SCENE III. The same. A Street. Thunder and Lightning. Enter, from opposite sides, CASCA, with his sword drawn, and CICERO. Cic. Good even, Casca: Brought you Cæsar home 1? Why are you breathless? and why stare you so? Casca. Are not you mov'd, when all the sway of earth 2 Shakes, like a thing unfirm? O Cicero, I have seen tempests, when the scolding winds Cic. Why, saw you any thing more wonderful? Casca. A common slave3 (you know him well by sight), Held up his left hand, which did flame and burn 1 'Did you attend Cæsar home.'. So in Measure for Mea sure: That we may bring you something on the way.' 2 The whole weight or momentum of this globe.' 3 A slave of the souldiers that did cast a marvellous burning flame out of his hande, insomuch as they that saw it thought he had been burnt; but when the fire was out, it was found that he had no hurt.-North's Plutarch. Who glar'd upon me, and went surly by, Cic. Indeed, it is a strange-disposed time: Casca. He doth; for he did bid Antonius Send word to you, he would be there to-morrow. Cic. Good night then, Casca: this disturbed sky. Is not to walk in. 4 The old copies erroneously read: Who glazd upon me.' Malone determined obstinately to oppose himself to Steevens's judicious reading of glar'd, and reads, with less propriety and probability, gaz'd. Steevens has clearly shown from the poet's own works that his emendation is the true one. Mr. Boswell made a quotation from King James's translation of the Urania of Du Bartas, in which he found the word glaise (i. e. glose), which he professed not to understand; but supposed it might support the original reading. He was too well acquainted with the old Scottish and old English writers to fall often into such mistakes. 5 Altogether, entirely. Cas. Casca. Your ear is good. is this? Casca, by your voice. Cas. A very pleasing night to honest men. Casca. Who ever knew the heavens menace so? For my part, I have walk'd about the streets, Casca. But wherefore did you so much tempt It is the part of men to fear and tremble, Cas. You are dull, Casca; and those sparks of life 6 What is now, in modern language, called a thunder-bolt. 7 i. e. 'why birds and beasts deviate from their condition and nature; why old men, fools, and children calculate;' i. e. foretel or prophesy. At the suggestion of Sir William Blackstone this last line has been erroneously pointed in all the late editions:Why old men fools, and children calculate.' He observed, that there was no prodigy in old men's calculating; but who were so likely to listen to prophecies as children, fools, and the superstitious eld?' Why all these things change, from their ordinance, 8 A man no mightier than thyself, or me, Cassius? Cas. Let it be who it is: for Romans now Have thewes 9 and limbs like to their ancestors; But, woe the while! our fathers' minds are dead, And we are govern'd with our mothers' spirits; Our yoke and sufferance show us womanish. Casca. Indeed, they say, the senators to-morrow And he shall wear his crown by sea and land, Cas. I know where I will wear this dagger then; If I know this, know all the world besides, 8 Portentous. 9 i. e. sinews, muscular strength. See note on King Henry IV. Part II. Act iii. Sc. 2. That part of tyranny, that I do bear, Casca. So every So can I: bondman in his own hand bears The power to cancel his captivity 10. Cas. And why should Cæsar be a tyrant then? So vile a thing as Cæsar? But, O, grief! Casca. You speak to Casca; and to such a man, As who goes farthest. Cas. There's a bargain made. Now know you, Casca, I have mov'd already 10 Thus in Cymbeline, Act v. Posthumus, speaking of his chains : take this life, And cancel these cold bonds.' 11 I know I shall be called to account, and must answer for having uttered seditious words.' So in Much Ado about Nothing Sweet prince, let me go no further to mine answer; do you hear me, and let this count kill me.' 12 Hold my hand' is the same as Here's my hand.' 'Be factious for redress' means, be contentious, enterprising for redress. |