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I have not kn'own/ when his affections/ swayed
APPEAL OF BRUTUS TO THE ROMAN PEOPLE, ON THE DEATH OF CÆSAR.
SHAKSPEARE. RO'MANS, coun trymen, and lo'vers ! hear' me for my cause', and be si'lent, that you may he'ar. Belie've me/ for mine honour, and have respect' to mine ho'nour, that you may believe'. Cen'sure me in your wis'dom, and awake your sen’ses, that you may the better judge'. If there be any in this asse'mbly, any dear friend of Cæ'sar's, to him' I say', that Bruîtus'* love to Cæ'sar, was no le'ss than h'is. If then that friend demand, why Bru^tus rose against Cæsar, this is my answer: Not that I loved Cæʻsar less', but that I loved Roome' mo“re. Had
you rather Cæsar were li'ving, and die all slaves; than that Cæsar were dead', to live all free'men ? As Cæsar lo'ved me, I weep' for him ; as he was for'tunate, I rejoice at it; as he was va'liant, I ho'nour him; but, as he was ambi'tious, I slew him. There are tear's/ for his love', joy' for his fortune, ho'nour/ for his va’lour, but de-ath/ for his ambiotion. Who's here-so base', that would be a bond'man? If any', speak'; for him' have I offend'ed. Who's here so rude', that would not be a Ro'man ? If a'ny, speak'; for him' have I offen'ded. Who's here so vi^le, that will not love his cou’ntry ?* If any', speak'; for him' have I offen'ded. - I pause for a reply
* In giving the preference to this form of the genitive case, the Editor has followed Mr. Kemble's manner of delivering the speech, which is not only more harmonious, but more agreeable to the rhythmical structure of the sentence than the other form, “Brutus's.
No ne ? _ then none' have I offe'nded I have done no more to Cæsar, than you should do to Brutus. The question of his death is enrolled in the Ca'pitol : his gl'ory not exten'uated, wherein he was wor'thy: nor his offeʼnces enfor'ced, for wh'ich he suffered deoath'.
Here comes his body, mourn'ed/ by Mark Antony: wh'o, though he had no hand in his death', shall receive the beưnefit of his d'ying (a pl'ace in the com'monwealth ;) as whic'h of you/ sh'all not? With th`is/ I depart', that, as I slew my best loʻver/ for the good of Rome', I have the same dag'ger for myself, when it shall please' my coun’try to nee'd my death'.
ANTONY'S FUNERAL ORATION OVER
* This is one of those indefinite notes of interrogation that require to
read definitely, for we are not warranted to suppose that any man is * so vile" as not to “ love his country.'
+ In blank verse the participial termination ed must always be pronounced as a distinct syllable, where the syllables in a line make only nine without it.
But Bru'tus says, he was ambitious ;
- Was this' ambition ?
you have tears', prepare to she'd them now. You all do know this man'tle : I remember The first time ever Cæsar put it on', ('Twas on a summer's evening in his tent',) That day' he overcame the Ner'viiLook'! in this place ran Cas'sius' dagger thro'ugh; See what a rent the envious Ca’sca ma'de !Through this'/ the well-beloved Brutu's stab'bed ; And, as he plucked his cursed steel away, Mark how the blood of Cæ“sar foʻllowed-it! (As rushing out of doors', to be resolved, Ìf Bru“tus/ so unkindly knock'ed, or no', For Brutus, as you know', was Cæ'sar's an'gel.) Judge', 0 ye gods' ! how dearly Cæsar lo'ved him ; Th'is, this was the unkindest cu't of a'll ; For, when the noble Cæsar saw him' stab, Ingra'titude (more strong than trai tor's arms) Quite vanq'uished him; then burst his mighty he'art; And, in his man'tle, muffling up his face', (Even at the base of Pompey's sta'tue,
Which all the while ran bloood) great Cæsar fell' ;
Good friends', swe^et friends', let me not stir you up
sudden flood' of mu'tiny. They that have done this deed are honourable. What pri vate griefs they have', alas' ! I know not, That made them do it; they are wi^se and ho‘nourable ; And will', no doubt', with rea‘son answer you. I come not', friends', to steal away' your hearts' ; I'am no orator, as Bru'tus is : But, as you know me all', a plain', blunt' man', That lov'e my friend"; and that they know full well, That gave me public leave to speak' of him : For Ï have neither w'it, nor wo'rds, nor wor'th, Ac'tion, nor ut'terance, nor the po'wer of spee'ch, To stir men's blo'od; I only speak right on': I tell you that', which you yourselves' do know'; Show you sweet Cæsar's wounds', (poo'r, poʻor/ dumb'mouths' !) And bid them' speak for mé' :-But, were I Bru' tus, And Brutus Anotony, there were' an Antony Would rufile up your spi'rits, and put a tongue In e'very-wound of Cae'sar, that should move The stoʻnes of Rome', to ris'e and muotiny.
* There is a liquid sound of the k, c, and g hard, before the vowels a and i, which gives a smooth and elegant sound to the words in which they occur, and which distinguishes the polite pronunciation of London, from that of every other part of the island. This pronunciation is nearly as if the a and i were preceded by e. Thus kind is pronounced as if written ke-ind; card, as ke-ard; and regard, as re-ge-ard. The words that require this liquid sound, are sky, kind, guide, girl, garden, guise, guile, card, cart, guard, and regard, &c. ; these, and their compounds, are nearly all of the words where this sound occurs ; but these are so much in use, as to be sufficient to mark a speaker as either coarse or elegant, as he adopts or neglects it.
This sound is taken notice of by Steele, in his English Grammar, so long ago as the reign of Queen Anne.
QUARREL OF BRUTUS AND CASSIUS.
SHAKSPEARE. Cas. That you have wron'ged-me, doth appe'ar/ in this", You have condem'ned and no'ted Lucius Pella For taking bri'bes here of the Sa'rdians ; Where'in
my let'ter (praying on his sid'e, Because I knew the m'an) was slig'hted-of.
Bru. You wronged yourse'lf, to write in such a c'ase.
Cas. In such a time as th‘is/ it is not me'et,
every nice o'ffence/ should bear its co'mment.
Cas. I' an itching pa’lm ?
Cas. Chasotisement !
Bru. Remember Marc'h, the i’des-of-March/ remem'ber!
Cas. Br’utus, ba'y not moe,
* The ringing sound of the participial termination ing must always be carefully and fully preserved, except where the verb, in its simple state, ends in ing, as sing, bring, fling, &c., where it seems proper that the termi. national ing should slide nearly into the sound of in, to avoid the tautological repetition of the ringing sound.