Julius Caesar - Couverture souple

Shakespeare, William

Couverture souple

ISBN 10 : 0553212966 ISBN 13 : 9780553212969

Editeur : Bantam Classics, 1988

Synopsis

Book by Shakespeare William

A propos du livre

Extrait :

[Dramatis Personae

julius caesar

CALPERNIA, Caesar's wife

mark antony,

OCTAVIOUS CAESAR,     triumvirs after Caesar's death

LEPIDUS,

MARCUS BRUTUS

PORTIA, Brutus's wife

CAIUS CASSIUS,

CASCA,

DECIUS BRUTUS,

CINNA,  conspirators with Brutus

METELLUS CIMBER,

TREBONIUS,

CAIUS LIGARIUS,

CICERO,

PUBLIUS,         senators

POPILIUS LENA,

FLAVIUS,  tribunes of the people

       

MARULIUS,

SOOTHSAYER

ARTEMIDORUS, a teacher of rhetoric

CINNA, a poet

Another POET

LUCILIUS,

TITINIUS,

MESSALA,

YOUNG CATO,

VOLUMNIUS,       officers and soldiers in the army

VARRO,   of Brutus and Cassius

CLAUDIUS,

CLITUS,

DARDANIUS,

LABEO,

FLAVIUS,

PINDARUS, Cassius's servant

LUCIUS, Brutus's servants

strato,

Caesar's SERVANT

Antony's SERVANT

Octavius's SERVANT

CARPENTER

COBBLER

Five PLEBEIANS

Three SOLDIERS in Brutus's army

Two SOLDIERS in Antony's army

MESSENGER

GHOST of Caesar

Senators, Plebeians, Officers, Soldiers, and Attendants

SCENE: Rome; the neighborhood of Sardis;

the neighborhood of Philippi]

1.1 Location: Rome. A street.

3 mechanical of the artisan class

4 sign garb and implements

10 in . . . workman (1) as far as skilled work is concerned (2) compared with a skilled worker

11 cobbler (1) one who works with shoes (2) bungler.

14 soles (With pun on "souls.")

15 naughty good-for-nothing

16 out out of temper

17 out having worn-out shoes.   mend you (1) cure your bad temper (2) repair your shoes.

19 cobble you mend your shoes. (The meaning "to pelt with stones" also suggests itself here, though perhaps it was not in general use until later in the seventeenth century.)

1.1 * Enter Flavius, Marullus, 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 3

Upon a laboring day without the sign 4

Of your profession?--Speak, what trade art thou?

CARPENTER  Why, sir, a carpenter.

MARULLUS

Where is thy leather apron and thy rule?

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  10

but, as you would say, a cobbler. 11

MARULLUS

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.  14

FLAVIUS

What trade, thou knave? Thou naughty knave, what

  trade?  15

COBBLER  Nay, I beseech you, sir, be not out with me.  16

Yet if you be out, sir, I can mend you. 17

FLAVIUS

What mean'st thou by that? Mend me, thou saucy

  fellow?

COBBLER  Why, sir, cobble you. 19

21 awl (Punning on all.)

22 meddle with (1) have to do with (2) have sexual intercourse with

23 withal yet. (With pun on with awl.)

24 recover (1) resole (2) cure

25 proper fine, handsome.   as . . . leather (Proverbial. Neat's leather is cowhide.)

31 triumph triumphal procession. (Caesar had overthrown the sons of Pompey the Great in Spain at the Battle of Munda, March 17, 45 b.c. The triumph was held that October.)

33 tributaries captives who will pay ransom (tribute)

35 senseless insensible like stone (hence, unfeeling)

37 Pompey (Caesar had overthrown the great soldier and onetime triumvir at the Battle of Pharsalus in 48 b.c. Pompey fled to Egypt, where he was murdered.)

38-9  battlements . . . chimney tops (The details are appropriate to an Elizabethan cityscape.)

42 great (Alludes to Pompey's epithet, Magnus, "great.")   pass pass through

45 Tiber the Tiber River

46 replication echo

47 concave hollowed out, overhanging

49 cull pick

FLAVIUS  Thou art a cobbler, art thou?

COBBLER  Truly, sir, all that I live by is with the awl. I  21

meddle with no tradesman's matters nor women's  22

matters, but withal I am indeed, sir, a surgeon to old  23

shoes. When they are in great danger, I recover them.  24

As proper men as ever trod upon neat's leather have  25

gone upon my handiwork.

FLAVIUS

But wherefore art not in thy shop today?

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. 31

MARULLUS

Wherefore rejoice? What conquest brings he home?

What tributaries follow him to Rome 33

To grace in captive bonds his chariot wheels?

You blocks, you stones, you worse than senseless

  things! 35

O you hard hearts, you cruel men of Rome,

Knew you not Pompey? Many a time and oft 37

Have you climbed up to walls and battlements, 38

To towers and windows, yea, to chimney tops, 39

Your infants in your arms, and there have sat

The livelong day, with patient expectation,

To see great Pompey pass the streets of Rome. 42

And when you saw his chariot but appear,

Have you not made an universal shout,

That Tiber trembled underneath her banks 45

To hear the replication of your sounds 46

Made in her concave shores? 47

And do you now put on your best attire?

And do you now cull out a holiday? 49

And do you now strew flowers in his way

51 Pompey's blood (1) Pompey's offspring (2) the blood of the Pompeys.

54 intermit suspend

55 needs must must necessarily

57 sort rank

59-60  till . . . all until even at its lowest reach the river is filled to the brim.

61 See . . . moved See how even their ignoble natures can be appealed to. (Mettle and metal are interchangeable, meaning both "temperament" and the natural substance. A base metal is one that is easily changed or moved, unlike gold; compare 1.2.308-10.)

64 images statues (of Caesar in royal regalia, set up by his followers)

65 ceremonies ceremonial trappings.

67 Feast of Lupercal a feast of purification (Februa, whence February) in honor of Pan, celebrated from ancient times in Rome on February 15 of each year. (Historically, this celebration came some months after Caesar's triumph in October of 45 b.c. The celebrants, called Luperci, raced around the Palatine Hill and the Circus carrying thongs of goatskin, with which they lightly struck those who came in their way. Women so touched were supposed to be cured of barrenness; hence Caesar's wish that Antony would strike Calpurnia, 1.2.6-9.)

69 trophies spoils of war hung up as memorials of victory.   about go around the other way

70 vulgar commoners, plebeians

73 pitch highest point in flight. (A term from falconry.)

74 else otherwise

That comes in triumph over Pompey's blood? 51

Begone!

Run to your houses, fall upon your knees,

Pray to the gods to intermit the plague 54

That needs must light on this ingratitude. 55

FLAVIUS

Go, go, good countrymen, and for this fault

Assemble all the poor men of your sort; 57

Draw them to Tiber banks, and weep your tears

Into the channel, till the lowest stream 59

Do kiss the most exalted shores of all. 60

Exeunt all the commoners.

See whe'er their basest mettle be not moved. 61

They vanish tongue-tied in their guiltiness.

Go you down that way towards the Capitol;

This way will I. Disrobe the images 64

If you do find them decked with ceremonies. 65

MARULLUS  May we do so?

You know it is the Feast of Lupercal. 67

FLAVIUS

It is no matter. Let no images

Be hung with Caesar's trophies. I'll about 69

And drive away the vulgar from the streets; 70

So do you too, where you perceive them thick.

These growing feathers plucked from Caesar's wing

Will make him fly an ordinary pitch, 73

Who else would soar above the view of men 74

And keep us all in servile fearfulness. Exeunt.

1.2 Location: A public place or street, perhaps as in the previous scene.

0.1  for the course i.e., stripped for the race, carrying a goatskin thong

3 Antonio (Here and occasionally elsewhere Shakespeare employs Italian forms of Latin proper names, perhaps for metrical reasons.)

9 sterile curse curse of barrenness.

11 Set on Proceed

15 press throng

[1.2] * Enter Caesar, Antony for the course, Calpurnia, Portia, Decius, Cicero, Brutus, Cassius, Casca, a Soothsayer; after them, Marullus and Flavius; [citizens following].

CAESAR

Calpurnia!

casca Peace, ho! Caesar speaks.

CAESAR                  Calpurnia!

CALPURNIA  Here, my lord.

CAESAR

Stand you directly in Antonio's way 3

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.

ANTONY I shall remember. 9

When Caesar says "Do this," it is performed.

CAESAR

Set on, and leave no ceremony out. [Flourish.]  11

SOOTHSAYER  Caesar!

CAESAR  Ha? Who calls?

CASCA

Bid every noise be still. Peace yet again!

[The music ceases.]

CAESAR

Who is it in the press that calls on me? 15

I hear a tongue shriller than all the music

Cry "Caesar!" Speak. Caesar is turned to hear.

18 ides of March March 15.

24.1  Sennet trumpet call signaling the arrival or departure of a dignitary.   Manent They remain onstage

25 order of the course ritual and progress of the race.

28 gamesome fond of sports, merry.

34 wont accustomed

35 You . . . hand You behave too stubbornly and in too unfriendly a manner. (The metaphor is from horsemanship.)

37 veiled my look i.e., been introverted, seemed less friendly

SOOTHSAYER

Beware the ides of March.

CAESAR What man is that? 18

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. [The Soothsayer comes

  forward.] Look upon Caesar.

CAESAR

What say'st thou to me now? Speak once again.

SOOTHSAYER  Beware the ides of March.

CAESAR

He is a dreamer. Let us leave him. Pass. 24

Sennet. Exeunt. Manent Brutus and Cassius.

CASSIUS

Will you go see the order of the course? 25

BRUTUS  Not I.

CASSIUS  I pray you, do.

BRUTUS

I am not gamesome. I do lack some part 28

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. 34

You bear too stubborn and too strange a hand 35

Over your friend that loves you.

BRUTUS           Cassius,

Be not deceived. If I have veiled my look, 37

39 Merely entirely

40 passions of some difference conflicting emotions

41 only proper to relating only to

42 soil blemish

49-50  By . . . value because of which misunderstanding (my assuming you were displeased with me) I have kept to myself important thoughts

54 just true.

58 shadow image, reflection.

59 best respect highest repute and station

62 had his eyes (1) could see things from the perspective of Caesar's critics, or (2) could see better with his own eyes.

I turn the trouble of my countenance

Merely upon myself. Vex d I am 39

Of late with passions of some difference, 40

Conceptions only proper to myself, 41

Which give some soil, perhaps, to my behaviors. 42

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 49

Thoughts of great value, worthy cogitations. 50

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.

CASSIUS  'Tis just. 54

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 58

Where many of the best respect in Rome, 59

Except immortal Caesar, speaking of Brutus

And groaning underneath this age's yoke,

Have wished that noble Brutus had his eyes. 62

BRUTUS

Into what dangers would you lead me, Cassius,

That you would have me seek into myself

For that which is not in me?

CASSIUS

Therefore, good Brutus, be prepared to hear;

And since you know you cannot see yourself

68 glass mirror

69 modestly discover reveal without exaggeration

71 jealous on suspicious of.   gentle noble

72 laughter laughingstock, as at 4.3.114; or perhaps laugher, a shallow fellow who laughs at every jest.   did use were accustomed

73 stale cheapen, make common.   ordinary (1) commonplace (2) customary (3) tavern

74 protester one who protests or declares friendship

76 after scandal afterwards slander

77 profess myself make declarations of friendship

78 rout mob

78.1  Flourish Fanfare for a dignitary

87 indifferently impartially

88 speed me make me prosper

91 favor appearance.

95 as lief not be just as soon not exist

96 such . . . myself i.e., a fellow mortal.

So well as by reflection, I, your glass, 68

Will modestly discover to yourself 69

That of yourself which you yet know not of.

And be not jealous on me, gentle Brutus. 71

Were I a common laughter, or did use 72

To stale with ordinary oaths my love 73

To every new protester; if you know 74

That I do fawn on men and hug them hard

And after scandal them, or if you know 76

That I profess myself in banqueting 77

To all the rout, then hold me dangerous. 78

Flourish, and shout.

Biographie de l'auteur :

William Shakespeare (1564–1616) was a poet, playwright, and actor who is widely regarded as one of the most influential writers in the history of the English language. Often referred to as the Bard of Avon, Shakespeare's vast body of work includes comedic, tragic, and historical plays; poems; and 154 sonnets. His dramatic works have been translated into every major language and are performed more often than those of any other playwright.

David Bevington is one of the world's most well-respected Shakespearean scholars. He has served as an editor of several widely acclaimed anthologies, such as English Renaissance Drama: A Norton Anthology, Bantam Shakespeare, Medieval Drama, and The Complete Works of Shakespeare. Since 1967 Bevington has taught at the University of Chicago, specializing in Shakespeare and his contemporaries, as well as Renaissance, medieval, and Western drama. Bevington serves as the chair of theater and performance studies and is a Phyllis Fay Horton Distinguished Service Professor Emeritus in the humanities and in English language and literature.

David Scott Kastan is a noted scholar of early modern English literature and culture. He is the George M. Bodman Professor of English at Yale University, where he specializes in Shakespeare, Milton, and literary history. Prior to joining the Yale faculty in 2008, Kastan taught at Columbia University, Dartmouth College, University College London, Eötvös Loránd University, the University of Copenhagen, and the American University in Cairo, Egypt. Kastan has served as an editor on many Elizabethan, Renaissance, and Shakespearean anthologies. His own scholarly publications include Shakespeare and the Shapes of Time, Shakespeare After Theory, Shakespeare and the Book, and A Will to Believe: Shakespeare and Religion.

À propos de cette édition

• Éditeur: Bantam Classics
• Date d'édition: 1988
• ISBN 10: 0553212966
• ISBN 13: 9780553212969
• Reliure: Poche
• Nombre de pages: 288