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CASCA. He fell down in the market-place, and foamed at mouth, and was speechless.
BRU. 'Tis very like: he hath the falling-sickness. CAS. No, Cæsar hath it not; but you, and I, And honest Casca, we have the falling-sickness.
CASCA. I know not what you mean by that; but, I am sure, Cæsar fell down. If the tag-rag people did not clap him, and hiss him, according as he pleased, and displeased them, as they use to do the players in the theatre, I am no true man1.
BRU. What said he, when he came unto himself? CASCA. Marry, before he fell down, when he perceiv'd the common herd was glad he refused the crown, he plucked me ope his doublet, and offered them his throat to cut.-An I had been a man of any occupation, if I would not have taken him at a word, I would I might go to hell among the rogues :-and so he fell. When he came to himself again, he said, If he had done or said, any thing amiss, he desired their worships to think it was his infirmity. Three or four wenches, where I stood, cried, Alas, good soul!-and forgave him with all their hearts: But there's no heed to be taken of them; if Cæsar had stabbed their mothers, they would have done no less.
BRU. And after that, he came, thus sad, away?
CAS. Did Cicero say any thing?
CASCA. Ay, he spoke Greek.
CAS. To what effect?
CASCA. Nay, an I tell you that, I'll ne'er look
no true man.] No honest man. The jury still are styled good men and true. MALONE.
5 a man of any occupation,] Had I been a mechanick, one of the Plebeians to whom he offered his throat.
So, in Coriolanus, Act IV. Sc. VI. :
You that have stood so much
Upon the voice of occupation." MALONE.
you i' the face again: But those, that understood him, smiled at one another, and shook their heads: but, for mine own part, it was Greek to me. I could tell you more news too: Marullus and Flavius, for pulling scarfs off Cæsar's images, are put to silence. Fare you well. There was more foolery yet, if I could remember it.
CAS. Will you sup with me to-night, Casca ?
Cas. Will you dine with me to-morrow? CASCA. Ay, if I be alive, and your mind hold, and your dinner worth the eating.
CAS. Good; I will expect you.
CASCA. DO SO: Farewell, both.
BRU. What a blunt fellow is this grown to be?
He was quick mettle, when he went to school.
Of any bold or noble enterprize,
However he puts on this tardy form.
This rudeness is a sauce to his good wit,
Which gives men stomach to digest his words
With better appetite.
BRU. And so it is. For this time I will leave
To-morrow, if you please to speak with me,
I will come home to you; or, if you will,
Come home to me, and I will wait for you.
CAS. I will do so:-till then, think of the world.
Well, Brutus, thou art noble; yet, I see,
Thy honourable metal may be wrought
Thy honourable metal may be wrought
From that it is dispos'd:] The best metal or temper may be worked into qualities contrary to its original constitution.
From that it is dispos'd, i, e. dispos'd to. 5
That noble minds keep ever with their likes:
That Rome holds of his name; wherein obscurely Cæsar's ambition shall be glanced at:
And, after this, let Cæsar seat him sure;
For we will shake him, or worse days endure.
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 9 ?
- doth bear me hard ;] i. e. has an unfavourable opinion of The same phrase occurs again in the first scene of Act III.
8 If I were Brutus now, and he were Cassius,
He should not HUMOUR me.] This is a reflection on Brutus's ingratitude; which concludes, as is usual on such occasions, in an encomium on his own better conditions. "If I were Brutus, (says he) and Brutus, Cassius, he should not cajole me as I do him." To humour signifies here to turn and wind him, by inflaming his passions. WARBURTON.
The meaning, I think, is this: "Cæsar loves Brutus, but if Brutus and I were to change places, his love should not humour me," should not take hold of my affection, so as to make me forget my principles. JOHNSON.
BROUGHT you Cæsar home?] Did you attend Cæsar
So, in Measure for Measure:
"That we may bring you something on the way."
See vol. ix. p. 13. MALONE.
Why are you breathless? and why stare you so? CASCA. Are not you mov'd, when all the sway of earth
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 slave 2 (you know him well by sight,)
Held up his left hand, which did flame, and burn
Who gaz'd upon me3, and went surly by,
SWAY of earth-]
The whole weight or momentum of this
2 A common slave, &c.] So, in the old translation of Plutarch: a slave of the souldiers that did cast a marvelous burning flame out of his hande, insomuch as they that saw it, thought he had bene burnt; but when the fire was out, it was found he had no hurt." STEEVENS.
3 Who GLAR'D upon me,] The first [and second] edition reads: "Who glaz'd upon me
Perhaps, "Who gaz'd upon me.": JOHNSON.
Again, in Hamlet:
"Look you, how pale he glares!
Again, Skelton in his Crowne of Lawrell, describing “a lybbard:"
"As gastly that glaris, as grimly that grones." Again, in the Ashridge MS. of Milton's Comus, as published by the ingenious and learned Mr. Todd, verse 416 :
Without annoying me: And there were drawn
"And yawning denns, where glaringe monsters house." To gaze is only to look stedfastly, or with admiration. Glar'd has a singular propriety, as it expresses the furious scintillation of a lion's eye: : and, that a lion should appear full of fury, and yet attempt no violence, augments the prodigy. STEEVens.
The old copy reads-glaz'd, for which Mr. Pope substituted glar'd, and this reading has been adopted by all the subsequent editors. Glar'd certainly is to our ears a more forcible expression; I have however adopted a reading proposed by Dr. Johnson, gaz'd; induced by the following passage in Stowe's Chronicle, 1615, from which the word gaze seems in our author's time to have been peculiarly applied to the fierce aspect of a lion, and therefore may be presumed to have been the word here intended. The writer is describing a trial of valour (as he calls it,) between a lion, a bear, a stone-horse, and a mastiff; which was exhibited in the Tower, in the year 1609, before the king and all the royal family, diverse great lords, and many others: Then was the great lyon put forth, who gazed awhile, but never offered to assault or approach the bear." Again: the above mentioned young lusty lyon and lyoness were put together, to see if they would rescue the third, but they would not, but fearfully [that is, dreadfully] gazed upon the dogs." Again: "The lyon having fought long, and his tongue being torne, lay staring and panting a pretty while, so as all the beholders thought he had been utterly spoyled and spent; and upon a sodaine gazed upon that dog which remained, and so soon as he had spoyled and worried, almost destroyed him."
In this last instance gaz'd seems to be used as exactly synonymous to the modern word glar'd, for the lion immediately afterwards proceeds to worry and destroy the dog. MALONE.
That glar'd is no modern word, is sufficiently ascertained by the following passage in Macbeth, and two others already quoted from King Lear and Hamlet
"Thou hast no speculation in those eyes
"That thou dost glare with."
I therefore continue to repair the poet with his own animated phraseology, rather than with the cold expression suggested by the narrative of Stowe; who, having been a tailor, was undoubtedly equal to the task of mending Shakspeare's hose; but, on poetical emergencies, must not be allowed to patch his dialogue.
The word glaize is used, but I know not with what meaning, in King James's translation of The Urania of Dubartas, in his Essayes of a Prentise in the divine Art of Poesie :