Friends, Romans, Countrymen

Mark Antony, Julius Caesar, Act 3 Scene 2, by William Shakespeare. Public domain. Intro and performance note by FreeSchoolPlays.com.

THE SPEECH IN PLAIN WORDS

Caesar has been assassinated, and Brutus has just convinced the Roman crowd that the killing was justified. Mark Antony is allowed to speak at the funeral only if he does not blame the conspirators. So he does something craftier: he keeps calling Brutus "honourable" while quietly stacking up proof that Caesar was never the tyrant they claim. Line by line, he turns the crowd's grief into anger -- without ever openly breaking his promise.

THE MONOLOGUE

Friends, Romans, countrymen, lend me your ears;
I come to bury Caesar, not to praise him.
The evil that men do lives after them,
The good is oft interred with their bones;
So let it be with Caesar. The noble Brutus
Hath told you Caesar was ambitious.
If it were so, it was a grievous fault,
And grievously hath Caesar answer'd it.
Here, under leave of Brutus and the rest,
For Brutus is an honourable man,
So are they all, all honourable men,
Come I to speak in Caesar's funeral.
He was my friend, faithful and just to me;
But Brutus says he was ambitious,
And Brutus is an honourable man.
He hath brought many captives home to Rome,
Whose ransoms did the general coffers fill:
Did this in Caesar seem ambitious?
When that the poor have cried, Caesar hath wept;
Ambition should be made of sterner stuff:
Yet Brutus says he was ambitious;
And Brutus is an honourable man.
You all did see that on the Lupercal
I thrice presented him a kingly crown,
Which he did thrice refuse. Was this ambition?
Yet Brutus says he was ambitious;
And sure he is an honourable man.
I speak not to disprove what Brutus spoke,
But here I am to speak what I do know.
You all did love him once, not without cause;
What cause withholds you then to mourn for him?
O judgement, thou art fled to brutish beasts,
And men have lost their reason. Bear with me.
My heart is in the coffin there with Caesar,
And I must pause till it come back to me.

PERFORMANCE NOTE

The whole speech is a trap, so play the strategist under the mourner. Open humble and reasonable -- you are just a friend, not a rabble-rouser -- and let the word "honourable" curdle a little more each time you say it, from respectful to flatly sarcastic. The evidence ("When that the poor have cried, Caesar hath wept") should sound like it is occurring to the crowd, not being forced on them. The final break, "My heart is in the coffin," can be real grief or a masterful act of it; either way, pause and let them come to you.

This is the full, unaltered public-domain text (US); the introduction and performance note are by Monologue.Network via FreeSchoolPlays.com. Free to perform -- a single credit line is the only requirement.

Audition prep notes

Full piece: 1 beat, ~268 words -- very short (Under 2 minutes), about 2 min at a natural pace.

Start with the objective

Before you run it, name your character's objective in one sentence: what do they want in this moment, and what is in the way of getting it easily? Pace, volume, and movement all follow from that one sentence, not the other way around.

Map the beats

The current text renders as a single continuous block, with no internal paragraph breaks to key off of. Build your own beat map instead: mark every point where the character's tactic or target shifts -- a new argument, a new realization, a change in who or what they are speaking to -- and treat each as its own beat.

Pacing for this length -- very short

Economy is everything at this length: cut any preparatory movement before your first line, and land the final beat cleanly rather than adding a button. Under 2 minutes, this often plays as one unbroken thought.

Delivery approach -- Verse / Poetic

Honor the line, not just the sentence: breathe at the end of a verse line even when the punctuation runs on, and let the meter carry the emotional pulse instead of fighting it with naturalistic pauses.

Framing for All ages

This piece is written to read across age groups. Start from the plainest version of the objective -- what the character wants, and why now -- before layering in the nuance your own age and experience bring to it.

Forensics eligibility -- Poetry Interpretation

This piece reads as Poetry Interpretation. That classification is illustrative only -- not official, not an NSDA, NCFL, or UIL certification. Always verify current eligibility with your event's own published rules before entering it in competition.

Generic coaching guidance for actors preparing this piece -- not a substitute for your director's or coach's notes.

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