Beware, yo

death_of_caesar.GIF

It’s the Ides of March, yo. Watch your back and all that.

Here’s the moment in Shakespeare’s play where Caesar gets the warning from the soothsayer. And ignores it. Because wouldn’t we all ignore a warning from a nutjob in the street? Especially when we are surrounded by “flourishes”.

Seriously, boys. Stop with the constant “flourishes”. GIVE ME A MOMENT TO THINK.

SCENE II. A public place

Flourish.

Enter CAESAR; ANTONY, CALPURNIA, PORTIA, DECIUS BRUTUS, CICERO, BRUTUS, CASSIUS, and CASCA; a great crowd following, among them a SOOTHSAYER

CAESAR
Calpurnia!

CASCA
Peace, ho! Caesar speaks.

CAESAR
Calpurnia!

CALPURNIA
Here, my lord.

CAESAR
Stand you directly in Antonius’ way,
When he doth run his course. Antonius!

ANTONY
Caesar, my lord?

CAESAR
Forget not, in your speed, Antonius,
To touch Calpurnia; for our elders say,
The barren, touched in this holy chase,
Shake off their sterile curse.

ANTONY
I shall remember:
When Caesar says ‘do this,’ it is perform’d.

CAESAR
Set on; and leave no ceremony out.

Flourish

SOOTHSAYER
Caesar!

CAESAR
Ha! who calls?

CASCA
Bid every noise be still: peace yet again!

CAESAR
Who is it in the press that calls on me?
I hear a tongue, shriller than all the music,
Cry ‘Caesar!’ Speak; Caesar is turn’d to hear.

SOOTHSAYER
Beware the ides of March.

CAESAR
What man is that?

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; 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.

A psychic told me in 1998 that I would meet my future husband the next year, and he would be blonde. Bitch lied. So I don’t blame Caesar for writing The Soothsayer off as a dreamer.

The conspiracy scene, I think, is my favorite in the play. Act II Scene 1. It’s chilling. The casualness of it, the resolve.

The conspirators go to visit Brutus at his house, and they stand in the orchard, and decide to do the deed on the morrow.

Here’s a fun exercise – read it out loud and notice how often Shakespeare uses the letter “s” in the scene, or an “s” sound. There’s an “s” sound in almost every sentence. So when you hear the language – just the sound of it, never mind what it is that they’re actually saying – sounds like a hissing chorus of whispers. It has a conspiratorial feel to it – again, not just in what they are saying – but in the sound of the language itself. The theme of the scene is in the language itself. Ssssssssss …. gives an impression of a crowd of men whispering “psst” or – hissing – the hissing ‘psst” whisper of conspiracy. Brilliant.

Re-enter LUCIUS.
LUCIUS.
Sir, ’tis your brother Cassius at the
door,
Who doth desire to see you.

BRUTUS.
Is he alone?

LUCIUS.
No, sir, there are more with him.

BRUTUS. Do you know them?

LUCIUS.
No, sir; their hats are pluck’d about
their ears,
And half their faces buried in their cloaks,
That by no means I may discover them
By any mark of favour.

BRUTUS. Let ’em enter.

[Exit LUCIUS.

They are the faction. O conspiracy!
Sham’st thou to show thy dangerous brow by
night,
When evils are most free? O! then by day
Where wilt thou find a cavern dark enough
To mask thy monstrous visage? Seek none, con-
spiracy;
Hide it in smiles and affability:
For if thou path, thy native semblance on,
Not Erebus itself were dim enough
To hide thee from prevention.

Enter the Conspirators, CASSIUS, CASCA,
DECIUS,CINNA, METELLUS CIMBER,
and TREBONIUS.

CASSIUS.
I think we are too bold upon your rest:
Good morrow, Brutus; do we trouble you?

BRUTUS.
I have been up this hour, awake all
night.
Know I these men that come along with you?

CASSIUS.
Yes, every man of them; and no man
here
But honours you; and every one doth wish
You had but that opinion of yourself
Which every noble Roman bears of you.
This is Trebonius.

BRUTUS.
He is welcome hither.

CASSIUS.
This, Decius Brutus.

BRUTUS. He is welcome too.

CASSIUS.
This, Casca; this, Cinna;
And this, Metellus Cimber.

BRUTUS.
They are all welcome.
What watchful cares do interpose themselves
Betwixt your eyes and night?

CASSIUS.
Shall I entreat a word?

[BRUTUS and CASSIUS whisper.

DECIUS.
Here lies the east: doth not the day
break here?

CASCA.
No.

CINNA.
O! pardon, sir, it doth; and yon grey
lines
That fret the clouds are messengers of day.

CASCA.
You shall confess that you are both
deceiv’d.
Here, as I point my sword, the sun arises;
Which is a great way growing on the south,
Weighing the youthful season of the year.
Some two months hence up higher toward the
north
He first presents his fire; and the high east
Stands, as the Capitol, directly here.

BRUTUS.
Give me your hands all over, one by
one.

CASSIUS.
And let us swear our resolution.

And so, in honor of the Ides of March, here’s the “moment before” – the poor ignored SOOTHSAYER comes back into the picture:

Act II, scene iv. The sense of foreboding grows. Portia can feel the wrongness in the air.

PORTIA
Come hither, fellow: which way hast thou been?

SOOTHSAYER
At mine own house, good lady.

PORTIA
What is’t o’clock?

SOOTHSAYER
About the ninth hour, lady.

PORTIA
Is Caesar yet gone to the Capitol?

SOOTHSAYER
Madam, not yet: I go to take my stand,
To see him pass on to the Capitol.

PORTIA
Thou hast some suit to Caesar, hast thou not?

SOOTHSAYER
That I have, lady: if it will please Caesar
To be so good to Caesar as to hear me,
I shall beseech him to befriend himself.

PORTIA
Why, know’st thou any harm’s intended towards him?

SOOTHSAYER
None that I know will be, much that I fear may chance.
Good morrow to you. Here the street is narrow:
The throng that follows Caesar at the heels,
Of senators, of praetors, common suitors,
Will crowd a feeble man almost to death:
I’ll get me to a place more void, and there
Speak to great Caesar as he comes along.

Exit

PORTIA
I must go in. Ay me, how weak a thing
The heart of woman is! O Brutus,
The heavens speed thee in thine enterprise!
Sure, the boy heard me: Brutus hath a suit
That Caesar will not grant. O, I grow faint.
Run, Lucius, and commend me to my lord;
Say I am merry: come to me again,
And bring me word what he doth say to thee.


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8 Responses to Beware, yo

  1. Howard Bollixter says:

    “Peace, Ho! Caesar speaks.”

    I can use that.

    Wait, was that capitalized?

    Coincidentally, I’m watching HBO’s Rome these days and just saw this event. Liberties taken with the storytelling no doubt, but quite excellent.

  2. Kate P says:

    It’s phrases like “dangerous brow” that make me fall for Shakespeare over and over again.

  3. De says:

    The REAL O.G.s!

  4. A says:

    sounds like a hissing chorus of whispers.

    That’s incredible! Thank you for pointing that out. I had no idea.

    The sense of dread weights on me every time with this play. I want to shout out “They’re behind you!” like it’s pantomime because I become so overwrought.

  5. A says:

    That should be ‘weighs’.

  6. red says:

    A – yes, the feeling of doom is palpable. Wonderful stuff.

    And yeah, I just love the hissing conspiratorial sound of the language in that scene – if it’s played right, it honestly doesn’t matter what they all say – because the SOUND of the language does all the work.

    Brilliant!!

    And no worries about the spelling error … I think we’re both a little, uhm, twitterpatted at the moment, don’t you think??? For obvious reasons THAT I CAN’T DISCUSS?

  7. red says:

    I mean, this is such vivid almost cinematic language:

    Here the street is narrow:
    The throng that follows Caesar at the heels,
    Of senators, of praetors, common suitors,
    Will crowd a feeble man almost to death:
    I’ll get me to a place more void, and there
    Speak to great Caesar as he comes along.

    Chilling.

  8. Desirae says:

    In my college Shakespeare class the professor had three or four people (I was one of them) read the first part of Antony’s big speech aloud, putting emphasis where we thought it should be.After which he read the lines himself in the way that it’s typically played in productions of the play. It was one of the best lessons in interpretation that I’ve ever had because not one of us read that speech the same way, and not one of us hit upon the way it’s generally preformed either – we ended up with four different versions.

    He asked afterwards why we thought the lines tended to be read the way he’d demonstrated, and my guess made him look blankly at me for a moment and then he said “…I have never thought of it that way.” I still don’t know whether I should be proud or embarrassed.

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