The Annotated Edition
WITH BRUTUS IN ST. JO by Eugene Field
Two aging actors reflect on that night they earned fifty cents each to portray Roman soldiers in a small-town production of *Julius Caesar* in St.
- Poet
- Eugene Field
- Themes
- art, growing-up, identity
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Of all the opry-houses then obtaining in the West / The one which Milton Tootle owned was, by all odds, the best;
Editor's note
Field immerses us in the vibrant theatre scene of the American West. Milton Tootle was a genuine businessman from St. Joseph, grounding the poem in real, local history. The hired manager Krone — gruff, bearded, and thunderous — is the quintessential figure of the demanding impresario. The punchline hits at the end: Julius Caesar requires armies, and the only ones available are these two farm boys.
O happy days, when Tragedy still winged an upward flight, / When actors wore tin helmets and cambric robes at night!
Editor's note
This is the emotional core of the poem. Field shifts into a mock-heroic nostalgia, celebrating the glorious tackiness of frontier theatre—tin helmets, cardboard armor, and wooden spears. The exclamation points and the word 'O' intentionally parody high Romantic elegy, yet the underlying affection is real. Three extras with battle axes somehow make up 'the noblest Roman's troop,' and Field invites you to both laugh and feel a sense of tenderness at the same time.
We wheeled and filed and double-quicked wherever Brutus led, / The folks applauding what we did as much as what he said;
Editor's note
The extras are putting in a lot of effort — marching, wheeling, filing — and the crowd is loving every moment. Field shares a crucial confession: following Brutus was a walk in the park compared to ploughing back on the farm. That single line subtly reveals why these young men left everything behind for the theatre. The fifty-cent pay is mentioned with a straight face, and the line about "for love of Art — not lust for gold" is a joke that, amusingly, holds a grain of truth.
To-day, while walking in the Square, Jack Langrish says to me: / "My friend, the drama nowadays ain't what it used to be!"
Editor's note
The poem shifts to the present. Jack Langrish, a real person and a notable frontier actor, gives a speech expressing his sadness over the fall of Tragic Art and the emergence of low-quality farce. By mentioning Edwin Forrest, the prominent American tragedian from the mid-1800s, they establish a benchmark for comparison. The irony is palpable: these two men, who earned fifty cents for taking a beating on stage, are now claiming to be the successors of theatrical greatness.
And so we talked and so we mused upon the whims of Fate / That had degraded Tragedy from its old, supreme estate;
Editor's note
The two men sit at the Morton bar, solemnly bemoaning the modern age over their drinks. Field's comic timing shines: the grandiosity of "stigmatized the age / As sinfully subversive of the interests of the Stage" is undercut by the fact that they now work in the very kind of Boston comic show they're criticizing. The Hoyt school of farce — named after Charles Hoyt, a hugely popular playwright of light comedy — is their actual employer.
We were by birth descended from a race of farmer kings / Who had done eternal battle with grasshoppers and things;
Editor's note
Here, Field shares the backstory. The boys hail from Kansas farm families—“farmer kings” is a lighthearted nod to rural pride—who battled the severe grasshopper infestations that wreaked havoc on Great Plains farms in the 1870s. The *Clipper* was the top theatrical trade paper of its time, found in barbershops across the country. Wathena, Kansas, is a real town. This level of detail makes their escape feel both amusing and entirely relatable.
Our army numbered three in all--Marc Antony's was four; / Our army hankered after fame, but Marc's was after gore!
Editor's note
Now the battle of Philippi is narrated from the perspective of the extras. Antony's four background actors outnumber Brutus's three, and they take their roles very seriously — perhaps too seriously. The phrase 'them Kansas jays' seems to be what the rival extras called them, a city-slicker jab directed at the farm boys. The mock-epic framing ('overwhelming force of thumpers') turns a scuffle between underpaid extras into something that sounds like a genuine military disaster.
I've known the slow-consuming grief and ostentatious pain / Accruing from McKean Buchanan's melancholy Dane;
Editor's note
Field mentions a list of real frontier performers — McKean Buchanan, Daniel Bandmann, Arthur Cambridge — all recognized for their Shakespeare tours in the American West. The humor lies in the speaker claiming to have endured every theatrical nightmare, from terrible Hamlets to tough conditions ('even on my uppers'), yet still championing Art. This leads to the punchline: none of that could hold a candle to what happened at Philippi in St. Jo.
That army fell upon me in a most bewildering rage / And scattered me and mine upon that histrionic stage;
Editor's note
The physical comedy reaches its height here. The speaker has his toga ripped, his helmet crushed, and is actually hurled through the set — smashing through painted backdrops that depict various historical periods and plays, from medieval times to the Forest of Arden to Juliet's tomb. It’s slapstick presented with grand seriousness, and the 'scars of honest wounds' at the end gives a backstage fight the gravity of a war veteran's account.
Ah me, old Davenport is gone, of fickle fame forgot, / And Barrett sleeps forever in a much neglected spot;
Editor's note
The final stanza captures the poem's most heartfelt elegy. E.L. Davenport and Lawrence Barrett were celebrated American tragedians, both having passed away by the time Field penned this. Fred Warde is still performing one-night stands out in the far West. Meanwhile, Jack and his friend hustle through Hoyt's comic shows for meager pay. The closing line — 'public taste has fallen mighty low' — is humorous, yet it also reflects a deep nostalgia for a theatrical world that has truly faded away.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The tin helmet and cambric robe
- These inexpensive costume pieces capture the essence of frontier theatre — they’re makeshift, underfunded, yet genuine. They’re cherished items, not sources of shame. Field uses them to convey that sincerity and effort hold more value than refinement.
- The fifty cents apiece
- The pay is ridiculously low, yet Field continues to take pride in it. It marks the moment when the two farm boys became, even if just for a short time and at a low cost, professional theatre artists. That amount grounds all the lofty discussions about Art in a funny, down-to-earth reality.
- Brutus / Julius Caesar
- Shakespeare's play explores loyalty, betrayal, and the downfall of great men, reflecting the poem's theme of the decline of something once noble (like tragic art or youthful ambition) into something diminished. Brutus embodies this loss, aligning well with the poem's mood.
- The plough
- The farm and the plough symbolize the life the boys left behind. Whenever Field brings it up, he emphasizes that the theatre — even if it’s rough, low-budget, fifty-cent theatre — was still better than what they had before. This adds genuine depth to the nostalgia.
- The Morton bar
- The bar where the two men now drink and vent represents their comfortable, middle-aged disappointment. It’s a place for talking about dreams instead of chasing them.
- The painted tomb / Arden forest / medieval scenery
- When the speaker is thrown through the backstage scenery, he goes through painted depictions of different plays and past eras. It's a physical gag, but it also implies that the entire history of theatre is merely canvas and paint — stunning illusions that can be shattered in a heartbeat.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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