Enter a Servant [97]. He did receive his letters, and is coming;. Passion, I see, is catching; [99] for mine eyes,. Here is a mourning Rome, a dangerous Rome, []. Hie hence, and tell him so. Yet stay awhile; []. Thou shalt not back till I have borne this corse []. Enter Brutus and Cassius , and a throng of Citizens [].
And public reasons shall be rendered []. Brutus goes into the pulpit ] []. The noble Brutus is ascended: silence! Be patient till the last. Romans, countrymen, and lovers! There is [] tears [] for his love; joy for his fortune; honour for his valour; and death for his ambition. Who is here so base that would be a bondman?
If any, speak; for him have I offended. Who is here so rude 30 that would not be a Roman? Who is here so vile that will not love his country? I pause for a reply. Then none have I offended. The question of his death is enroll'd in the Capitol; [] his glory not extenuated, wherein he was worthy, nor his offences enforc'd, for which he suffer'd death.
With this I depart,—that, as I slew my best lover for the good of Rome, I have the same 45 dagger for myself, when it shall please my country to need my death. Good countrymen, let me depart alone,. For Brutus' sake, I am beholding [] to you.
The good is oft interred with their bones; []. Whose ransoms did the general coffers fill: []. And, sure, he is an honourable man. What cause withholds you then to mourn [] for him? O judgment! Has he, [] masters? If it be found so, some will dear abide it. Poor soul! And dip their napkins [] in his sacred blood,. Have patience, gentle friends, I must not read it;.
They were villains, murderers: the will! Room for Antony, most noble Antony. Nay, press not so upon me: stand far [] off. That day he overcame the Nervii. See what a rent the envious [] Casca made:. As rushing out of doors, to be resolv'd []. Even at the base of Pompey's statue, []. The dint [] of pity: these are gracious drops. Let not a traitor live! That gave [] me public leave to speak of him:. For I have neither wit, [] [] nor words, nor worth,.
We'll burn the house of Brutus. To every several man, seventy-five drachmas. Moreover, he hath left you all his walks,. On this side Tiber; [] he hath left them you,. Come, away, away! And with the brands fire [] the [] traitors' houses. Pluck down forms, [] windows, any thing. Sir, Octavius is already come to Rome. Are rid [] like madmen through the gates of Rome. Enter Cinna the poet []. And things unluckily charge my fantasy: []. Enter Citizens []. Whither [] are you going?
Ay, and truly, you were best. What is my name? Whither [] am I going? Where do I dwell? Am I a married man or a bachelor? Then, to 15 answer every man directly and briefly, wisely and truly: wisely I say, I am a bachelor. That's as much as to say, they are fools that marry: you'll bear me [] a bang for that, I fear. Proceed; directly.
Briefly, I dwell by the Capitol. Tear him for his bad verses, tear him for his bad verses. It is no matter, his name's Cinna; pluck but his name out of his heart, and turn him going. Tear him, tear him! Come, brands, ho! Antony , Octavius , and Lepidus , seated at a table. These many then shall die; their names are prick'd. Upon condition Publius [4] shall not live,. He shall not live; look, with a spot I damn him. What, [6] shall I find you here? This is a slight unmeritable [7] man,.
Either led or driven, as we point [8] the way;. To wind, [10] to stop, to run directly on,. And, in some taste, [11] is Lepidus but so;. On objects, arts, [12] and imitations, [13]. Which, out of use and stal'd [14] [15] by other men,. Listen [17] great things: Brutus and Cassius. Are levying powers: we must straight make head: [18]. Our best friends made, and our best means stretch'd out; [19] [20]. And bay'd about [21] with many enemies;. He greets me well. In his own change, [27] [28] or by ill officers,.
How [29] he receiv'd you: [30] [31] let me be resolv'd. With courtesy and with respect enough;. But not with such familiar instances, [32]. But hollow men, like horses hot at hand, [33]. They fall [34] their crests, and, like deceitful jades, [35]. Brutus, this sober form of yours hides wrongs;. Then in my tent, Cassius, enlarge your griefs, [38]. Lucilius, [39] do you the like; and let no man.
Let Lucius [40] [41] and Titinius guard our [42] door. Enter Brutus and Cassius [46] [47]. You have condemn'd and noted [48] Lucius Pella. For taking bribes here of the Sardians; [49]. You wrong'd yourself to write [53] in such a case. That every nice [54] offence should bear his [55] comment. The name of Cassius honours this corruption,. Remember March, the Ides of March remember: [56]. And not for justice? I had rather be a dog, and bay [58] the moon,. Brutus, bait [59] not me;. Go to; [62] [63] you are not, Cassius.
Urge me no more, I shall forget myself;. And make your bondmen tremble. Must I budge? You shall digest the venom of your spleen, [67]. Though [68] it do split you; for, from this day forth,. You say you are a better soldier: [69]. I shall be glad to learn of noble [70] men. You have done that you should be sorry for. I denied you not. I did not: he was but a fool that brought [76]. A friendly eye could never see such faults.
Hated by one he loves; brav'd [77] by his brother;. Dearer than Plutus' [78] [79] mine, richer than gold:. Do what you will, dishonour shall be humour. That carries anger as the flint bears fire; [82]. He'll think your mother chides, and leave you so. Enter Poet , followed by Lucilius , Titinius , and Lucius [85].
Ha, ha! Bear with him, Brutus; 'tis his fashion. What should the wars do with these jigging [89] fools? How 'scaped I killing when I cross'd you so? Impatient [96] of my absence,. And, her attendants absent, swallow'd fire. Re-enter Lucius , with wine and taper [99]. My heart is thirsty for that noble pledge. Re-enter [] Titinius , with Messala []. Myself have letters of the selfsame tenour. That by proscription and bills of outlawry, []. Cicero is dead, []. Nor nothing in your letters writ [] of her?
Nothing, Messala. Why, farewell, Portia. We must die, Messala:. With meditating that she must die once, []. I have as much of this in art [] as you,. Well, to our work alive. Of marching to Philippi presently? Good reasons must of force [] give place to better.
Come on refresh'd, new-added, [] [] and encourag'd;. Is bound in shallows and in miseries. Or lose [] our ventures. Which we will niggard [] with a little rest. Re-enter Lucius , with the gown []. Poor knave, [] I blame thee not; thou art o'er-watch'd. Call Claudius [] and some other of my men;.
Varro [] and Claudius! Enter Varro and Claudius []. I will not have it so: lie down, good sirs;. I put it in the pocket of my gown. Bear with me, good boy, I am much forgetful. I know young bloods [] look for a time of rest. This is a sleepy tune. O murderous slumber, [] []. Lay'st thou thy leaden mace [] upon my boy,.
That plays thee music? Where I left reading? Here it is, I think. That shapes this monstrous apparition.
Thy evil spirit, Brutus. Now I have taken heart thou vanishest: []. Boy, Lucius! Sirs, awake! The strings, my lord, are false. Didst thou dream, Lucius, that thou so criedst out? Go and commend me [] to my brother Cassius;. Bid him set on [] his powers betimes [] before,.
Enter Octavius , Antony , and their Army. It proves not so: their battles [2] are at hand;. Tut, I am in their bosoms, [4] and I know. Their bloody sign [6] of battle is hung out,. Upon the left hand of the even field. Why do you cross me in this exigent? I do not cross you; but I will do so. In your bad strokes, Brutus, you give good words. The posture of your blows [12] are [13] yet unknown;.
But, for your words, they rob the Hybla [14] bees,. You show'd your teeth [16] like apes, and fawn'd like hounds, [17]. O you flatterers! Now, Brutus, thank yourself:.
When think you that the sword goes up [21] again? O, if thou wert the noblest of thy strain, [24]. A peevish [25] schoolboy, worthless of such honour,. If not, when you have stomachs. This is my birth-day; as [32] this very day. You know that I held Epicurus strong, [34]. To meet all perils [38] very constantly. But, since the affairs of men rests [39] still incertain,.
By [40] which I did blame Cato for the death. The time [41] of life: arming myself with patience. He bears too great a mind. Must end that work the Ides [46] of March begun;. For ever, and for ever, farewell, Brutus! Enter Brutus and Messala. Ride, ride, Messala, ride, and give these bills [48]. Unto the legions on the other side: [49]. But cold demeanour in Octavius' [50] wing,. Enter Cassius and Titinius. This ensign [52] here of mine was turning back;. O Cassius, Brutus gave the word too early;.
Till he have brought thee up to yonder troops, [53]. I will be here again, even with a thought. Go, Pindarus, get higher [55] on that hill;.
My sight was ever thick; [56] regard Titinius,. He's ta'en. Pindarus descends [60]. In Parthia did I take thee prisoner; [61]. And then I swore thee, saving of thy life, [62].
Stand not to answer: here, take thou the hilts; [63]. Even with the sword [65] that kill'd thee. So, I am free; yet would not so have been, [67]. Re-enter [70] Titinius , with Messala. It is but change, [71] Titinius; for Octavius.
As in thy red rays thou dost sink to night, [72]. So in his red blood Cassius' day is set; [73] [74]. The sun [75] of Rome is set! Our day is gone;. Mistrust of good success hath done this deed. The things that are not? But kill'st the mother that engender'd [77] thee! What, Pindarus! Look, where [83] [84] he have not crown'd dead Cassius!
The [85] last of all the Romans, fare [86] thee well! Should breed thy fellow. Friends, I owe moe [87] [88] tears. Come, therefore, and to Thasos [89] [90] send his body:. Labeo and Flavius, [91] [92] set our battles on:. Enter Brutus , young Cato , Lucilius, and others [96]. What bastard doth not? Brutus, my country's friend; know me for Brutus! And mayst be honour'd, being Cato's son. A noble prisoner! I'll tell the news. Enter Antony [].
Safe, Antony; Brutus is safe enough:. This is not Brutus, friend; [] but, I assure you,. Such men my friends than enemies. He came not back. He is or ta'en or slain. Shall [] I do such a deed? Now is that noble vessel full [] of grief,. Come hither, good Volumnius; list a word. Thou know'st that we two went to school together: []. The Merchant of Venice is a short story with a very basic plot, and one of little interest to me.
Bassanio comes up with some crazy plan to pay Antonio back the money that he owes. However his plan backfires and Antonio is left to pay for Bassanio's mistakes. I found the story predictable and hard to get into. It isn't hard to follow, but you'll miss what little humor it has if you aren't well read in Shakespearean liturature. I definately would not include this with any of Shakespeare's more renowned plays.
One of my favorite plays. I love the Shylock "hate not a Jew eyes" speech. I feel, being Mormon, I can relate to that. Those hypocritical bastards! Once a comedy, now a tragedy for those of us who aren't anti-Semitic.
Although given the global financial crisis, perhaps a comedy once more if you replace "the Jew" with "the banker". You will experience everthing from a Jew's daughter betraying him by marrying a Christian, Bassanio putting a pound of his friend's flesh on the line to go court a woman, Bassanio finding and marrying the love of his life, Shylock almost getting a pound of flesh from Antonio, Portia and Nerrisa portraying men to save Antonio, and trick their men into giving up their rings.
There is action in every page each and every character will grab your attention and hold it. I would recommend this book to anyone who can understand Shakespearean language, or who is willing to try.
As for myself, I have a hard time figuring out what is going on. Honestly, I didn't understand this story until I watched the movie, and that film pulled everything together for me. I don't think this is one of Shakespeare's best plays therefore I give it 2 stars. This is a classic, and a great piece. I often think about the book, its very memorable and quotable. Even if you hate Shakespeare, at least you'll be able to recognize any allusions to it in other books.
The plot is really good, and the characters are amazingly well made. The writing is impeccable and it is surprisingly easy to understand for Shakespeare that is. Waffling between four and five stars for this. Four and a half, we'll say. The speeches, the characters, the ideas I'm afraid that what I'm having a hard time loving is any of the characters.
They are too Their flaws are too visible and ugly, and their modest virtues fail to compensate. The character who inspires the most compassion, Shylock, is also the one who is most ruthlessly cruel, and Portia, the character who is presented as most clear-thinking, pure, and righteous, is also merciless, petty, and vindictive. Thou torturest me,Tubal.
Itwas my turquoise. I had it of Leah when I was a bachelor. I would not have given it for a wilderness of monkeys. It ends with weddings, but also with the fall of a larger-than-life character who is too sympathetic to be a proper villain. I read the Oxford World's Classics edition of this, which has fine notes, generous margins, readable font, and excellent introductory material. All her analyses are good, but this one seemed to me particularly so. I know I wouldn't have enjoyed the play nearly so much without her insights, anyway.
Also, I highly recommend the Arkangel recorded performance of this — it's just fantastic! I read this a few years ago for an Intro to Shakespeare class. It was my favorite play we covered with the exception of The Tempest. My memory is a little fuzzy, but I do recall enjoying it and laughing out loud at several parts. Shakespeare's word play is wonderful. I also feel that whether you try to read this from an anti-Semitist point of view or choose to view Shylock as a sympathetic character, you will still find a lot of enjoyment in this.
It is also interesting to think about law interpretation and the loop holes in the law and how they still exist today. Side note: I watched the version of this with Al Pacino and felt that it stayed very true to the heart of the play. The Merchant of Venice is about a man named Antonio who is sad at the beginning of the play for no reason, "In sooth, I know not why I am sad; It wearies me; you say it wearies you; But how I caught it, found it, or came by it, What stuff 'tis made of, whereof it is born, I am to learn; And such a want-wit sadness makes of me, That I have much ado to know myself.
Antonio goes through the novel trying to fix his sadness. Then he finds out that he is sad because he misses his youth. He misses being young so he makes friends with a young man named Bassanio. Bassanio helps Antonio feel young and so does the rest of his friends. Then Bassanio sees Portia and falls in love. Bassanio goes to Antonio for money but all of Antonio's money is at see so they borrow from Shylock, the Jew.
This story is full of dramatic scenes like Shylock wanting his bond, "When it is paid according to thee tenor. It dothbappear you are a worthy judge; You know the law, your exposition Hath been most sound; I charge you by the law, Whereof you are a well-deserving pillar, Proceed to judgment: by my soul I swear There is no power in the tongue of man to alter me: I stay here on my bond.
I personally didn't enjoy the book because I couldn't comprehend what Shakespeare was writing. I gave this book three and a half stars out of five stars. I recommend this book for high school honors classes only since Shakespeare has a hard language to understand.
I am apparently the only person on the planet who does not believe that Merchant of Venice is anti-Semitic. Shylock is a man living in a world where law and custom consider him as less than human and he is filled with anger. His cruelty is his tiny way of lashing out. He wants revenge, and he prizes that above money.
Is his intended though thwarted violence horrifying and shocking? Sure it is. It is the twisted malignant violence that grows in the heart of a man caged and stunted, of a man forced to be inhuman. When you prick him, he doth bleed. And the true evildoers in this tale are not Jews. Shylock is the victim. Jessica is a whole separate story. This is the story of a man stripped of manhood, a man whose essence is ground to dust under the boot heels of people who call themselves Christians.
That Shakespeare, he knows a tragedy when he sees one. The Merchant of Venice is fraught with risk and sacrifice. Antonio risks his life so his dearest friend, Bassanio, may risk his chances with other suitors to woo the beautiful Portia.
Portia risks being caught disguised as a man in order to save Antonio's life. Shylock's daughter, Jessica, sacrifices her religion and her relationship with her father so she may marry the christian, Lorenzo. Since Shylock is jewish, he disowns Jessica who has converted to christianity in order to marry Lorenzo.
And, in the end, Shylock sacrifices his religion, loses acceptance of the jewish community, and loses all of his money in order to save his life. With such action going on, you would think the play is hard to follow, but it is probably one of the most understandable plays of Shakespeare.
However, I had hoped it would have have proved more suspenseful. With that said, I would recommend this book to anyone wishing to start reading Shakespeare as this book would do well to ease you into Shakespeare's language and style of writing. It would also make a nice read for those interested in race relations during the Elizabethan era.
If I could have given it less than one star, I would have. Perhaps I'm naive and perhaps I missed the point, but the blatant antisemitism in this piece made me want to fling the book bodily across the room. I understand that the characters within the play may typify certain elements, but as a whole, this was the most antisemitic, racist play I have ever read. Is there redeeming quality in looking at it through the lenses of what Shakespeare intended versus how his audience perceived it?
I don't know, but the excerpts of Mein Kampf I read were less enraging than this. There are, as we know, many unresolvable interpretative ourobori in this play--the anti-Semitism thing, the relationship of Antonio and Bassanio, the very vexed question of the Venetian oath, that false thing, and what yet makes Bassanio and Portia infinitely cold and clean and Shylock a quintessence of grime--I mean to say, better to rule one's house in the Ghetto than serve in Belmont, right?
As Jessica will learn, to her sorrow? The fact that the passionate malice of the Italians is so much more terrifying, here, than the grim legalmindedness of the Jew? These are all interesting things, and this great play is chock-full of more cool thoughts like them--about capitalism, about youth sucking age dry like the New Testament does the Old, about the Prince of Morocco as a secret counterpoint to Shylock--the Semite prince, cartoonishly accipitrine, flourishing a scimitar-world of infinite princehood--versus the Semite moneylender, ever debased below his pecuniary value, from the people who had their princes taken away long ago.
And you can get diverted and watch a smartass Hermione Granger type In the context of Christian and post-Christian hatred, I use the word "progress" with infinite trepidation, but surely the fact that our generation's reincarnation of the bright spark who always has something up her sleeve is a Mudblood fighting Voldemort and his crew of wizard Nazis, and not an abjurer and defender and reinscriber of racial boundaries around the home, possibly that's a small good thing?
You can do all that but when you stop just watching the sweet show and try to resolve something, close any one of the doors that Shakespeare so suggestively leaves open, you find yourself tying yourself in knots, and getting into some really dark places.
Because it doesn't matter how we arrange our interpretations; there is no version of this play where Shylock's not fucked from the beginning, because he's the villain and the groundlings want him to get a kick, and there's no version where he's not the villain--there never will be--why? Because he's the Jew. And suddenly it hits you--it hits generic Gentile me--why the representation of people like you as good and kind that the mainstream culture has always taken for granted is the most essential thing in the world.
Because otherwise, on some level, from the earliest age, you're afraid that you're bad. And the rest of it proceeds inexorably outward from that fundamental trauma. Why does Antonio loathe Shylock? He's easy to loathe, because he's never had a role open to him that wasn't loathsome.
Why does Shylock loathe Antonio? Because he's just as loathsome, only--roles again--nobody will ever see it, because he's inherited the snowy mantle of lion in winter. It's like how racism isn't wrong because those people we hate didn't have a choice about being hateful; that's not why; it's wrong because we didn't give them a choice. Second Commoner Nay, I beseech you, sir, be not out with me: yet, if you be out, sir, I can mend you. Second Commoner Why, sir, cobble you.
Second Commoner Truly, sir, all that I live by is with the awl: I meddle with no tradesman's matters, nor women's matters, but with awl. 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. Why dost thou lead these men about the streets? Second Commoner 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. 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 climb'd 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.
Exeunt all the Commoners. Caesar speaks. Thunder and lightning. Why are you breathless? O Cicero, I have seen tempests, when the scolding winds Have rived the knotty oaks, and I have seen The ambitious ocean swell and rage and foam, To be exalted with the threatening clouds: But never till to-night, never till now, 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. Cassius confers to Messala that it is his birthday and that he fears defeat. In battle, Titinius is captured by Octavius. Cassius convinces Pindarus to help him commit suicide. Pindarus, in grief, flees after the deed is done. In a twist, Brutus overthrows Octavius and Cassius' army, defeating part of Antony's army.
Titinius, in grief over Cassius' death, kills himself with Cassius's sword. The battle turns again, this time against Brutus' army. Cato is killed and Lucilius is captured, while pretending to be Brutus.
Brutus successively asks Clitus, Dardanius, and Volumnius to help him commit suicide, yet all refuse. Brutus finally convinces Strato to hold the sword while he Brutus runs onto it and dies. Thus, Antony and Octavius prevail, while Cassius and Brutus both commit suicide, assumedly partly in grief over murdering Caesar.
The conspirators' plan has many flaws and they must struggle with the aftermath of what they have done. Brutus the "noblest roman" is the leader and the prime driver is Cassius who is both dangerous, ambitious, and manipulative, and turns Brutus away from Ceasar, for, who "Tis not that I don't like him, but for the general" kills Ceasar in the name of Rome.
Brutus must fight the ghost of Ceasar for the rest of the play and Shakespeare makes it clear that although Brutus's action may have been justified and Ceasar may have become a tyrant, he is still the tragic hero of the play. Shakespeare also entertains humanic proportions for all characters, in this endeavour to not merely label characters bad guys-good guys but rather fully human and fragile to manipulation and flattery.
He also uses contrasts between characters and relationships such as Cassius and Brutus, Octavius and Antony. Portia, Brutus, Calpurnia, and Ceasar also paint a picture of severe differences, strengths, and weaknesses. Cassius is always having to submit to Brutus's demands and leadership shortfalls, and Ceasar's complete self-absorption when dealing with Calpurnia.
The play is extremely thick with magnificent speeches and supernaturalism and is a great read. I would recommend anyone to read the play even if you can't understand it, because it entertains an insight into the human manipulative world that Shakespeare wrote most of his plays in. Zombies Hi there, A small theatre group about at my school want to stage a 15 minute scene from Shakespeare for a Shakespeare festival.
Rhetoric devices in Antony's speech Hi everyone! True leader of the conspiracy After the meeting of the conspirators in Act 2, Scene 1, the role of leader in the conspiracy seems to shift from Cassius to Brutus. Help With Metaphor Someone smarter than me recently started talking to me in metaphors about our troubled past.
Tragedy of Julius Caesar I am having trouble understand what Cassius is saying to Brutus about Caesar being weak and an ineffective leader. About William Shakespeare. Act 1. Scene I. Scene II. Scene III. Act 2. Scene IV. Act 3. Act 4. Act 5.
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