These details indicate the importance of a close scrutiny of the text. The errors in the Folio are considerable in number, and, precious though it be, that book cannot be implicitly trusted. Students ought to possess Keightley's "Shakespeare Expositor" and Kinnear's "Cruces Shakespeariana," and ought to consult them, as to every one of Shakespeare's plays. Much help, likewise, may be derived from J. Payne Collier's "Notes and Emendations," for Collier was thoroughly acquainted with the subject, and he had an abundance of general learning, no matter what cloud of doubt may rest on the authenticity of the MS. corrector of his Second Folio. And every student should read the writings of Edward Dowden, the most profound and sympathetic Shakespearean critic of our age. Dowden, writing of "Julius Casar," suggests that Shakespeare was, probably, acquainted with a translation (there was one published in 1578), of the account of the Civil Wars, by the Roman historian, Appian, and that he derived some hints from it for the orations of Brutus and Antony. Antony's oration over the corpse of Cæsar has always been regarded as one of the best examples of Shakespeare's invention; it owes nothing to Plutarch except the incident of the display of the dead body; whereas the words of Brutus, spoken over the dead Cassius, in the last act, are directly taken from that original: "The last of all the Romans, fare thee well! Should breed thy fellow." A play called the "History of Cæsar and Pompey" is mentioned by Stephen Gosson (1554–1623), as existent in 1579, and mention is made by Skottowe of a Latin play by Dr. Richard Eedes (died at Worcester, England, November 19, 1604), which was acted in Oxford University in 1582. Voltaire treated the Julius Cæsar story, in his tragedy called "The Death of Cæsar," and Aaron Hill founded upon Voltaire's play his "Roman Revenge," 1753. Both of these pieces adopt the tale that Brutus was Cæsar's son, by Servillia, sister of Cato—an absurdity, for Cæsar was scarcely turned fourteen when Brutus was born. Voltaire's tragedy contains no women. Hill's portraiture of Cæsar is highly colored, but not without some justification, for Cæsar, although his character had somewhat deteriorated toward the end of his life (Plutarch), was the greatest man of the actual group. Hill makes Portia and Calphurnia intimate, life-long friends. Bolingbroke admired Hill's play, and so did Pope; but Garrick would not act in it, and the public did not care for it. William Alexander, Earl of Stirling (died 1640), wrote a tragedy on Julius Cæsar, 1604 (Malone says 1607), and this, with his other works, “Darius,” “Cræsus,” " "The Alexandræan Tragedy," etc., were published in folio in 1637. Sense, formality, and dullness are the chief characteristics of the Earl's style. An alteration of Shakespeare's “Julius Cæsar," made by Davenant and Dryden, and acted at Drury Lane, was published in 1719. Sheffield's Julius Cæsar plays, 1772, were never much esteemed: they are clumsy alterations of Shakespeare's tragedy. One scene represents Brutus in love! There is a chorus at the end of each act. Alexander also employs the chorus. Sheffield introduces in his "Marcus Brutus," new characters, one of them being Junia, wife of Cassius. Examination of those plays serves only to illustrate and confirm the superiority of Shakespeare. January, 1899. W. W. X "There is not one person in ten thousand who knows what Liberty means, or cares a straw for any happiness but his own."-PEACOCK. "There is one alone, and there is not a second."-ECCLESIASTES IV, 8. "Here we embrace, and I'll unlock my heart. Fit to disturb the peace of all the world "That Julius Cæsar was a famous man; -SHAKESPEARE, "Heroes may kill tyrants, but it is wisdom and laws that prevent yranny and oppression."—Elizabeth Montagu. "A perfect man As ever Nature in one frame did span. Such high-born thought, a soul so large and free, So princely, hospitable, and brave mind, "Desiredst thou what truly spurred thee on? "We've trod the maze of error round, Long wand'ring in the winding glade, And, now the torch of truth is found, It only shows us where we've strayed."-CRABBE. X 屈 "When went there by an age since the great flood, But it was famed with more than with one man ?” "And yesterday the bird of night did sit Even at noon-day upon the market-place, Hooting and shrieking.” "It must be by his death. The abuse of greatness is when it disjoins "I heard a bustling rumor, like a fray, "Thou art the ruins of the noblest man 'Mischief, thou art afoot, Take thou what course thou wilt!" "I think it is the weakness of my mine eyes "Why, now, blow wind, swell billow, and swim bark! The storm is up and all is on the hazard." "Time is come round, And where I did begin, there shall I end; My life is run his compass." "The sun of Rome is set! Our day is gone! Clouds, dews, and dangers come; our deeds are done." "When you do find him, or alive or dead, He will be found like Brutus, like himself." "Night hangs upon mine eyes; my bones would rest, That have but labor'd to attain this hour." "His life was gentle, and the elements So mixed in him that Nature might stand up JULIUS CÆSAR. ACT I. SCENE I. Rome. A Public Place. A Great Tumult without. Enter CASCA, TREBONIUS, and a rabble of Citizens. CASCA. Hence! home, you idle creatures, get you home. Of your profession?-Speak, what trade art thou? SECOND CITIZEN. Why, sir, a carpenter. TREBONIUS. Where is thy leather apron, and thy rule?— FIRST CITIZEN. Truly, sir, in respect of a fine workman, I am but, as you would say, a cobbler. TREBONIUS. But what trade art thou? Answer me directly. FIRST CITIZEN. A trade, sir, that I hope I may use with a safe conscience; which is, indeed, sir, a mender of bad soles. |