiber banks, and weep your tears
Into the channel, till the lowest stream
Do kiss the most exalted shores of all.
Assemble all the poor men of your sort;
Draw them to Tiber banks, and weep your tears
Into the channel, till the lowest stream
Do kiss the most exalted shores of all.
Exeunt all the commoners
See whe’er their basest mettle be not moved.
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 decked with ceremonies.
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 decked with ceremonies.
MURELLUS May we do so?
You know it is the Feast of Lupercal.
FLAVIUS
It is no matter. Let no images
Be hung with Caesar’s trophies. I’ll about,
And drive away the vulgar from the streets;
So do you too where you perceive them thick.
These growing feathers plucked from Caesar’s wing
Will make him fly an ordinary pitch,
Who else would soar above the view of men
And keep us all in servile fearfulness.
Be hung with Caesar’s trophies. I’ll about,
And drive away the vulgar from the streets;
So do you too where you perceive them thick.
These growing feathers plucked from Caesar’s wing
Will make him fly an ordinary pitch,
Who else would soar above the view of men
And keep us all in servile fearfulness.
Exeunt
Loud music.
⌉
Enter Caesar, Antony stripped for the course, Calpurnia, Portia, Decius, Cicero, Brutus, Cassius, Casca, a Soothsayer,
⌈
a throng of citizens
⌉
; after them, Murellus and Flavius
CAESAR Calpurnia.
CASCA Peace, ho! Caesar speaks. ⌈
Music ceases
⌉
Music ceases
⌉
CAESAR Calpurnia.
CALPURMA Here, my lord.
CAESAR
Stand you directly in Antonio’s way
When he doth run his course.—Antonio.
When he doth run his course.—Antonio.
ANTONY Caesar, my lord.
CAESAR
Forget not in your speed, Antonio,
To touch Calpurnia, for our elders say
The barren, touched in this holy chase,
Shake off their sterile curse.
To touch Calpurnia, for our elders say
The barren, touched in this holy chase,
Shake off their sterile curse.
ANTONY
I shall remember:
When Caesar says ‘Do this’, it is performed.
CAESAR
Set on, and leave no ceremony out.
⌈
music
⌉
SOOTHSAYER Caesar!
CAESAR Ha! Who calls?
CASCA
Bid every noise be still. Peace yet again.
⌈
Music ceases
⌉
CAESAR
Who is it in the press that calls on me?
I hear a tongue shriller than all the music
Cry ‘Caesar!’ Speak. Caesar is turned to hear.
I hear a tongue shriller than all the music
Cry ‘Caesar!’ Speak. Caesar is turned to hear.
SOOTHSAYER
Beware the ides of March.
CAESAR What man is that?
BRUTUS
A soothsayer bids you beware the ides of March.
CAESAR
Set him before me; let me see his face.
CASSIUS
Fellow, come from the throng; look upon Caesar.
The Soothsayer comes forward
The Soothsayer comes forward
CAESAR
What sayst thou to me now? Speak once again.
SOOTHSAYER Beware the ides of March.
CAESAR
He is a dreamer. Let us leave him. Pass!
Sennet. Exeunt all but Brutus and Cassius
CASSIUS Will you go see the order of the course?
BRUTUS Not I.
CASSIUS I pray you, do.
BRUTUS
I am not gamesome; I do lack some part
Of that quick spirit that is in Antony.
Let me not hinder, Cassius, your desires.
I’ll leave you.
Of that quick spirit that is in Antony.
Let me not hinder, Cassius, your desires.
I’ll leave you.
CASSIUS
Brutus, I do observe you now of late.
I have not from your eyes that gentleness
And show of love as I was wont to have.
You bear too stubborn and too strange a hand
Over your friend that loves you.
I have not from your eyes that gentleness
And show of love as I was wont to have.
You bear too stubborn and too strange a hand
Over your friend that loves you.
BRUTUS Cassius,
Be not deceived. If I have veiled my look,
I turn the trouble of my countenance
Merely upon myself. Vexed I am
Of late with passions of some difference,
Conceptions only proper to myself,
Which give some soil, perhaps, to my behaviours.
But let not therefore my good friends be grieved—
Among which number, Cassius, be you one—
Nor construe any further my neglect
Than that poor Brutus, with himself at war,
Forgets the shows of love to other men.
I turn the trouble of my countenance
Merely upon myself. Vexed I am
Of late with passions of some difference,
Conceptions only proper to myself,
Which give some soil, perhaps, to my behaviours.
But let not therefore my good friends be grieved—
Among which number, Cassius, be you one—
Nor construe any further my neglect
Than that poor Brutus, with himself at war,
Forgets the shows of love to other men.
CASSIUS
Then, Brutus, I have much mistook your passion,
By means whereof this breast of mine hath buried
Thoughts of great value, worthy cogitations.
Tell me, good Brutus, can you see your face?
By means whereof this breast of mine hath buried
Thoughts of great value, worthy cogitations.
Tell me, good Brutus, can you see your face?
BRUTUS
No, Cassius, for the eye sees not itself
But by reflection, by some other things.
But by reflection, by some other things.
CASSIUS ’Tis just;
And it is very much lamented, Brutus,
That you have no such mirrors as will turn
Your hidden worthiness into your eye,
That you might see your shadow. I have heard
Where many of the best respect in Rome—
Except immortal Caesar—speaking of Brutus,
And groaning underneath this age’s yoke,
Have wished that noble Brutus had his eyes.
That you have no such mirrors as will turn
Your hidden worthiness into your eye,
That you might see your shadow. I have heard
Where many of the best respect in Rome—
Except immortal Caesar—speaking of Brutus,
And groaning underneath this age’s yoke,
Have wished that noble Brutus had his eyes.
BRUTUS
Into what dangers would you lead me, Cassius,
That you would have me seek into myself
For that which is not in me?
That you would have me seek into myself
For that which is not in me?
CASSIUS
Therefor, good Brutus, be prepared to hear.
And since you know you cannot see yourself
So well as by reflection, I, your glass,
Will modestly discover to yourself
That of yourself which you yet know not of.
And be not jealous on me, gentle Brutus.
Were I a common laughter, 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,
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 within
And since you know you cannot see yourself
So well as by reflection, I, your glass,
Will modestly discover to yourself
That of yourself which you yet know not of.
And be not jealous on me, gentle Brutus.
Were I a common laughter, 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,
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 within
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