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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

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

Caesar is alone at night in the Egyptian desert, apostrophizing a statue of the Sphinx. Caesar is startled when a young girl, Cleopatra, addresses him from the paws of the Sphinx. He climbs up to her, thinking he is dreaming. She is full of superstitions about cats and Nile water. She tells Caesar she is there because the Romans are coming to eat her people. Caesar sees that he is not dreaming and identifies himself to Cleopatra as a Roman. She is terror-stricken, but Caesar tells her that he will eat her unless she can show herself to him as a woman, not a girl. Cleopatra puts herself in the hands of this Roman and they move to her throne room. Caesar tries to persuade Cleopatra to act like a queen; Ftatateeta enters and begins to order Cleopatra about until the nurse is chased from the room. Caesar orders Cleopatra’s servants to dress her in her royal robes. When Roman soldiers enter and salute Caesar, Cleopatra finally realizes who he is and, with a sob of relief, falls into his arms.The ten-year-old king Ptolemy is delivering a speech from the throne in Alexandria, prompted by his tutor and guardian. Caesar enters and demands taxes, then calls for Cleopatra. Rufio reminds Caesar that there is a Roman army of occupation in Egypt, commanded by Achillas and supporting the Egyptians, while Caesar has only four thousand men. Achillas and Pothinus suggest that they hold the upper hand, but when Roman troops enter, the Egyptians back off. Lucius Septimius and Pothinus remind Caesar that they decapitated Pompey to ingratiate themselves with Caesar, who is horrified to hear of the act. All the Egyptians but Ptolemy leave, and Rufio again protests against Caesar’s clemency. Ptolemy is escorted out. Cleopatra and Caesar discuss how much Cleopatra has grown, and Caesar promises to send strong young Mark Antony to Cleopatra. A wounded Roman soldier enters to inform Caesar that the Roman army of occupation has come; Caesar orders that all the ships be burned except those that are to carry the Romans to the lighthouse on an island in the harbor. As Caesar starts to arm himself, Pothinus enters, followed by Theodotus with the news that the great library in Alexandria is burning. After Pothinus and Theodotus leave, Cleopatra helps Caesar put on his armor and makes fun of his baldness. Caesar and Rufio leave to lead the troops to the Pharos.

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Purchase one of 1st World Library's Classic Books and help support our free internet library of downloadable eBooks. Visit us online at www.1stWorldLibrary.ORG - - 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 profess-sional dress; on the contrary, rather ostentatiously and arrogantly warlike, as valuing themselves on their military caste.

Purchase one of 1st World Library's Classic Books and help support our free internet library of downloadable eBooks. Visit us online at www.1stWorldLibrary.ORG - - 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 profess-sional dress; on the contrary, rather ostentatiously and arrogantly warlike, as valuing themselves on their military caste.

We are delighted to publish this classic book as part of our extensive classic literature collection. This book is a reproduction of an important historical work. Unlike some other reproductions of classic texts, We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. Also in books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy. We use state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.George Bernard Shaw (1856-1950) is revered as one of the great British dramatists, credited not only with memorable works, but the revival of the then-suffering English theatre. Shaw was born in Dublin, Ireland, left mostly to his own devices after his mother ran off to London to pursue a musical career. He educated himself for the most part, and eventually worked for a real estate agent. This experience founded in him a concern for social injustices, seeing poverty and general unfairness afoot, and would go on to address this in many of his works. In 1876, Shaw joined his mother in London where he would finally attain literary success. Shaw wrote "Caesar and Cleopatra" in 1898. The play deals with the conflict of love and power, and the value of both, demonstrated in the relationship between Caesar and Cleopatra. "Caesar and Cleopatra" also deals with the idea that advances in technology have not furthered society as a whole; that we are just as we were in generations past.