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To lock such rascal counters from his friends, 80
Be ready, gods, with all your thunderbolts,

Dash him to pieces !
Cas.

I denied you not.
Bru. You did.
Cas.

I did not: he was but a fool
That brought my answer back. Brutus hath riv'd

my heart:

85

A friend should bear his friend's infirmities,

But Brutus makes mine greater than they are.
Bru. I do not, till you practise them on me.
Cas. You love me not.
Bru.

I do not like your faults.
Cas. A friendly eye could never see such faults.
Bru. A flatterer's would not, though they do appear

As huge as high Olympus.
Cas. Come, Antony, and young Octavius, come,

Revenge yourselves alone on Cassius,
For Cassius is aweary of the world;

Hated by one he loves; brav'd by his brother; 95 81. thunderbolts,] Ff, thunderbolts Collier. 90. do] Ff, did Collier MS.

80. rascal counters] Compare "vile 94. Cassius] is here a dissyllable, trash” in line 74.

though it was a trisyllable in the 81. thunderbolts] See note on i. iii. previous line. Shakespeare in such 49.

points takes as much licence as the 87. I do not, till] I do not enforce Greeks : them till. Brutus answers with refer “quibus est nihil negatum ence, not to the immediately preced Et quos * Apes" Apes decet sonare." ing sentence, but to the general sense See Iliad, v. 31, and Martial, ix. of Cassius' reproach. He would 12. not for a moment admit that he 94. aweary) This expressive word exaggerated his friend's faults.

is used nine times by Shakespeare. 90. do appear] is more forcible "A," when prefixed to adjectives, as than “ did appear," as it is an in "a-weary" and "a-cold” (Lear, III. assertion that the faults of Cassius iv. 59), appears to represent the A.S. really do appear to be as high as intensive prefix "of." See Abbott, Olympus.

sec. 24 (3).

Check'd like a bondman; all his faults observ'd,
Set in a note - book, learn'd, and conn'd by

rote,
To cast into my teeth. O! I could weep
My spirit from mine eyes. There is my dagger,
And here my naked breast; within, a heart 100
Dearer than Pluto's mine, richer than gold:
If that thou be'st a Roman, take it forth;
I, that denied thee gold, will give my heart:
Strike, as thou didst at Cæsar; for, I know,
When thou didst hate him worst, thou lov’dst him
better

105 Than ever thou lov'dst Cassius. Bru.

Sheathe your dagger : Be angry when you will, it shall have scope; 98. my] Ff, his Capell. 101. Pluto's] Ff, Plutus' Pope and later editors.

96. Check'd] rebuked. The noun is Plutus, was the god of riches and is so used in Othello, III. ïïi. 67: "Not expressly so called, as M. Beljame almost a fault to incur a private points out, by Webster in the Duchess check."

of Malfi, 111. ii., "Pluto, the god of 97. set in a note-book. This is riches." If Shakespeare and Webster exactly the way in which Bacon identify Pluto and Plutus, they might treated the faults of his rivals. See plead the authority of Aristophanes the account of his Commentarius (Plutus, 727) and Sophocles (Fr. 259) Solutus in Abbott's Bacon.

in support of the identification. It 98. my] It is quite natural that should also be borne in mind that Cassius in his excitement should sud. Pluto is the Italian form of Plutus. denly in the middle of a sentence See note on 1. ii. 3. give up speaking of himself in the 102. If that] See note on 111. i. 92. third person.

102. ihou] The use of the singular 100. naked) unprotected by armour, pronoun shows that Cassius is impasas in Othello, v. ii. 258 and 3 Henry VI. sioned. The colder Brutus throughv. iv. 42.

out the scene uses the plural pronoun 101. Dearer) more precious. in addressing Cassius.

101. Pluto's] is ' altered into 107. it) your anger, implied in the “Plutus'" in most editions here and adjective "angry." Compare v. in Troilus and Cressida, III. iii. 197, iii. 4, and Marmion, II. vii. 1 : "every, grain of Pluto's gold," “Lovely and gentle and distress'dalthough, as indicated by the deriva These charms might tame the tion of the name, Plutó, as well as fiercest breast,"

common

Do what you will, dishonour shall be humour.
O Cassius ! you are yoked with a lamb
That carries anger as the flint bears fire, IIO
Who, much enforced, shows a hasty spark,

And straight is cold again.
Cas.

Hath Cassius liv'd
To be but mirth and laughter to his Brutus,

When grief and blood ill-temper'd vexeth him ?
Bru. When I spoke that I was ill-temper'd too. 115

108. humour] Ff, honour Craik. 109. lamb] Ff, man Pope.

108. dishonour shall be humour] I Brutus to a fint is first expressed by will overlook any insults you vent a simile and then by a metaphor. upon me as due to your peculiar 113. laughter) subject of ridicule. temper. This is just the way in Compare 1. ii. 71. If the reading of which Cassius wishes Brutus to treat the Folio is retained there, it gives the poet in line 134.

additional force to this passage. 110. That carries anger] The in- Cassius, not being "a congruity, by which a lamb appears laughter," would be the more galled to be represented as liable to flashes at his friend's ridicule. of anger, is due to the fact that the 114. ill-tempered] badly combined, image of the lamb is not distinctly so as to make a man inclined to be present to the consciousness of the ill-tempered in the present sense of speaker, so that he goes on as if he the word, which we find in the had not said "lamb,” but “mild following line. The expression “illman." Compare such mixed meta- tempered blood " is not exactly in phors as “ take up arms against a accordance with the doctrine of the sea of troubles.” This way of look four humours (see note on v. v. 73), ing to the sense rather than to since here the blood is regarded as the words actually used to express determining a man's character by the sense also produces the sense con- itself and not in combination with structions in line 151, 11. i. 319, and choler, phlegm, and melancholy. iv. 28.

Often "blood in Shakespeare exIn, who] may refer to “ fint.” presses the whole of the passionate In Tempest, I. ii. 7, Comedy of Errors, side of human nature as distinguished 1. ii. 37, Love's Labour's Lost, iv. ii. 4, from the reason, e.g., in Hamlet, III. Merchant of Venice, II. vii. 4, ii. 74: Winter's Tale, iv. iv. 581, Corio

“blest are those, lanus, III. ii. 119, we find “vessel," Whose blood and judgment are “ drop,"

“pomewater," "casket," so well commingled, “anchors,” and “knees” as ante That they are not a pipe for cedents to “who." There is no fortune's finger reason, however, in the present To sound what stop she please.” passage, why "who" should not 114. vexeth) singular, as the subrefer to "lamb," in which case the ject may be regarded as really one. comparison of

the “lamblike” 115. that] See line 49.

Cas. Do you confess so much ? Give me your hand.
Bru. And my heart too.
Cas.

O Brutus !
Bru.

What's the matter? Cas. Have you not love enough to bear with me,

When that rash humour which my mother gave me

Makes me forgetful ?
Bru.

Yes, Cassius; and from henceforth 120
When you are over-earnest with your Brutus,
He'll think your mother chides, and leave you so.

[Noise within. Poet. [Within.] Let me go in to see the generals;

There is some grudge between 'em, 'tis not meet
They be alone.

I 25
Lucil. [Within.) You shall not come to them.
Poet. [Within.] Nothing but death shall stay me.

Enter Poet, followed by LUCILIUS, TITINIUS, and

LUCIUS. Cas. How now! What's the matter? Poet. For shame, you generals! What do you mean?

117. my heart too] For the con. "Forgive me, but my mother hated nection that exists or ought to exist the French." between hands and hearts compare 121. over-carnest) a euphemism to Othello, I. iv. 46, and the line quoted express what Brutus in his angrier on 1. iii

. 117. In 111. i. 174, instead mood called "rash choler" (39). of hands and hearts, we have arms 122. leave you so] not try to check and hearts closely associated.

you. 117. O Brutus] Cassius is so deeply 123. Poet.] Plutarch describes him moved, that, for the moment, he can- as a counterfeit Cynic (see line 132) not give coherent expression to his philosopher. Shakespeare appears to feelings. Compare III. ii. 115. attribute to him the couplet which in

119. that rash humour] the choleric Plutarch he quotes from Homer. temper of Cassius.

Thus he is described in the stage119. my mother gave me] Compare directions as "a poet” and in the Nelson's humorous apology for his text as a "jigging fool." refusal to receive a French messenger:

be;

Love, and be friends, as two such men should

130 For I have seen more years, I'm sure, than ye. Cas. Ha, ha! how vilely doth this cynic rhyme! Bru. Get you hence, sirrah; saucy fellow, hence ! Cas. Bear with him, Brutus; 'tis his fashion. Bru. I'll know his humour, when he knows his time:

135 What should the wars do with these jigging fools?

Companion, hence ! Cas.

Away, away! be gone.

[Exit Poet. Bru. Lucilius and Titinius, bid the commanders

Prepare to lodge their companies to-night. Cas. And come yourselves, and bring Messala with you

140 Immediately to us. [Exeunt Lucilius and Titinius. 132. vilely] F 4; vildely F 1, 2; vildly F 3. 131. I have seen more years] In as a dance." "Jig” is derived from North's translation of Plutarch we French gigue, a fiddle, and came to read that "he rehearsed the verses mean a lively dance or a song such as which old Nestor said in Homer : might be composed for the accompani. My lords, I pray you hearken ment of the fiddle. Hence it is used both to me,

by Ben Jonson as a contemptuous For I have seen more years than term equivalent to “ballad” to suchie three."

express trifling metrical compositions Shakespeare, while improving the unworthy of the name of poetry: sound of the verses, obscures the “Posterity shall know that you dare logical connection between the in these jig-given times to countenance principal and subordinate clauses. a legitimate poem." Compare 11. iv. 28.

137. Companion) in Shakespeare's 135. know his humour] recognise time expressed inferiority, as it still and indulge his humour, when he does when we speak of a lady does not manifest it at an unseason- engaging a companion. Hence, like able time.

"fellow," it came to be used as a 136. What should the wars do, etc.) term of contempt. Craik quotes a these foolish rhymesters are quite out late example of this use of the word of place in a war. Malone notes from Roderick Random: "Scurvy that a jig signified, in our author's companion ! Saucy tarpaulin! Rude time, a metrical composition, as well impertinent fellow!"

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