The Shakespeare Notebooks

by Justin Richards

  15Thus . . . thus . . . thus – maybe vary it a bit??

  16I can see them in the back row, glazing over and muttering: “Oh look, he’s off again.” I mean, what is this all about? Tell me that.

  17You know, actually, that speech isn’t at all bad. With a bit of work it could be really good. You’ve improved, you know. Entirely due to my influence of course, but you’re making progress. I’m so happy for you.

  1Calpurnia – Here Caesar’s wife begs her husband to listen to her worries and supernatural portents that something bad is about to happen. See also similar forebodings in 2HVI and Macb. For instance, on my way to the library today, I saw Mr Silhouette again. If I were superstitious, I would assume grim foreboding. Whereas Q3 gives “Cal”, Q2 gives “Calpurnia” her full title.

  2Caesar – Otherwise useless, the 1612 Duluth Quarto gives many additions to this speech, including the curious aberrant spelling of “Kaiser”, which, if it really was derived from Duluth’s own promptbook suggests a hard “C” pronunciation would be correct. For more on Duluth (1570–1612) see Appendix 6. Where I have included material from Duluth it is explained in the notes. But I’ve left out the nuisance I had getting the thing out of the libaray. Yet here it is. In front of me.

  3Ceremonies – an incompetent line due to this polysyllable resulting in 11 syllables here. Gansard (1889) temptingly corrects this to “ceremon” offering a considerable improvement in internal rhyme with “stood on”. However, it is an emendation I am reluctant to embrace owing to it being nonsense an uncommon usage.

  4Fright – Fear and forebodings are key concepts throughout JC. Fear is not seen as a weakness, but a proper reaction to a supernatural manifestation throughout, from Brutus down. The exception to this rule being Caesar, who refuses to state his fear of the future as being a reason to avoid attending the forum. For example, Mr Silhouette is here again, sitting three rows over from me in the library. Yet again I can’t see his face. But I sometimes think he’s watching me. If I were a character in JC I’d take this as an ill-omen and run down to the cafe for a bun. But no. I’m going to finish this scene today if it kills me.

  5There is one within – i.e. there is someone inside with all the gossip who can better inform you of these events. “Within” here both refers to inside Caesar’s household and also indicates the area backstage – thus a clever staging pun. Interior and exterior domestic space in Shakespeare is most often seen in you know I bet they’ve sold out of the marmalade buns. I really do like those. £3.50 a bun, though, which is possibly the greatest crime to happen in a library since the burning of the Library of Alexandria. And you don’t even get a cup of coffee for that. Mr Silhouette is still there. Day after day. What is he doing here, I wonder? I should probably report him, but you really can’t report someone for just staring into space in a library. That would be a literal thought crime.

  6Things – while it may seem a weak verbal choice to a modern ear, the word had a meaning closer to ghoul cf. “Back, thou hell-back’d thing!” (Simmond’s A Hey For Haringey, 1586), or “I do consort with things spawn-born” (Landale’s Shilling For A Groat, 1592). But, let’s face it, really I hate this play. I’d have killed to get to do Antony and Cleo, but oh no, Granmer nabbed that one for himself. So I get the one where everyone tells the man not to go out, he goes out and dies, and then everyone spends the rest of the play talking about it. I dunno. Talking of things, Mr Silhouette’s gone. I didn’t even see him get up. Still, that’ll teach me to check Facebook so often. Granmer’s uploaded pictures of the yachting holiday he’s on. Paid for by A&C, no doubt. There are pictures of Mrs Granmer on the boat. The barge she sat on looks in danger of sinking. Her idea of infinite variety is three different floral gowns and a sunhat with a broken brim. Granmer’s not yet noticed she’s reading Tom Clancy in every shot.

  7Heard and seen - “seen and heard” was a more usual usage, even then. Perhaps, given the reliance of Tit.And. on cliché in oratory, Shakespeare was here keen to reverse this to show the candid nature of this scene. Calpurnia is, of course, referring to events that the husband and wife have previously encountered offstage, although the audience would have heard them due to the use of the thunder-box. The odd thing, about Mr Silhouette is that I’ve seen him but I’ve never heard him. As though his footsteps are completely silent.

  8Seen – the repetition of “seen” here, together with the confused scansion and dislocated sense have given many to speculate that either this section is based on an inaccurate report, or that the compositor became confused when laying up this section. Or it could just be rubbish. Just saying. Wonder what Mr Silhouette’s face is like? I can’t ever remember what he looks like. Wonder if he’s hot? Maybe he likes buns?

  9Whelped – needs to be pronounced as two syllables in order to sustain the blank verse. Come on everyone, it’s your duty to help Shakespeare out here. See “Deadly Dactyls” in Smith’s Syllables & Sonnets (1932).

  10In the streets – here Calpurnia refers to the streets of Rome as though a bad occurrence there portends misfortune to the ruler of the Empire. In other words, if I was the chief librarian here and I kept seeing Mr Silhouette hanging around, then I’d assume something was rotten in the state of Library. As it is, he’s probably just a tramp. Explaining the damp, dusty smell around here. Like a flooded charity shop.

  11Graves have yawn’d – A recurrence of the mouth metaphors that run throughout JC. This is the earliest example in the play of the dead being given a voice, literally a mouth. See Plutarch (Appendix I) for a fuller explanation of these events. I say that, naturally, but I know full well that about 3 people will ever bother to look. One day, I swear, I’ll leave the appendix out and see if anyone notices (Please see Appendix 17 ha ha ha). Gosh, Mr S is back. What’s he doing here? While he was away, I sneaked a look at his desk to see if I could tell from his books. But no books left on display. Just a blank sheet of paper. The Mystery Man. Oh, talk about a coincidence, I swear he just yawned. Strange I can tell he yawned but still haven’t seen his face.

  12Simonides – mythical king, blah blah Kingy Wingy blah blah sticky end blah blah. Gawd, so hungry. Buns buns buns. Anyway, these three lines are unique to Duluth, but convincing.

  13Heeded – an extra syllable breaks this line. Also the exact nature of Simonides’ warning is obscure. What warning?

  14Fear – needs to be pronounced as a polysyllable, a not uncommon pronunciation at the time. The exact purpose of this line is uncertain. Perhaps it is warning that Caesar, who is not worried, should be. The whole play is an exercise in the foolishness of ignoring all the warning signs (find a way of phrasing this better).

  15Strange and shapeless ones – obscure, but Frederick (1917) postulates ghosts. This is a stable reading, backed up by the later appearance of Caesar’s ghost, which “draws hungry near” to those doomed to die out of revenge. Talking of strange and shapeless ones, oh yes, Mr Silhouette has changed tables. I can almost see his face now, as he’s moved a row closer. Can’t make much out because the lights aren’t working down his end of the reading room.

  16Fierce fiery warriors – here Shakespeare translates the dramatic storm into the War in Heaven between the Angels which culminated in Lucifer being thrown burning down to Hell. This is, of course, as nothing to the sound the dogs made barking outside my window last night. I actually woke up to see what was going on. Not a sign of a pooch, naturally, but I wasn’t the only one looking – someone in the street had stopped to look. I hope they don’t think it’s anything to do with me. The last thing I need is the Neighbourhood Watch complaining to me about my non-existent dogs.

  17Ranks . . . war – Calpurnia here uses a vocabulary of a fighting army, foreshadowing the armies that will later wage battle after Caesar’s death. Ooh, friend request on Facebook. Is it Mrs Gansard? Hope not. Oh. No, I don’t know him. He seems quite nice though. Good boho scarf and all. Standing in front of a blue door. Ah, skip it.

  18Drizzled – Inexplicably, Duluth offers “pi
zzled” here. Idiot! No wonder he got stabbed.

  19Blood – And here begins the metaphorical rain of blood which proceeds in intermittent showers throughout the text. I should really do a weather forecast. Another friend request. Young man in a white jacket in front of that same blue door. What is this? The Notting Hill Appreciation Society? Can there be such a thing? I look up from ignoring it. Mr Silhouette has moved closer, but oddly, I still can’t make out his face. Perhaps he’s wearing a veil?

  20Capitol – i.e. Rome, although the capitalisation here quite odd. They’ve just announced the canteen’s closing for the night. Right that’s it. Off for buns. It really is a fiddle, having to check the Duluth back in and then dash down two flights of stairs.

  21Eternal lost – yet another comparison between the fall of Lucifer and the collapse of Rome. Also, what a waste of time. Cafe still open but no buns left. Nice Pavel said the last one had just been bought by an author of children’s books. I asked him what he meant by that. He shrugged. “Really Odd Clothes. All children’s authors dress funny. I think it is all the cats.” Anyway, best push on. War in heaven lost, Eternal City forever denied to the fallen angel, diddly dum etc etc. Quite what it has to do with Caesar is a little puzzling – he just gets stabbed and everyone has a squabble, unless the idea is that the city state itself has fallen. Anyway, that reminds me. These lines are only in the Duluth Quarto, so I’d better go and check it out again.

  22The dome – While the ancient city of Rome did not have a dome, the idea here is clearly that the atmosphere around a city was created by the thoughts of its inhabitants. Cf. “The climate’s delicate, the air most sweet” of Sicilia in The Winter’s Tale III.i. Now, here’s a funny thing. Got back to my desk with the Duluth Quarto. And sitting on it was a bun. With a note: “Enjoy.” Mr Silhouette? I looked around. Still sat a few rows away. Inscrutable. Was he flirting with me? Or stalking me? Or completely oblivious to me? I just don’t know. Perhaps I’ll report him to the librarian. Once I’ve finished eating the lovely bun.

  23Time was lock’d – again, the idea that by acting outside the perceived political norms, Rome has removed itself from the normal affairs of time and exposed itself to the chaos that exists without rules. The bun was delicious btw. Even if, strictly speaking, you’re not allowed food in the library. Had to eat it stealthily, like that old man who brings in tins of corned beef. Urge to go over and thank Mr Silhouette.

  24Noise – An important recurring theme in Shakespeare. Cf. “The isle is full of noises” in Tempest II.2. Occasionally cross-associated with taste and smell. Oh hell. YOLO. I’ll go and talk to Mr Silhouette.

  25Battle hurtle – note the impressive internal rhyme and assonance. That was odd. I don’t think the bun was a come-on from Mr Silhouette. He just sat there. Didn’t look up. Just sat there. I assumed he was looking at his laptop, but no laptop. Perhaps Buddhist? Oddly, up a little closer, he’s not wearing a veil. He does have a face after all. Anyhoo, I’ll just check my dating profile.

  26Air – see note 22. The oddest thing. A message on my profile. From a man wearing The Worst Coat Ever, clearly from Asda’s Forever Single range. Amazed he hadn’t teamed it with a Simpsons tie. Anyway, the message read “Did you get the bun?” Whoa. That’s Russian Mafia level stalking.

  27Neigh – note the pun here on “nay”. Even the horses know that something is wrong and can’t ignore the signs. Just about to block Mr Bad Coat when he sends another message. “Good. I trust I now have your attention. I have to ask you something about the Duluth Quarto. It is vitally important.” Surely he could just join the library and check it out? Or look at one of the PDFs of it online? But no. “What can I tell you that Google can’t?” I ask. “Splendid,” he messages back. (Who says “splendid”?) “You can tell me lots of things.” “Why should I? Who are you?” “I am usually known as the Doctor, but you may have heard of me as Doctor John Smith?” Nope. “Of Smith’s Syllables & Sonnets?” See note 9. And OMG. “That book is 100 years old.” “Nonsense. 80, if it’s a day. Listen to me you’re in terrible danger, young lady—” Young lady? I blocked him at that point. New Life Rule: Accept no more Weirdo Pastries. Now then, back to Duluth.

  28Dying men did groan – Another internal inconsistency. We’ve already seen the graves yawn forth their dead, and time become locked, therefore we are in a Rome Eternal where death cannot happen (even though, in a scene or two, a whole lot of death happens). It is at this point that the Librarian shuffles over to pass me a note. He’s wearing a look that’s a mixture of “This is Odd” and “So Beneath Me”. The note’s in a really old envelope. It’s got my name on it and a date. Inside it reads: “You’re a very rude young woman. Check Appendix 4 to Smith’s Syllables & Sonnets. 3rd Edition.” You know what? I do. The book’s on the open stacks (the unimportant stuff always is) and clearly no one’s ever made it as far as the appendices – or did someone once drunkenly tell me something about them being odd? – anyway. I read Appendix 4. And then I come and I sit back down and I am very scared.

  29Ghosts – Surely that’s nonsense? There are at least three reasons why that’s nonsense. Only Mr Silhouette seems to have moved a desk closer. Which is, of course, not helping at the moment.

  30Shriek – A loud cry, but one portending disaster. Obviously, not a unique coinage. “It was the owl that shriek’d, the fatal bellman”, Macbeth II.2. I’ve re-read that stupid Appendix and am now looking again at the Duluth Quarto. It’s all obvious nonsense. I look around for the librarian, but he seems such a long way away. And the library is quite dark now. I guess it’s getting late now. Home soon. Mr Silhouette is still here. Just us two. I find him quite comforting now that I can see his features. He looks quite friendly. And I can always call the police. Plus, still got WI-FI, so I guess I can always tweet the police. In an emergency. “Aaarg!”?

  31Squeal about the streets – This whole incident (from Plutarch) is quoted in “In the most high and palmy state of Rome/A little ere the mightiest Julius fell / The graves stood tenantless and the sheeted dead / Did squeak and gibber in the Roman streets.” Hamlet I.1. It had led some scholars to argue JC clearly predates Ham, and others that Ham clearly predates JC (see Appendix 2). An email pops up from Smith, John Dr. There’s a little headshot of a completely different man. A lot younger. Is it some sort of society? A society of dons having a laugh? Trying to wrap me up in a bit of nonsense with some emails, a dodgy light and a bun? I glance at the preview of the email, “Please, you must get out of” and then delete it.

  32All time has come – a final weak addition from Duluth, and an 11-syllable line. It can be fixed by dropping the redundant and confusing “All” at the start. Should I have deleted that email?

  33Prize . . . price – the internal rhyme is perhaps the only merit of this addition from Duluth. I idly checked my Facebook. Just in case there are any messages. There aren’t. I guess I’m a little disappointed about that.

  34Use – help.

  35Fear – worry. I’ve just noticed the wi-fi’s gone. I look up to try and see the librarian. No sign of them. It’s dark in here. I guess I’m almost the last one in. I don’t normally mind that. And I’m not alone, after all. There’s Mr Silhouette, sitting across from me now. Smiling. Funny that. I can actually see him clearly now. He’s actually pretty handsome. I wonder if he’s one of Mr Smith’s Society? All part of the joke? Yes, that’s it. His face looks familiar. I open the Duluth Quarto. Just to go to the frontispiece, the engraving of Duluth himself. It’s that same face. I’m sure of it. I close the book. I’m going to look up in a bit. Just to check. When I dare. Because I know that he’s standing over me. Waiting. And I’m terribly afraid. And just typing away. Because as soon as I stop

 

 

 
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