Fourseasons
DRAMA
EVERGREEN
C1
CEFR
WILLIAM SHAKESPEARE
AUDIO CD
S890/1
JULIUS CAESAR
Abridged by Pasquale Vaudo
®
Answer Key
Simone PER LA SCUOLA
Page 13 - FCE
1. a 2. d 3. b 4. a 5. c 6. a
Page 18 – Questions
1. A carpenter and cobbler 2. They make a holiday 3. Pompey’s kids 4. Marullus 5. The commoners/
They didn’t love Caesar
Pag. 19 – Getting Into the Text
1. Know you not, being mechanical, you ought not walk upon a labouring day without the sign of your
profession? (Do you not know, being mechanical, you ought not walk upon a labouring day without the
sign of your profession?) 2. What trade art thou? (What is your job?/What do you do?) 3. What dost
thou with thy best apparel on? (What do you do with your best apparel on?) 4. What meanest thou by
that? (What do you mean by that?) 5. Wherefore art not in thy shop today? (Why are you not in your shop
today?) 6. Knew you not Pompey? (Did you not know Pompey?)
Page 20 – Research
1. Caesar is Calphurnia’s husband 2. Antony is Caesar’s second in command
Pag. 22 – Matching
1. c 2. b 3. d 4. a
Page 22 – Questions
1. The barren shake off their sterile curse 2. A shriller one 3. A soothsayer 4. To beware the Ides of
March 5. He doesn’t care
Pag. 23 – Getting into the Text
1. Stand you directly in Antonius’ way, when he doth run his course (Stand you directly in Antonius’ way,
when he runs his course) 2. Forget not, in your speed, Antonius, to touch Calphurnia (Do not forget,
in your speed, Antonius, to touch Calphurnia) 3. What say’st thou to me now? (What did you say to
me?) 4. What man is that? (Who is he? What does he do?) 5. Who is it in the press that calls on me?
(Who calls me from among the crowd?)
Page 29 – Questions
1. Caesar’s coronation 2. Brutus’s involvement in the conspiracy 3. He challenged Cassius in their youth
upon a raw and gusty day 4. He had rather be a villager than a son of Rome
Page 30 – Getting into the text
1. Dare’st thou Cassius now leap in with me into this angry flood and swim to yonder point? (Dare you
Cassius plunge into this rough river and swim to the other shore?) 2. When the fit was on him, I
— 1 —
did mark how he did shake (When the fit was on him, I marked how he shook) 3. Ye gods, it doth
amaze me (Oh gods, it amazes me) 4. Upon what meat doth this our Caesar feed, that he is grown so
great? (Upon what food does this our Caesar feed, that he’ s grown so great?) 5. Rome,thou hast
lost the breed of noble bloods (Rome, you have lost the breed of noble bloods)
Page 32 – Listening
Foolery; Crown; Thinking; Loath; Offered; Third; Rabblement; Hands; Choked
Page 36 – Matching
1. c 2. d 3. a 4. e 5. b
Page 37 – Questions
1. Because he was his chief and Rome needed a leader 2. (Open answer) 3. Caesar would have accepted
the crown 4. (Open answer) 5. He was an unfaithful friend
Page 37 – Getting Into The Text
1. ’Tis very like. Caesar hath the falling sickness (It may be. Caesar has the falling-sickness) 2. Casca,
tell us what hath chanc’d to-day? (Casca, tell us what has happened?) 3. I know not what you mean
by that (I do not know what you mean by that) 4. Nay, an I tell you that, I’ll ne’er look you i’ the face (I
cannot tell you that, I will never look you in the face) 5. Will you dine with me tomorrow? If I be alive
(Will you have dinner with me tomorrow? If I am alive)
Page 40 – Crossing Bridges
1. c 2. a 3. b 4. a 5. b 6. d
Page 48 – Comprehension
1. In Pompey’s porch 2. It’s stormy 3. Yes, they are 4. Not yet 5. Brutus
Page 48 – Summary
Casca; opposition; senators; king; Italy; conspirators; Cinna; paper; Pompey’s porch; Brutus
Page 49 – Questions
1. (Open answer) 2. Casca looks pale and gaze to see the strange impatience of the heavens 3. To
establish Caesar as a king 4. They are some of the noblest-minded Romans 5. Cinna will take a paper
to Brutus’s house
Page 57 – Questions
1. Because he will never follow what the other men begin 2. Because he will be a shrewd contriver
and may annoy them all 3. His inner struggle because he loved Caesar 4. They should be fresh and
merrily 5. Decius
Pag. 57 – Getting Into the Text
1. Sir, ‘tis your brother Cassius at the door, who doth desire to see you (Sir, it is your brother Cassius who
desires to see you) 2. Call’d you, my Lord? (Did you call, my Lord?) 3. Brutus, thou sleep’st , awake
and see thyself (Brutus you sleep, awake and see yourself) 4. Let’em enter ! (Let them enter!)
Page 63 – Questions
1. A lioness has whelped in the streets/ Fierce fiery warriors fought upon the clouds 2. Calphurnia’s dream
was a vision fair and fortunate 3. Because the Senate would give him a crown, according to Decius
Pag. 63 – Getting Into the text
1. What mean you, Caesar? Think you to walk forth? (What do you mean, Caesar? Do you think to go
out?) 2. Horses did neigh, and dying men did groan, and ghosts did shriek and squeal about the streets
(Horses neighed, and dying men groaned, and ghosts shrieked and squealed about the streets) 3.
— 2 —
What say the augurers? (What do the priests say?) 4. What is’t o’clock? ‘tis strucken eight (What time is
it? It is eight o’clock) 5. This dream is all amiss interpreted (This dream is misinterpreted)
Pag. 64 – True or false
1. F (Thrice) 2. T 3. T 4. T
Pag. 70 – Complete
Popilius; plot; Caesar; Senate-house; fade away, Trebonius, Metellus Cimber; conspirators; surrounding;
stabbing; freedom; enfranchisement; common pulpits
Pag. 70 – Questions
1. Because he has decided to support the conspirators 2. He tells him a false information about his
family 3. Unkindly 4. Casca 5. The Romans
Pag. 71 – Getting Into the text
1. Hence! Wilt thou lift up Olympus! (Hence! You will climb Olympus!) 2. Doth not Brutus bootless kneel?
(Doesn’t Brutus kneel at my feet?) 3. If thou dost bend and pray and fawn for him, I spurn thee like a cur
out of my way (If you bend and pray and fawn for him, I will spurn you like a cur out of my way) 4.
As low as to thy foot doth Cassius fall, to beg enfranchisement for Publius Cimber (Cassius kneels at your
feet to beg enfranchisement for Publius Cimber) 5. What said Popilius Lena? (What did Popilius say?)
Pag. 78 – Timeline
3, 1, 6, 4, 5, 2
Page 78 – Questions
1. He goes to another pulpit to give reasons 2. Caesar would become a tyrant 3. Enthusiastically 4. (Open
answer)
Page 79 – FCE Inversion
1. Shakespeare was not only a writer, he was also an actor and theatre manager (Not only was Shakespeare
a writer, but he was also an actor and theatre manager) 2. The English language has rarely been used
in such an expressive way than with Shakespeare (Rarely has the English language been used in such an
expressive way than with Shakespeare) 3. Playwrights in Shakespeare’s age could not directly criticise
the Monarchy or incite rebellion (Under no circumstances could playwrights in Shakespeare’s age directly
criticise the Monarchy or incite rebellion) 4. It was only in 1623 that the first attempt was made to put
some order to Shakespeare’s works with the publication of The First Folio (Only in 1623 was the first
attempt made to put some order to Shakespeare’s works with the publication of The First Folio) 5. Not
many people have written with such profound insight into the nature of man as Shakespeare (Hardly has
anyone written with such profound insight into the nature of man as Shakespeare)
Page 85 – Questions
1. (Open answer) 2. Caesar refused the kingly crown at the Lupercal 3. Yes, he can 4. To increase the
crowd’s rage 5. A tumult
Page 86 – Getting Into The Text
1. Mark’d ye his words? (Did you mark his words?) 2. He hath brought many captives home to Rome,
whose ransoms did the general coffers fill (He has brought many captives home to Rome, whose ransoms
filled the general coffers) 3. I speak not to disprove what Brutus spoke, but here I am to speak what I do
know (I don’t speak to disprove what Brutus said, but I must tell you what I know) 4. You all did love
him once, not without cause: what cause withholds you then to mourn for him? (You all loved him once, not
without reason: why don’t you mourn for him?) 5. Let but the commons hear this testament (Don’t let the
people hear his testament)
— 3 —
Pag 93 – Complete
Antony is near Caesar’s hearse and all the citizens form a ring around it.
Antony describes Caesar’s murder by means of the rents/holes in Caesar’s mantle, the same he wore after
defeating the Nervii.
Antony analyzes the various stabs from Casca’s first one to Brutus’s final stroke.
It was then that Caesar muffled up his face in his mantle and fell at the base of Pompey’s statue.
Antony’s description of Caesar’s murder is so piteous that the citizens weep and do reverence on Caesar’s
body.
Meanwhile, they begin to ask for revenge against the traitors.
The crowd’s rage increases ,when Antony reads Caesar’s will.
A turmoil follows, they take up Caesar’s body and burn it in the holy place and will use the brands to fire
the traitors’ houses.
Antony lets them do, since he has reached his purpose.
Page 93 – Questions
1. A symbol of lay and religious power 2. Because Caesar loved him very much 3. (Open answer) 4. Public
lands, waters, gardens, … 5. They burn it in the holy place
Page 93 – Getting Into The Text
1. I come not , friends, to steal away your hearts (I don’t come, friends, to steal away your hearts) 2.
Mischief, thou art afoot. Take thou what course thou wilt! (Fate , you are moving. Do what you want) 3.
Here was a Caesar! when comes such another? (He was a true king. When will another one come?) 4.
Why, friends, you go to do you know not what? (Why do you go to do what you don’t know?)
Page 94 – FCE Plot Summary
The play begins (1) with Caesar’s close friend Marcus Brutus being tempted (2) into joining a plot by a
group of aristocrats to overthrow Caesar. Brutus, noble and proud of his heritage (3) is convinced by Caius
Cassius that Caesar intends to (4) become an Emperor destroying the ancient democratic traditions of the
Republic in the process. To be loyal to Rome and all that he believes (5) in Brutus must betray his friend.
The first part (6) of the drama continues Brutus’s inner battle with his own consciousness and outward
discussions with Cassius who proves himself to be a deceptive and able interlocutor. In the meantime,
Caesar receives supernatural warning in the form of a soothsayer (7) who advises him to “Beware of the
Ides of March”.
The warning goes unheeded, as well as that of his wife, and Caesar is duly killed in Act 3. The assassination
is one of the great scenes of Shakespeare and culminates with the words, ”Et tu, Brute?” as Caesar sees that
his friend Brutus is among his killers. This simple but infamous line goes like a metaphorical dagger to the
heart of the play’s central theme; loyalty and betrayal. (8) To emphasize the point Shakespeare varies (9) from
the historical record and melodramatically embellishes (10) the would-be tyrants final words with the coda,
“Then fall, Caesar,” implying that such personal treachery was too much even for the great general to survive.
The battle is now on to win (11) over the court of public opinion to this act of treason. Brutus addresses
the mob and, at first, (12) he manages to turn the crowd to his side. What he did was (13) done for the
good of Rome. However, in steps Mark Antony, Caesar’s second-in-command. Against an initially hostile
(14) crowd Mark Antony’s rhetorical ability and subtle reasoning “I came to bury Caesar, but to praise him,”
begin to shift the public’s mood. Skillfully, he portrays Caesar as a noble servant to Rome, not overbearingly
ambitious (15) as Brutus had described him. A man generous to their concerns who (16) had left money for
every citizen in his will. He even brings the lifeless body for the crowd to see, a martyr for their cause. The
crowd is roused into a violent mob bent (17) on revenge for the killing of their hero. The conspirators (18)
are forced to flee for their lives.
Act four sees the lead up to the final battle between the conspirators, led (19) by Brutus and Cassius, and
the Caesar loyalists, led by Mark Antony and Octavius, Caesar’s adopted heir. Caesar’s ghost even appears
(20) to Brutus on the eve of the battle. An apparition which bodes badly for the ex-friend.
The end of the play sees the defeat and suicide of the conspirators. Brutus fights gallantly and is the last
to (21) die. The final words are those of Mark Antony who (22) pays tribute to Brutus as the “the noblest
Roman of them all” thus signaling the complex ambiguity that is the foundation of the play and the paradox
that belies the actions of its principle protagonist, Brutus.
— 4 —