The introduction of "the Ghost of Cæsar" is more theatrical than judicious. Plutarch gives no other designation to the "wonderfull strange and monstrous shape of a body," which appeared to Brutus, than that it was his "evill spirit." 66 Cicero appears as a character, though he has scarcely anything to do with the conduct of the play. Nor in the little said of him does Shakspeare seem to have had Plutarch very strongly in his mind. Casca's reply to the question, "Did Cicero say any thing?" 'Aye, he spoke Greek," may not unfairly be ascribed to the passage which relates that Cicero was commonly called "the Grecian, and scholer, which are two words which the artificers (and such base mechanicall people at Rome) have ever ready at their tongue's end."+ The poet has judiciously enough made the unlettered Casca endeavour to convert Cicero's love of Greek into a subject of contempt: such a reproach from the attic mind of Brutus, or from the lips of Cassius, who "read much," would have been ridiculous: to say nothing of it as á violent deviation from the spirit of his authority. * Act I. sc. 2. Life of Cicero, 861. 66 The conspirators, it appears from Plutarch, declined to associate Cicero in their design, although he was a man whom they loved dearly, and trusted best: for they were affraid that, he being a coward by nature, and age also having increased his feare, he would quite turne and alter al their purpose, and quench the heat of their enterprise."* Shakspeare notices the same determination of Brutus and his friends, but assigns an entirely different reason (a reason consistent with general nature) for their conduct: "Let us not break with him; For he will never follow any thing That other men begin." Though Shakspeare has conferred on Marcus Brutus the regard that Cæsar, in fact, only entertained for Decius, he has not neglected to represent Decius as exercising the influence over Cæsar, which enabled him to carry the Dictator to the senate-house after he had resolved not to go: the arguments by which he effects his purpose are copied almost literally from Plutarch. † Calphurnia and Portia both act very humble parts, for little more pains has been bestowed * Life of Brutus, 995. ↑ Act II. sc. 2. on them than the transfusion of a few passages into verse from the homely prose of Sir Thomas North. The following is an entertaining, though not very favourable, specimen of the worthy knight's style: "She (Portia) tooke a little razour, such as barbers occupie to pare men's nailes, and causing her maydes and women to go out of her chamber, gave herselfe a great gash withall in her thigh, that was straight all of a goare bloud."* * Life of Brutus, 996. 231 ANTONY AND CLEOPATRA. 1608. In an age when the dominion of the world was submitted to the arbitrement of the sword, Antony speedily acquired the consideration which the splendour of his military talents merited. Sagacious and skilful in command, he fearlessly encountered the most imminent dangers, and cheerfully submitted to the severest privations. He lived as the comrade rather than the general of his troops; and his princely generosity in the day of prosperity, and considerate attention to their necessities and sufferings in the hour of misfortune, insured their entire devotion to his service. But the lustre of his virtues was clouded by numerous and heinous vices. The merit of his noble behaviour over the corpse of Brutus fades before his cruel persecution of, and brutal triumph over, Cicero. His attachment and fidelity to Cæsar are too unhappily contrasted by his desertion of Fulvia, and base ingratitude to the devoted and virtuous Octavia. If we applaud his unbounded munificence, his insatiable rapacity and wanton cruelty deserve nothing less than the severest reprobation. His energy, and patient endurance of almost unexampled hardships, in war, are too strongly contrasted by his luxury, and shameful depravity, in peace. In an early association with dissolute companions, he contracted a fatal love of dissipation, which the splendour of his subsequent fortune afforded him the most unbounded means of gratifying. He was naturally open and unsuspicious, and the habitual indulgence of his passions rendered him an easy prey to the blandishments of female art. In the hands of the voluptuous, but all accomplished, Cleopatra, he lost even the power of resistance; the calls of honour, the voice of fame, and the excitements of ambition were alike powerless. In the frivolous pastimes of a female court, and the luxurious surfeits of sumptuous entertainments, the soldier who had Quarter'd the world, and o'er green Neptune's back |
