Bass. You shall not seal to such a bond for me. I'll rather dwell in my necessity. Ant. Why, fear not, man; I will not forfeit it: Within these two months-that's a month before This bond expires-I do expect return Of thrice three times the value of this bond. Shy. O father Abraham, what these Christians are A pound of man's flesh taken from a man I will be with you. Ant. Hie thee, gentle Jew, This Hebrew will turn Christian: he grows kind. -Merchant of Venice, I., 3. In view of Shakespeare's pre-eminent position in literature it is thought wise to embody herein one complete tragedy. Julius Cæsar is selected because, first, of its representative character of the author, and second, because of its political importance in literature. The exact date of its production has been a matter of much discussion among Shakespearian scholars. William J. Rolfe, the eminent Shakespearian critic, after discussing in detail all possible sources of authority, con cludes that it was written some time between 1603 and 1608. From Hazlitt's Characters of Shakespeare's Plays: "Shakespeare has in this play and elsewhere shown the same penetration into political character and the springs of public events as into those of everyday life. For instance, the whole design of the conspirators to liberate their country fails from the generous temper and overweening confidence of Brutus in the goodness of their cause and the assistance of others. Thus it has always been. Those who mean well themselves think well of others, and fall a prey to their security. That humanity and honesty which dispose men to resist injustice and tyranny render them unfit to cope with the cunning and power of those who are opposed to them. The friends of liberty trust to the professions of others because they are themselves sincere, and endeavor to reconcile the public good with the least possible hurt to its enemies, who have no regard to anything but their own unprincipled ends, and stick at nothing to accomplish them. Cassius was better cut out for a conspirator. His heart prompted his head. His watchful jealousy made him fear the worst that might happen, and his irritability of temper added to his inveteracy of purpose, and sharpened his patriotism. The mixed nature of his motives made him fitter to contend with bad men. The vices are never so well employed as in combating one another. Tyranny and servility are to be dealt with after their own fashion; otherwise they will triumph over those who spare them, and finally pro VOL. XX.-23 nounce their funeral panegyric, as Antony did that of Brutus. "The truth of history in Julius Cæsar is very ably worked up with dramatic effect. The councils of generals, the doubtful turns of battles, are represented to the life. The death of Brutus is worthy of him: it has the dignity of the Roman senator with the firmness of the Stoic philosopher." From Knight's Pictorial Shakespeare: "Nothing can be more interesting, we think, than to follow Shakespeare with Plutarch in hand. The poet adheres to the facts of history with a remarkable fidelity. A few hard figures are painted upon a canvas; the outlines are distinct, the colors are strong; but there is no art in the composition, no grouping, no light and shadow. This is the historian's picture. We turn to the poet. We recognize the same figures, but they appear to live; they are in harmony with the entire scene in which they move; we have at once the reality of nature and the ideal of art, which is a higher nature. Compare the dialogue in the first act between Cassius and Brutus, and the same dialogue as reported by Plutarch, for an example of the power by which the poet elevates all he touches without destroying its identity. When we arrive at the stirring scenes of the third act, this power is still more manifest. The assassination scene is as literal as may be; but it offers an example apt enough of Shakespeare's mode of dramatizing a fact.” From Gervinus's Shakespeare Commentaries: "In the descriptions of Cassius we look back upon the time when the great man was natural, simple, undissembling, popular, and on an equal footing with others. Now he is spoiled by victory, success, power, and by the republican courtiers who surround him. He stands close on the borders between usurpation and discretion; he is master in reality, and is on the point of assuming the name and the right; he desires heirs to the throne; he hesitates to accept the crown which he would gladly possess; he is ambitious, and fears he may have betrayed this in his paroxysms of epilepsy; he cxclaims against flatterers and cringers, and yet both please him. All around him treat him as a master, his wife as a prince; the Senate allow themselves to be called his Senate; he assumes the appearance of a king even in his house; even with his wife he uses the language of a man who knows himself secure of power; and he maintains everywhere the proud, strict bearing of a soldier, which is represented even in his statues." From Craik's English of Shakespeare: "It is evident that the character and history of Julius Cæsar had taken a strong hold of Shakespeare's imagination. There is perhaps no other historical character who is so repeatedly alluded to throughout his plays." The play of Julius Cæsar, as well as the other excerpts printed in this article, follows the excellent edition of George Steevens. |