All. Peace, ho!

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.
Here was a Cæsar! when comes such another?
First Cit. Never, never. Come, away, away!
We'll burn his body27 in the holy place,
And with the brands fire the traitors' houses.
Take up the body.

Sec. Cit. Go fetch fire.

Third Cit. Pluck down benches.

Fourth Cit. Pluck down forms, windows, any

thing.

250

[Exeunt Citizens with the body.

Ant. Now let it work. Mischief, thou art afoot, 261 Take thou what course thou wilt!

Enter a Servant.

How now, fellow!

Serv. Sir, Octavius is already come to Rome.
Ant. Where is he?

Serv. He and Lepidus are at Cæsar's house.
Ant. And thither will I straight to visit him:
He comes upon a wish. Fortune is merry,28

27 This was the duty of the heirs of the deceased. The people at first proposed to erect the funeral pyre in the Temple of Jupiter in the Capitol, but the body was finally burned in the Forum.

28 Here Antony shows the true gambler's spirit. "Let us play heavily while luck is with us."

And in this mood will give us anything.

Serv. I heard him say, Brutus and Cassius
Are rid like madmen through the gates of Rome.
Ant. Belike they had some notice of the people,
How I had mov'd them. Bring me to Octavius.

270

[Exeunt.

SCENE-SETTING.

ACT III-SCENE III.—-A STREET.

Note. The value of this scene depends upon its acting. Its intention is to show the frenzied feeling of the populace against Cæsar's murderers.

(1). Setting of the Scene.

The street corner of i.1. The scene is dimly lighted, as in early evening. The street is filled with a crowd of excited citizens; some carry torches and firebrands; others, axes and crowbars. Hands and faces are stained with smoke and soot; clothing is dishevelled and torn. Cinna at first treats the challenge of the crowd as a rough joke; but is thrown down and dragged off the stage, struggling. (2). Actors.

Caius Cinna, a Poet.

A Crowd of Citizens.

SCENE III. A street.

Enter CINNA the poet.

Cin. I dreamt1 to-night that I did feast with
Cæsar,

1 This episode is related by Flutarch as an instance of the power of dreams over human life.

And things unluckily charge my fantasy:
I have no will to wander forth of doors,
Yet something leads me forth.

Enter Citizens.

First Cit. What is your name?
Sec. Cit. Whither are you going?
Third Cit. Where do you dwell?

Fourth Cit. Are you a married man or a bach

elor?

Sec. Cit.

Answer every man directly.

First Cit. Ay, and briefly.

Fourth Cit. Ay, and wisely.

Third Cit. Ay, and truly, you were best.

Cin. What is my name? Whither am I going? Where do I dwell? Am I a married man or a bachelor? Then, to answer every man directly and briefly, wisely and truly: wisely I say, I am a bachelor.

Sec. Cit. That's as much as to say, they are fools that marry: you 'll bear me a bang3 for that, I fear. Proceed; directly.

10

Cin. Directly, I am going to Cæsar's funeral. 20 First Cit. As a friend or an enemy?

Cin. As a friend.

Sec. Cit. That matter is answered directly.
Fourth Cit. For your dwelling,- briefly.
Cin. Briefly, I dwell by the Capitol.

2 "That is the wisest remark I can make." 3 "You will get a blow for that from me."

Third Cit. Your name, sir, truly.

Cin. Truly, my name is Cinna.

First Cit. Tear him to pieces; he 's a conspir

ator.

Cin. I am Cinna the poet, I am Cinna the poet. Fourth Cit. Tear him for his bad verses, tear him for his bad verses.

Cin. I am not Cinna the conspirator.

Fourth Cit. It is no matter, his name 's Cinna; pluck but his name out of his heart, and turn him going.

Third Cit. 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!

31

[Exeunt.

SCENE-SETTING.

ACT IV. SCENE I.-A HOUSE IN ROME.

Note. The historical necessity for introducing Lepidus and Octavius is responsible for this scene.

(1). Setting of the Scene.

The tablinum or business office of a Roman mansion, a room of medium size opening off a hall like that shown in ii. 2. At each end of the room is a bookcase showing books,— heavy rolls in red, yellow, and purple covers. In the center of the floor is a large round table whose top, a sheet of

polished bronze, rests on three heavy legs which are elaborately carved. On this table is a decorated metal cylinder containing papyrus rolls, and a similar roll lies on the table, partly unfolded. There is also a double cylindrical inkstand, with several pens of split reed lying near; and a number of wax-coated wooden tablets, with metal styles for writing on them. Around this table, the actors are seated each in a heavy armchair.

(2). Actors. Antony.... Lepidus.

Octavius Cæsar.

Triumvirs after the death of Cæsar.

Octavius is a short, slender youth of nineteen years, with a dark complexion, lustrous black eyes, and curly light brown hair.

(3). Costume.

The men are in black togas as mourning for Cæsar. (4). Time of the Action. (Study Note 12).

Shakespeare does not observe the historical lapse of time between the two acts. The dramatic situation requires that the exhibition of the triumph of Antony over the conspirators should follow immediately his funeral oration. The allusion to the will in line 8 shows that this scene is to be regarded as enacted a few days only after iii. 2.

SCENE I. A house in Rome.

ANTONY, OCTAVIUS, and LEPIDUS, seated at a table.1 Ant. These many, then, shall die; their names are prick'd.

1 See Outline Study note 12.