—Act III, scene i, lines 130-37

It is a careful speech, appealing to Brutus' vanity and giving him the necessary adjective "noble." Mark Antony tempts Brutus with the picture of himself taking the place of Caesar, while Mark Antony continues as loyal assistant. It would seem that Antony judges Brutus to be not so much interested in stopping Caesar as in replacing him, and perhaps he is right.

Nor is Mark Antony a complete hypocrite. The message does not promise unqualified submission to Brutus. It sets a condition. Brutus must arrange to have Mark Antony "be resolved" as to the justice of the assassination; that is, to have it explained to his satisfaction.

Of course, Mark Antony has no intention of allowing the assassination to be explained to his satisfaction, but Brutus cannot see that. The unimaginably vain Brutus feels the assassination to be necessary; how then can anyone else doubt that necessity once Brutus explains it?

Brutus is won over at once, as he always is by praise, but Cassius is not. He says:

—Act III, scene i, lines 144-45

Brutus, with his usual misjudgment, brushes that aside and welcomes Mark Antony, who now comes onstage with a most magnificent piece of bluffing. He speaks in love and praise of Caesar, and grandly suggests that if they mean to kill him, now is the time to do it, in the same spot and with the same weapons that killed Caesar. Yet he is careful to join the offer with flattery:

—Act III, scene i, lines 161-63

The flattery further melts the susceptible Brutus, of course, and he offers conciliatory words to Mark Antony. The practical Cassius realizes that Brutus is all wrong and feels the best move now is to inveigle Mark Antony into sharing the guilt by offering to cut him in on the loot. He says:

—Act III, scene i, lines 177-78

Mark Antony makes no direct reply to the offer of loot, but proceeds to strike those attitudes of nobility he knows will impress Brutus. He ostentatiously shakes the bloody hands of the conspirators yet speaks eloquently of his love for Caesar, once Brutus professes that he himself had loved Caesar.

Cassius, rather desperately, breaks into the flow of rhetoric with a practical question to Mark Antony:

—Act III, scene i, lines 215-17

Where we write names with chalk on slate, or with pen and pencil on paper, the Romans were apt to scratch them in the wax coated on a wooden tablet. Where we check off names with a /, they would prick a little hole next to the name. Hence the question "Will you be pricked in number of our friends…"

Again, Mark Antony evades a direct commitment. He still wants an explanation of Caesar's crimes, which Brutus is still confident he can give. What's more, Antony adds a casual request:

—Act III, scene i, lines 227-30

It seems a moderate request. After all, Caesar, though assassinated, deserves an honorable funeral and a eulogy by a good friend; especially a friend who seems to have joined the conspiracy. Brutus agrees at once.

The clear-seeing Cassius is horrified. He pulls Brutus aside and whispers urgently:

—Act III, scene i, lines 232-33

Cassius knows, after all, that Mark Antony is a skillful orator and that if he catches the attention of the populace he can become dangerous.

Nothing, however, can win out over Brutus' vanity. It is the mainspring of all the action. Brutus points out that he will speak first and explain the assassination (he is always sure that he has but to explain the deed and everyone will understand and be satisfied) and that Mark Antony can, after that, do nothing. To make doubly sure, Brutus sets conditions, saying to Antony:

—Act III, scene i, lines 245-48

Brutus was worse than vain; he was a fool to think that such conditions could for one moment stop an accomplished orator and force him to make the conspirators seem noble and magnanimous. Later on, when Mark Antony does speak, he keeps to those conditions rigorously, and it does the conspirators no good at all.

Mark Antony is left alone with Caesar's body and, in an emotional soliloquy, apologizes to the corpse for his show of affection with the conspirators. He predicts the coming of civil war and says:

—Act III, scene i, lines 270-73

Ate is visualized here as the personified goddess of retribution, and "Havoc" is the fearful cry that sounds out at the final fall of a besieged city. It is the signal for unrestrained killing and looting when all real fighting is done. (The word "hawk" is from the same root and one can see in the swoop of the hawk the symbol of the surge of a conquering army on its helpless victims.)

The reference to "Caesar's spirit" may be taken literally in any society that believes in ghosts, and these include both Mark Antony's and Shakespeare's. Indeed, Caesar's spirit makes an actual appearance in Plutarch's tale and therefore in this play as well.