Other editions of book CAESAR AND CLEOPATRA: ANNOTATED

Caesar and Cleopatra, four-act play by George Bernard Shaw, written in 1898, published in 1901, and first produced in 1906. It is considered Shaw’s first great play. Caesar and Cleopatra opens as Caesar’s armies arrive in Egypt to conquer the ancient divided land for Rome. Caesar meets the young Cleopatra crouching at night between the paws of a sphinx, where—having been driven from Alexandria—she is hiding. He returns her to the palace, reveals his identity, and compels her to abandon her girlishness and accept her position as coruler of Egypt (with Ptolemy Dionysus, her brother). Caesar and Cleopatra was extraordinarily successful, largely because of Shaw’s talent for characterization.

This work as a part of the knowledge base of civilization was reproduced from the original artifact, and remains as true to the original work as possible. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.An October night on the Syrian border of Egypt towards the end of the XXXIII Dynasty, in the year 706 by Roman computation, afterwards reckoned by Christian computation as 48 B.C. A great radiance of silver fire, the dawn of a moonlit night, is rising in the east. The stars and the cloudless sky are our own contemporaries, nineteen and a half centuries younger than we know them; but you would not guess that from their appearance. Below them are two notable drawbacks of civilization: a palace, and soldiers. The palace, an old, low, Syrian building of whitened mud, is not so ugly as Buckingham Palace; and the officers in the courtyard are more highly civilized than modern English officers: for example, they do not dig up the corpses of their dead enemies and mutilate them, as we dug up Cromwell and the Mahdi. They are in two groups: one intent on the gambling of their captain Belzanor, a warrior of fifty, who, with his spear on the ground beside his knee, is stooping to throw dice with a sly-looking young Persian recruit; the other gathered about a guardsman who has just finished telling a naughty story (still current in English barracks) at which they are laughing uproariously. They are about a dozen in number, all highly aristocratic young Egyptian guardsmen, handsomely equipped with weapons and armor, very unEnglish in point of not being ashamed of and uncomfortable in their professional dress; on the contrary, rather ostentatiously and arrogantly warlike, as valuing themselves on their military caste. Belzanor is a typical veteran, tough and wilful; prompt, capable and crafty where brute force will serve; helpless and boyish when it will not: an effective sergeant, an incompetent general, a deplorable dictator. Would, if influentially connected, be employed in the two last capacities by a modern European State on the strength of his success in the first. Is rather to be pitied just now in view of the fact that Julius Caesar is invading his country. Not knowing this, is intent on his game with the Persian, whom, as a foreigner, he considers quite capable of cheating him. His subalterns are mostly handsome young fellows whose interest in the game and the story symbolizes with tolerable completeness the main interests in life of which they are conscious. Their spears are leaning against the walls, or lying on the ground ready to their hands. The corner of the courtyard forms a triangle of which one side is the front of the palace, with a doorway, the other a wall with a gateway. The storytellers are on the palace side: the gamblers, on the gateway side. Close to the gateway, against the wall, is a stone block high enough to enable a Nubian sentinel, standing on it, to look over the wall.

This work as a part of the knowledge base of civilization was reproduced from the original artifact, and remains as true to the original work as possible. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.An October night on the Syrian border of Egypt towards the end of the XXXIII Dynasty, in the year 706 by Roman computation, afterwards reckoned by Christian computation as 48 B.C. A great radiance of silver fire, the dawn of a moonlit night, is rising in the east. The stars and the cloudless sky are our own contemporaries, nineteen and a half centuries younger than we know them; but you would not guess that from their appearance. Below them are two notable drawbacks of civilization: a palace, and soldiers. The palace, an old, low, Syrian building of whitened mud, is not so ugly as Buckingham Palace; and the officers in the courtyard are more highly civilized than modern English officers: for example, they do not dig up the corpses of their dead enemies and mutilate them, as we dug up Cromwell and the Mahdi. They are in two groups: one intent on the gambling of their captain Belzanor, a warrior of fifty, who, with his spear on the ground beside his knee, is stooping to throw dice with a sly-looking young Persian recruit; the other gathered about a guardsman who has just finished telling a naughty story (still current in English barracks) at which they are laughing uproariously. They are about a dozen in number, all highly aristocratic young Egyptian guardsmen, handsomely equipped with weapons and armor, very unEnglish in point of not being ashamed of and uncomfortable in their professional dress; on the contrary, rather ostentatiously and arrogantly warlike, as valuing themselves on their military caste. Belzanor is a typical veteran, tough and wilful; prompt, capable and crafty where brute force will serve; helpless and boyish when it will not: an effective sergeant, an incompetent general, a deplorable dictator. Would, if influentially connected, be employed in the two last capacities by a modern European State on the strength of his success in the first. Is rather to be pitied just now in view of the fact that Julius Caesar is invading his country. Not knowing this, is intent on his game with the Persian, whom, as a foreigner, he considers quite capable of cheating him. His subalterns are mostly handsome young fellows whose interest in the game and the story symbolizes with tolerable completeness the main interests in life of which they are conscious. Their spears are leaning against the walls, or lying on the ground ready to their hands. The corner of the courtyard forms a triangle of which one side is the front of the palace, with a doorway, the other a wall with a gateway. The storytellers are on the palace side: the gamblers, on the gateway side. Close to the gateway, against the wall, is a stone block high enough to enable a Nubian sentinel, standing on it, to look over the wall.

Product Description :Caesar and Cleopatra is a play written in 1898 by George Bernard Shaw that depicts a fictionalized account of the relationship between Julius Caesar and Cleopatra. It was first published with Captain Brassbound's Conversion and The Devil's Disciple in Shaw's 1901 collection Three Plays for Puritans. It was first performed in a single staged reading at Newcastle upon Tyne on 15 March 1899, to secure the copyright. The play was produced in New York in 1906 and in London at the Savoy Theatre in 1907.The play has a prologue and an "Alternative to the Prologue". The prologue consists of the Egyptian god Ra addressing the audience directly, as if he could see them in the theater (i.e., breaking the fourth wall). He says that Pompey represents the old Rome and Caesar represents the new Rome. The gods favored Caesar, according to Ra, because he "lived the life they had given him boldly". Ra recounts the conflict between Caesar and Pompey, their battle at Pharsalia, and Pompey's eventual assassination in Egypt at the hands of Lucius Septimius.In "An Alternative to the Prologue", the captain of Cleopatra's guard is warned that Caesar has landed and is invading Egypt. Cleopatra has been driven into Syria by her brother, Ptolemy, with whom she is vying for the Egyptian throne. The messenger warns that Caesar's conquest is inevitable and irresistible. A Nubian watchman flees to Cleopatra's palace and warns those inside that Caesar and his armies are less than an hour away. The guards, knowing of Caesar's weakness for women, plan to persuade him to proclaim Cleopatra—who may be controllable—Egypt's ruler instead of Ptolemy. They try to locate her, but are told by Cleopatra's nurse, Ftatateeta, that she has run away.(The film version of the play, made in 1945, used the Alternative Prologue rather than the original one.)ABOUT SHAW:George Bernard Shaw (26 July 1856 – 2 November 1950), known at his insistence simply as Bernard Shaw, was an Irish playwright, critic, polemicist, and political activist. His influence on Western theatre, culture and politics extended from the 1880s to his death and beyond. He wrote more than sixty plays, including major works such as Caesar and Cleopatra (1898),Man and Superman (1902), Pygmalion (1912)and Saint Joan (1923). With a range incorporating both contemporary satire and historical allegory, Shaw became the leading dramatist of his generation, and in 1925 was awarded the Nobel Prize in Literature.Caesar and Cleopatra:Act I opens with Cleopatra sleeping between the paws of a Sphinx. Caesar, wandering lonely in the desert night, comes upon the sphinx and speaks to it profoundly. Cleopatra wakes and, still unseen, replies. At first Caesar imagines the sphinx is speaking in a girlish voice, then, when Cleopatra appears, that he is experiencing a dream or, if he is awake, a touch of madness. She, not recognizing Caesar, thinks him a nice old man and tells him of her childish fear of Caesar and the Romans. Caesar urges bravery when she must face the conquerors, then escorts her to her palace. Cleopatra reluctantly agrees to maintain a queenly presence, but greatly fears that Caesar will eat her anyway. When the Roman guards arrive and hail Caesar, Cleopatra suddenly realizes he has been with her all along. She sobs in relief, and falls into his arms.Act II. In a hall on the first floor of the royal ......