nunca u dange if one. The some trants ie i gcred corridor, ume frumentii jut easily carried well be pinczi LC in two tendants in Ro The sime in Elizabethan manner, 17222. Lose Braut tett mati be removed before the are ginest the change of furniture in a change of locality. Lig.1 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 To whom it must be done. Lig.2 [Thunder, distantly Set on your foot, nd with a heart new-fir'd I follow you, > do I know not what: but it sufficeth at Brutus leads me on. feminine interest of this drama dominates the underplot of the tragedy, because the two women are so noble. 1This is a fib. 2What a kindly rebuke. 3Brutus rises; he cannot stand cross-questioning; conspirators rarely can. And too impatiently stamp'd with your foot; Por. Brutus is wise, and, were he not in health, He would embrace the means to come by it. 1Brutus naturally turns away confused to RC; Portia rises and follows him. 2She kneels: Brutus would prevent her but she persists. This strikes home. Brutus starts as if it were impossible that the conference were overheard. He tries hard to lift her from her knees. 5 "It is possible this word was “kneel,” but she rises and almost exhausted sits again on bench; Brutus tries to soothe her. "These two great people adored each other. Brutus, no longer able to resist the appeal of such a noble woman, takes her lovingly and with a great outburst to his heart. Note. The neglect of Shakespeare by the women of to-day has often occurred to me as pitiful: No man since the Evangelist has so exalted woman and placed her right in the world's affairs, public and domestic, as this great Dramatist. |