“Remarkable . . . makes Shakespeare’s extraordinary accomplishment more vivid than ever.”—James Shapiro, professor, Columbia University, bestselling author of A Year in the Life of Shakespeare: 1599
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Julius Caesar (Pelican Shakespeare Series)by William Shakespeare
"I feel that I have spent half my career with one or another Pelican Shakespeare in my back pocket. Convenience, however, is the least important aspect of the new Pelican Shakespeare series. Here is an elegant and clear text for either the study or the rehearsal room, notes where you need them and the distinguished scholarship of the general editors, Stephen Orgel… See more details below
"I feel that I have spent half my career with one or another Pelican Shakespeare in my back pocket. Convenience, however, is the least important aspect of the new Pelican Shakespeare series. Here is an elegant and clear text for either the study or the rehearsal room, notes where you need them and the distinguished scholarship of the general editors, Stephen Orgel and A. R. Braunmuller who understand that these are plays for performance as well as great texts for contemplation." (Patrick Stewart)
The distinguished Pelican Shakespeare series, which has sold more than four million copies, is now completely revised and repackaged.
Each volume features:
- Authoritative, reliable texts
- High quality introductions and notes
- New, more readable trade trim size
- An essay on the theatrical world of Shakespeare and essays on Shakespeare's life and the selection of texts
“Remarkable . . . makes Shakespeare’s extraordinary accomplishment more vivid than ever.”—James Shapiro, professor, Columbia University, bestselling author of A Year in the Life of Shakespeare: 1599
Read an Excerpt
Act 1 Scene 1 running scene 1
Enter Flavius, Murellus and certain Commoners over the stage
FLAVIUS Hence! Home, you idle creatures, get you home:
Is this a holiday? What, know you not,
Being mechanical, you ought not walk
Upon a labouring day, without the sign
Of your profession?- Speak, what trade art thou?
CARPENTER Why, sir, a carpenter.
MURELLUS Where is thy leather apron, and thy rule?
What dost thou with thy best apparel on?-
You, sir, what trade are you?
COBBLER Truly, sir, in respect of a fine workman, I am but as you would say, a cobbler.
MURELLUS But what trade art thou? Answer me directly.
COBBLER A trade, sir, that I hope, I may use with a safe conscience, which is indeed, sir, a mender of bad soles.
FLAVIUS What trade, thou knave? Thou naughty knave, what trade?
COBBLER Nay I beseech you, sir, be not out with me: yet if you be out, sir, I can mend you.
MURELLUS What mean'st thou by that? Mend me, thou saucy fellow?
COBBLER Why sir, cobble you.
FLAVIUS Thou art a cobbler, art thou?
COBBLER Truly sir, all that I live by is with the awl. I meddle with no tradesman's matters, nor women's matters; but withal I am indeed, sir, a surgeon to old shoes: when they are in great danger, I recover them. As proper men as ever trod upon neat's leather have gone upon my handiwork.
FLAVIUS But wherefore art not in thy shop today?
Why dost thou lead these men about the streets?
COBBLER Truly, sir, to wear out their shoes, to get myself into more work. But indeed, sir, we make holiday to see Caesar and to rejoice in his triumph.
MURELLUS Wherefore rejoice? What conquest brings he home?
What tributaries follow him to Rome
To grace in captive bonds his chariot wheels?
You blocks, you stones, you worse than senseless things:
O you hard hearts, you cruel men of Rome,
Knew you not Pompey? Many a time and oft
Have you climbed up to walls and battlements,
To towers and windows? Yea, to chimney-tops,
Your infants in your arms, and there have sat
The livelong day, with patient expectation,
To see great Pompey pass the streets of Rome:
And when you saw his chariot but appear,
Have you not made an universal shout,
That Tiber trembled underneath her banks
To hear the replication of your sounds
Made in her concave shores?
And do you now put on your best attire?
And do you now cull out a holiday?
And do you now strew flowers in his way
That comes in triumph over Pompey's blood?
Run to your houses, fall upon your knees,
Pray to the gods to intermit the plague
That needs must light on this ingratitude.
FLAVIUS Go, go, good countrymen, and for this fault
Assemble all the poor men of your sort;
Draw them to Tiber banks, and weep your tears
Into the channel till the lowest stream
Do kiss the most exalted shores of all.-
Exeunt all the Commoners
See where their basest mettle be not moved:
They vanish tongue-tied in their guiltiness.
Go you down that way towards the Capitol,
This way will I: disrobe the images
If you do find them decked with ceremonies.
MURELLUS May we do so?
You know it is the feast of Lupercal.
FLAVIUS It is no matter. Let no images
Be hung with Caesar's trophies. I'll about
And drive away the vulgar from the streets;
So do you too, where you perceive them thick.
These growing feathers plucked from Caesar's wing
Will make him fly an ordinary pitch,
Who else would soar above the view of men,
And keep us all in servile fearfulness. Exeunt
[Act 1 Scene 2] running scene 1 continues
Enter Caesar, Antony for the course, Calpurnia, Portia, Decius, Cicero, Brutus, Cassius, Casca, a Soothsayer, after them Murellus and Flavius
CASCA Peace, ho! Caesar speaks.
CALPURNIA Here, my lord.
CAESAR Stand you directly in Antonio's way
When he doth run his course. Antonio!
ANTONY Caesar, my lord.
CAESAR Forget not in your speed, Antonio,
To touch Calpurnia, for our elders say,
The barren touchèd in this holy chase
Shake off their sterile curse.
ANTONY I shall remember.
When Caesar says 'Do this' it is performed.
CAESAR Set on, and leave no ceremony out. Music
CAESAR Ha? Who calls?
CASCA Bid every noise be still: peace yet again! Music stops
CAESAR Who is it in the press that calls on me?
I hear a tongue shriller than all the music,
Cry 'Caesar!' Speak, Caesar is turned to hear.
SOOTHSAYER Beware the Ides of March.
CAESAR What man is that?
BRUTUS A soothsayer bids you beware the Ides of March.
CAESAR Set him before me: let me see his face.
CASSIUS Fellow, come from the throng: look upon Caesar. Soothsayer comes forward
CAESAR What say'st thou to me now? Speak once again.
SOOTHSAYER Beware the Ides of March.
CAESAR He is a dreamer. Let us leave him: pass.
Sennet. Exeunt. Brutus and Cassius remain
CASSIUS Will you go see the order of the course?
BRUTUS Not I.
CASSIUS I pray you do.
BRUTUS I am not gamesome: I do lack some part
Of that quick spirit that is in Antony.
Let me not hinder, Cassius, your desires;
I'll leave you.
CASSIUS Brutus, I do observe you now of late:
I have not from your eyes that gentleness
And show of love as I was wont to have:
You bear too stubborn and too strange a hand
Over your friend, that loves you.
Be not deceived: if I have veiled my look,
I turn the trouble of my countenance
Merely upon myself. Vexed I am
Of late with passions of some difference,
Conceptions only proper to myself
Which give some soil, perhaps, to my behaviours.
But let not therefore my good friends be grieved -
Among which number, Cassius, be you one -
Nor construe any further my neglect
Than that poor Brutus, with himself at war,
Forgets the shows of love to other men.
CASSIUS Then, Brutus, I have much mistook your passion,
By means whereof this breast of mine hath buried
Thoughts of great value, worthy cogitations.
Tell me, good Brutus, can you see your face?
BRUTUS No, Cassius, for the eye sees not itself
But by reflection, by some other things.
CASSIUS 'Tis just,
And it is very much lamented, Brutus,
That you have no such mirrors as will turn
Your hidden worthiness into your eye,
That you might see your shadow: I have heard,
Where many of the best respect in Rome -
Except immortal Caesar - speaking of Brutus,
And groaning underneath this age's yoke,
Have wished that noble Brutus had his eyes.
BRUTUS Into what dangers would you lead me, Cassius,
That you would have me seek into myself
For that which is not in me?
CASSIUS Therefore, good Brutus, be prepared to hear:
And since you know you cannot see yourself
So well as by reflection, I your glass
Will modestly discover to yourself
That of yourself which you yet know not of.
And be not jealous on me, gentle Brutus:
Were I a common laughter, or did use
To stale with ordinary oaths my love
To every new protester, if you know
That I do fawn on men, and hug them hard,
And after scandal them, or if you know
That I profess myself in banqueting
To all the rout, then hold me dangerous.
Flourish, and shout
BRUTUS What means this shouting? I do fear the people
Choose Caesar for their king.
CASSIUS Ay, do you fear it?
Then must I think you would not have it so.
BRUTUS I would not, Cassius, yet I love him well.
But wherefore do you hold me here so long?
What is it that you would impart to me?
If it be aught toward the general good,
Set honour in one eye, and death i'th'other,
And I will look on both indifferently.
For let the gods so speed me, as I love
The name of honour more than I fear death.
CASSIUS I know that virtue to be in you, Brutus,
As well as I do know your outward favour.
Well, honour is the subject of my story:
I cannot tell what you and other men
Think of this life, but for my single self,
I had as lief not be as live to be
In awe of such a thing as I myself.
I was born free as Caesar, so were you:
We both have fed as well, and we can both
Endure the winter's cold as well as he,
For once, upon a raw and gusty day,
The troubled Tiber chafing with her shores,
Caesar said to me, 'Dar'st thou, Cassius, now
Leap in with me into this angry flood
And swim to yonder point?' Upon the word,
Accoutrèd as I was, I plungèd in
And bade him follow: so indeed he did.
The torrent roared, and we did buffet it
With lusty sinews, throwing it aside,
And stemming it with hearts of controversy.
But ere we could arrive the point proposed,
Caesar cried, 'Help me, Cassius, or I sink!'
I - as Aeneas, our great ancestor,
Did from the flames of Troy upon his shoulder
The old Anchises bear - so from the waves of Tiber
Did I the tired Caesar: and this man
Is now become a god, and Cassius is
A wretched creature, and must bend his body
If Caesar carelessly but nod on him.
He had a fever when he was in Spain,
And when the fit was on him I did mark
How he did shake: 'tis true, this god did shake,
His coward lips did from their colour fly,
And that same eye, whose bend doth awe the world,
Did lose his lustre: I did hear him groan:
Ay, and that tongue of his that bade the Romans
Mark him, and write his speeches in their books,
'Alas', it cried, 'Give me some drink, Titinius',
As a sick girl. Ye gods, it doth amaze me
A man of such a feeble temper should
So get the start of the majestic world
And bear the palm alone.
BRUTUS Another general shout?
I do believe that these applauses are
For some new honours that are heaped on Caesar.
CASSIUS Why, man, he doth bestride the narrow world
Like a Colossus, and we petty men
Walk under his huge legs and peep about
To find ourselves dishonourable graves.
Men at some time are masters of their fates.
The fault, dear Brutus, is not in our stars
But in ourselves, that we are underlings.
Brutus and Caesar: what should be in that 'Caesar'?
Why should that name be sounded more than yours?
Write them together, yours is as fair a name:
Sound them, it doth become the mouth as well:
Weigh them, it is as heavy: conjure with 'em,
Brutus will start a spirit as soon as Caesar.
Now in the names of all the gods at once,
Upon what meat doth this our Caesar feed
That he is grown so great? - Age, thou art shamed! -
Rome, thou hast lost the breed of noble bloods! -
When went there by an age, since the great flood,
But it was famed with more than with one man?
When could they say, till now, that talked of Rome,
That her wide walks encompassed but one man?
Now is it Rome indeed, and room enough
When there is in it but one only man.
O, you and I have heard our fathers say
There was a Brutus once that would have brooked
Th'eternal devil to keep his state in Rome
As easily as a king.
BRUTUS That you do love me, I am nothing jealous:
What you would work me to, I have some aim:
How I have thought of this and of these times
I shall recount hereafter. For this present,
I would not - so with love I might entreat you -
Be any further moved. What you have said
I will consider, what you have to say
I will with patience hear, and find a time
Both meet to hear and answer such high things.
Till then, my noble friend, chew upon this:
Brutus had rather be a villager
Than to repute himself a son of Rome
Under these hard conditions as this time
Is like to lay upon us.
CASSIUS I am glad that my weak words
Have struck but thus much show of fire from Brutus.
Enter Caesar and his train
BRUTUS The games are done, and Caesar is returning.
CASSIUS As they pass by, pluck Casca by the sleeve,
And he will, after his sour fashion, tell you
What hath proceeded worthy note today.
BRUTUS I will do so: but look you, Cassius,
The angry spot doth glow on Caesar's brow,
And all the rest look like a chidden train:
Calpurnia's cheek is pale, and Cicero
Looks with such ferret and such fiery eyes
As we have seen him in the Capitol
Being crossed in conference by some senators.
CASSIUS Casca will tell us what the matter is.
CAESAR Let me have men about me that are fat,
Sleek-headed men, and such as sleep a-nights.
Yond Cassius has a lean and hungry look:
He thinks too much: such men are dangerous.
ANTONY Fear him not, Caesar, he's not dangerous.
He is a noble Roman, and well given.
CAESAR Would he were fatter! But I fear him not:
Yet if my name were liable to fear,
I do not know the man I should avoid
So soon as that spare Cassius. He reads much,
He is a great observer, and he looks
Quite through the deeds of men. He loves no plays,
As thou dost, Antony: he hears no music:
Seldom he smiles, and smiles in such a sort
As if he mocked himself, and scorned his spirit
That could be moved to smile at anything.
Such men as he be never at heart's ease
Whiles they behold a greater than themselves,
And therefore are they very dangerous.
I rather tell thee what is to be feared
Than what I fear, for always I am Caesar.
Come on my right hand, for this ear is deaf,
And tell me truly what thou think'st of him.
Sennet. Exeunt Caesar and his train
CASCA You pulled me by the cloak: would you speak
BRUTUS Ay, Casca, tell us what hath chanced today
that Caesar looks so sad.
CASCA Why, you were with him, were you not?
BRUTUS I should not then ask Casca what had chanced.
CASCA Why, there was a crown offered him; and being offered him, he put it by with the back of his hand, thus, and then the people fell a-shouting.
BRUTUS What was the second noise for?
CASCA Why, for that too.
CASSIUS They shouted thrice: what was the last cry for?
CASCA Why, for that too.
BRUTUS Was the crown offered him thrice?
CASCA Ay, marry, was't, and he put it by thrice, every time gentler than other; and at every putting-by, mine honest neighbours shouted.
CASSIUS Who offered him the crown?
CASCA Why, Antony.
BRUTUS Tell us the manner of it, gentle Casca.
Meet the Author
WILLIAM SHAKESPEARE was born at Stratford upon Avon in April, 1564. He was the third child, and eldest son, of John Shakespeare and Mary Arden. His father was one of the most prosperous men of Stratford, who held in turn the chief offices in the town. His mother was of gentle birth, the daughter of Robert Arden of Wilmcote. In December, 1582, Shakespeare married Ann Hathaway, daughter of a farmer of Shottery, near Stratford; their first child Susanna was baptized on May 6, 1583, and twins, Hamnet and Judith, on February 22, 1585. Little is known of Shakespeare’s early life; but it is unlikely that a writer who dramatized such an incomparable range and variety of human kinds and experiences should have spent his early manhood entirely in placid pursuits in a country town. There is one tradition, not universally accepted, that he fled from Stratford because he was in trouble for deer stealing, and had fallen foul of Sir Thomas Lucy, the local magnate; another that he was for some time a schoolmaster.
From 1592 onwards the records are much fuller. In March, 1592, the Lord Strange’s players produced a new play at the Rose Theatre called Harry the Sixth, which was very successful, and was probably the First Part of Henry VI. In the autumn of 1592 Robert Greene, the best known of the professional writers, as he was dying wrote a letter to three fellow writers in which he warned them against the ingratitude of players in general, and in particular against an ‘upstart crow’ who ‘supposes he is as much able to bombast out a blank verse as the best of you: and being an absolute Johannes Factotum is in his own conceit the only Shake-scene in a country.’ This is the first reference to Shakespeare, and the whole passage suggests that Shakespeare had become suddenly famous as a playwright. At this time Shakespeare was brought into touch with Edward Alleyne the great tragedian, and Christopher Marlowe, whose thundering parts of Tamburlaine, the Jew of Malta, and Dr Faustus Alleyne was acting, as well as Hieronimo, the hero of Kyd’s Spanish Tragedy, the most famous of all Elizabethan plays.
In April, 1593, Shakespeare published his poem Venus and Adonis, which was dedicated to the young Earl of Southampton: it was a great and lasting success, and was reprinted nine times in the next few years. In May, 1594, his second poem, The Rape of Lucrece, was also dedicated to Southampton.
There was little playing in 1593, for the theatres were shut during a severe outbreak of the plague; but in the autumn of 1594, when the plague ceased, the playing companies were reorganized, and Shakespeare became a sharer in the Lord Chamberlain’s company who went to play in the Theatre in Shoreditch. During these months Marlowe and Kyd had died. Shakespeare was thus for a time without a rival. He had already written the three parts of Henry VI, Richard III, Titus Andronicus, The Two Gentlemen of Verona, Love’s Labour’s Lost, The Comedy of Errors, and The Taming of the Shrew. Soon afterwards he wrote the first of his greater plays – Romeo and Juliet – and he followed this success in the next three years with A Midsummer Night’s Dream, Richard II, and The Merchant of Venice. The two parts of Henry VI, introducing Falstaff, the most popular of all his comic characters, were written in 1597–8.
The company left the Theatre in 1597 owing to disputes over a renewal of the ground lease, and went to play at the Curtain in the same neighbourhood. The disputes continued throughout 1598, and at Christmas the players settled the matter by demolishing the old Theatre and re-erecting a new playhouse on the South bank of the Thames, near Southwark Cathedral. This playhouse was named the Globe. The expenses of the new building were shared by the chief members of the Company, including Shakespeare, who was now a man of some means. In 1596 he had bought New Place, a large house in the centre of Stratford, for £60, and through his father purchased a coat-of-arms from the Heralds, which was the official recognition that he and his family were gentlefolk.
By the summer of 1598 Shakespeare was recognized as the greatest of English dramatists. Booksellers were printing his more popular plays, at times even in pirated or stolen versions, and he received a remarkable tribute from a young writer named Francis Meres, in his book Palladis Tamia. In a long catalogue of English authors Meres gave Shakespeare more prominence than any other writer, and mentioned by name twelve of his plays.
Shortly before the Globe was opened, Shakespeare had completed the cycle of plays dealing with the whole story of the Wars of the Roses with Henry V. It was followed by As You Like it, and Julius Caesar, the first of the maturer tragedies. In the next three years he wrote Troilus and Cressida, The Merry Wives of Windsor, Hamlet, and Twelfth Night.
On March 24, 1603, Queen Elizabeth died. The company had often performed before her, but they found her successor a far more enthusiastic patron. One of the first acts of King James was to take over the company and to promote them to be his own servants, so that henceforward they were known as the King’s Men. They acted now very frequently at Court, and prospered accordingly. In the early years of the reign Shakespeare wrote the more sombre comedies, All’s Well that Ends Well, and Measure for Measure, which were followed by Othello, Macbeth, and King Lear. Then he returned to Roman themes with Antony and Cleopatra and Coriolanus.
Since 1601 Shakespeare had been writing less, and there were now a number of rival dramatists who were introducing new styles of drama, particularly Ben Jonson (whose first successful comedy, Every Man in his Humour, was acted by Shakespeare’s company in 1598), Chapman, Dekker, Marston, and Beaumont and Fletcher who began to write in 1607. In 1608 the King’s Men acquired a second playhouse, an indoor private theatre in the fashionable quarter of the Blackfriars. At private theatres, plays were performed indoors; the prices charged were higher than in the public playhouses, and the audience consequently was more select. Shakespeare seems to have retired from the stage about this time: his name does not occur in the various lists of players after 1607. Henceforward he lived for the most part at Stratford, where he was regarded as one of the most important citizens. He still wrote a few plays, and he tried his hand at the new form of tragi-comedy – a play with tragic incidents but a happy ending – which Beaumont and Fletcher had popularized. He wrote four of these – Pericles, Cymbeline, The Winter’s Tale, and The Tempest, which was acted at Court in 1611. For the last four years of his life he lived in retirement. His son Hamnet had died in 1596: his two daughters were now married. Shakespeare died at Stratford upon Avon on April 23, 1616, and was buried in the chancel of the church, before the high altar. Shortly afterwards a memorial which still exists, with a portrait bust, was set up on the North wall. His wife survived him.
When Shakespeare died fourteen of his plays had been separately published in Quarto booklets. In 1623 his surviving fellow actors, John Heming and Henry Condell, with the co-operation of a number of printers, published a collected edition of thirty-six plays in one Folio volume, with an engraved portrait, memorial verses by Ben Jonson and others, and an Epistle to the Reader in which Heming a
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Most Helpful Customer Reviews
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As an experienced high school English teacher, I always advise my students and their parents to purchase a Folger's edition of Shakespeare's plays. The notes, summaries, and other commentary serve the novice Shakespearean reader well and make the classical allusions and denotations of unfamiliar and common words and phrases from the Elizabethan age much easier for 21st Century readers to understand.
First of all, this is by far my favorite Shakespeare play however, I object to one aspect of it. Wait a moment, Shakepeare fans! Refrain from biting your thumbs at me until you know the nature of my complaint. The play is entitled Julius Caesar, but I do not think that the play was about Caesar. Yes, it was about his Rome. Yes, he was about to be made king. Yes, it is he who is killed. On the contrary, the play mainly centers around Brutus that is why I could not put the book down until I had finished it (in one sitting, yes). It was the tragedy of noble Brutus, not the assasination of Caesar, that captivated me. Idealistic at best, Brutus's oratory in which he said he loved Rome more than his beloved Caesar was one of those chilling moments in literature that reminds us why readers read and why writers write. Then, another gem, Cassius's famous line (above) is more true than we give it credit, especially in the United States. In short, 'Beware the ides of March!'
In high school we had to read Romeo and Juliet and the emphasis of the teacher was to just about memorize the play. Didn't enjoy Shakespeare in high school but picked up some of the Shakespeare plays published by Barnes & Noble and to my surprise have read Juliet Caesar as well as The Merchant of Venice and found them not just easy reading but enjoyable. Have now picked up Othello, King Lear and Macbeth so if you are interested in reading Shakespeare without problems or have to read for a class would definitely recommend the Barnes & Noble publications.
One of Shakespeare's best plays! The plot and the story is captivating and even more engrossing because of the historical fact behind it. You see Caesar's assasination in a new light in a simple to read, short play!
Julius Caesar is surprisingly easy enough to read even with the old English, and there is so much that underlies each and every word. Shakespeare certainly sets a fine example of what is needed in a good script. By using such eloquently intense words alone, he spins a silk web around the reader, hypnotically playing the scenes before one's eyes. Stripped down, the plot focuses on Brutus and Antony and their separate ideals for the one woman they both love: Rome. "The sun of Rome is set! Our day is gone; Clouds, dews, and dangers come; our deeds are done!"
Arrived quickly and looked new.
The tragic, historical drama Julius Caesar, written by William Shakespeare in 1599 as a way to safely comment on the political turmoil in England at the time, tells the story of the events surrounding the assassination of Julius Caesar, including its consequences and causes. Brutus' role in the act and its effects on him are also explored as he tries to decide what is best for the Republic. The involvement and motivations of several other pivotal Romans are included as well. The conflict between loyalty to people and loyalty to principles is central to the play. Persuasion and rhetoric are also very important, as are Fate and free-will. Idealism vs realism is also a big part of the story, as it is the main difference between Brutus and Antony and Octavian. The play is interesting, especially for those who are interested in history. The fact that neither side is really wrong or right helps make the story thought-provoking, as is the fact that the play has no villains. Unfortunately, because most of the major details of the plot are common knowledge, most readers will never be surprised by anything that happens. Despite this, I still found the play interesting. It can be an informative source of information for readers who do not know much about that period. I think that the play excluded background information, such as the dire state of the Republic at the time, which would have helped the reader better understand points of view of the Conspirators and Caesar's followers. I also think that some of the characters could have been better portrayed, specifically Antony and that his complicated relationship with Octavian could have been included. The play didn't affect me much or change my opinions on the topic because I have studied the events that the play is based on in great detail prior to reading the play. This play was my second favorite of Shakespeare’s that I have read so far.
Don't get this. When compared to the actual book, the spelling is completely different. You are better off getting the paperback copy of the book.
Julius Caesar by William Shakespeare is the tragedy of Julius Caesar and Marcus Brutus. This was Shakespeare's transition from history plays to his famous tragedies. Overall, it is just another Shakespeare book, difficult to understand, but having a nice story when looking back on it. Not awful, but not the best
Best play written by him, EVER!!!!
Oh ceezah reaf mine first for mines a suit that touches ceezah neeerah read it great ceezah!